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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.

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 :)

Channel8

TL;DW: Channel8 is Channel7 with updates from Capacitor2 and Slew3. More and better of what Channel is.

Channel8.zip(356k)

Channel8 is a subtle ‘analogifier’ that applies saturation boosts, subtle highpass filtering, and slew clipping. What that means is, there’s a ‘drive’ knob you can turn up to boost things, and you can pick three ‘flavors’ you might recognize. They’re not really the consoles associated with those things, but they are calibrated to take effect about the same way, and when you use Channel8 (on tracks, on the mix buss, wherever) you add a little ‘analog flavor’ by restricting what the audio can do, in ways that are characteristic of real analog gear’s limitations. This restricting can help make things sound bigger and more solid.

This is basically the newest evolution of Channel, which has always been one of my most popular plugins. It uses the improvements in Capacitor2 and Slew3, so basically it’s still relatively subtle, still very much Channel, but it’s taken on a new level in quality and natural tone. I’m real happy with it, and I’ll be returning to trying to fix up my video setup etc (and finishing up the dither re-releases, etc etc) knowing that I’ve dropped a nice audio bomb on the world. If you ever liked Channel, this should make you real happy.

In fact, it went so well that I’ve added it to the Airwindows Starter Kit. It’s every bit as good tone-wise as the no-controls Interstage, and much more fun :D

My work’s supported by Patreon, because Patreon is way steadier and less ‘transient’ than selling stuff retail. I’m going to underscore that only if you can afford it, should you be on the Patreon: I’ll keep working for you regardless. These are times where there is real value in us working together and taking care of each other, and I mean to do my part. :)

Slew3

TL;DW: Slew3 is a new approach to slew clipping meant for a more analog-like darkening effect.

Slew3.zip(344k)

A Chris’s work is never done! Or at least it’s not, when it comes to refining basic tonal building blocks that apply to many plugins. It’s just recently that I updated Capacitor with an analog behavior found (quite strikingly) in certain real-world capacitors. I’m at it again.

This makes a third Slew plugin, and every one is strikingly different. Slew (original) darkens radically and makes a grungy, clipped tone (it’s in Channel, too, very subtly). Slew2, though there are some similarities in code, acts wildly different: it produces an intense rolloff that is only right up at the Nyquist frequency, and is an elegant anti-glare solution, but barely has a tone at all.

Slew3 uses ideas from Acceleration and DeBess to produce a slew clipping that’s actually reading information beyond what the samples provide: it’s like it reconstructs the wave a bit and is most effective where you’d get intersample peaks. It’s NOT an EQ: it has very striking dynamic qualities. It’s not a pure ‘glare cutter’ like Slew2, either: there’s a limit to how much it will darken. But what it’s all about is producing an analog top-end on your digital content.

This is an experimental plugin. In development, some of my audio caused it to freak out, and it took extra time to get it to behave (I suppose I could also put out the freak-out version but for now let’s stay safe, OK?). It’s not quite linear or predictable (neither is real analog) and though I feel like it might have some very serious mojo to bring, I’m also interested in whether it dies given certain kinds of audio. I’m pretty sure I have it tamed to where it won’t do anything crazy, but is it really the silver bullet? I guess we’ll find out together.

This, like my work on Capacitor2, will be very useful going forward and there’s more work to be done. My work’s supported by Patreon, which means the more work IS likely to be done, the best I can, because Patreon is way steadier and less ‘transient’ than selling stuff retail. I’m going to underscore that only if you can afford it, should you be on the Patreon: I’ll keep working for you regardless. These are times where there is real value in us working together and taking care of each other, and I mean to do my part. :)

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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.