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Airwindows is one guy: me! I am an audio hacker and computer programmer from way back. I seek only to continue my life up here in Vermont, inventing things and putting them onto the internet, sometimes for free and sometimes for pay. My hope is that people richer than me (i.e. most people) don't rob me. My other hope is for another cup of Aeropress. One out of two ain't bad!


TL;DW: The Airwindows deep noise oscillator, as a sound reinforcer.


Here’s a post from airwindows-land, just to show you I’m still working ;)

Noise started out as a plugin called Voice Of The Starship. It’s an algorithm that generates brownian-motion noise which won’t ‘wander’ into excessive DC offset, but without a highpass filter needed! The original Voice Of The Starship can be made to do any sort of deep rumble, including purely subsonic rumble that still works as an audio stream. When that one comes out, it’s definitely going to the open source repo.

Oh, did I mention? Airwindows Open Source is live. That’s been taking a lot of my effort as I’ve tried to provide the templates I use to make plugins, AND several basic starter plugins ‘as shipped’ (when my stuff goes OSS it’s strictly as I made it without alterations, but the templates should be customized so you can use them as yourself and not me)

And it’s still not really complete, and I won’t be able to help people get plugins compiling on their systems as that’s my nemesis in the first place, but it’s a start!

And I’ve also been putting in a LOT of work on a project (inspired greatly by Bastl) for helping people DIY Eurorack synth modules. I have some straight-up awesome ideas for Euro-stuff, including things people can do themselves, and I’m scheming up ways to get the necessary parts into your hands provided you can solder things together (always good). I want to get people making stuff for less than $100. You should be able to have a Eurorack hacker kit for very little money, and all the information you’d need to do as I do and make large amounts of stuff.

Thanks to a year (and more!) of Patreon, I’ve got just enough resources to run with this and learn what’s good, and even get into stuff out of my childhood. I had a Radio Shack Concertmate Moog when I was a kid. Now, I got my first Mother32, and am hot on the trail of the impending DFAM (which I think is going to be the ultimate modular kick for reasons I’ll explain later, having to do with both the sound of the thing and details on how the Moog sequencer tempo stuff works), and yeah: I’m exhausted. I have plugins ready to come out (including PurestDrive!) but I’ve had an awful lot going on (second funeral for Mom, and my gray cat is approaching the end of her life), and in some ways I’m taking refuge in this new stream of work. I think you’ll be interested. One thing about it, if it works we’ll suddenly be moving past the same old Airwindows demo music, in a good way.

Oh, right, Noise. Noise is like Voice Of The Spaceship, except it also triggers on input sounds. It can pretty closely track rhythms coming in, and you can combine it with underlying stuff with Dry/Wet, and the Distance control applies to both Dry AND Wet, to blend and darken them together.

Hope you like it, and next week I’ll give you a whole new take on Groove Wear (out of ToVinyl). :)


TL;DW: Elliptical EQ, acceleration limiter, groove sim.


ToVinyl has several uses. You can use it to reshape the bass in your track, making it more mono or tightening up the center. It’s a special multipole IIR filter that acts almost like a ‘mega-bass’ plugin: it doesn’t just take away, it rearranges (so don’t expect it to act like a normal digital cut, you might see increased peak energy down low.)

Then, there’s the acceleration limiter. This algorithm is unlike any other Airwindows treble-reducer: it zeroes in on just the sorts of transients that’d burn up a cutting head, and zaps them ruthlessly. (if you own a cutting head you’re responsible for checking this, but some of you folks are still using Spitfish, and I’m pretty sure this will way outperform Spitfish.) The effect is treble softening without any obvious treble reduction, and it’ll make stuff sound like classic vinyl grooves very effectively.

But that’s nothing compared to the next control, Groove Wear. This one analyzes the virtual groove, and then sets up an imaginary stylus going down that groove, and gives it a tiny bit of inertia. It’s more slew mojo (and not tied to any particular frequency, it doesn’t even know what a frequency is) and the effect (should you choose to use it) is a very characteristic darkening and slight trashening of the most extreme highs. You can shut it off entirely, or turn it up, and you can combine it with the acceleration limiter to get pretty much any ‘vinyl LP high end’ you want. Some settings even bring a touch of moving-coil sparkle: it’s not all darken, in fact Groove Wear is very much its own thing distortion-wise.

