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Chris

Hi! I've got a new plugin you can have! These plugins come in Mac AU, and Mac, Windows and Linux VST. They are state of the art sound, have no DRM, and have totally minimal generic interface so you focus on your sounds.

Sweeten

TL;DW: Sweeten is where you can find super-clean second harmonic.

Sweeten.zip(492k)

So this serves a few purposes. Sweeten is one of the super-minimal, one knob plugins. It makes second harmonic: much like SingleEndedTriode, or Inflamer. The first purpose is to exist, so if you’re thinking ‘I gotta sweeten this sound, now which Airwindows plugin of the three billion and twelve does that? Conflagration? No, that can’t be it’ then you can go ‘is there one literally called Sweeten’, and now there is! And it does what you’d expect, even harmonics (second harmonic, specifically). That’s all it does.

Another purpose is because I use stuff like this in my designs. So it’s useful to have a chunk of code that I can take and put in the midrange section of an EQ, or something, if I think it’s lacking that subtle nonlinearity which comes out of some circuits. Sweeten is specifically designed to let me do that quickly and easily, and if I make a tool for myself which is actually neat and efficient, I give it to people.

The only thing Sweeten can do that you can’t already do with Inflamer is be simple, and maybe one or two fewer math operations, and that’s IT. This isn’t new (second harmonic isn’t new, either). My hope is that it’s such an elegant, easily identifiable little device that it’ll come in handy. It’s also using the stepped-control, bit-shift-gain thing I do lately, so one thing about it is that it’ll prevent you overprocessing. If you turn it up until you can hear it a little too well, drop back a step and then you can’t tell it’s doing anything, but it very much still is. For many types of processing (second harmonic emphatically included!) the optimal setting is where it’s doing its thing but at no point is it ever distracting or sticking out as a mixing mistake. Sweeten is predisposed to quickly get you to that point with no fuss.

I’ll be using it: if anybody else finds it useful, that’s even better :)

download 64 Bit Windows VSTs.zip
download Signed M1/Intel Mac AUs.dmg
download Signed M1/Intel Mac VSTs.dmg
download LinuxVSTs.zip
download LinuxARMVSTs.zip for the Pi
download Retro 32 Bit Windows VSTs.zip
download Retro PPC/32/64 Mac AUs.zip
download Retro PPC/32/64 Mac VSTs.zip
Mediafire Backup of all downloads
All this is free and open source under the MIT license, brought to you by my Patreon.
VCV Rack module

Inflamer

TL;DW: Inflamer is an Airwindowsized take on the waveshapers in Oxford Inflator.

Inflamer.zip(501k)

How do you take a famous, beloved plugin and make it better?

In a recent livestream, I saw a video make the very convincing argument that the famous Oxford Inflator is the combination of two very simple waveshapers. Like, spectacularly simple. One’s a bit more complicated than the other, and one is essentially just second harmonic, nothing more. The person making the video set up the two simple waveshapers and demonstrated that for all manner of settings on the real Inflator, they could make a Melda waveshaper produce identical outputs.

Of course, you didn’t get the UI. You didn’t get the band splitter. There’s a clip meter of some sort: also not included. However this meter, these controls work: nope. But… now there are algorithms that are public, some of ’em so simple as to defy property (hard to argue that you can own one line of code that makes things second harmonic, it’d be like me claiming to own sin() )

What could you do, to make this better in any way?

Well, that’s where my recent experiments come in. Meet Airwindows Inflamer (NOT Inflator). It doesn’t do the same things, quite. There’s no band splitter. There’s a curve control, but it doesn’t go -50 to +50, it goes from 0 to 1. And while it blends the two waveshapers… it does so in a more cumbersome and possibly more pure way.

Inflamer is different because it’s using my BitShiftGain style gain trimming, internally, as if it was a dry/wet, but with the two waveshapers instead of a dry and a wet. The Drive control is also bit shifts (very accurate divisions by powers of 2). The Effect control, as with the real Inflator, is normal and is in fact a dry/wet, and there you can have subtle adjustments to what is, I hope, a sonically optimized version of the effect.

But you cannot have the band splitting, or fine gradations of Curve. In fact many settings of Curve will end up being a slight volume drop when used at unity gain (Drive in the middle). It is possible a bunch of people will shoot this out against the real, iLoked, for pay, bestseller plugin, and will decide mine is crap because it is often quieter than the real one.

GOOD. I’m not trying to rain on anyone’s parade. You have to know what you’re doing to evaluate this. It’s much like how, when I start doing takes on Bricasti, they’ll be in my own style. I am not cloning things, even when the underlying algorithms are trivially simple. Inflamer is different and the range of adjustments are in 6 dB steps on Curve and Drive and often you might find the result comes into the mix 3 or more dB quieter than it would from the Sony plugin, and that’s as it should be.

And if I’m correct that leaning on these insights into digital math gives their own kind of benefits, I’ve managed to make an Inflamer which is more mastering-grade, more transparent and sonorous, and better sounding (IF you can live with the only settings I allow you to pick) than the real one. That’s why I’m restricting it the way I am.

There you have it. Inflamer is obviously not Oxford Inflator, has less options and restricted choices, and if you shoot them out head to head without matching levels carefully, it will probably always come out quieter than Oxford Inflator. And it is only some waveshapers, simplified and restricted even more than the original.

