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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.

CabSVT

CabSVT is a monster plugin. It runs off convolution impulses, so it expects you to be running at 44.1K (mind you, it’ll still work whatever sampling rate you have, it’ll just be pitched up) and it applies a bass guitar cab impulse to your tone. It does it in an extremely peculiar way, even for Airwindows. You might like the sound you get: I hope so, as it’s pretty unmaintainable. CabSVT is free.

It takes a big long sample buffer and begins adding sample positions, as if randomly. Then divides the result, and begins adding in more samples. The result being, you get the effect of a giant convolution impulse, but with a fraction of the processing. It all sort of blends together, and gives a solidity to the sound not often found in convolved audio (which usually gets sort of washed out, to my ear).

There’s a wattage control that’s basically overdrive of a sort, a closemiking control that weights the internal calculations, DI versus Cab controls… basically, it’s free, play with it. It’s like a convolution impulse of a bass cab, except it’s implemented really strangely and the tone is pretty huge. Have fun!

CabSVT declares three samples of latency.

SampleDelay

SampleDelay is the only sample delay with negative delay, allowing you to nudge things slightly ahead of the beat, as well as behind! It’s free from Airwindows, and also includes sub-sample interpolation so you can nudge things even more subtly.

Yes, it’s really negative delay, but it’s done by a trick: unlike many Airwindows plugins, this one declares a bunch of latency. That’s how it works: tell the DAW there’s a bunch of latency and then delay up to twice as much as it declared. That way you can delay, or anti-delay by not delaying as much as that, or claim there’s a bunch of latency and then not delay at all, causing the track to play ‘in the future!’

Or you could slide it in the arrange window. It’s just hard to slide a track by half a sample in the arrange window, hence this utility plugin freebie.

SampleDelay declares 1024 samples of latency, so I don’t recommend tracking through it. It’s a mixing tool only.

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 :)

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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.