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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.

Pear2

TL;DW: Pear2 is my Pear filter plus nonlinearity.

Pear2.zip(499k)

Turns out I got more use out of Pear than anybody else… until now.

Pear (as a plugin) is real experimental. It’s got fixed cutoff points based on bit shifting, to see what that was like and whether it would maximize tone purity. Maybe it did (you’ve got it already so you’re free to check it out). It’s got a Poles control, but it’s not meant to be a sweepy synth filter, it was purely an experiment on things I could do with the Holt algorithm.

Turns out you can have a lot more fun with it when you turn it loose.

Pear2 doesn’t restrict the frequencies. In fact it smooths the control, specifically so you can sweep it. You can sweep everything except Poles: there’s a switch on that, but you get to add WAY more poles than before.

And then there’s the Nonlin control… and now it’s time to get gnarly.

This doesn’t have a distortion circuit! As filthy as it can get, none of that is from distortion or saturation. It’s purely from the same nonlinearity calculation present in Capacitor2, in BiquadNonlin, and so on. That is applied here to a completely different algorithm based on Holt, and the more poles you add to the gnarly brew, the weirder it gets. You can use this for a really vibey analog-style EQ (high or low shelf: I’ll be using it as a crossover) or you can push it until it’s making a sound that has not been heard before.

So if you liked weirdness like the Y series filters, this is your new toy. Back next week with…

…more.

Yeah, let’s just call it ‘more’ ;)

download 64 Bit Windows VSTs.zip
download Signed M1/Intel Mac AUs.dmg
download Signed M1/Intel Mac VSTs.dmg
download LinuxVSTs.zip
download LinuxARMVSTs.zip for the Pi
download Retro 32 Bit Windows VSTs.zip
download Retro PPC/32/64 Mac AUs.zip
download Retro PPC/32/64 Mac VSTs.zip
Mediafire Backup of all downloads
All this is free and open source under the MIT license, brought to you by my Patreon.
VCV Rack module

ContentHideD

TL;DW: ContentHideD mutes audio except for brief glimpses.

ContentHideD.zip(482k)

This is a utility plugin meant for use with YouTube… by me. I’m not sure it’ll be useful to anyone else, but who knows?

ContentHideD simply mutes audio, almost all the time. It’ll wait a few seconds, not so long that you get bored waiting but not super-quick or regular, and then it’ll let through a blip of audio less than a second in length. To the best of my knowledge, you could play highly protected audio through this all day long and ContentID will not engage. I’ve heard that you can go as long as five seconds of audio, but remember that legally you get ZERO seconds of grace: if the sound can be identified, copyright can be claimed.

So this is not for getting rights to audio. It’s for being able to play brief glimpses of audio that is otherwise highly contentious and not allowed for plain old listening. You wouldn’t use ContentHideD if you wanted to enjoy the music, as you effectively won’t get the music. But, I have a need for playing clips of audio to illustrate points I’m making regarding the metering and measurement of such audio.

And in situations where I know I can’t put the audio on and show the metering to use the audio for educational purposes in teaching people what to do with peak energy and headroom… ContentHideD ought to let me expose brief snippets of what’s being shown on a meter, even if it’s the Beatles. After all, it’s not the song you’re getting: it’s rendered useless for that purpose, but you’ll still get glimpses of the overall sound of the track, and that’s the point.

My demo video tests this theory: I play all of Back In Black, by AC/DC, to show how it registers on my meter (predictably, it does incredibly well from start to finish) and you barely hear the song, but you get many glimpses of what various tones sound like coming from the original vinyl record, uncompressed and unlimited. I’ll follow up if my video gets claimed, as the point of this plugin is to stop you getting claimed, but I suspect it deletes SO much audio in a slightly randomized way that ContentID will not kick in. It really shouldn’t as it’s said you can play several seconds of audio, but I wanted to make this plugin unequivocally just for exposing bits of TONE and revealing no actual music.

