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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.

Coils2

TL;DW: Coils2 is a transformer overdrive emulator.

Coils2.zip(578k)

Hi! I’ve been busy. You’ll notice the download’s a bit larger than usual: that’s because it also contains a .dmg file that is the modern code-signed, M1-apple-silicon-ready version of Coils2.

I’ve been busy making this: mediafire/SignedAUs.dmg which is likewise, for EVERYTHING. At least, everything that is Audio Unit. I’m aware people want Mac VSTs in the same way, and that’s going to be my work for May: should be possible. I can’t vouch for whether that stuff will work in non-native VST hosts, but I do think I’ve got the modern Audio Unit problem solved. They also contain Intel code, so there’s now two options for running AUs on Macs: old school compile, or the new compile. Doing every plugin means there are 248 individual plugins in there.

I’m not including them in my stuff off the website until I have the code signed VSTs too, for Apple Silicon, and then it’ll be time to re-upload hundreds of things back into the dawn of my Patreon, so it will all give you all the possible versions, every time.

I do have questions: do we still want to use ‘NewUpdates.zip’ when all this is done? Or dedicated collections for each sort of computer/plugin? The numbers are getting so huge. Though an ‘ALL’ download might still be a good idea, just for thoroughness. For now, NewUpdates.zip is still the OLD SCHOOL and that mediafire link above is where you get the new Apple Silicon builds, but I’m including what I’ve got in new plugin downloads. It’s a work in progress.

Anyway, Coils2! This is to Coils what Srsly2 was to Srsly. In other words, Coils was always ultra subtle. Coils2 lets you dial up the cheapness until the tone is wrecked (if you so choose).

There’s two controls, Saturation and Cheapness. Saturation determines what happens outside the ‘resonant band’, and Cheapness narrows the band in which the transformer’s putting out clean, pure sound. This is not a ‘stompbox distortion’ type of distortion. It’s shaping the way the transformer produces sonority. If you narrow the ‘sonority’ band with more Cheapness, you increasingly distort and lose the lows and highs, and also get a hysteresis effect of magnetizing the transformer core. More Cheapness lets you hear the transformer crap out better when you overdrive it.

Saturation gives you the maximum overload you can get to, NOT ‘more total gain’. It’s clamping down, not boosting into. That means if you turn it up all the way you get a sort of bandpass: it’s no longer really a model, you’re hearing only what’s left over after the transformer dies. To hear the grind, you have to set it to less than full crank, and halfway should already be quite a lot of overload (except if Cheapness is really low, it might be hard to overload the transformer, so it’s a matter of taste.

That’s a lot of talk to say: play with the knobs. They should do what they’re labeled to do, and as long as you’re not thinking ‘turn everything up all the way’ you’ll be fine. It’s meant to pass through a great deal of sonority even for tiny cheap transformers, just in such a way that you can really hear it this time. Coils2 is still in the spirit of Coils, in that you’ll get the most accurate ‘modeling’ by not treating it as its own stompbox. It’s the output stage, for shaping and sculpting things that already exist. You might combine it with tube distortion effects to get an ‘amp-like’ character, or use it subtly on a 2-buss to tighten lows and give you more impact and vibe. Remember to not use too much saturation and cheapness for full mixes :)

Patreon, for when you want another 248 ports done by the end of the week because you got AU for free but also want VST and also that new Mackity with the EQ built in :)

Progress Report

In which I read a list of which Airwindows plugins will be ported to Apple Silicon, and though I don’t have a ‘new’ plugin this week, I’ve got some updates that I needed to do to make everything ready for the big M1 push.

progressreport.zip(2M)

If you had trouble with: BuildATPDF, IronOxideClassic2, PodcastDeluxe, especially ResEQ, Slew, or StarChild, try this.

The individual files are now updated, and so’s NewUpdates.zip. For the most part these bugfixes are about fixing missing initialization stuff that could cause the plugins to make unpleasant noises when starting up.

Meanwhile, since I’ve been asked for an explanation of what all those plugins are, I’ll take this opportunity to… just quickly… run through the list of the ones that get an Apple Silicon port. :)

…TWO HOURS LATER…

Mackity

TL;DW: Mackity is an emulation of the input stage of a vintage Mackie 1202!

Mackity.zip(348k)

Mackie 1202 (pre-VLZ) input stage.

Found and bought one, learned through using it just how different it was from anything I’d done before, resolved to capture the madness.

This is what you get when you run stuff into the inputs of the original Mackie 1202… and then, plug halfway into the insert points on the back of the unit. This time it’s not about modeling the two-band EQ, or any of that. This time it’s the refined essence of Mackie slam.

I might not have it so perfect that it’ll cancel out with a phase inverted recording out of the real physical machine… though it’s close… but on my word as Chris from Airwindows, through my choices and techniques, Mackity gets the vibe pretty close to perfect. It won’t generate noise like it’s real cheap op-amps but it’ll give you the same spongy slam and gleaming brain-fry overload of the purely analog machine. This is partly because it’s not overprocessing to lock in all the little EQ-matching things: it’s basic simple algorithms mimicking a basic simple circuit and there’s an intensity that comes through which you don’t get by fussing over all the details. It sounds big and raw and warm and it takes in audio in a characteristic way… really really old Mackie tiny mixer, the kind that can’t really do nice things but turns electronic music into a wall of roaring shrapnel.

