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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.

MatrixVerb

TL;DW: MatrixVerb is a wildly adjustable, strangely colorful reverb for deep and flexible spaces.

MatrixVerb.zip(410k)

First, the Swiss Army Knife reverb! (a more cooperative one is to follow)

This is the result of some deep diving into Householder reverb algorithms (a way of taking four delay lines and turning them into infinite reverb). It’s different from anything I’ve done before, reverb-wise: extremely flexible, and incorporating some neat new tricks (for instance, the highs fall away at the same rate they would in a giant concrete cavern, allowing for REALLY huge-sounding spaces as well as convincing smaller spaces). It’s actually two parallel Householder reverbs in the place of one.

But what would happen if you had them feed back into each other, not just into themselves?

Turns out two different things can happen. One is a twisting and distorting of the sonic space into a distinctly… SPRING-like tonality. If you push the flavor knob towards 1.0, you increasingly get that clangy spring reverb thing, either subtly or overbearingly.

The other is this: apparently the opposite of a spring is a plate. Because when the Householder tanks feed back into each other inverted, they cancel out those same things and produce a whonging booming dense solidness that I remember, very well, from building a REAL plate reverb out of a big sheet of steel hanging from springs. I should say that real one I built was not a GOOD plate reverb… but I remember what it was like, and I can bring back the feel of it with this strange beast and its inverted broken feedback thing. This is one of those Airwindows plugins that lets you cut off your own foot with giddy abandon: all the bad settings are totally available. But if you know how to tune it, you might get something quite magical.

You get damping (from ‘almost’ infinite reverb down to very very damped), an overall tone control to handle whether the verb is bright or not, the ‘flavor’ control that leans either platey or springy or neutral, a room size that will go unreasonably huge even at 96k, and dry/wet. Stay tuned for stuff that’s more ‘preset’ and always gives you useful/good settings: that’s coming too. But this one is the reverb of doom: the most wild range of settings and tonalities and spaces, and the neat thing is apart from the global tone control at top, it’s all about manipulating the heart of the algorithm in significant ways. None of the adjustments are arbitrary: for the range of useful tonality, this reverb is very simple to operate.

Hope you like it. It is free, and if you think it’s good to get things like this every week, you can throw another $50 a year at my Patreon as if this was a commercial plugin for you to buy. Who knows, by next year I might have made another plugin you like :D

Acceleration2

TL;DW: Acceleration2 is Acceleration, better! Updated for high sample rate and more extreme effect.

Acceleration2.zip(352k)

Hi! Let’s say goodbye to 2020 with an amazing plugin and another pile of 2020 awfulness! :D my video is super broken, I’m showing the plugin in a new DAW that is the most irritating open-source project I’ve ever seen, and I haven’t got the strength to deal with any of it so we’re stuck with it!

But the plugin… ah, now that worked out nice. (except, anyone using the Linux .so version PLEASE check it for me, more on that later)

If you can’t face the video (I sure can’t! But it starts working as soon as I have either the DAW or my video game onscreen, then dies as soon as it’s just the camera again) here’s what you should know about Acceleration2.

Acceleration2 is an updated version of my high-frequency limiter, Acceleration. It’s like a brightness control that doesn’t really take away apparent brightness, just glues it really hard. Acceleration limiting is what you’d use mastering to vinyl, to avoid burning out the cutting head: it will get you a nice retro tone without obviously coloring things. It is not an ’emulation’ of any specific gear: real mastering engineers are not looking for ’emulation of Neumann sound’ or anything like that, they’re looking to get the functionality of this in the most colorless way.

It’s been updated to work exactly the same at all sample rates (the previous one had issues adapting to them) and now has more intense depth of effect: if you crank it up you can make things real soft and dull. Don’t do that :) the purpose is not to do what you could do with an EQ, the purpose is to glue things and take the edge off the super-highs without harming the sparkle and air of the recording. Acceleration2 can do that real well: you might even find it useful if you’re doing very digital mixes and avoiding my other stuff like Console7. If you put this on the mix buss of an otherwise super-digital mix, you can make the highs prettier without making them any darker or duller. Do that by applying only small amounts of the Limit control.

That’s the top control, for those watching the video: Ardour may be able to do a Console-based mix and put the plugins post-fader, but it can’t draw a generic AU in such a way that you can read it, at least not if you’re dark-themed. Woopsy. Back to Logic next time, I guess. Thanks, one last dose of 2020 :D

Patreon means I can keep going even when things are terrible and ridiculous. See ya in 2021… when I’ll be launching my DIY Analog Synth project in earnest, just as soon as I’ve recovered from the holiday season, which is always pretty brutal. I’ve got a good feeling about a lot of the things that are coming, and it should be great fun when it all takes off and starts to fly. Cheers, all :)

The video game, “Clusterfluff” (no sense giving it a good name) is at https://github.com/airwindows/ClusterFluff.
Binaries for it can be downloaded at https://www.mediafire.com/folder/0t69v1b1zfatl/ClusterFluff_Binaries

DarkNoise

TL;DW: DarkNoise is an alternative method for producing bassier noise directly. Sound design stuff.