Combine it all together and you’ve got ToVinyl4, the up-to-date version of a classic Airwindows for-pay plugin, that did quite well at $50. This time it’s free, because…

This work is made possible by Patreon, which is why you can simply download the latest ToVinyl and use it. If it’s super useful to you (and if you can), you should zip over to Patreon and act as if you’re buying it as a permanent license. Why? Because it is, and because if people who can still buy plugins choose to bump my Patreon by roughly $50 a year whenever they’ve added a bunch of new secret weapons to their arsenal, I’ll be able to continue what I do. Also, if you get crazy enough with it, talk to me and I’ll totally promote your music :) there’s a three/four/five plugin club on the Airwindows site, waiting to have people go listen to the fruits of all this freeness.


TL;DW: Console 5 with the least coloration it can have.


So. I think things may improve around here, as far as me reviewing the Console5 launch, and making sense of what the heck went on there. If I can, I’ll also give it the lushness of that original release while preventing the DC offset stuff… and there’s something to do with the AU/VST identities that needs examining. After this, ToVinyl is up for January, and I’ve got some useful variations on Console 5, and PurestDrive is February (I’m entertaining notions of a C5Drive that steals the technique from PurestDrive instead of doing the original C5 slew thing. It would be just ‘darker’, not encode/decode)

The reason I think I can get into all this (after probably being sick for a while) is I’ve got some closure. I’ve just returned from visiting family and attending my Mom’s funeral. It was very nice: I sat with my Dad, who built us the Heathkit television we played Atari 2600 on, and with the brother who helped me get the VST ports together, a year ago. I cooked my Dad a big hot curry, and I think he liked it. Got to be with my siblings, and there was some healing, and I’m pretty sure after I rest up I’ll be able to think again.

Good thing some plugins are so simple you don’t even have to think! :) (in other words, if THESE are broken just shoot me ;) )

PurestConsole is like the dynamics encode/decode out of Console5, without the slew mojo that’s so tricky to get right. It’s a good candidate for the first plugin(s) to be open sourced when I hit the $800/mo. open source goal, along with templates I work from, and my process so people can reproduce my work. In fact I can reveal the guts of the PurestConsole source, without the Airwindows denormalization code and noise shaping to floating point. Here’s the simplest purest form of Console.

Channels: inputSample = sin(inputSample);
Buss: inputSample = asin(inputSample);

Without all the mojo and tone changing, that is IT. Anyone building a DAW can include this (channels post fader! And do not allow the asin() to see values that’ll break it, you can get NaN out of math functions if you break them!).

PurestConsole has special properties, besides ‘being in the Console5 family so you can swap them out freely with any Console5 variation and get correct results’. Since the amplitude encode/decode is most important to the effect, stripping it down to THIS simple has an interesting property I demonstrate in the video.

If you have only one channel feeding the buss, you get EXACTLY that channel without the slightest alteration. PurestConsole cancels out completely and doesn’t touch the sound AT ALL unless multiple channels are mixing. If any one source becomes the only feed to the buss, it goes to perfect bit-identical fidelity to the extent of what the math function can provide. No previous version of Console can say that because I was trying to use simpler math to save CPU, but PurestConsole (and all Console5) goes for the math functions which include the complementary sin() and asin() or ‘arcsine’. That’s what arcsine is for. :)

You can use PurestConsole in its capacity for ‘expanding’ verbs, delays, and EQs. If there’s no change, it’ll cancel out to bit-identical. Then if you’re doing stuff, it’ll kick in. EQ changes are most easily heard in high-Q filters, and it’ll make filters more effective at a given dB boost/cut. Note that you can easily clip PurestConsoleBuss with boosts and peaks, but that might sound OK to you so don’t fear it.

I hope this simpler one is good right out of the gate, because I AM going to be sick for a while, but it might be something else to chew on, and if it is in fact so simple as to be flawless, you can work with this one right away :)


TL;DW: Richer, warmer Console system.


Welcome to the new best :)

Console5 uses some more ‘expensive’ math operations, where previous Consoles tried to do their thing while keeping the Channel component as low-CPU as they possibly could. This might mean a heavier CPU cost, or it might be not that much of a difference. It’s a change (the math here more closely resembles Density or PurestDrive).

What do you gain? Using this more advanced math means there are functions which can exactly ‘undistort’ what comes in (more on that property later: there’s a variation on Console that perfectly nulls when only one track is active). This brings an added level of bigness and signal purity. Then, Console5 applies a similar behavior to the slew factor, but backwards to what the amplitude factor is getting. Doing that takes Console5 away from perfect transparency (and subtlety) and gives it a big, beefy, large-console sound that still doesn’t radically alter individual tones… but throws in TONS of ‘glue’ and solidness compared to the raw digital mix.

