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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.

kCathedral4

TL;DW: kCathedral4 is the Cathedral sound expressed as distant space.

kCathedral4 in Airwindows Consolidated under ‘Reverb’ (CLAP, AU, VST3, LV2)
kCathedral4.zip (604k) standalone(AU, VST2)

Flagship reverb takes whatever the newest technology is, and expresses it in the flashiest possible way. kCathedral’s always been that for me, but the technology’s come a long way over the years. And it turns out even kBeyond was only a preview, and there’s major upgrades in store. kBeyond was using a literal million echo returns out of 3×3 and 6×6 matrices, but as the 3×3 only produces 27 echoes for early reflections I hadn’t bothered to implemented it as a full Householder matrix (involving multiplications for non-4×4 matrices, and some of the feedback being inverted, and the 3×3 doesn’t actually use local feedback even)

And then I tried it… the video shows the two files I made to see what would happen, and the one done like it is in kBeyond is sparkly and complex, and the one with the real Householder is a quantum leap in depth and realism.

And that’s what’s in kCathedral4, along with the Pear2 algorithm for filtering the deep-field reverb feed. It can do deep verb even unfiltered and bright, but when you mute it down to Bricasti degrees of darkness, you get a spaciousness that’s beyond anything I’ve had.

The algorithm is generated using the genetic algorithm: trying ‘populations’ of reverb constants and measuring how well they produce a result. I’ve learned things like how the total delay lengths of matrix paths added together are what need to add up to primes to sound right: it’s been really complicated, but worth it. I’m going to have some amazing small rooms and loud halls too, chambers, you name it. We’re just going back to the Cathedral, because it’s a really cool sound. You could put choirs or pipe organs or Tangerine Dream in it, but you can also put whatever you like in there. Doesn’t matter what you start with, you’ll end up with sound you can bathe in.

I’ll keep working: remember, each reverb plugin is designed around a dedicated algorithm tuned using the Genetic Algorithm to optimize for whatever its vibe requires, so the character of each one will be different in ways beyond just adjustment of the parameters. You do get parameters though: regen, filter for the deep field, loudness of the early reflection section. I’m working on extending this and look forward to doing more with it, but kCathedral4 is for you to enjoy right now :)

Airwindows Consolidated Download
Most recent VCV Rack Module
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.

Pressure6

TL;DW: Pressure6 refines the Pressure compressor and how it moves.

Pressure6 in Airwindows Consolidated under ‘Dynamics’ (CLAP, AU, VST3, LV2)
Pressure6.zip (698k) standalone(AU, VST2)

Until now, the most recent compressor I’ve made was BeziComp, which takes compression and applies Bezier curves to clean up the dynamics until there are no artifacts at all… which is not what you usually get with compressors and limiters! I put it out as a plugin, and I used it in ChimeyGuitar, where it modulates things with perfect smoothness… and yet. Turns out it just doesn’t seem to move right. Yes, perfect smoothness and freeness from artifact, but the way it moves seems odd.

Back to the drawing board! (though as always, the previous try remains available to all, because who knows when it’ll come in handy.)

Pressure6 is the result of refactoring the Pressure compression algorithm as it’s never been refactored before. It probably runs more efficiently on modern CPUs (which are happier doing math than they are keeping around extra variables). It also has an entirely new sound, from having isolated some of the strangest and trickiest qualities of the original Pressure. No longer is it as much of a mystery: in fact, I can probably do more variations on the theme. But this time around, my target was ‘2-buss Compressor’.

This isn’t the same as ‘limiter’ or ‘loudenator’. It’s more like ‘glue’ compressor. You can get it to squish things radically… if you drive it fully into dynamic inversion, as it’s still a variation on Vari-Mu. But the ability to control its internal attack and release speeds (which has always been a distinguishing factor for Pressure) meant I could control how it imposed movement into a mix, way better than I’d ever been able to before.

