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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.

ToTape6

TL;DW: ToTape6 is Airwindows tape emulation for 2020!

ToTape6.zip(396k)

It’s nearly 3:00 AM as I post this. I’ve been at it all day. Worth it.

Here’s ToTape6. There are still things I want (simplification) but this is all the things you wanted :)

ToTape6 brings in tech from UnBox, from Mojo, from BiquadOneHalf… it’s quite literally the culmination of all the stuff I’ve been doing over the last year (or indeed three years). I think it’ll register immediately as a killer tape emulation, perhaps THE killer tape emulation to beat for all that it’s an abstraction and not meant to be any specific tape machine. No GUI, no brandnames: just the tone, and the ability to soak up intense audio gracefully. And of course those delicious tape-machine lows, courtesy of the new head bump.

Unlike ToTape5, the new ToTape6 is extremely well behaved in the sub-octaves. By that I mean it has them, tons of them, it’s got that ToTape/BassKit ability to uncork profoundly deep subs, but thanks to the interleaved biquad filters it cuts them right off and doesn’t let DC through. It’s got a special kind of servo damping built in because I found when you stacked them up four deep, the tape machines started subtly motorboating around 20 hz, so I fixed it. Even in its fixed state, be cautious about pushing the head bump beyond its default halfway setting as it’ll produce a LOT of serious lows, with an interesting compressed quality you won’t hear outside of ToTape and the real thing.

Due to the influences of UnBox and Mojo, the new ToTape6 puts forth a lot of sonority when you hit it: warm harmonics stand out and project, due to the boosting happening in an overall midrange band that covers most of the audio range. The Soften control is subtly improved as well: if you’re looking to tape to warm up digital overtones and edges, ToTape6 does that effortlessly.

Flutter is so profoundly improved that ToTape6 defaults to having it on, at 0.5. That causes the plugin to run a small, varying latency (bear this in mind). It’s also a step into a weirder realm: I was being asked to do a ‘trashed tape’ plugin. This might not be ALL of that, but the new Flutter algorithm is both clean up to extreme settings, and more capable of bonkers warble and wacky over-flutter. Check that out at the far reaches of the Flutter control. At settings below 0.5 the flutter is more usable in serious contexts, and as always if you set Flutter to zero you bypass the whole thing and get zero latency and a lack of interpolation between samples, giving you clearer highs to use Soften on. For serious mastering purposes I still recommend not using flutter, plus there are some electronic genres where it’d be disruptive.

The dry/wet control has a trick in store: it only works in the normal way if you’re NOT using flutter. If you’re full-wet you can flutter as you please, but as you bring dry in, you’ll get a striking flanging effect that’s different depending on where your flutter setting is (flutter changing can cause sonic artifacts, but you can still do it for effect). The AU is ‘N to N’ meaning it will randomize stereo or even 5.1 surround: the VST runs true 2-channel stereo so it will more accurately resemble a stereo tape flange. Either way, it’s more of a stunt than an important effect, but it does mean you can be running subtle tape flutter effects and then seamlessly fade into an obvious full-mix flange, and then back to the solid, loud tape effect. This will work differently each time you do it, so be sure to print your results: flutter is a random process.

Oh, one more thing: ToTape6 has the guts of ADClip built into it as a safety clipper. So you can use it as a final loudenator, at which it ought to be about as good as they get: if the tape slam isn’t getting you there, you can push the output volume past 0 dB to intentionally clip harder, or pull it back to make sure ToTape is the only distortion stage. If you’re seeing extended periods of -0.09 dB you’re seeing ADClip working.

Hope you like it, and I hope it’s been worth the wait. As you can see, a bunch of other plugins came together to be functional parts of this one, and I believe it’s going to work out well for people.

(This was originally released with a bug where attenuated input gain produced a change in tone: if you need that version it’s now called originalToTape6.zip. There’s also a tweak with how the head bump works, to try and reduce an artifact of the algorithm centering itself. You should be using the current one, you can’t run both at once and this is only in case you needed the original release for some reason)

This exists because people supported my Patreon. Care to see what I can do given another three years? :)

Airwindows Chord Organ Firmware

AirwindowsChordOrgan.zip(82k)

This is the most, maddest, scientist crap yet. So, hear me out. Read to the end: trust me.