This is not a thing you’d struggle to hear (listen for depth and space, not frequency changes). This is not a thing that’d get washed out in mp3 encoding (in fact, because of the way it restricts slews in Console5Buss, it’ll actually help encoding a teeny bit, because superhigh frequencies waste bandwidth better used on the mids). This is the new Console, and it should be a real revelation to mix through, no matter what style or genre you’re working in.

As seen in the video, if you’ve got a DAW that can enable/disable plugins on selected channels, you can audition it with one mouse click to switch. Console5 works like this: you want Console5Channel on every channel feeding the 2-buss (with all submixing and all post-plugin faders at unity gain), and Console5Buss first on the 2-buss. That’s all, just replace digital summing with this system. If you can do post-fader plugins, you can use the faders (otherwise, best use the trims on the Console5Channels, or any earlier gain trim). The point is to replace your digital summing network with the Console5 system.

If you have that mastered, you can start playing with stuff like putting things ‘inside’ Console: delays, reverbs, EQs. Plain digital EQ in particular benefits from being post-Console5Channel on the track. Gain stage everything so you’re not slamming Console5Buss more than about +3 dB: it should survive hot peaks but there’s no special benefit to clipping it, and Console5Buss will clip there. Ideally, you’ll frame a mix with Console5 in place, and you may find you don’t need to do nearly as much ‘twitchy DAW stuff’ to get things sounding acceptable. Console5 addresses the root of the problem in a way no other ‘console emulation’ does. (if they do, you’ll find they have exactly the same constraints: needing to keep unity gain between Channel and Buss plugins is a dead giveaway they are using the Airwindows design)

Console5 exists because people have supported my Patreon for more than a year. Without it, I’d have had to stop working. I’d like a solider foundation for expressing myself in this industry and the only way to do that in 2017-2018 is to show money, and Patreon’s experiments earlier this month showed me the folly of trying to subsist on tiny patron donations.

So, Console5 is free to all to use, and then if you earn more than me (minimum wage earns more than the vast majority of Patreons, including mine) I’d like you to ‘buy’ some of the plugins I give you, as if they were $50 to own forever. It’s tricky to keep up with what Patreon does fee-wise, but so long as they’re not adding patron fees, $4.16 a month makes $50 a year. There should be at least one plugin from Airwindows a year you find world-changing, otherwise don’t pay. $8.33 a month makes $100 a year, if there are two plugins like that, or if $100 a year to support Airwindows isn’t a hardship for you.

At $12.50, $16.66, and $20.83 a month ($150, $200, $250 a year) I will put your name/link up on the Airwindows site (music link, ideally) in the Five, Four, and Three Plugin Club areas. That’s high up on the left sidebar, and people might well go and check your music out knowing you’re helping out Airwindows which gives them so many free plugins. I think that’d confer some goodwill, and since I don’t actually withhold any plugins for high tiers of patronage, this is all I can do but it should mean something. Also, if you are $250 a year or better, I’ll put your name literally on my video (across where the Dock is in my screen capture, readably).

Thank you for helping me get this far! I guess the next step is world domination ;) or, at least, being able to talk to my industry (and Patreon) more on the level of a ‘success’. I’m happy just to bring plugins to my users. Since the outside world doesn’t care whether my users are happy and is only concerned with whether I’m taking their money, we will just try to do both: help me be heard, and I’ll keep giving you the tools you need (which cannot be taken away, won’t expire, work on a wide range of DAWs and computers, and will become open source one by one when I hit that goal…)

I hope you enjoy Console5. :)

(note: the original version used a different sort of slew handling that freaked out on waves like sawtooths, and it had to be rehacked on launch day. If you’d like a copy of the first fix—which is like the launch version but slightly moderated—you can download it from OriginalConsole5 but don’t have both it and the current version in your plugins folder at once. There’s also the first fix, which was brighter and harsher: it fixed the DC issue but lost a lot doing so. That one can be had at RevisedConsole5, for instance if you did a mix while Console was in flux, and need the temporary version for recalls. This is strictly for experimenters and for normal use the current Console5 should work best, and you should use that and not these.)


TL;DW: Softest smoothest compressor.


Sometimes a plugin can be a sort of cult favorite. That’s the story of ButterComp, a compressor of great subtlety that’s no use for quite a few normal compressor tasks… but still has a fervent following. I’ve been begged for the new version of this one (not merely VST, but revamped with all the current Airwindows sophistication and purity) and I’m delighted to bring it, though I think it might puzzle some people. If the stock Logic comp would do as well, this isn’t the plugin for you. But if you’re looking for a certain thing and thought it unattainable in software, this might be your lucky day.

