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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; Distortion and demolition of air molecules, modeled.


Here’s something rather special. What if you could distort like air molecules distort?

I studied recordings of competitive tractor pulls, of Space Shuttle launches, various recordings that represented the way air can be mangled and break apart. The result is Loud… a step into a much louder world. It’s a distortion that can be slammed to unthinkable ‘heart of a supernova’ dB levels, but can also be subtly introduced to give the sonic coloration of a big LOUD noise in open air. Makes for a very interesting ‘glue’ at zero boost!

Here’s how it’s done: rather than apply a consistent transfer function like a normal distortion, Loud knows whether you’re compressing the air, or letting it rebound. And if it’s snapping back, it can do it with the speed of lightning, but if it’s compressing, the air can be squished to practically solid, increasing heat. This extreme nonlinearity is why Loud sounds the way it does. It can sit on a whole mix to give it scope and authority, or it can be pushed harder on individual tracks like guitars and drums to amp up the ferocity.

Remember, if you’ve got it totally fuzzing out, you are probably already beyond any sound level achievable by human means. The completely fried sound of cranked-up Loud is not meant to seem like acoustic phenomena as we know it. It turns up that loud because I grew up reading Douglas Adams’ “Hitchhiker’s Guide to the Galaxy”, and because in no other way can you accurately emulate a Disaster Area concert. :)

If you like me inventing things like this, support my Patreon. It’s over the funding goal of $600, meaning that I will start to release the Kagi for-pay plugins, one a month, starting with Iron Oxide 5 (the newest version, never seen before!). But there are other goals to reach, too: at $800 I will begin open sourcing these plugins under the MIT license, and at $1000 I will release two of the Kagi plugins a month—twice as fast! Sky’s basically the limit. And for today, as a token of good will, I bring you the loudest noise in the universe :)

Speed-King-Izing Axis Longboards

I’m getting together a huge (18) pile of new plugins to make, including the mighty Iron Oxide 4, and also dealing with a YouTube issue where someone’s tried to copyright strike white noise generated in a ToTape4 video, and trying to fix my porch. But I’ve got time to share some drum pedal experiments with you!

This is how to make Axis longboards ‘feel’ more like Ludwig Speed King pedals, but without the squeaks and vintageness. It’s all about the geometry of the linkages, and works great: you should see right away how this works, and how it’s done. If you have questions, ask! :)

Things are looking good for May to be my first month of releasing the premium, Kagi-era plugins. As long as the Patreon is still over $600 when May begins, we’re good to go, and probably it will stay at least at that level from now on (not like I’m going to stop being Chris from Airwindows or anything ;) )

The next stages of the Patreon are reaching $800 (where I begin open-sourcing what’s been put out already, plus my templates for making all the plugins) and $1000 (where I start putting out the premium plugins TWICE as fast, two a month, on top of everything else I’m releasing). It’s exciting to see where this is going!

Hope the glimpse into lever-hacking (for that’s how you Speed-King-Ize an Axis pedal) was fun! Next one is an alternate hi-hat sound, an unusually good dark LOUD hat for roughly $43 plus a pair of tin-snips. Then the flood of new plugins resumes :)

High Impact

TL:DW; Grit and punch without fatness.


Sometimes it’s all in the name.

High Impact has been one of the Airwindows secret weapons for a long time. It’s a pretty basic idea: know how Density distorts and makes audio huge and fat, and Drive distorts and doesn’t make stuff as fat? High Impact answers the question, ‘what if you could distort and not make things fatter AT ALL’.

This is not EQ I’m talking about, though it can come off like EQ depending on what you feed into it. High Impact combines a distortion and anti-distortion circuit to reshape the transfer function of the audio, as follows: crank it up, and quiet subtle samples aren’t turned up much. Then medium samples are turned up a LOT, and then the loudest samples are distorted and hit a wall past which they can’t go. The result is an obvious distort which doesn’t bloat things. It’s a ‘dial-a-rasp’, or ‘dial-a-slam’ for percussive noises, and though the concept is two different kinds of overdrive combined, it’s an Airwindows plugin so it’s not overprocessed, it’s super raw.

That suits this plugin super well, and that’s why the AU-only High Impact has been a secret weapon for many people for years—and now it’s out for Mac and PC VST.

A word about the ‘secret weapon’ thing: I hate that. Do as I do, and communicate openly. Airwindows plugins are not preset things that you hide somewhere to add magic sauce to your mixes. They require intention, and there’s no one right way to use them: Airwindows plugins are like if a certain mic modeler you can rent that offers ‘silky expensive microphone models’ had just a blank ugly faceplate with just one knob, ‘silky’. And you could use it as a guitar stompbox if you wanted, not even a microphone anymore, and it was no longer connected to a ‘magic gear item’ so you’d have to ask, ‘HOW silky does this sound need to be, in my mix?’ because there was no one right answer.