This is an alternate firmware for the Music Thing Modular Radio Music. It’s a variant on the existing, ‘Chord Organ’ firmware. You have to know how to reflash the Radio Music module to use this, and you have to have a modular synth and the module (not included!). You can get it as a DIY kit, and I really liked the build instructions and built four (as you see) with no trouble. DIY kits are great for getting into hardware synth making, and I encourage this a lot. The firmware file is called ‘AirwindowsChordOrgan.hex’ and I used it on the synths in the video. It’s also on GitHub so you can see the code if you want.

It does two minor bugfixes to the existing Chord Organ firmware (more on that at the end of the post) and introduces three things: it lets you select a triangle-wave if you want (instead of the raspy pulsewave it has), it fully unlocks the Chord Organ’s ability to play a whole range of chords off its SD card (not just variations on a C chord), and it lets you change the root note modulating it around the Circle of Fifths, not chromatically like the default Chord Organ does.

I include seven different settings files for the Chord Organ (a fundamental part of what I’ve made here): low and high chords, low and high ‘ambient’ (chords where the voicings all cluster around the same notes rather than power-chording up and down as they go), two basses (one and two octaves down) and a high lead note (one octave up), the latter three monophonic. If you set up multiple Chord Organs and feed ’em the same voltages as I have done, you get a ‘band’ that you can feed through different envelopes and VCAs to do whatever with, and the whole ‘band’ will follow the same chord sequences, generated using random sequencers of the right sort (like the Music Thing Modular Turing Machine, which you can play with in VCV Rack and buy DIY kits to make)

The video is over an hour and was completely tough to make: my setup is just not able to record in this way. It’s not computer, not Reaper, not Logic: it’s me trying to pipe a mic through the same speakers I had to monitor with. I had no headphone extension cables to help. It is what it is. I do an awful lot of explaining, talked myself hoarse, but mostly you can’t hear me at all. Sometimes you can. I’ll answer any questions on Monday, or get in touch with me and I’ll repeat what I was trying to say. Most of the time you can’t hear a word of it.

It doesn’t matter.

PICK UP A GUITAR AND START JAMMING LEADS ALONG WITH THE VIDEO AND YOU WILL UNDERSTAND WHAT I HAVE DONE.

Or a keyboard, anything: if you can improvise, ignore me trying to talk for an hour, and pick up an instrument and start playing along and you’ll get it. I’ve been working on this for over a year. It is a huge jump in the direction of making computer music with ‘random’ chords that still make musical sense, and it’s all there. If you just listen it sounds basically nice, right? If you begin playing and try to follow the synthesizer’s lead it will take you on a JOURNEY and, musically, it will speak to you. That is the invention. It is a framework for letting synths jam along with humans and be talking musical SENSE, not ‘randomness’ which can’t be followed.

It’s yours (if you’re a modular synth person who has Radio Musics or Chord Organs or would like to get/build some). I may or may not be able to do another plugin right away, but this epic journey is at a destination: I may or may not be up for jamming on Tuesday right away, but when I do, it will be my musical brain collaborating with this mad scientist invention. This was the ‘self-playing synthesizer patch’ grail, and now we can all have it if we like.

(addendum: VCV Rack can’t currently do this as its Radio Music doesn’t run Teensy/Arduino firmware. But, if anyone is able to implement a Chord Organ in VCV Rack (likely with better oscillators and converters!) that reads Chord Organ SD card files (“CHORDORGAN.TXT”) it’s pretty trivial to include the Airwindows circle-of-fifths code, and I’ll happily help anyone willing to try it.)

(addendum addendum: the first bugfix was this: me and my brother Dan fixed a problem where Chord Organ always makes the first note of the chord be 0 (middle C). It was because Chord Organ (current firmware) tries to read that first note, but passes ‘toInt()’ not a number, but “[23” (or whatever the number is). It includes the square bracket, and when toInt() gets that, it doesn’t understand and always returns a zero. The other bugfix was this: when you crank the Chord knob up all the way it would play a C major chord, even if all your 16 chord shapes were unison or something else. It was because the values produced needed to ‘map’ to chordCount-1 (originally just ‘chordCount’) to reach all 16 chords. Originally it would try to reach a 17th chord. That went right past the array we used for our custom stuff, and what sat immediately beyond that? The array for ‘default chords’, with the first one being a major chord! Welcome to C programming and arrays without automatic bounds checking. That one I found, and was well pleased to find it, too)

(addendum addendum addendum: goodnight. Once this huge video uploads, I’m going to bed. And again: if it bugs you that you can’t hear me talking over the music, pick up a guitar and start playing along and you’ll understand why this has taken me a year to complete. Anyone really wanting explanations, talk to ya Monday :) )

Patreon pays for the mad science, for all to share. There will be more.

