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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.

Energy2

TL;DW: Energy2 is electrifying fixed-frequency treble boosts for high sample rate.

Energy2.zip(642k)

Folks who aren’t Airwindows fans from way back might not know what this is. My video demonstrates a lot of it, but let me try to sum up…

Energy2 is energy boosts. Mostly treble, but you can also bring out aggression in the high-mids. These are NOT done through usual means. They’re a weird little algorithm that’s tied to the sample rate, and the big deal with Energy2 as an update is that it’s using my undersampling (which I just recently improved) to function as intended at high sample rates: it’s also more CPU-efficient than the original, but otherwise it’s the same (the original Energy might still be preferable for some, for instance if you absolutely must work at 48k and find it works better for you than Energy2 at that rate).

When I say energy boosts, what I mean is: this is not a normal EQ. You could not make the Energy2 sound happen by mimicking the frequency curve using a pile of biquad filters, or worse yet phase accurate EQ. It’s an entirely different algorithm, and this is what you get. Energy2 has enormous edge and focus around attack transients, not smearing them with pre-ring or high-Q traditional filtering, even though it produces very steep curves and isolates specific tones. Energy2 also has a definite color in how it adds frequencies: if you’re boosting upper mids with one of the lower sliders, you also get a bunch of highs along with it. Part of the sound. Probably shouldn’t struggle to remove those overtones too hard.

You can combine the sliders in weird ways to get very striking tone colors, but I think Energy2 is at its best when you focus on one color at a time, perhaps with a little of another color added or subtracted (less than zero means taking that tone color out: but remember, this is Energy2, it’s never completely tame or predictable). The breakthrough with Energy2 is that it’s designed to run at elevated sample rates, undersamples its boosts, but unlike the original Energy, it mixes that with a NON-undersampled Dry to get best of both worlds: the exact tone colors it ought to have, but against an unaltered, hi-res background. Since Energy’s generally able to get obnoxious levels of boost, the thing to do is get sounds where at least one slider is cranked out as far as it’ll go, and then use Inv/Dry/Wet to use only as much of that added energy as you need.

You get high and upper mid boosts, all the way up into the highest of air bands, that are more like they’re part of the original sound and not even added using EQ at all… but complete control over how much of that is added to the fully high-resolution sound at elevated sample rates. (and at CD rates, it works just like the original Energy, but with the CPU enhancement from not processing unused bands, plus the Inv/Dry/Wet is run at a higher word length than before, and uses modern Airwindows dithering to the floating point buss: that’s how old the original Energy was)

If I make a special Airwindows 96k mixing kit, like Starter Kit but more for experts adopting my mixing system rather than beginners, Energy2 almost defines what that would be like. It’s a very strong way to get a more Airwindows-y sound. (It’s also a nifty sort of anti-Soothe: nothing will pop out vibey overtones, intensity, and sonority like this plugin)

Hope ya like it. It’s one of the special ones. :)

download 64 Bit Windows VSTs.zip
download Signed M1/Intel Mac AUs.dmg
download Signed M1/Intel Mac VSTs.dmg
download LinuxVSTs.zip
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.

Chamber

TL;DW: Chamber is a feedforward reverb based on the golden ratio.

Chamber.zip(622k)

I actually meant to do something completely different. Honest.

It was time to dig into the feedforward reverbs again, maybe rearrange them in some interesting way. Do something with the geometry of them, have them go two-into-three-into-four or something along those lines, and we were hanging out in the Monday coding livestream, starting to experiment… and one of my crew tossed out a sequence of numbers. Fibonacci numbers. Could we hear what those sounded like as delay constants?

Wasn’t bad. Chat got buried in Fibonacci numbers for a while: we are always enthusiastic at finding weird applications of things that shouldn’t be any use. After all, to get reverb tails to become seamless, the delay constants have to be set up properly. Prime numbers are key. Fibonacci sequences have nothing to do with this. And then, someone in chat observed… as the Fibonacci numbers get bigger they start approximating to the golden ratio.

Yoicks, scooby! We’d better try it! AND THEN…

Chamber is a feedforward reverb, using three banks of four delays each in a Householder feedback matrix, except it’s feedforward. Only the very end feeds back into the beginning again, just like Verbity, just like Galactic (it is dual-mono like Verbity, as its peculiar merits fit well with a dual-mono arrangement). And the delays go to a longest delay (maximum delay size) and each one in turn, back to the first, is exactly the golden ratio smaller than the previous. It’s like a big spiral of delay times, perfect to lots of decimal places. If you listen to just one instance of each delay (by turning Longness to zero, and Chamber lets you HAVE literally zero feedback), that’s a weird stuttery slapback. By itself, an arbitrary little chirp, a complicated slapback that doesn’t sound particularly interesting.

And then if you turn the feedback up, with Longness, it stretches out into a continuous, seamless, perfect reverb tail, just as if all the delay times had been worked out to be perfect little prime ratios.

This was an astounding discovery. It means you can dial in any degree of feedback or none, use any delay time (everything’s calculated out on the fly), do anything with it and it’ll adapt. It’ll always sound like a chamber, hence the name, but it’s maybe more malleable than any reverb I’ve ever made. And to make it even more malleable, Chamber’s Darkness control is tweaked so that the fall-off over time is always accurate to the sound of audio decaying in air in a theoretically ultimate room (studied from recordings of giant underground concrete cisterns) but the tone-shaping is darkened using very warm, basic IIR filters. And on top of that, a new control for the feedforward reverbs: since Chamber is such a studio tool, I gave it a highpass. So you can plunk it on any sort of buss or channel, run it mostly dry, bring in the reverb (Chamber and Verbity are designed so as you add verb, the dry remains unaltered until you get to 0.5 on the Wetness control, at which point the verb is at full volume and you start fading the dry signal) and then begin dialing back the bassiness of the reverb without touching the dry. Very useful for a chamber or plate send, and built right in!