If that works, I ought to be able to follow up with other tracks where I can play the whole song unmuted because react channels are allowed to play ’em and the record company simply claims the revenue. On that note if anyone has thoughts about what they’d like to see and hear, I’m taking requests. No limits, because now I can do a whole Evergreens video and then toss this plugin on that part of the video and export again, giving me an immediate replacement if it turns out the song’s owner does not want the song heard as a song…

Meanwhile, I’ll get back to work on the next batch of plugins, things are going to start to get lively again pretty soon :)

download 64 Bit Windows VSTs.zip
download Signed M1/Intel Mac AUs.dmg
download Signed M1/Intel Mac VSTs.dmg
download LinuxVSTs.zip
download LinuxARMVSTs.zip for the Pi
download Retro 32 Bit Windows VSTs.zip
download Retro PPC/32/64 Mac AUs.zip
download Retro PPC/32/64 Mac VSTs.zip
Mediafire Backup of all downloads
All this is free and open source under the MIT license, brought to you by my Patreon.
VCV Rack module

BiquadNonLin

TL;DW: BiquadNonLin is Capacitor2, but for biquad filtering.

BiquadNonLin.zip(513k)

A biquad filter is a very basic piece of typical DAW EQs. If you were going to think of the most ordinary, normal, non-special digital EQ that would sound like every other digital EQ, you’re probably going to be stacking up biquad filters. It is the most boring of digital filters, at least ones that are kind of flexible.

Let’s break it!

BiquadNonLin takes the traditional biquad filter, complete with cutoff and Q factor, and applies the same technique used in Capacitor2. That was the one where I read about Murata ceramic capacitors showing striking variations in value, based upon how much voltage pressure was against them. Which is not to say all capacitors do that… but knowing this has happened in the real world suggests that it’s an avenue to pursue. And so, Capacitor2 brought in this interesting nonlinearity based on real-world stuff, like a (in fact literally a) frequency modulation… and then it sat for a while. Because how would you even apply that to a carefully worked out algorithm like a biquad?

The answer is ‘you just do’. Does it produce a clean result? Nope. You can break things pretty thoroughly, especially up near the Nyquist frequency. But you can apply less… I find 0.5 tends to work quite well… and you can get the same kind of nonlinearity.

It’s just that this time, you can do it on a steep, resonant filter, and get that more analog texture on something that’s otherwise very controllable. I’m looking to use this on many things: I think it’ll make for a better-sounding distributed ultrasonic filter, and I’d also like to make a multistage version to use as the guts of a future ConsoleSL… because it should work more like a steeper but less vibey filter, except with the analogification.

Anyway, here’s BiquadNonLin: one biquad filter, lightly broken for your sonic pleasure. Type at 0 is a lowpass, Type at 1 is a bandpass. The biquad tended to explode when I tried to make it do highpasses or notches, but it turned out I could just make the dry/wet an Inv/Wet control, so that means you just use Inv instead, and Type at 0 becomes the highpass (it’s subtracted) and Type at 1 is the notch. If you have a hard time hearing the nonlinearity, setting it to highpass and sweeping it up at high NonLin should make it real obvious.

download 64 Bit Windows VSTs.zip
download Signed M1/Intel Mac AUs.dmg
download Signed M1/Intel Mac VSTs.dmg
download LinuxVSTs.zip
download LinuxARMVSTs.zip for the Pi
download Retro 32 Bit Windows VSTs.zip
download Retro PPC/32/64 Mac AUs.zip
download Retro PPC/32/64 Mac VSTs.zip
Mediafire Backup of all downloads
All this is free and open source under the MIT license, brought to you by my Patreon.
VCV Rack module

Oh, one more thing…

Today, the first VST3 is out… kind of. I have it up on GitHub at https://github.com/airwindows/Meter and you see it in the video for BiquadDouble. The thing is, I can’t build it anywhere else except a single VST3 on my own machine, for Mac Apple Silicon only. The project on GitHub is all the code, up to date, and it’s supposed to be able to build all sorts of different versions.

You can fork it, you can download it, you can try to get it to compile just like I did. There’s lots of people smarter than me about computers and they didn’t make this meter, so I had to. So, if you can make a Pamplejuce project compile, Meter is yours today, no matter what sort of computer you’re on or what platform you’re targeting. VST3? AU for iPad? AAX? Knock yourself out.