That’s what Airwindows is like. For High Impact, read ‘raspy’ or ‘mean’ or ‘grindy’, whatever describes the sound for you. Now you’ve got an extra parameter: instead of just bass, treble, loud, soft (or even fat and thin) you’ve got ‘aggro’ on a knob. That can relate to any bit of audio you’re working with… and your ‘secret sauce’ is not the plugin, but your sense of taste (or tastelessness) in using and abusing it. So, don’t keep Airwindows plugins a secret weapon. I hate that. Tell people what you’re using, so I can get more supporters and keep doing all this, on a bigger and bigger scale.

Speaking of which, I have a Patreon milestone! As of a couple days ago, I hit $600 a month, and I’ve recently changed that to be the point where I start releasing the Kagi catalog! Now, people sometimes bail as the first of the month rolls around (and also I don’t get paid quite the full amount shown). So, it’s possible this milestone will go poof as we reach May, in which case we’re still waiting. BUT, if the dust settles and it’s still over $600 going into May, I will put out Iron Oxide 4 (the second most popular plugin I have EVER made) as free AU/VST!

(oh my God, I look so young in that video o_O )

If I’m still over $600 when May begins, you get THAT plugin free. My hope is that, as I reach this stage, people get more of an idea of what’s possible out of my Patreon project. All this time, I’ve been putting out more than 47 plugins entirely from the ‘freebie pile’, and not touching the ones that kept me in business a decade. Now, we start to get into the serious ones, the ones worth $50 to a lot of people. I’ve even drawn up a timeline on the Patreon, showing when each plugin will come out if I stay above $600. (if I clear $1000 they go twice as fast and I’ll revise the timeline accordingly!)

Here’s where things REALLY get interesting. Hang on to your DAWs, because we’re about to go full warp drive :)


TL:DW; Like a highpass on the side channel, except it’s a lowpass.


There are some nice things about Patreon-era Airwindows. Not the money: that sucks, though I think I just about have basic survival taken care of as long as I don’t eat much and nothing happens to my car :)

No, the cool thing is this: I can put out tools that have NOTHING to do with a plugin marketplace. If even one person finds the plugin useful, I can put it out. SideDull is kind of like that. I was asked, ‘since Sidepass is great, can we have a lowpass version?’. And I went ‘huhh? why would anyone want to narrow just top end, or center mids and up while not touching lows?’

The answer is of course ‘why not?’ and ‘if you are sure you won’t be doing that, don’t install this plugin’ :)

I don’t need to explain what SideDull does: it’s the same as Sidepass but in reverse, narrowing/mono-ing highs and down. I WOULD like to explain something about its role in a DAW user’s toolkit, though. I’m seeing this increasing churn in the plugin industry, a frenzy of new stuff and new requirements and DRM systems and dongles and such. It’s like a fulltime job to keep up with your recording system. My own pet fear is updating something only to find that I’ve hosed myself and everything’s now broken.

That’s why SideDull, and every other plugin, is built on a time-capsule 10.6.8 system and the VST’s built on a time-capsule isolated-from-the-internet virtual Windows 7. I’m using the simplest possible interfaces (some vendors, like Blue Cat, have taken pains to implement the generic interface super well, and can even skin it attractively) and not touching stuff that causes forced obsolescence, which I think is really bad news for us all.

So, the free AU/VST plugins (and the Kagi AUs before them) can be like your favorite screwdriver: you get to have the best and simplest audio tools that do NOT break. That also means that if you can only afford legacy computers (or just like being frugal and spending your money on Rickenbackers, as I long to do) you aren’t out in the cold… ever. I’m dedicating the rest of my life to putting tools in the hands of kids and dinosaurs alike, and following it up with my open source initiative. And the longer I do live, the more of it I get to do: but if I keel over tomorrow, all the plugs will still work and I will have had a good day and slept with a clear conscience :)

(and if I do croak, somebody mirror it all! pronto! it’s not all on GitHub yet!)

THERE ARE CHANGES to my Patreon. The tape emulations are closer! I’ve scaled all the goals down to make them more reachable. (remember, I’d like it to be through many people rather than just a few, the goal must remain reached for me to continue doing those rewards!) The new ‘start going through the list one a month’ point is now $600, opensourcing is $800, releasing two a month is $1000 etc. This is added to what I’m already doing, not replacing it: I’ll keep doing the plugins I am doing, you just start to get the ‘greatest hits’ too.