Hope you like it. Oh, and one more thing: in working on this, I found a bug that was in the Undersampling code I use. The bug was making a bit of unwanted edge, only in high sample rate stuff, only above 20kHz. I’d had someone discover this in Verbity, but I didn’t know what to do other than filter it at the time, and hadn’t done anything yet.

So now (as of right now: redownload what you need) Verbity, Galactic, IronOxideClassic2, and Chamber are FIXED. Go back and redownload them, or get them out of the collections for various different platforms. They have all had the ultrasonic noise cleaned up: there is still a touch of audio there as part of the algorithm, but it turns out it’s much less than I thought and that’s reflected in cleaner sound. It should not change saved mixes significantly as it is entirely supersonic, but if it did it would only help as the traces of noise weren’t useful for any purpose, they were a bug, samples being slightly out of order at 96 and 192k. No change at 44.1 or 48k.

Chamber actually goes a step farther, in that I added more code that subtly averages the supersonic samples… that can apply to new plugins going forward, but Verbity, Galactic, and IronOxideClassic2 don’t have that as it could work like a tone change. So, compare the new Verbity to Chamber if you’d like to check out the tiny amount of added depth we’ll have going forward.

Hope you like Chamber. Just a bit of a detour after all those strange filters :)

(original version before fixing denormalization, ChamberFirst.zip(622k))

download 64 Bit Windows VSTs.zip
download Signed M1/Intel Mac AUs.dmg
download Signed M1/Intel Mac VSTs.dmg
download LinuxVSTs.zip
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.

XRegion

TL;DW: XRegion is distorted staggered bandpasses, for extreme soundmangling.

XRegion.zip(618k)

XNotch too normal for you? HERE YA GO :D

XRegion is made out of bandpasses, like XBandpass, and if you keep the First and Last controls set the same it does act like an increasingly manic bandpass.

But, if they’re set differently and the Nuke control is up (engaging more poles of filtering) here’s what happens: first we go into the First bandpass, distorting before we filter (turns out if we make these filters glitch out the result is just too predictable) and then we go through each successive bandpass (up to five) each of which goes a step farther towards the frequency setting that’s in Last. We’re covering a region, we’re spreading the response out.

But we’re also distorting, each time.

So, if First is a higher frequency than Last, we get progressively lower pitched bandpasses and a sort of thick, roaring, dense tone. But if Last is a higher pitch than First… we’re starting with a bassy distort, and then filtering out the SOUND and keeping only the DISTORTIONS. Oh, and the farther apart you spread the controls the more gain it uses.

So basically this is raw industrial mayhem. It’s so bonkers you can use it inside uLaw and the result won’t even be crazier. In theory you can use this to get a really intense bandpass effect, for instance distorting a snare or something, and carefully control the gain and ‘Nuke’ (less of that means less bandpasses, and it won’t go all the way towards ‘Last’ anymore). But you can also just go nuts with it for some filter-sweepy, very distorted effects that won’t be like anything you’ve heard. I suspect the ‘nice’ uses of this will be much more limited, though in theory it should be as good at those as XBandpass is (to get a nice smooth distort, don’t spread First and Last too wide, or set them too high or too low, and balance the result with Dry/Wet)

There are a lot of people who won’t need this… at ALL. For those who do… hope you like it :)

download 64 Bit Windows VSTs.zip
download Signed M1/Intel Mac AUs.dmg
download Signed M1/Intel Mac VSTs.dmg
download LinuxVSTs.zip
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.

XNotch

TL;DW: XNotch is a distorted digital EQ, inspired by retro sampler DSP.

XNotch.zip(613k)

This is a little different from some of the X series filters. I was asked whether I could do a notch filter like the other stuff I’d been doing: all these filters with Nuke controls that do crazy things when you distort them.

This is not quite like that.

XNotch is the same topology: biquad filters, with distortion stages in there. But instead of distorting inside the filter for crazy behavior and weird noises, this one distorts BETWEEN stages of filtering and that makes it act much more normal. So… why would I include it in the weird-zone with stuff like XHighpass?

Because the combination of those things and the dry/wet control makes it INCREDIBLY useful.

What you do is, for a sound source (for instance a kick drum mic), you dial in a notch where you want it. As you add input drive, or increase Nuke, the saturation will get more and more intense, but only apply to the stuff outside the notch. You can thicken up percussive sounds very well this way, or take drum overheads and focus on the treble sparkle by notching out midrange, or sweep it around for a phasey effect (this plugin is unusually well-behaved for automation, for some reason the notch biquad takes modulation better than usual) and then bring in dry to balance the intensity of the effect.

But if you’re using it to thicken up sounds, you can continue to push the saturation or Nuke while you’re doing that, which means you’re contouring both the tone and the compression of just the stuff you’re trying to enhance, and balancing it against a dry signal that’s effectively uncompressed/unsaturated. The real reason I knew I had to put this out just as it was, is because it became easy to just dial this stuff in, with very few controls, and no fuss.

It doesn’t do crazy things (unless you count allowing for heavy distortion) but the thing it does, is a thing I’ve been needing. I think it might replace Console7Cascade for some of my drum tracks, just because it can saturate and also notch, which will give me a way broader spectrum of available, useful tones.

And now you’ve got that, too :)

The plugin zip at the top has the older Mac builds and the Win32 in a ‘Retro’ folder, as before, and the signed Mac AU and VST in a .dmg file. And here’s the downloads of all plugins, by platform type.

download 64 Bit Windows VSTs.zip
download Signed M1/Intel Mac AUs.dmg
download Signed M1/Intel Mac VSTs.dmg
download LinuxVSTs.zip
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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