Buttercomp, under the hood, is absolutely unique (or unique, until I start working on variations and until other people try to copy it. They’re free to, but it’ll be possible to test that quite easily with special audio files).

It’s a bipolar, interleaved compressor (with rather slow attack and release: a version with access to much faster dynamics is available in CStrip). This one’s the original, the cult classic. What is a bipolar, or an interleaved compressor? For the purposes of Buttercomp, it’s four totally independent compressors per channel. Two are sensitive to positive swing, and flip back and forth every sample. Two are sensitive to negative swing, also flipping back and forth every sample. The compression factor’s reconstructed through combining these poles, through the screen of the interleaved compressors switching back and forth at the Nyquist frequency… that mysterious digital frequency that is on the one hand the literal highest frequency that can be encoded, and the lowest frequency that ought to be totally rejected and filtered out.

What happens is this: the tone of things gets some added second harmonic, wherever the compression is more strong on one side than the other. High frequencies take on a particular airy openness, since they too get second harmonic, plus individual sample spikes can only affect one out of four compressors: ButterComp deals with all samples only as samples relative to other samples, and doesn’t get thrown off by isolated samples that don’t represent the actual waveform. It’s got a sound, but the sound is hard to define because of its extreme fluidity and purity.

If this sounds like your idea of fun, enjoy ButterComp. If you’re looking for the ‘all buttons in’ mode, I’ll get back to the drawing board and probably do something totally different for you. This compressor is not for everybody. Also, if you start slamming it really hard (demonstrated in the video), it’ll volume invert: you can squish it down to become more quiet than the quiet passages, but still it will retain its tone quality. It’s perhaps best used as a particular kind of ‘glue’ compressor, at which it is exceptional… or maybe I should say, it’s unique. Start working with it and you’ll soon work out whether you’re part of the ButterComp cult. Not everybody will be, and it’s only one type of sound… but nothing else can get that sound, and this is why I’ve kept this purest form of the algorithm available.

The people who love it, will be happy to see it brought up to modern-day specs and available as AU plus Mac and PC VST. And that’s enough.

This work is made possible by Patreon, and my Patreon’s doing nicely these days! If you can, jump on it at an equivalent to ‘buying the plugins you love best, from me’. That might be $50 a year, or $100 if there’s two plugins that truly rock your world, or simply $12 a year if Patreon stays viable at a $1 a month level. For me, working out rates based on ‘plugin sales per year’ turned out to make sense, and whether or not that passes more money through to me, it does help me in a big way. Among other things, I have more of a voice in the industry, and more of a voice with Patreon, if I turn out to be one of their viral success stories, and there’s only one way that can happen. (you also get more and better plugins quicker, and the launch of my open source project, and those are good things too)

I’ve now told everyone reading this, how to code the unique ButterComp configuration of multiple parallel compressors. If all goes well, one day I’ll also be giving people the code, and templates for building your own plugins (if you have a matching build environment to mine, and I can coach people on that), and the ‘maker’ movement can get off and running with countless ways to hack their own digital audio… with my blessing.

For now, I hope you like ButterComp. Next: the new Console plugins. But that’s for another week…


TL;DW: Dial-an-attack, like sidechaining.


Every now and then you come up with something a little different. The fun of that is in identifying it.

I’ve been listening to house music by Deadmau5, and I took an interest in the way the sidechaining worked. (That’s the way the music, or the reverb, or the pads, get ‘smooshed’ down by the kick drum and then swing back up in volume again.) The Mau5 is pretty good about talking about his techniques, which I appreciate (I’d love to do a coffee run with that guy someday) and he’s spent some time showing people how instead of actually sidechaining, he automates an LFO which he applies to track volume. It gets a great effect.

I wondered whether it’d work to do a gate that intentionally opened real slow. Specifically, it seemed possible to treat ‘full volume’ as a ‘floor’ and have a ‘decay’ that falls up toward 1.0 rather than down to 0. It’d never quite get there, but it could have a similar envelope as the fall-off of natural reverb, just upside down.

If that sounds odd, don’t worry about it, just try Swell. It has a threshold like a gate, and the Swell control handles the attack speed once the gate opens. The dry/wet works as you’d expect. Sort of like Deadmau5’s LFO trick, it doesn’t have to be a real sidechain, and is independent of whatever kick you have going on. Unlike the LFO trick, it’s also not tied to tempo: Swell reacts to EVERY attack that comes along, provided the threshold’s set right.

