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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.

BiquadDouble

TL;DW: BiquadDouble is a handy Airwindows cascaded biquad filter: steeper roll-off before resonance.

BiquadDouble.zip(359k)

Here’s another utility plugin! Some weeks it’s nice to be boring (for those reading this in the future, check the date: these are regrettably ‘interesting times’ where I live, most likely historically so)

So it’s a boring old biquad.

Except, if you’re into the details of how stuff works, it’s not THAT boring. It’s two biquad filters stacked, which means you can get twice as much cutoff steepness before resonance. Since it’s Airwindows, you can have any possible resonance setting anyway, from ‘impossibly high’ to so wide that it’s basically full bandwidth. That interacts interestingly with the stacked filters: some of the weird effects with super-wide filters will act different here. On top of that, it’s two stacked filters inside an internal Console mixing system: so the tone of the filter itself is ‘expanded’ in a way not common to boring old biquad filters. And it’s the most efficient (but least cooperative) biquad, meaning that it runs and sounds great but doesn’t always cooperate with rapid automation, so that might get interesting if you’re not careful.

Why do this at all?

Because I sometimes like mocking up effects and plugins out of component parts. And if I was to use a stacked biquad filter as part of something else, it’s just more convenient to dial in the correct settings and get the tone exactly right: I could use two ‘Biquad’ instances, but remember that BiquadDouble stacks its filters INSIDE the Console processing, so it might not be as good to fake it, plus I’d have to set both the Biquad instances the same…

The real answer is ‘because that’s how I roll’. Nobody asked for this. But maybe you reach for a biquad filter for simple tone shaping, and you keep trying to find a butter zone between too shallow, and too resonant. This might become your go-to basic filter. I can’t predict what will take off: for all I know, this is THE basic digital filter everyone’s been waiting for, the one that just sounds right for every purpose. Or not. But you can’t know until you try :)

If I just made your silver bullet EQ (stranger things have happened) without even meaning to, by all means go to my Patreon and kick in an additional $50 a year. Or not, if you’d rather not. I never can tell what people will get super excited over, but the nice thing about relying on Patreon is that I don’t have to stick to only what I think will excite people or sell units. I can throw out a weird (or boring) experiment, that to me seems like no big deal, and if people love it then hey! It’s yours.

Side note for coders: one of the reasons I’ve done BiquadDouble is to make it easy to add a stacked biquad of specific design to my, or your, code. So part of what this plugin is, is the code base on Github. It’s MIT license, you only have to credit Airwindows and you can use both my implementation and the Console code that wraps it. Might help you get a richer, deeper tone color than your plugin rivals :)

GlitchShifter

TL;DW: GlitchShifter is a really gnarly, raw-sounding pitch shifter with a dose of insanity!

GlitchShifter.zip(366k)

And then some days it’s NOT BORING… :D

This is one of the craziest secret weapons I’ve ever done. In fact, I’ve got plans for refining this one and making it do subtler things that are of use in pop mixing… but right now, this is Glitch Shifter! It is an audio monster, and it’s all yours.

You can do equal-temperament pitch shifting, unquantized, or both. You can tell it to feed back, or keep it as a tightly tracked subtle dry/wet blend. But that’s just the start… that’s the top two sliders, the top one being Note (in semitones) and the bottom being trim (unquantized: if you’re on VST and can’t reset it to its default easily, be careful not to change it unless you want detuned effects). That gives you the base pitch shifting, like any pitch shifter plugin. Its tone comes from the algorithm: instead of smoothing the transitions, it always tries to find a spot where it can switch inside the position of its buffer in just a sample or two, seamlessly. That gives it a distinctive raw tone, less processed, but still essentially a pitch shifter plugin.

Except this is NOT like other pitch shifter plugins, because it’s got that Tightness control, and that takes Glitch Shifter into full glitch in two different ways. If you’re trying to do a ‘nice’ pitch shift you’ll be wanting to tune this to your underlying track, but if you want to create sonic mayhem here is how you do it.

Turning up Tightness all the way shortens the buffer zone in which the plugin finds its transitions. It makes the pitch shifted sound track the underlying sound more tightly… or MUCH more tightly… or so tightly that it glitches out and turns into a harsh de-rezzing bitscrunch sound, because the buffer’s not nearly long enough to contain a seamless loop of the underlying sound. Back off the Tightness, to get back to a ‘nice’ pitch shift, or turn it up for tightly tracked, robotic, nasty artifacts. All the way up and the pitch shifting is totally defeated.

Turning DOWN Tightness has yet another effect. Since the larger buffer occupies more time, it’s easier and easier for the pitch shifter to find spots to seamlessly transition, so you can quickly get smooth legato effects without grind, and the lower the Tightness the smoother the pitch shift effect. Except, it’s not that simple. As the buffer size expands ever outward, the pitch shifter loses track of where it is. It decouples, unhooks from the underlying sound, and begins to delay and sample-chop the audio randomly. Not really randomly: it’s finding the most seamless transitions. But it starts acting like a granular effect… except it is NOT a granular effect, because those fade their grains in and out (typically) and GlitchShifter works entirely by splicing audio WITHOUT fades to smooth things. So when you drop Tightness super low, you get an uncontrollable pitch-delay thing going on. And then, if you add feedback, you’ve got many layers of stacked pitch-delay going on, unpredictably…

