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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.

High Impact

HighImpact answers the question: can you be distorted/slammed and thin at the same time?

This plugin combines two kinds of saturation curve, one that’s a distortion and another that’s the opposite. As you increase the slider, the top of the dynamic curve gets more distorted and punchy, but the quiet parts of the sound don’t come up as they’d otherwise do.

The result is like a gatey overdrive. It lets you dial in the amount of lean, gutsy punch you want, and it adds impact and aggression without increasing fatness or fullness. It’s not just things like drums that work with this, basses and guitars and pretty much anything can be made shockingly aggressive with High Impact.

It’s an unnatural waveform-transformation, so be cautious if you want natural results. Also, since it’s distorting the transfer function in a special way, High Impact isn’t super compatible with phase rotation, like on FM radio. On the other hand, the dynamics it produces will survive phase rotation just fine, it’ll just alter the tone making it a bit grungier but just as punchy dynamically.

If you know that ‘fatter isn’t always better’, High Impact is for you.

Lowpass

Lowpass is another strange early Airwindows creation!

The top slider is just a frequency control for a one-pole interleaved lowpass, the range covering the full range of sound from silence to Nyquist.

The bottom slider’s the one that gets weird. It adjusts between soft and hard, with the middle position being ‘normal lowpass’.

Soft means, louder sounds will push the lowpass frequency lower. That makes transient attacks sort of get covered up. The body of the sound gives one tone, but then all the dynamics go more muted.

Hard is the opposite: the body of the sound has one texture, but impacts go a little brighter. It’s more punchy, against a muted background, with transients sticking out a bit more.

I’m not sure how often people need a simple one-pole IIR lowpass. That’s an awfully basic sort of filter, and it’s not like it’s steep or anything. Its highpass counterpart is perhaps more obviously useful. But if you do use this sort of lowpass, now you’ve got one that has texture control :)

ChannelEQ

ChannelEQ is an early four-band fixed-frequency EQ. It uses pretty normal EQ code—okay, I lied, it’s not really very normal at all.

The basic EQ code isn’t that unusual, but it’s two separate EQs interleaved (a common Airwindows trick). The bands are built up in such a way that if it’s zeroed out, it’s passing unaltered data. Then, the bands are doctored so that boosts are also offsetting that band a tiny bit ahead in time, in an attempt to make it stand out or recede back. Finally the bands are recombined, the output value produced by the interplay between the two interleaved EQs.

Because even in 2007, Airwindows code was downright weird!

ChannelEQ’s designed to work at 44.1K, like the early convolution-based plugins, and it is free. It runs three samples of latency.

Gate

Gate is a simple little utility plugin from early Airwindows. It’s the first Airwindows gate to use a technique from Density, where the gate transitions to silence through a ‘negative saturation’ stage. This causes sounds hit by the gate to sound like they’re pulling back spatially as well as going silent, something that is still unique to Airwindows to this day.

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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.