Menu Sidebar
Menu

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.

Ultrasonic

TL;DW: Ultrasonic is a very clean, plain, high quality supersonic filter, for using inside digital mixes.

Ultrasonic.zip(355k)

Now here’s a handy little utility plugin… sort of the ultimate Airwindows plugin, not only does it not have an interface, it doesn’t have a sound! :D

Here’s why you should care… especially if you work at high sample rates.

Aliasing in digital mixes is annoying. You typically don’t hear it directly, but it coarsens and flattens the mix, throwing all sorts of funny harmonics in there at random frequencies, like subtly ring modulating everything (the aliased harmonics go off on frequencies not related to the original notes, and clash). It’s often very subtle, but it turns up everywhere you have nonlinearities. If you distort stuff in digital mixes, you run straight into aliasing problems. Same if you compress, or do anything nonlinear… and even if you make a mix as pristine and minimal as possible, if you’re mixing in the Airwindows Console system that uses nonlinearities too.

You can run at higher sample rates and that gives you more room, you can use soft saturations (like what’s in Console) and that makes the harmonics appear in order so only the highest frequencies will fold back and alias, but it’s in a computer: you’ll always run into the limits of juggling numbers and calling it music, and you’ll experience aliasing through nearly anything you do.

But what if you just took those problem frequencies away?

Ultrasonic is very simple. It has no controls. It’s a really steep lowpass filter at 20K (five poles, and it works out to 10th order Butterworth filtering). Unlike some ‘audible’ Airwindows filters that are supposed to sound interesting, Ultrasonic doesn’t use internal Console processing: that would be a nonlinearity, and defeat the purpose. Instead, it’s a super high resolution very boring and plain supersonic filter, calculating stuff at long double resolution, dithering its result to whatever floating point buss your DAW uses, and otherwise having no sound of its own.

Drop it into your (preferably 96k or 192k) digital mix and it will clean up anything nonlinear that goes after it. This includes Console! Just because Console ‘decodes’ doesn’t mean it can’t be hurt by aliasing of its nonlinearities: it just distorts so gently that it’s not automatically worse, but any aliasing that turns up in ConsoleChannel doesn’t get taken away by ConsoleBuss. Digital only gets worse, not better, and the trick is to make it get worse as slowly as possible while you work with it.

When you use Ultrasonic, for instance on every channel in a Console mix, you trade a degree of rawness and immediacy for an ease and smoothness that is immediately apparent if your stuff is running into nonlinearities anywhere. In many ways it makes the digital mix sound more analog. The tradeoff is, it’s still five poles of biquad filtering, and it will make stuff sound a bit slick, a bit more ‘processed’. You can kinda hear that you’re doing the extra processing, but the texture change is really appealing: stuff sits back (less super-treble will always sound more like the audio ‘sits back’ and is more polite) and bright shiny stuff sounds purer and sweeter. This is all the more true if you’re processing heavily.

It’s very easy to use: just put the plugin before anything that might alias. By itself it should have no sound (though if you have true 96k or 192k audio, it of course is obliterating your real supersonic content). There are no controls and nothing to do, it isn’t itself nonlinear so it shouldn’t interact with anything, you don’t have to gain stage it or pay any attention to it at all. Very plain, simple, hopefully pretty low-CPU for all that it’s five poles of filtering at stinkin-high calculation accuracy.

Put it on everything that you want to smooth out and un-digitalize. Sometimes there’s nothing quite like beating the problem into the ground with a sledgehammer. For frequencies over 20K and the aliasing that loves them, this is that sledgehammer. (It is also biquad filtering, so it runs with zero latency and you can track through it)

All this is supported by Patreon. You can add a dollar to your pledge for each thousand instances of Ultrasonic you use, if you like. (careful, you might find that adding up quick!) :)

Isolator

TL;DW: Isolator is a steep highpass or lowpass filter, like you might find in a speaker crossover.