And for some, it’ll be just better, in critical listening. Sometimes it takes radical methods to beat an already stellar plugin. I hope you like Inflamer, and that it doesn’t inflame you too much, unless you like that sort of thing.

download 64 Bit Windows VSTs.zip
download Signed M1/Intel Mac AUs.dmg
download Signed M1/Intel Mac VSTs.dmg
download LinuxVSTs.zip
download LinuxARMVSTs.zip for the Pi
download Retro 32 Bit Windows VSTs.zip
download Retro PPC/32/64 Mac AUs.zip
download Retro PPC/32/64 Mac VSTs.zip
Mediafire Backup of all downloads
All this is free and open source under the MIT license, brought to you by my Patreon.
VCV Rack module

Creature

TL;DW: Creature is a soft slew saturator, a new class of noisechanger.

Creature.zip(500k)

So here’s something new: didn’t exist before, even I didn’t have it.

Creature is a soft slew saturator. It’s a way of working with applying a sin() function to slew clipping. In fact it applies an unbounded sin() function, so it might be technically considered a slew wavefolder? Because that’s what everybody needed, was a slew wavefolder. How useful, nerdy, and pointless.

Not so much. Listen to this little monster.

Creature is up to 32 (or more, at high sample rates) soft slew saturators, stacked up like the poles of a filter. It acts like a distortion, except it’s not a distortion. It acts like a filter, but it’s even less of a filter. Its interaction with sample rate is really strange (has to scale up with the square root of the sample rate multiplier!)

And what Creature really does, is roar.

As you keep adding Depth, the gain and the thunder increase unreasonably. The total force on tap is pretty ridiculous, and it keeps getting harder to control as you turn it up. There’s an Inv control that can give you a really interesting cancellation that acts like a highpass-ish, but not like any highpass you’ve ever heard. Using it in phase, in Wet mode, unleashes a monstrous overdrive with humongous bass that refuses to lose weight even at impossibly high gains (real interesting on drum rooms!)

There is no overdrive. There is no EQ. There is no highpass.

It’s just Creature, which is very much its own beast. It’s also a very, very simple algorithm (isn’t that so often the way?) so especially at low Depth settings, all this monstrousness can be yours for almost no CPU. I’ll be finding ways to put this to use, but as always, you’ve got it fresh from the plugin forges. Be careful, and have fun with your new Creature.

download 64 Bit Windows VSTs.zip
download Signed M1/Intel Mac AUs.dmg
download Signed M1/Intel Mac VSTs.dmg
download LinuxVSTs.zip
download LinuxARMVSTs.zip for the Pi
download Retro 32 Bit Windows VSTs.zip
download Retro PPC/32/64 Mac AUs.zip
download Retro PPC/32/64 Mac VSTs.zip
Mediafire Backup of all downloads
All this is free and open source under the MIT license, brought to you by my Patreon.
VCV Rack module

EveryConsole

TL;DW: EveryConsole is mix-and-match Airwindows Console.

EveryConsole.zip(529k)

Sometimes I give people tools AS I am working on them…

EveryConsole contains the original Console algorithm, Console6, Console7, the sin()/asin() routine that’s the guts of Console8 and PurestConsoles 1 and 2, BShifty which is the near-sin() approximation that’s in PurestConsole3 from last week, and Console Zero.

All of these algorithms are stripped of all the tone shaping parts and ultrasonic filterings to be the bare-minimum functions for their purposes. That doesn’t mean they are every Airwindows saturation routine: Distortion has more. But these are all the ones designed to encode and then decode on the buss.

And, EveryConsole includes both the Channel functions, and the Buss functions, under one hood. So you basically select the version you want, and whether it’s channel or buss.

Because there’s no filtering or tone shaping these lend themselves to oversampling, for instance Reaper’s new oversampling. That doesn’t mean it’ll be better: I think it kinda won’t, but if you have oversampling capacity this is now yours to fool with. EveryConsole gives you access to the raw encode/decode functions without making you use them in an Airwindows way.

That’s not why I made it, though. I’m working on modeling the sound of big classic consoles, and I’ve got a lot of audio reference, and I needed to do a lot of study of how different Console versions combined. I’m already working on doing tone shaping to get closer to the target, and I wondered whether mismatching Console versions got you types of presentations that reminded the listener of specific big consoles.

That would be a YES.

So I’m busily at work using this plugin to monitor a lot of variations on Console and compare them to classic records, and if I get to have a tool then so do you! So, here is EveryConsole. If you’d like to combine it with the distributed ultrasonic filtering I like to use, then load up UltrasonX or HypersonX and arrange the instances of those so they’re in the right places around the EveryConsole instances. If you’d like more like Console7’s ability to bring elements forward and back in mix, or Console8’s tone, you have to use those as there’s extra stuff built into the plugins. But if you want more basic building blocks to assemble your own Airwindows big console… this is for you as much as it is for me.

Hope you like it!

download 64 Bit Windows VSTs.zip
download Signed M1/Intel Mac AUs.dmg
download Signed M1/Intel Mac VSTs.dmg
download LinuxVSTs.zip
download LinuxARMVSTs.zip for the Pi
download Retro 32 Bit Windows VSTs.zip
download Retro PPC/32/64 Mac AUs.zip
download Retro PPC/32/64 Mac VSTs.zip
Mediafire Backup of all downloads
All this is free and open source under the MIT license, brought to you by my Patreon.
VCV Rack module

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