Srsly

TL;DW: Srsly is a psychoacoustic stereo processor.

Srsly.zip(382k)

People get really excited sometimes, so here’s a failure :)

Srsly is meant to do what a Hughes SRS processor does. That’s an obscure stereo widener actually made by Howard “Spruce Goose” Hughes’ company. I tackled it because a musician I love, Chad Clark, needs one ‘cos his is broken and not in proper working order. Hence, the need for somebody to try and do a plugin version. So I tried, with some pictures out of Popular Mechanics and a single cruddy youtube video to be my guide (this thing is OBSCURE) and I have not succeeded. Whatever the real one sounds like, this ain’t it.

But it does a thing, and I’ve added a Q control to help get it to do useful things since I can’t tell what’s right or wrong for this stuff, and this is as far as I can carry it right now. The source is MIT licensed for anyone else who’d like to pick up where I left off, and quite a bit of basic information is shown in the curves of that Popular Mechanics article about the thing, and it is kinda neat: accentuate comb-filtery effects you get from the shapes of your own ears. It does do a thing, that’s not like any other stereo effect I know of. And I ought to be able to use some of the tech from this to do subtle stereo-field enhancements in future versions of Console, stuff like that. You can refine it down to basic concepts and apply those.

Also, you can hear a sneak peek of my alternate Chord Organ firmware (which is actually on my github if anyone wants to play with it, though I’m not ready to call it done this week).

If you’d like to give me anything to celebrate us all getting to a new year, there’s always Patreon. It might not seem like it’s doing me a favor this week as I’m so obviously fried, but I’m cutting back to the plugins and the Monday Q&A. I even talked to a customer on the phone for quite some time when I got too frustrated with the Chord Organ firmware. I will have to show more respect for my own health and well-being, but it seems like my muse wants to make the point that I’ve got lots more in store for 2020: hours I spent, convincing modular synths to play those weird chord progressions and lead lines. The thing is, it took hours of debugging and reflashing the Teensies, but I did not make up those chords. Not even a computer did. The synth made them up, as it went, from a sort of random generator called a Turing Machine. (the thing I like best about this whole project is, you can make it all out of DIY kits…)

Anyway, here’s srsly.

Baxandall

TL;DW: Baxandall is a killer general-purpose EQ.

Baxandall.zip(369k)

This was going to be next week, but Compresaturator2 was broken. Sooooo… we’re gonna skip ahead and do THE killer EQ of 2020, before 2020 is actually here!

Baxandall is a configuration of analog parts for making a flexible and great-sounding EQ, noted for very gentle musical slopes. It’s said that in digital, Baxandall is nothing more than a type of Q, much like Butterworth, and every one is like every other one.

And that would be nonsense, because this is Airwindows Baxandall, and it wipes the floor with other things bearing this name, because it does lots of weird and wonderful things under the hood that make it quantitatively different. And people can do as good as this… by taking the open source code under the MIT license and crediting me. I don’t believe anyone can get close using ordinary filter-designer textbook stuff, no matter how they dress it up or what distortions they add to be ‘analog’. (Airwindows Baxandall doesn’t distort.)

Baxandall starts with a two-band filter that, zeroed out, subtracts an inverse lowpass from a lowpass and gives you bit-identical, perfectly transparent sound. That’s if you’re being subtle. If you boost or cut, lows or highs, it gives you the gentle broad boosts you expect, centered on the vital midrange. As you get more intense with the boosting, it gets more extreme, to where if you’re doing double boosts to get an intense exaggerated sound, a mids notch will naturally develop to accentuate the boosting. The whole voicing shifts to accomodate what you want to do with it, and you can play bass against treble or vice versa to get really wild voicings, such as for extreme EQ treatments (in terms of lows or highs)… but using the same natural Airwindows Baxandall tonality, so it won’t sound ‘filtery’, it’ll sound like it was meant to be that way.

Airwindows Baxandall uses my interleaved biquad filters (original, purest form, not meant for rapid automation) that run inside a Console5 instance to deepen the sound of the filter. It is truly unlike any other digital filter, ‘Baxandall’ or otherwise. It’ll be one of the first picks for when I start putting together curated lists of ‘use these ones’ plugins, one of the first things I’ll grab for if I’m livestreaming ITB mixing to show people how I’d approach that, one of the most important plugins in the whole collection.

You can have it. Merry Xmas and happy any and all other holidays.

If you’d like to give me anything to celebrate us all getting to a new year, there’s always Patreon. I hope you like Baxandall as much as I do :)

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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.