DarkNoise.zip(356k)

I don’t have reverb plugins ready for this week, because I’ve been shoveling snow all day every day to dig myself out of a blizzard! So I posted this instead :)

DarkNoise is a technical experiment, that might be useful for sound design folks, or game coders, or people coding things like algorithmic clap effects. It’s basically a way to generate noise directly that’s more midrangey, or more bassy, without having to filter it (though there’s a filter included, too!)

So how it works is: if you just generate rand() every sample, that’s white noise. (or if you use an algorithm like my dithering-to-the-floating-point, which is not crypto-grade noise but runs more CPU-efficiently). And if you take a value and add rand() to it every sample, that’s Brownian noise (something moves, but randomly) but it generates DC offset and needs to get filtered. I’ve also done clever forms of noise like VoiceOfTheStarship (there in your NewUpdates.zip download for free, try it and compare with DarkNoise) which do the brownian noise, but at regular intervals it forces the random noise always to move TOWARDS zero, suppressing the DC naturally.

This is different. I’m not sure it’s better but it’s different, and what it does is: say you’re keeping a list of values that are all random. And you’re replacing them with new random values, and you get your output by adding ’em together. Now, imagine that for each random number you put in, that tells you the next position in the list to replace. That’s DarkNoise. It has a brighter top-end than VoiceOfTheStarship, and runs just as fast, but requires you keep a big pile of numbers around. However, you don’t have to actually add them all every sample. It’s in the code, how to work around that part.

Enjoy the plugin if you like weird noise sources: again, might be sound design, maybe you’d like to gate it along with something? Gate it along with your snare and pick one of the midrangey settings and you might get a nice beefy reinforcement. Cranked way up, it gives a background noise ambience that’s like wind (heard from indoors, or being out in the wind) which can go from almost still, to thousands of miles an hour.

Attn: folks doing Rackwindows for VCV Rack, or any project like it. You might want to make up a version of this, without the AverMatrix filtering, and run it as sample and hold for use as a control voltage generator. It will let you generate random ‘voltages’ that wander over as wide a range as you like, while still keeping tiny variations on a micro-scale. High settings of raw DarkNoise output would make for a really good wandering random control voltage: again, you need to implement it as sample and hold driven, so that other modules can ‘step’ DarkNoise sample by sample. At its max, it’ll take about two thousand steps between peaks, and of course you can make it cover a much tighter range too :)

Patreon keeps not only the Console7 (i.e. exciting) plugins being developed, but also stuff like this that would never exist if all the plugins had to be saleable bangers. I’ll keep coming up with cool and accessible stuff provided I can also experiment on things too. Thank you for making that a reality :)

Console7Cascade

TL;DW: Console7Cascade is a drop-in replacement for Console7Channel that allows for MUCH higher gain.

Console7Cascade.zip(377k)

I heard you liked slamming consoles. So I put five individually ultrasonic-filtered stages of slamming into your console so you can slam console while you Console7 :D

This is pretty straightforward. It’s a drop-in replacement for Console7Channel, right down to the gain staging that works with the trim control to fit the result into the mix.

The difference is, this uses FIVE gain stages of the same processing in Console7Channel. And of course it’s always better (I’m learning) to filter more gently between individual stages, rather than try to super-filter all at once and then do all the distorting. And so, Console7Cascade is born: turns out to be a very very ‘consoley’ type of crunch.

By that I mean it seems to barely crunch at all. It just intensifies and gets REALLY LOUD. Might work as a guitar amp sim too? It worked so well for me on my drums that I might end up just using it by default for that: just all of the channels, all get Console7Cascade. You could also put it in place on a submix… or all the submixes, if you’re kind of insane. This produces a really intense tubey loud effect with very little scratchyness or grind. I’m pretty sure it’ll be kind of brutal on the CPU as it’s not only an Ultrasonic, but also five Console7Channels, each of which run two sine functions.

You might just find it was all worth it, though. Why compress when you can cascade Console7Channels?

Patreon is an appropriate response to me saying I didn’t think I was gonna top Console7 anytime soon, and then immediately doing it the very next week :) only if you’re in a position to do it, though, as I will most certainly be around next week giving more plugins, whether or not the Patreon gets bigger. Right now it’s beginning to make some of my larger plans possible; more on that as it comes into focus.

(original version before denormalization fix at Console7CascadeFirst.zip(377k))

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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.