If you get anything to work, tell me how you did it, and everyone can have the result. Otherwise, I will keep plugging away, and eventually I’ll get this stuff sorted out. But if you’re impatient… the GPLed code is there, it compiled for me, let me know how you do :)

Stonefire

TL;DW: Stonefire is the non-EQ EQ designed for ConsoleX.

Stonefire.zip(516k)

There’s a reason people have never turned to using Kalman filters for audio purposes.

They’re tricky little buggers, unpredictable, with a ‘filter slope’ that makes no sense at all. They’ll take the crossover point and bounce it around wildly, they’ll throw in weird gatey behaviors, they’ll turn what’s supposed to be a ‘smooth’ ‘filtered’ sound into an edgy growl and sputter. They’re meant to pull real data out of a pile of noise, not to take real audio and give you anything sensible. Nobody would want a Kalman filter for audio purposes.

Stonefire uses two different kinds of Kalman filters for audio, as crossovers. The top crossover is the same as what’s in Air3. The bottom crossover comes with a range control (even though that won’t give you a ‘frequency’) and is the same as what’s in Kalman.

And when used properly, Stonefire gives you unprecedented levels of tonal control over the texture and presentation of your sound, in a way that almost doesn’t even have to do with frequency.

There’s three bands, plus the Range control. Air, Fire, and Stone. Each can be cut back to zero, or boosted (Fire and Stone match, while Air has a lot more gain on tap but will match from 0.5 down to 0.0.) If you cut them back to zero you’ll get the weird Kalman behavior, but it’ll help you set the Range control appropriately. You can set it so Stone covers the lowest lows (never JUST those, it will always do other stuff too) or up to the high mids and lower treble.

Then, if you keep everything balanced and make smaller adjustments, the secret of the Kalman filter emerges. You have to use it as a crossover, and let it apply its incredibly strong character to texture, not frequency. It utterly fails to be a ‘filter’, but it’s an extraordinary texture-shaper, and it’s what I’m going to be building the upcoming ConsoleX system around.

Use the Air control like you would in Air3. You can cut back super-highs while seeming to not affect the brightness at all, with a strikingly natural effect. Or, boost it to bring that sparkly aura and light up the sound. It’s a custom algorithm that deals with high sample rates by just ramping up the boost: treat it with respect, but it’s there to serve your needs for glitter or lack of same.

Use the Fire control like it was an attitude knob, as much as a midrange. You can get a lot of wildness out of this one with careful settings of Range. Between Fire and Stone, only one can be louder: it’s a crossover. If you’re boosting Fire, that means you want your sound to command attention.

Use the Stone control like it’s the bedrock of your sound. If you lean entirely on it and kill all the Fire, you’ll get a monumentally heavy, sputtering, gatey foundation that zeroes in on the lowest lows, but also tries to put backbone behind anything it thinks is heavy and powerful. This includes lower midrange. Cutting it can control unwieldy bass, but adding it isn’t the same as adding a ‘bass boost’: it’ll zero in on things like kick weight and try to present them with unnatural isolation. The secret to adding weight with the Stone control is to let it not seem to be that much of a boost: you can transform the feel of a sound well before you hear ‘added bass’. You can also dial the Range up and use the same effect up into the midrange, for an intensely solid punchy character anywhere a sound seems flimsy.

God help you if you try to measure this thing with PluginDoctor or SPAN. I don’t even have any idea what will happen. It’s all made out of Kalman filters, which are not for use with audio.

Except… when they are ;)

Enjoy the new tone shaping. If it’s too ugly, use way less, see how it treats you :)

download 64 Bit Windows VSTs.zip
download Signed M1/Intel Mac AUs.dmg
download Signed M1/Intel Mac VSTs.dmg
download LinuxVSTs.zip
download LinuxARMVSTs.zip for the Pi
download Retro 32 Bit Windows VSTs.zip
download Retro PPC/32/64 Mac AUs.zip
download Retro PPC/32/64 Mac VSTs.zip
Mediafire Backup of all downloads
All this is free and open source under the MIT license, brought to you by my Patreon.
VCV Rack module

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