When used as a glue compressor, Pressure6 imparts dramatic movement to, and inside, a mix. Across all kinds of transient attacks, Pressure6 has a springy force that lets the music pounce forward eagerly, clarifying and heightening attacks. It highlights peak energy in a way compressors don’t often manage. Used on drums, it lets sustaining elements of the kit hang steady, hypes dense parts of the beat like the snare, and heightens the impact of the kick.

When you move towards lower ratios (this is a modified dry/wet) it blends in the dry signal but also starts to pad the output of the compressor, before it hits a soft saturation (like the original Pressure) to manage attack spikes. Doing this subtly raises the energy of those spikes even as you merge them with the dry signal using Ratio. The result is a compressor fit for 2-buss duties (for many, possibly not all, genres) which has a slightly touchy Compres control (as its behavior is dependent on you setting that just right) but an extremely forgiving and useful Ratio control, in which a broad range of settings sound good.

I think this’ll be useful and I hope you enjoy it :)

Airwindows Consolidated Download
Most recent VCV Rack Module
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.

PrimeFIR

TL;DW: PrimeFIR is a mostly linear-phase brickwall with a taste for the bizarre!

PrimeFIR in Airwindows Consolidated under ‘Filter’ (CLAP, AU, VST3, LV2)
PrimeFIR.zip (551k) standalone(AU, VST2)

It’s experiment time again! Inspired by the original filter in Baconpaul’s Six Sines FM synth (which I recommend the heck out of, by the way) I got busy trying to make a similar type of filter. This is not how I usually filter. I have a great distaste for the smearyness of linear phase and the weird vibe the pre-ring gives off, but it was amazing in Six Sines, partly because of the incredibly tiny and CPU-efficient window, and so I had a whack at the problem.

As usual I had a whack at it in pinata fashion, so rather than do it properly I came up with a way to implement the sinc function I needed for the brickwall, with a sin() based window, and for good measure I made the post-ring longer than the pre-ring just because I could, and made the window size variable so you could filter right down to moderately low frequencies, and that’s the first part of the experiment.

And then I thought it would be fun to calculate out the sinc function for what it would need to be if you took, not every sample, but every PRIME sample in that window, and used that. Only some of the samples, but across a much MUCH broader time window for the same number of filter positions. And also those positions wouldn’t be reinforcing each other, because they’re prime numbers. How hard could it be?

So, when you turn the ‘prime’ control over 0.5, you get a completely different filter, if that’s still an appropriate name for it. In theory it’ll filter down lower, except it completely fails to be a brickwall. It’s sort of like a shelf? And sort of phasey, and sort of diffuse, and it’s yours to play with. You’re hearing only a window of the prime-numbered samples peeking through and acting like it’s a filter or something resembling one.

And you’ve heard something like it before… because nearly twenty (!) years ago, my plugin Iron Oxide came out, and one of the things it does is build tone shaping out of prime-spaced successions of samples. No kidding: this technique hasn’t really been played with since Iron Oxide and variations on BrightAmbience. Here it’s a way to broaden the range of frequencies a brickwall filter can ‘reach’, except that since it’s such a sparse set of filter coefficients, it stops working like any normal brickwall filter and turns into something else.

If I wanted to make it be a similarly inefficient highpass, merely including an ‘Inv/Wet’ control wouldn’t be enough, I’d need to doctor the filter so instead it was accepting the nonprimes and omitting the primes, run the brickwall, and then subtract that.

This (not the prime version) is also what I’ve been trying for the last two reverbs, and some folks love that but others cried foul. I’m going to broaden my filter palette a bit for the reverbs, though now I know what this one can do (a sort of slick flashy effect) and will most likely turn to the Pear filter with nonlinearity for the next few reverbs. I’ve got about four different methods not counting simple biquads that will do different things. Even one (BezEQ!) that will produce gnarly artifacts for texture, for certain kinds of special effects.

For now, enjoy playing with the experimental PrimeFIR. It might just lead to an interesting sort of highpass for livening up things as significant as lead vocals… more on that later. Have fun :)

Airwindows Consolidated Download
Most recent VCV Rack Module
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.