What this does is very interesting. I expect to see this turn up in an EDM channel strip at some point. Essentially, you can play with the controls in various ways and completely step on the attack of anything you want. This relates to GROOVE and the layering of stuff in a dance mix: any element, no matter what it is, can be turned into a pad and back again, just by squishing away its attack. You can do it live, you can take an element (snare, punchy chord) and manipulate how it hits inside the groove. Extreme values make stuff extra soft and quiet and squishy, and then if you drop the threshold or Swell, you can have the element jump right back out again, and the control is direct, not relative to a sidechained track or LFO setting. It’s a more organic approach, more hands-on, and I think it’ll fit into a lot of people’s mixes. There’s always a place for balancing the intensity of the attacks of your tracks, and that’s literally what Swell does.

Swell’s made possible by my Patreon. There’s been a little drama over Patreon, so I’ve revamped my pledge levels so I could communicate exactly what you’d be paying at any imaginable pledge level. I hope other Patreon creators find my tier system useful, as it lets people know what to expect: if Patreon doesn’t want to do that, well, I do.

Regarding Patreon

As of Wednesday the 13th, 2017, Patreon announced that they’re not going to do this. I’ll follow up whenever we get the new numbers, if we even do: this may have burned them hard enough that they’ll not attempt anything of the sort again. I’ll be interested to know if there’s any benefit to larger pledges, as they forced me to completely overhaul my whole way of thinking about my pledge structure, and then abandoned it (for the purposes of their abandoned plan, people were getting more effectiveness out of larger pledges, and I had to acknowledge that)


TL;DW: Airwindows channel strip.


Sometimes, Airwindows dabbles with what you might call ‘the normal’ plugins: for instance, CStrip. I was asked to make a channel strip, and while I usually prefer to do things in a more modular sense, it seemed like a fine idea, and so now there’s an Airwindows channel strip, with sort of the usual things you might find there.

Sort of. ;)

It’s never quite that simple with Airwindows. So, you’ve got a three band EQ, but if you boost the top you get traces of the ‘Energy’ plugin just to add some aggressiveness to the extreme highs for heavy boosts. You’ve got crossover frequencies, you’ve got highpass and lowpass, but the highpass and lowpass aren’t normal algorithms either: they’re designed for ‘trapping in’ already bandlimited sounds to get the most out of them. There’s a gate, but it’s an Airwindows gate where the release is designed to pull the audio back in the sound picture, not just volume-ramp it. There’s a time delay control that exists only to give the track a micro-delay relative to other tracks for groove purposes. And there’s the compressor… CStrip uses the ButterComp algorithm plus a speed control that lets you do odd things like increase the speed hugely. ButterComp compresses interleaved samples in Class AB, so that’s four independent compressors per channel. If you crank the speed under heavy compression you can get artifacts (for normal behavior, keep the speed a lot lower).

The whole idea with CStrip was to do the channel strip, but take it out into stranger realms where it can be used for various sonic destruction. It may not be the last of such plugins: some new stuff coming out is giving me ideas for other ‘combination’ plugins, especially ones where the algorithms can be interwoven to produce effects you literally couldn’t have out of discrete plugins. (one day, I’ll be open sourcing all of that and telling other plugin coders all about it)

CStrip also uses a technique I came to rely on, where if a component of the plugin isn’t being used (for instance, the lowpass and highpass when set to their extremes switch off) then it gets completely bypassed, and not even the math of the component is used: this is sort of like how ‘unity gain’ in code isn’t the same as ‘bypass’. (if you’re in floating point and you’re multiplying by 1.0, you’re also doing a math operation at a given exponent and this can wipe out floating point values at very different levels of detail)

But that’s getting too wonky: I hope you enjoy CStrip. All this is of course supported by Patreon, and though we’re not up to ‘open sourcing’ levels, or even ‘bonus plugin’ from the list for December, trust me that I’ll have some nice surprises for your holiday season anyway :)


TL;DW: Subtle tone shaper and warmth adder.


Because my Patreon was over $700 this last month, we get a special extra plugin this week.

PurestWarm is a little bit like PurestDrive (anxiously awaited by quite a few people) but not quite as sophisticated… however, in its simplicity is part of its usefulness. It applies an Airwindows softest-possible-saturation effect (like what you can get out of Density, or Channel) but it’s polarized: you pick which side of the waveform the saturation applies to. For the other half of the waveform, it’ll pass through the exact bits that came in. So it’s half a plugin: I’m not sure there’s ever been anything quite like that, on one half of the wave a full Airwindows (noise shaped to floating point) ultra-quality saturation, and on the other half of the wave, ‘bypass’ and literal bit-identical pass-through. I made sure even the noise shaping wasn’t applying for the ‘bypass’ half.

