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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.

Desk

Desk was the precursor of algorithmic Airwindows console modeling. The techniques used in these plugins are still present in the current Desk, but back in the day there were three, not one.

Desk was the subtlest: slew limiting and saturation calibrated to be very, very subtle.

TransDesk had that plus a trace of TubeSag set in a high range, bringing out some edge and tizz to resemble an SSL desk.

TubeDesk had the most slew limiting and saturation, and also had TubeSag in a lower range.

Part of the concept of Desk was the use of no controls: they’re just blank, like ADClip or Righteous or Mudslide or ShortBuss. The idea was you just put ’em in and they’re part of the circuitry.

If you’d like the first Desk plugins, buy the current Desk and ask me for ’em in email. I’ll send them.

BussColors

BussColors was out in 2010. It’s based on console modeling plugins that were sold as the ‘Character bundle’ in 2007 (APIcolypse, Calibre, Cider, Elation, Logical, Luxor, Neverland, Precious). Airwindows has been developing virtual console modeling for quite a while, though it’s really the plugin-set Console itself that was the real breakthrough.

However, the ‘coloration’ side of things was there since 2007. BussColors consolidated these into four: Rock (the earliest Logical didn’t even really compress, it was a console-color effect!), Lush (Neverland), Punch (APIcolypse) and Tube (Luxor).

ShortBuss

ShortBuss was a very interesting experiment.

The idea was to build a mix buss that did not ‘slam’, but added fullness. This was done by measuring how much was being saturated in a very soft and gentle overdrive, saving that up, and applying it as second harmonic so the fullness wasn’t lost. There’s also acceleration limiting present, like you get in ToVinyl. Lastly, it was one of the first serious Airwindows ‘no controls’ plugins, long before Console or Mudslide existed.

This early, the technology wasn’t totally there. It misbehaves on some content, and the bass can get out of hand. But, years later, everything ShortBuss was trying to achieve came true—in the plugin Righteous.

If you’d like to play on the ShortBuss, buy Righteous and ask me for ShortBuss in email. I’ll send it to you.

NC-17

NC-17Demo is a universal binary Audio Unit plugin that takes the lead in the new breed of loudenator plugins typified by the Slate FG-X, but louder, more musically coherent, much less CPU hungry and at one-fifth the price. (yes, that’s going to be considered the bar: this copy was written at a time when I had a lot of Slate on the brain)

The main thing I wanted was this: the sound can’t just get disassociative, when it goes for stupid loud you have to both get the bass and also lock onto the lead vocal with ruthless clarity. It’s better to sound a little dirty than to sound a little dissipated. It’s better still to not abuse these tools in the first place… *shrug*

When the dust settled, NC-17 was up and running- named as a joke on FG-X and because what else would you name a plugin for making stuff obscenely loud?

It’s not got MORE bass than FG-X but the bass is quicker and more driving, rather than filling in after the kick- it’s not cleaner, but it’ll project the intensity of a lead vocal out to considerably hotter levels without losing focus. It’s more CPU-friendly. It’s surprisingly transparent for this type of loudenator, and it is one-fifth the price of its only rival.

Changes to version 2.0 were very interesting. The point was to include antialiasing, because it uses saturation processes, and that went great- textures got more analog in character, it hangs on to the underlying tonality more- but a lot of internal values had to change to adapt to the new mechanics, and the end result got tuned in to a noticably different sound.

That sound is rather interesting. It still has the ‘dirty’ quality of the original NC-17, but it does a new thing. It manages to put snare and kick hits on top of everything else, no matter HOW much gain you add- and the boost control allows for FOUR TIMES as much gain as before, 12 db more to be precise. Nothing else can do this. When you’re willing to wreck the sound with distortion, this is the only thing that will really keep the beat from submerging. No, you can’t have that and the beat and a ‘clean’ sound all at the same time. For clean sound, master less loud ;)

NC-17 is $50.

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If you’re pledging the equivalent of three or more plugins per year, I’ll happily link you on the sidebar, including a link to your music or project! Message me to ask.