But why tell you more? This is this week’s Airwindows plugin. Just like the boring old dithers, it is free for you to download and have (and even adapt to your own purposes under the MIT license, so long as you credit Airwindows). So I would say, time to go play! See what you get out of GlitchShifter, and if you would buy it for $50 for a perpetual forever license to use on any number of computers without limit, that also gives you the source code and lifetime support (mine, not yours! Once I’m pushing up electric daisies you’re on your own! ;) ) well then you can go to my Patreon and add $50 a year to whatever you’re giving, if anything. And in a year, you can see if I made another plugin you like :)

BTW, if anyone wants to talk to me about ‘pay annually instead of monthly’, I’m seeing signs Patreon might start allowing that. I’ll tell you up front that it’s not set up in a ‘one-time’ way, though, it’s only replacing a monthly credit card hit with a yearly one, and I’m not sure that’s worth offering. Also, I’d have to turn on ‘hit your card immediately upon pledging’ and right now there’s no reason for me to ask that, so it just waits until the start of the month. Talk to me if you would like to see me turning on an ‘annual billing’ option. In the absence of ‘one time payment that runs for a year’ I’d rather not: recurring credit card stuff is worse not better if it’s annual, in my opinion. But anyway, first play with GlitchShifter and have some fun with it! That’s the important thing.

RawTimbers Redux

TL;DW: Just the quantization from StudioTan, specifically the Dither Me Timbers non-dither.

RawTimbers.zip(340k)

This maintenance release (re-issue of Dither Me Timbers as a stand-alone) has some distinct uses :)

RawTimbers (Redux) is, like RawGlitters, a standalone ‘non-dither’ plugin with its own sound. Non-dithers do this: they truncate to a fixed point output, just like a dither would, but rather than dither the output with noise they use other means to pick whether the value gets truncated up, or down, to the nearest result.

NJAD (Not Just Another Dither) does this and assigns the values with a Benford Realness algorithm, producing a natural sound. Dark always selects what will make the overall output the least trebly over a broad range of samples, and is very good for high res and for quiet CD backgrounds. Beam tries to make the output zero in on specific waveform angles and is more experimental, possibly giving greater sonority to tones. StudioTan (also known as RawGlitters) heightens brightness in the quiet subtleties. These are all non-dithers: they use truncation to accomplish a result other than ‘a noise floor’, and they all do it through only selecting which direction to truncate (no added energy at all). They produce a pervasive tonal quality but it’s VERY quiet, and if you can hear the difference in tone on the 16 bit version, you’re hearing -96db details through the texture of the music. You’d be hearing this because the details, all that quiet, are constantly happening, so much that it becomes obvious, but they’re still always -96db down for the CD version.

RawTimbers is one of the first things I did after NJAD. It’s a precursor to the more effective Dark. You can use it for a dither if you like, but it has a special trick up its sleeve. If you use the DeRez of RawTimbers, and this time DON’T crank it down to super low bit… instead keep it somewhat under 16 bit but not so low-bit that you bring up too much of the noise floor… you get a ‘hardware sampler’ effect. It’s subtle, but extremely effective. Dither Me Timbers turns out to be perfectly suited to this type of textural work: the best thing is, it’s completely clean and uncolored, apart from the strong feeling of ‘old sampler tone’ caused by the obvious darkening. The audio sort of stands up a bit, while also getting a little crunchier and noticeably darker. You get the darkness before you start hearing the noise floor, and it’s like a very specific kind of time warp. If you wanted your ‘virtual old sampler’ to also make stuff brighter, you can throw Energy or Air in front of RawTimbers and dial in the flavor of retro you like. And again, this is all done with truncation alone, with the plugin functioning as a bitcrusher: no actual EQ is present.

All this is supported by my Patreon, and I’ve got many more plugins to come and a bunch of other projects that I’m basically working on all at once. Ask me on Monday at the 11:00 EST Q&A livestream if you’d like to know more. See ya next week!

RawGlitters Redux

TL;DW: Just the quantization from StudioTan, specifically the BitGlitters brightener.

RawGlitters

This came out more interesting than I expected! Mostly it’s a maintenance release: adding the 16/24 switch and DeRez to RawGlitters.

RawGlitters is the early non-dither I made that does the opposite of Dither Me Timbers: rather than do a precursor of Dark and find the mellowest, smoothest truncation option, RawGlitters (StudioTan) always tries to find the direction to truncate that is going to accentuate the highs the most. It still only truncates, and works like a dither would. You can leave DeRez off, and at either 24 or 16 bit you’ll find it gives a distinct tone to your 24 or 16 bit output. It really lights up the detail of the track, always in a subtle way right down at the noise floor.

But when you start using it as a bit-crusher? Yowsa. You might not like it, but boy is it ever a distinct flavor out of bitcrushing. It’s sort of like regular aggressive bitcrushing, except that it zeroes in on the super-highs and just BLASTS them. It can gate to silence, but I found that it’ll blast noise and sonic artifacts just as easily, so using it in a track might involve automating the track a bit if you don’t want it getting very industrial at you.

If grating and industrial sounds like your cup of tea, then you’re welcome: because this surprised me with how unexpectedly great it was at that task. There are some folks who will run screaming from this plugin. I’m delighted to know there are some folks for whom, I have just made their day :) you’ll know pretty quickly which camp you’re in!

All this is supported by my Patreon and the better that does, the more freedom I have to do more interesting things and expand my horizons. I’m looking forward to a really interesting Fall and Winter, as I’m getting some new streaming concepts together. We’re gonna build some DIY synths, on a massive scale. Can’t wait :)

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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.