The result is this: waveforms that need a little sweetening, can have that texture (not frequency or EQ, texture) subtly added to the track, in a way that utterly and totally maintains the integrity of the signal. In some ways this is ‘purer’ than any of the other Purest line, since by its nature it’s true bypass for literally half the time. It’s also one of the minimal ones, with just a switch: there’s no way to get the perfect integration of bypass and effected halves (they switch off like a push-pull power amp) otherwise, and it produces an obvious enough effect but one that’s harmonious and doesn’t get in the way. In some circumstances it hints at being like a ‘bass optimizer’ since it’ll push some second harmonic by its nature. You’ll probably find that for any given sound (especially an electric bass guitar) there’ll be one polarity that’s clearly better: I think for basses where the string swings near the pickup and produces extra voltage on that side of the wave, PurestWarm will saturate that side of the wave really well and it’ll give you an ideal bass tone with no extra fiddling or processing required.

It’s going to be a good holiday season, I have nice things in store. If you would like ME to have a good holiday season and you’re not already hooked up with my Patreon, consider it like a sort of ginormous sale: for years, I sold these plugins at $50 each to Mac Audio Unit users only. Now, I’ve got ’em coming out in great profusion, dozens and dozens and all manner of new things and PC VST too, and if you were to join the Patreon at $1 a month, that’s $12 a year, the equivalent of buying one every four years. Except you get to use them all with my blessing. If you wanted to treat it like you were buying one of the plugins each year (and still getting to use them all) you’d pay $4 a month, $48 a year, and it would still be two dollars off from what they used to cost. I’m more interested in having people give what they can, though, because I know what it’s like to be fussing over a dollar a month: right now, it’s me in that position, so obviously I understand better than anybody.

However, there’s a special kind of wealth in being able to generously give to the community that’s found a place for me and appreciates my coding (if not my music! :D ). I hope you like PurestWarm, and there’s a lot more where that came from. And we’re going to have a fun holiday season, let me just say :)


TL;DW: Very Fine Adjustments.


If you’ve seen EveryTrim, you know how this works: it’s the all-possible-trims trim. +- 12dB of left, right, mid, side, and master volume. By request, and a handy little tool for all manner of stereo tweaking. It’s very nearly as clear and accurate as PurestGain, which itself is very nearly as accurate as BitShiftGain (and most people will find any of these more than acceptable, because this is uber-pickiness land and none of you are likely to be able to tell these from your standard utility gain plugin from your DAW, ten out of ten. I just know I’ve implemented mine with extra rigorousness)

Thing is, the person who’d requested this is the same one who requested Hermepass… and in this case, I fumbled it a bit. On many DAWs, and all my Mac Audio Unit stuff, you can hold option to get tiny fine adjustments. But my user with the enlightening (and accessible) requests isn’t using a host that can do that… and needed to have much, much finer adjustments on tap.

So, now Hermepass has a companion, HermeTrim. This is exactly the same as EveryTrim, only it’s 1.5 dB plus and minus. It’s more a mastering tool: make tiny little tweaks to get the master just right. EveryTrim will sound just as good, but this one’s geared towards non-mixing purposes. Hope you like it.

Also, it’s a chance to test out a different view of Airwindows for an interesting reason: I am gearing up to do a music-making stream where I dig into some of my inspirations, and try to come up with a new sound for things. When I say inspirations, I mean ‘analog gear’, and I’ve built up a studio setup that might shed some light on why I do plugins the way I do. If my plugins enter into this, it’ll be hosted in Renoise most likely: it’s been months and years getting all this up and working, and the studio mix runs through the Magneto-Dynamic Infundibulator before being sent to Twitch… where I will be live (at some point), at

I will not be offended at giving live support for Airwindows stuff on such occasions, though I might be preoccupied with trying to get twin Bastl Kastles to patch into strange places on twin Xoxboxes. I did say that I was into the analog thing, and I think this preoccupation will lead to some cool-sounding techno-prog weird music. Might even play an instrument or two :)

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If you’re pledging the equivalent of this per year, I’ll happily link you on the sidebar, including a link to your music or project! Quite a few people see this page, and they see it while they’re getting free stuff, so they ought to be favorably disposed to anyone here!

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