Also, if you missed it: when the release schedule stresses me out, sometimes I turn to game programming. I’ve just put out the mostly-final form of one such game thing, the Minecraft server plugin Snowball Madness. There’s a video and everything, and I have a server up and running this peculiarly anarchic Minecraft variant: it’s at (minecraft 1.11), because sometimes you just need to go somewhere and blow things up with infinite TNT. This is something I keep around, so anyone who’d like to join me and my friends in our occasional building-parties is welcome to learn the ropes (or the snowballs) join, and find some nice secluded spot to homestead. I view it as a longterm anarchy server with a twist (or six), and of course if you’d like to support these researches… which I have to do, to keep from burning out on plugins alone… you can simply support my regular Patreon or direct minecraft-oriented Airwindows fans to do that. Nothing more is needed, this is just another thing I do and have always done :)

Snowball Madness

TL:DW; More Airwindows game research, with source code!

SnowballMadness.jar | GitHub repository

To stay fresh with plugins, I code other things, and it’s become part of my open source initiative. In fact I’m starting off the plugin open source thing by setting up my GitHub page with hobby game projects (first Counterpart, and now Snowball Madness). So you can read the Java code of this plugin, and use it as a framework for your own ideas. A lot of the initial work was done by my brother Dan, who also advocates open source code. Read More


TL:DW; Compressor for accentuating beats and pulses.


What is ‘ballistics’ when it comes to audio gear? It’s the way the gear handles dynamics coming in. It’s the swing of a VU meter that can tell you what your music feels like.

Or, since this is Airwindows and we don’t do no steenkin’ meters, ballistics is the way dynamics hit this compressor to produce outrageous groove.

This is also a good reason to keep me around working on stuff… this plugin wouldn’t exist if not for an earlier free VST plug from me, called SurgeTide. That one controls dynamics by altering the rate of change of the rate of change OF the rate of change of the audio. What, you may ask, would happen if you did that? I’ll tell you: firstly, there is no smoother compressor. It’s utterly, totally fluid and artifact-less, organic to the Nth degree. But, it doesn’t sound like it’s doing anything until suddenly it kicks in and starts making the dynamics swing up wildly to boost every beat. Incredibly hard to control. You really can get a sense of ‘huge surges of the musical tide’ emphasizing the deepest rhythms, but it’s a bear to set up!

And since I’m still out there working on stuff thanks to my Patreon, now there’s a whole new version, so different it counts as a separate compressor: Surge.

Here’s the thing. Compressors are as unique as, say, guitar overdrives. You can search for the magic one, but there can be all different sorts of ‘right one’, with hugely different characters to ’em. I made Pyewacket as a free VST. It delivers a super-articulate attack transient and leans out the sound rather than simply turning it down, and gives a ‘British Classic Rock’ vibe without any silly adding of faux-analog mud: that one clamps down on the body of sounds while leaving tons of intensity and headroom to the tone. Its ‘ballistics’ are very simple and it’s more about delivering a certain kind of attack, and making stuff more even and consistent.

Surge isn’t anything like that. It’s SurgeTide, but easier to control: just bring it up until it starts compressing enough, and don’t go too far to where it inverts the dynamics. You can hear it easily, unlike SurgeTide. But it still retains most of the uncanny fluid organic quality SurgeTide has, and most importantly, it has the ballistics. That means that if you put a pumping, rhythmic mix through it… it will accentuate the beats in a very aggressive way that’s not like anything you’ve heard before. The attacks pop way out, including the deepest bass pulses: this is yet another way to handle compressed bassy mixes and transform them into something punchier. And unlike SurgeTide, it’s very controllable.

You might want to push it hard enough that the dynamics jump way out. You might want to use it as ‘glue’ and hit it only very gently, and take advantage of that extreme fluid openness (a result of the way its control is so abstracted: again, it alters the rate of change of the rate of change OF the rate of change). The one thing it won’t do at all is limiter-like behavior, it’s way too funky for that! So anywhere you need to use a compressor that is just ultimately funky, bouncy, squishy… try Surge. It might be right up your alley.

THERE ARE CHANGES to my Patreon. The tape emulations are closer! I’ve scaled all the goals down to make them more reachable. (remember, I’d like it to be through many people rather than just a few, the goal must remain reached for me to continue doing those rewards!)

The new ‘start going through the list one a month’ is now $600, opensourcing is $800, releasing two a month is $1000 etc. This is added to what I’m already doing, not replacing it: I’ll keep doing the plugins I am doing, you just start to get the ‘greatest hits’ too. Looking forward to entering that phase! (and once those ARE out, I’m free to develop new versions like I’ve done in following SurgeTide with the way more useful Surge).

DC Voltage

TL:DW; Literally control voltages for digital workstations, because why not?


This is exactly what it says on the tin. Do NOT just put this in a mix and crank it up to see what it’ll do. If your whole system is DC-coupled you will blow your woofers, just like that, after a big ‘whump’. I will not take responsibility for damage caused by misusing unusual tools.