DeCrackle

TL;DW: DeCrackle isolates clicks and vinyl crackles to remove them.

DeCrackle in Airwindows Consolidated under ‘Utility’ (CLAP, AU, VST3, LV2)
DeCrackle.zip (523k) standalone(AU, VST2)

This was a lot of work, for a good purpose (cleaning up vinyl records), being asked for (ever since I did the livestreams developing this, I’ve been hearing about it) and getting put out as it is. There might well be good ways to inappropriately use it, and I might well get something out of it in its intended use, but all the same I have to establish expectations.

The fantasy of a decrackle plugin is that you can throw a scratchy ol’ record at it, and get a lovely noiseless version back out, that is perfect and has all the tone you want, with none of the noise. Seemed worth trying. I could try to isolate bursts of energy that were the right kind (more side energy than mid, energy higher than the average energy happening at the time, and so on) and mute them. Or, apply a filter, and snap to the filter while the click is happening, so the lows remain unaltered, then back to the raw audio right away.

Turned out to be a lot more tricky to get it to work… but there’s a problem. The whole idea was to let the audio through totally untouched, rapidly triggering the decrackle for every instant it’s needed. This is happening, but when there’s heavy crackle, the noise is so constant that there’s no way to play the raw audio between the crackles… and there’s always a lot of quieter crackle happening between the louder pops and clicks. So the concept worked, but it didn’t work in the sense of making all the noise go away. And since it barely touches or affects the rest of the audio, you get a powerful sense of whatever crackle remains… minus the REALLY loud bits, that get neatly removed as if they weren’t there.

Filter goes from bass-only to full frequency and is the audio you replace clicks with. You tune it to hide the transitions (full bass might not be the ideal setting, you’re looking for minimal disruption). Window is important: it’ll go from very narrow, to extremely wide. It’s set up so it can be abused to let through a big section of the click’s surroundings, which can be used for other purposes. Threshld gets lowered to increase the effect, and requires delicate adjustment: be careful about letting it kick in on actual music as that will sound bad. Surface goes from normal at zero, to intense treble filtering. It’s not purely a lowpass, it tries to respond to micro-crackles but not underlying high frequencies, and you can use it to subtly mute general surface noise in quiet sections. Finally, Dry/Wet has a special trick: if you set it to 0.0, full dry, it switches to delta monitoring so you can hear ONLY the clicks. If you hear music coming through that, you know Threshld has to be higher.

Since this probably isn’t going to excite would-be decracklers unless they’re really committed to keeping the tone of the audio at all costs, including ‘sounding like you didn’t bother decrackling’ (certain music might be more resilient to lower thresholds), I have an alternate suggestion for amusingly misusing DeCrackle.

Use high Window settings and full Dry to make it a neat little percussive gate which is also a highpass, and which isolates the attack (because it’s treating it as a click where it has to remove the entire onset of the sound). It will apply a fair amount of latency: DeCrackle is FAR from zero latency, unlike most of my plugins. That does let it gate around a peak while presenting the whole peak without cropping the front off.

Or, use the Dry/Wet to reinvent the attack of percussive sounds, from very high frequency spikes to bassy thumps. Filter controls how much of the attack is allowed to be bright, Window controls how much of the attack you grab, Threshld interacts with that and Dry/Wet blends how much of the attack is removed. This is going to work well for darkening and refining bright attacks on kicks you want to make heavier, since it interacts with the Filter up top plus the Window setting plus the processing latency of the plugin.

DeCrackle is a lot of tricky, hard-to-balance processing tuned to invisibly remove just the right crackles and clicks from only certain vinyl recordings. If it works for you like that, I’m thrilled! If it works when used on totally different things, I guess the trickiness of it makes the process more interesting or gives you more sophisticated results. Your mileage may vary. Hope you’re enjoying kBeyond, I’m working every day on following it up with even better stuff :)

Airwindows Consolidated Download
Most recent VCV Rack Module
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.

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