If you’re a classical recordist, or a fan of, you know, GOOD equipment, this means nothing to you. And that’s fine. Some weapons are best kept secret. But if you’re a DnB head or various other underground recordist type, I doubt I need to say more.

So I won’t. Have fun!

Patreon let me buy the real vintage Mackie. If you want me to do the same with a Neve, we’ve all got a ways to go before that can happen :) same with a SP1200 and so on…

Chord Slide Rule

TL:DW; Make your own slide rule for going to crazy jazz chords and knowing what to do with them!

ChordSlideRule.pdf(2M)

This has been a long journey!

Remember how I’ve been making these wheels of chords, based on the Circle of Fifths? And (in recent videos) I’ve shown how I tried overlaying another wheel, with cutouts first for all the chords that fit within a key (easy, they’re just repeats of what’s in the same vertical slice) and then for the new chords that aren’t in the key?

It all got very simple, and gave me this (it’s nice when that happens).

Print this out, cut and fold it until it’s a slide rule. This is your Chord Slide Rule. The moving bar contains all the chords you could ever want. Basically, all the chords (at least, the major and minor forms, plus major sevenths for Mixolydian mode).

The sliding overlay tells you a bunch of useful things. Firstly, it’s organized into slots (horizontal positions) with the modes written on them. Start from that note and you’re in that mode when using those notes shown in the vertical slide. This also shows you what the chords are, except it’ll show a minor chord in the Locrian slot. That’s true enough but you’re meant to leave out the fifth, which isn’t present in the Locrian mode. Also, for the Dorian, Phrygian, Lydian and Mixolydian modes, it’ll tell you which slot to find a characteristic note indicating which mode that is. For instance, Dorian uses a minor third, but what note makes that different from Aeolian? The major sixth: which is shown in the Locrian slot (in D Dorian, that will be a B natural). This alone is handy.

But there’s more: the Locrian and Lydian slots (interestingly, the slots with a diminished fifth) have arrows on ’em. Locrian points right, Lydian points left. They’re marked ‘New Note’. What this means is, if you went one step sideways into a new key, this would be the new note that wasn’t present in the first key. It tells you what it is, right away. If you move the slide rule over, the other arrow shows you what note you just lost in leaving the original key. So you get to see both which notes are being added, and which notes went away.

But there’s more! Because there are additional slots cut into the slide rule. For any key, you can see not only the chords that belong in that key, but which chords are available in adjacent keys! It’s shown right there. The farther left or right you go, the more out-there the chord change will seem. If you stick in the same general area, the new chords will make sense relative to each other. Or you can change keys entirely by sliding the rule: but you can get a lot of mileage out of exploring the side-chords without leaving the key you’re in. What’s under the blocked-out areas? Copies of the chords already available to you in the key you’re in. Can you go farther to the side, beyond what the slide-rule shows? Sure, and it’ll sound very jazzy and abstract. If you go off the edge, wrap around and come in the other side of the slide rule, like it was a loop (or the wheel that this concept started out as).

You can treat chords, including jazzy modulations, as positions of the slide rule. You can find chords to lead you to key changes (like C major to D major for a big finish, or to B major for an unusual transposition) by seeking chords that ‘walk’ along the circle of fifths to get you to the new key. You’ll see how many new accidentals you have to navigate (two for Cmaj to Dmaj, or five for Cmaj down to Bmaj) and every step of the way you can see what the new note is and which note you lost out of the previous key. For instance, Cmaj to Bmaj means you’re adding F#, Db, Ab, Eb and Bb, and the notes that go away are F, C, G, D and A… in order, if you walked chord by chord along the circle of fifths to do it.

Pretty cool! And you don’t have to know any of that to use it for making up chords and melodies. The vertical slot is the notes (and chords) within the key, and going to the side gives you different chords which will want different notes to go along with them. Slide the slide rule to see which notes those are: if you’re a guitar player who’s familiar with the shape of major or minor scales on the neck, this will show you both where your scale shapes live on the neck, and which note you start on to be in the desired mode.

This isn’t everything music theory has, but it’s a damn fun music theory toy, and I hope you enjoy it as much as me. :)

This is made possible by Patreon: the freedom to study what I wish is what produced this. Thanks to everyone listening… and especially, those who’re helping me keep doing this stuff as a full-time job. No, YOU’RE awesome :)

Oh, one more thing: Airwindows fan Aykut Cirik thought it would be a fun idea to make a webpage that works like the Slide Rule, so you can use it on your phone. So as long as the link holds, you can go to https://www.trinity.be/airwindows_chordsliderule/ and have a quick reference to the Slide Rule as a webpage. Thank you, Aykut! :)

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If you’re pledging the equivalent of three or more plugins per year, I’ll happily link you on the sidebar, including a link to your music or project! Message me to ask.