Isolator

Back to more generally useful plugins! I think this might be popular with people. Let me know :)

Isolator is like some of my Biquad Filter plugins, except it’s tuned to a particular purpose. In DJing, one technique is to use a filter on the full mix for effect, and Isolator is geared towards two specific tricks in that vein: sweeping the filter down until the music is just a throb and then bringing it back, or sweeping the filter up to leave only highs and then dropping the bass back in.

This is done using a speaker-crossover style filter: Isolator is a fifth order Butterworth filter made out of three series biquad filters run inside an instance of Airwindows Console. It rolls off at 30 dB/octave (I think I had this as 36db/octave in the video, but that would be a sixth-order filter) and probably slightly steeper than that, because I’m up to my usual tricks and chose the fifth order Butterworth because it’s made out of Q factors that are a close approximation of the golden ratio. So, I’ve used that, making the filter JUST a bit steeper than normal :D also, the way the frequency control is mapped, means it gives you accurate control over the full Nyquist range of the filter AND still puts the midrange in the middle of the control, through changing the logarithm of the filter frequency. That means it always is able to go full-range no matter what sample rate you’re at: maxed out, is always ‘max sample rate’, it just sweeps farther up when run at higher sample rates once you’re at the far right of the control.

That’s the tech rundown. In practice, this is a lowpass/highpass filter. You can sweep it around, though it’s possible to freak it out if you throw a lot of filter-sweep activity at it in a zone where it’s handling a lot of energy. It wouldn’t be good to try and FM this control: biquads sound wonderfully smooth and rich but they won’t handle that treatment, especially run inside their own version of Console. You can use the treble and bass controls as a form of shelf, or output gain: note that I’ve set them up for instant response so you CAN FM them or do really aggressive, choppy things with them without upsetting the filter. That said, if you have a heavily bassy sound coming through them, you can get clicks since they will respond instantly: it’s that or have them chase the value, and you can’t do aggressive glitchy stuff if you chase the value, so I’ve got them responding directly. That does mean you can do stuff like have the lows coming through and then ‘flicker’ in the highs setting for a glitchy effect, at whatever speed you can automate the slider.

I expect mostly this will be useful for the classic ‘now it’s all bass… and now the full mix gradually swells up’ effect, but there are many possible uses. You can use it to neatly lop off highs or lows with the steepest cutoff possible that isn’t QUITE resonant. You can cut the bass on tracks with great accuracy, and you can use it as a shelf of great accuracy: the bands are made by subtracting from the lowpassed version, so having both treble and bass full up means you have literally unaltered digital audio, apart from some ‘zero dB’ multiplications. That means very subtle cuts in highs OR lows might be using a sharp near-resonant filter sound, but the less cut you have the cleaner the output will be. It’s a mastering-grade surgical high/low shelf, much like professional DJ isolators must be constructed to carry the full mix with ideal sound quality.

Except I can beat those in one very Airwindows detail: if you are using it as a lowpass, and you’ve got high on zero and low on 1 and you open up the filter completely sweeping it up… no matter what sample rate you’re at, once you reach 1 (full crank) on the frequency control, it seamlessly bypasses itself while still calculating the filtered signal. So, unlike analog isolators, when you run THIS isolator on the full mix, at times you’re not using it, it is literally not in the signal path anymore. :D

Hope you like Isolator. All this is supported by Patreon, so if you would have bought Isolator for the price of $50 (to use on any and all computers you have, as a perpetual license, plus you get the source code) you can go and add $50 a year to whatever you are pledging (if anything) on the Patreon. Then, in a year, you can look over the plugins I’ve added by then (some great, some horrifying or busted) and see if there was another plugin worth $50 to you. If so, by all means continue with the patronage, and I’ll continue making the plugins :)

BassAmp

TL;DW: BassAmp is an old plugin with new tweaks, that gives some bass guitar tones.

BassAmp.zip(373k)

Here’s the plugin I thought I had last week!

