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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.

Distance

Distance was designed to try and suppress highs in sound, as if the sound was coming from a great distance… BUT, not through just rolling off treble.

Through slew restricting. Not even equalization at all.

This is so unusual an approach that it won’t work on many sounds, not by itself. If you take something upfront and normal and try to make it ‘distant’ it just won’t work. The trick is to take something that’s meant to be distant, like a reverb return, and put Distance on that. Match what’s there with an appropriate Distance setting to put the finishing touches on the sound.

Ignore the ‘miles’ part, think of it as just a slider that can be adjusted to place a distant element in its correct depth. Distance can’t really impose upon a sound, a specific distance. What it CAN do is take a sound that’s meant to be coming from a distance, be it ever so far… and make that really convincing in a mix.

Peak Limiter

Peak Limiter is the first Airwindows loudness plugin, and has a number of unique features. While these days I encourage people to not limit or distort, and to use ADClip for the cleanest possible handling of overs, and to get NC-17 if you’re looking to just do silly loudness… there have been other approaches from Airwindows in the past.

Peak Limiter has three controls: boost amount, corner frequency and distortion.

Boost amount is obvious, offering 12 db of gain on tap. Corner Frequency isn’t at all obvious—what it’s doing is, sending a highpassed signal to the boost and the peak limiter, and then passing through what’s under the cutoff straight to the output. The idea was that you could push loudness while still having sine basses or something, and have them combine without distorting the bass. It sort of worked… and then Distortion is exactly what it would appear to be. Plus, it’s tracking overshoots and chasing them with a Chebyshev filter much like what NC-17 does.

The whole thing works like this: splitting of frequencies to clean up the bass, compression kicking in to handle the added gain, second harmonic added to supplement the lows: merge to an output, apply the soft-clipping of Distortion and then hard-clip after that just to be sure.

If you’d like a copy of Peak Limiter, buy one of the Airwindows loudenation plugins (NC-17 or ADClip, which clips much better than Peak Limiter ever will) and email me. I’ll send it.

TapeFat

TapeFat is a little plugin that just does one thing: it’s variations on the tone stack inside the first Iron Oxide, and is the same sort of thing you get in Tape Delay. Works similarly to BrightAmbience in that settings with fewer taps take less CPU and do less processing. It’s based on prime numbered delay taps, too. Weighting the delay taps that way creates an EQ curve that’s like a twisted version of a moving average, so it’s several different kinds of not technically correct!

Consider it a glimpse into the very earliest days of Airwindows, and a curious little tone shaper that may not be amazing but is at least pretty unique. It sounds better in a tape delay plugin’s regeneration path because successive instances combine well thanks to the prime numbered delay taps. It’s free to play with in case you’d like to build larger Tape Delays out of DAW routing paths.

Tape Delay

TapeDelayDemo is a delay AU universal binary plugin. The delay return has a Tape Fat stage in series with the feedback. Will do ANY analog echo sound, even the ‘wub wub wub’ feedback of a Memory Man, or bright echo effects. Dub madness!

Tape Fat was like a primitive, tone-only variant of Iron Oxide, so Tape Delay uses what you might call the ‘tone stack’ of the early Iron Oxide. It’s not very sophisticated, but it will do crazy things, or even strange glitchy things, and it’s still for sale if you’re down with setting things manually.

Tape Delay is $50.

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