What SHOULD you do? Here are some ideas.

There is no DC offset filter nearly as good as applying an opposite offset. Use metering, perhaps option/alt-dragging on the slider if your DAW permits it, to cancel out a DC offset without any sonic penalty at all. This is called a ‘DC servo’, but digitally. If you can get it perfect and then bounce files so you can work with a center corrected section (so you don’t have to get a pop from turning it on or off) this would be the highest quality way to get rid of a FIXED DC offset without altering any of the bass at all. It’ll retain right down to 0.001 hz or whatever, and only kill what is totally unvarying DC.

If you have a converter that’s DC coupled, and analog modular synthesizers, you can use this to create and modulate control voltages. Use it as a voltage source and then mix stuff together using DAW routing much like you use patchcords on your synthesizers, and be careful not to route control voltages to your monitors! I know there are people who’ve done odd things to get DC voltages inside their DAWs. Now it’s a lot simpler :)

This plugin may not be any use to you, and don’t play with it if you don’t know what it is. If it is useful to you, you already know exactly what you’ll do with it, so go right ahead, now you’ve got DAW control voltages out of a simple plugin.

THERE ARE CHANGES to my Patreon. The tape emulations are closer! I’ve scaled all the goals down to make them more reachable. (remember, I’d like it to be through many people rather than just a few, the goal must remain reached for me to continue doing those rewards!)

The new ‘start going through the list one a month’ is now $600, opensourcing is $800, releasing two a month is $1000 etc. This is added to what I’m already doing, not replacing it: I’ll keep doing the plugins I am doing, you just start to get the ‘greatest hits’ too. Looking forward to entering that phase! I feel that more people will recognize the worth of my Patreon if those plugins begin coming out. They are pretty amazing (and once they ARE out, I’m free to develop new versions, opening up my researches even wider).


TL:DW; Mastering highpass to set by ear only!


This is specially by request from Gregg of Hermetech Mastering: it’s my try at a specific plugin he wanted. He wasn’t able to find a fantastic-sounding highpass with JUST a frequency control and slope, no bling, no other stuff, as small as possible.

This is of course right up my alley :)

All the more when he responded warmly to my idea of having both the cutoff and slope have NO LABELING to guide you: just 0-1 sliders. You have to listen. That’s the whole point, and I delighted in taking it that one stage further.

Two stages further, because I worked out how to make the slope control continuous. It uses up to six poles (staggered, an idea that Gregg and I independently came up with: it’s present in my ToVinyl2 and ToVinyl3) but as each pole is added it gets its own little dry/wet internally, so you can have two and a half or four and a third poles. Smooth continuous adjustment of how many poles (and how steep the slope), much like my bit-crusher has continuous sample rate crush and bit depth crush.

Three stages since it uses Airwindows interleaved IIR filtering for the very first stage to start off at a slope even shallower than one pole of IIR: sort of ‘half a pole of filtering’ to start off.

The controls are set up to give useful results around the middle of their travel. I’m not sure exactly how many poles that is, or what frequency: use your ears, says me and Gregg (for whom I made this). I do know that depending on how you set it, the transparent cutting of extreme low frequencies WILL give rise to higher peaks, so either gain stage it or use limiting or clipping. This plugin is not a loudenator. It’s a tone shaper, for retaining every possible bit of tonality while reshaping the extreme lows to trim the lowest frequencies: it’s sound balancing, not ‘make louder-ing’.

This work is made possible through my Patreon, without which I wouldn’t be able to do stuff like this. The more it expands, the larger projects I can tackle. Do bear in mind that I’d rather have 20 people easily paying $1 a month, than one person trying to pay $25 and then having to bail right away: do what is comfortable for you.

Hope you like Hermepass! :)

Ed Is Dim

TL:DW; Mid/side conversion utility plugins.


It’s always nice to expand one’s horizons! You don’t have to run the latest Logic to be able to use any plugin in mid/side mode… though you might need to do a little fiddling with settings.

EdIsDim comes in two plugs: first use MidSide to convert your stereo track into mid/side (on left and right channels). Then apply your processing (there’s a control with which you can balance the mid/side balance, which also means you can gain stage the M/S content into your plugin), then, go into EdIsDim (read it backwards) to convert back to stereo. The same control is present, and can reverse the gain staging you applied. Read More


TL:DW; An Airwindows video game, with source code!

CounterpartWin32 | CounterpartWin64
CounterpartMac32 | CounterpartMac64
CounterpartLinux32 | CounterpartLinux64

When I’m not coding plugins, sometimes I make video games! This one was my first Unity game, done over the last couple years. Read More

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