This is BassAmp. (I’ve been asked to do amp sim type plugins, so it’s a start). Back in the day I experimented with some of these things, though I’ve always been more interested in wiring up physical hardware, especially for guitar distortions and things. I’ve brought this one up to date in some ways, debugging a problem with the ‘dub’ channel and using my modern techniques for dithering to the floating point bus, and so on.

It’s got basically a bright channel, midrange (which is just dry, as a slider), a bass channel with a characteristic woolly tone that has a kind of noisy blur on the small amount of treble it does have, and a ‘sub’ channel that really doesn’t work, so use it as a crazy special effect. BassKit might get you a cleaner sub-octave, but this will give you a trashy sub-octave that’s mostly garbage, even on a single-note line. So you’ll be leaving it off, I think.

I’m also working on a new EQ, on matrix reverb techniques (on livestream!), have revised all my Biquad filters to have simple dry/wet controls on the end as my inverse/dry/wet stuff didn’t work properly, have come up with a method with the new EQ to place adjustable filter range in the middle of the control even for extreme sample rates while leaving the full Nyquist range available on the same control, and I’ve fixed ClipOnly (that last, is available right now if you’re concerned). What was wrong with ClipOnly was that if you were using VST on a 64-bit wide audio buss, ClipOnly would give you output that only covered the 32 bit floating point buss, not the full 64. I found the problem (NOT by listening for it! :D ) and fixed it and now it’s fixed, so if you like attending to conceptual details like that, re-download it here: ClipOnly.zip

All this is supported by Patreon, of course. Like I said in the video, if you’re in trouble bail off the Patreon and I promise I’ll be okay. Or at least I will if I go have a rest and get some sleep: for some reason I’m really exhausted. Can’t imagine why, with such a calm week we’ve all been having :) anyway, Patreon whatever, still working on a bunch of stuff, also playing a lot more music livestreams these days and I’m available for tech/plugin questions once I stop jamming (or before I get rolling) so that’s me being a little more available.

Talk to ya later, plugin mongers :)

TremoSquare

TL;DW: TremoSquare is a squarewave tremolo effect that only switches on zero crossings.

TremoSquare.zip(348k)

Surprise! More sound design, texture-making, mix-blendering fun from Airwindows.

I meant to put out BassAmp today, but it’s not ready: needs more work. But I had this weird little critter handy, and so it’s skipping ahead whether you like it or not!

And that depends on what you get up to, signal processing wise. TremoSquare comes out of one of my livestreams, where I coded a plugin from scratch one Monday so people could watch the process. (I do that now.) It’s a squarewave tremolo, but it only transitions from silent to full volume on the zero crossings.

What that does, is firstly give the aggressive tremolo a nice warm coloration that doesn’t click or crackle, even on bassy sounds. But secondly, if you ramp up the frequency super high, it stops registering as a frequency because the crossings take precedence and interfere with the frequency of the transitions. So, you get a distinct sort of ‘de-rezzing’ effect that’s literally nothing but a tremolo, except it’s sculpted to be smoother and more graceful. It doesn’t tempo sync: think of it more like that effect on Bowie’s ‘Diamond Dogs’ album of singing through a fan that’s on. It’s got a dry/wet control so it can be faded in for effect, and the frequency range of the tremolo is extremely huge.

Hope you like it! I meant to do an entirely different plugin, but I just had this lying around…

All this is supported by Patreon, otherwise I wouldn’t have got this far and you wouldn’t have this, free and open source. Thanks to everyone who’s supporting the Patreon, and I’m fiercely working on bringing even more things to the table… without slacking off on the weekly plugin posting. You never can tell when you’ll get a nifty audio tool that fits perfectly with what you do, and that’s where the fun is for me :)

Newer Posts
Older Posts

Airwindows

handsewn bespoke digital audio

Kinds Of Things

The Last Year

Patreon Promo Club

altruistmusic.com

Dave Robertson and the Kiss List

Decibelia Nix

Gamma1734

GuitarTraveller

ivosight.com – courtesy Johnny Wishoff

Podigy Podcast Editing Service

Super Synthesis Eurorack Modules

Very Rich Bandcamp

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.