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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.

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.

kBeyond

TL;DW: kBeyond is a recital hall.

kBeyond in Airwindows Consolidated under ‘Reverb’ (CLAP, AU, VST3, LV2)
kBeyond.zip (609k) standalone(AU, VST2)

Turns out there’s a technology to beat all AI: the genetic algorithm. GA. And if you know how to steer it, you can do anything.

kBeyond is a first real example of what that can do. It’s two different reverb matrices in one plugin, the first generating early reflections and the second expanding them into an eerily believable acoustic space.

I did it by telling the genetic algorithm to try millions upon millions of different matrices, and evaluate them in various ways. Like, constructing all the end-result echoes from the Householder matrix, and then seeing how many of those combinations were primes (people are used to putting primes in the individual delays of the matrix, but it does nothing! It’s how many of the end results add up to a prime). Or measuring the gaps between echo returns, and seeing if they’re similar or all different (this increases the depth and naturalness of the sound). Or working out what the intersample peaking of the reverb will be, and preferring lower treble energy out of it. Or wanting the first echoes to happen almost immediately, which means there has to be a path through the matrix that is very short.

I put together a small hall out of this, without too much furniture or weird architecture (yes, I can specify that too) and it’s yours now. It’s using a 3×3 and a 6×6 Householder matrix inside, so before it even gets into regeneration it’s producing 1.25 million echo returns (previous kVerbs before VerbSixes? 3125, for not much if any CPU savings). It’s using Bezier undersampling to sound right at high sample rates with no penalty in CPU to speak of. It’s got just enough controls to adapt to many needs, but is essentially simple to use: keep things near default, tune your RT60 and loudness of early reflections and the filtering on the deep reverb to tune the brightness of the hall. Use Derez if you want to scale it up while darkening it.

There will be more grandiose spaces (heck, you have VerbSixes for that). But in certain ways, there won’t be more impressive spaces for a while, because whatever sound you put into kBeyond, it ought to sound like you’ve just gone on the road and into a hall and put up some mics. It’s not even a texture, it’s just there, invisibly, making things real.

Compare this to, say, ClearCoat, and you can see why I didn’t stop there.

Expect more. All the reverbs kinda need an update now that I can do this…

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.

VerbSixes

TL;DW: VerbSixes is a calibrated reference reverb plugin for Householder matrices.

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

The only thing small about this is the interface, and there’s a reason for that.

VerbSixes applies Householder matrices to produce reverb, and it’s named VerbSixes because it escalates things up to the point of 6×6 matrices. Normally you get 4×4 matrices in conjuction with allpass filters which smear out the sound (example: my CloudCoat plugin is made up entirely out of allpass filters, as is MV). There’s a reason other matrix sizes aren’t popular: firstly, you can use multiple 4×4 matrices, and secondly the math is messier with other sizes. With the 4×4 you can feed all the delays into all the other delays at unity gain, just flipping the polarity.

A 3×3 matrix gives you 27 distinct echoes out of 9 different delay lines.

A 4×4 matrix gives you 256 distinct echoes out of 16 different delay lines, only 7 more, and the math is quite straightforward.

A 5×5 matrix, which I’ve been doing for all the kVerbs I’ve made, uses only 9 more delays to get 3125 distinct echoes… which is an impressive jump from 256, especially when you’re using the ability of a Householder matrix to feed back into the input again. That’ll quickly get you lots of echo density, though it’ll sound repetitive with smaller matrices like 3×3 or 4×4. 3125 with regen is a lot, though the math requires multiplications by -2 and 3.

A 6×6 matrix gives you 46,656 distinct echoes BEFORE regen. And all the math is either unity gain or times 2… which of course we know as BitShiftGain, a math operation that only changes the exponent and doesn’t alter the mantissa of the floating point number in any way (one of the secrets of the old Midiverb, which didn’t have floating point math capable of complicated multiplication).

VerbSixes comes with a built-in 6×6 matrix with a calibrated amount of regeneration, so it’s the most recent generation of Householder matrices, prepared to produce extremely lush fluid reverb, in spite of having no filtering or allpasses whatsoever. In fact it has no controls either: it gives exactly one RT60 no matter what the reverb is.

That’s because VerbSixes is also set up to demonstrate 5×5 reverbs. And 4×4. And 3×3… and ANY COMBINATION of those things.

So if you’re making a 4×4 matrix, generating variations on them with my program IntoTheMatrix, you can compare the results knowing they’re going to be consistent. They’re also pretty consistent with the other matrix sizes (to the best of my ability) and a full range of delay lengths (smaller spaces will tend to get louder). It’s a reference reverb maker, running all wet, and you can put it on an aux or just wallow in depth, and if you can get the VerbSixes code to compile and also run IntoTheMatrix, you can generate anything and try it.

Or you can use it just as a plugin, which is a 6×6 giant hall… times an entirely separate 4×4 matrix, so call it 256 giant halls laid end to end.

Just short of 12 MILLION echoes, even without regen. And they both have regen.

I’ll give you more reverbs based on this technique, but enjoy the new bigger-than-Cosmos space :)

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.

Mastering2

TL;DW: Mastering2 is Airwindows style, and can do elliptical EQ now!

Mastering2 in Airwindows Consolidated under ‘Subtlety’ (CLAP, AU, VST3, LV2)
Mastering2.zip (609k) standalone(AU, VST2)

This update to Mastering adds the control at the top, which is elliptical EQ, and defaults to zero like Glue does. Not hard to explain: it cuts bass in the side channel, as if you were mastering a vinyl record, though this has uses in nearly any stereo environment. Below a sufficiently low frequency, stereo bass becomes meaningless if it’s stereo enough. Purely out of phase stuff will cancel out.

High time I put it out: been working on the reverbs so much that I have to dig into the backlog for a proper plugin. It’s also funny that the addition of Sidepass makes yet another control where it’s quite hard to hear what it’s doing. Mastering in general is a plugin all about doing little subtle hard-to-hear corrections, or dialing things in using Airwindows Meter. For instance, if you see red spikes on the slew section of Meter, Glue on this will let you control those without damaging apparent high-end. Scope lets you boost or ease back on detail again without apparently changing ‘treble’, and Girth enhances or eases back sub hugeness without apparently changing ‘bass’ that much.

Then there’s Drive which really doesn’t act much like a saturation because it is really Airwindows Zoom, except in a multi-band version that applies to the ‘EQ bands’, except they’re actually Kalman filters. And of course there’s dither, but it’s for modern formats so it is all to 24 bit. To the extent you can even register that, it goes in rough order of ‘how much excitement and brightness and focus there is’, up to Bypass which lets full floating point audio pass.

You should probably run this in conjunction with Airwindows Meter, because it’s all about massaging peak energy and ‘invisible transients’ to shape them exactly the way you want. My idea there was to be able to maximize that type of ‘invisible’ audio for the greatest possible effect, and I use Meter to observe what’s happening rather than just trying to vibe it. The hope is, tuning that stuff just right, produces audio that immediately sounds correct, whether the obvious parts are loud or soft, bright or dark. It’s not a replacement for remixing: I don’t consider mastering to be doing the same things as mixing but differently. Mastering should be tailoring the spell cast by the mixer, and that’s what Mastering2 is all about.

Won’t work for everybody, but for those who appreciate this plugin, having an invisible elliptical filter in there is probably a great upgrade. It all runs on the 64-bit dithered-to-32 floating point buss, so that’s one more area you can dial in to be just right, within the plugin’s processing. It ought to interact with Girth very nicely.

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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