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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.

Density2

TL;DW: Density2 is a different color for Density, some old code I had that people wanted.

Density2.zip(355k)

So in the absence of somebody coming forth and saying ‘this is on my quadrillion selling hit record’… weirder things have happened, occasionally to me… you should consider this as an alternate tone for Density. It’s been around for a while, but people wanted to see it again: specifically, to see it run on modern machines and in VST and so on. How could I say no? I’ve altered it as little as possible: there were always some weird things about it, but I refactored it to retain EVERYTHING unintentional or unusual. I gave it modern Airwindows handling of denormalized numbers, and it dithers to floating point instead of using the noise shaping to floating point that I used back then. Everything else is just as it was: no ‘fixing’ or making it do what I ‘meant to do’.

The old AU version is downloadable from the link at the earlier Density2 listing: both use the same ID so you’d have to swap them out if you want to compare. I think you’ll find the sound is the same, maybe a tiny bit less plastic and fake with the new one (the noise shaping to floating point I did back then, didn’t work either), and more of the tone people were looking for out of it. One never wants to change anything people were fond of, so I haven’t.

Next step is getting all of these to compile on a M1 Mac computer, and putting out an alternate AU version for a new generation. Doing that will NOT fix the issue with Logic not working the sliders correctly: turns out that’s a Logic bug and I can’t fix it directly. But if I begin putting out my entire 200+ plugin library on M1, much like I recoded everything for 64-bit support for Apple back in the day, then maybe the Logic team will fix their bugs.

If not, it will all run natively on Reaper without any problems at all, while waiting for the Logic bugs to get fixed. Which will probably happen, if people ask them to fix it :) the real question is, how fast, and can I have M1 builds of all the plugins made before Apple makes them usable in current Logic? Place your bets!

Brought to you by the Airwindows Patreon, which will unlock Hardware Synth Building DIY when I hit $2000 a month, at which point I start sending people electronic parts free so long as I’m above the threshold :)

LRFlipTimer

TL;DW: LRFlipTimer is a utility that swaps Left with Right every few (1-10) minutes.

LRFlipTimer.zip(327k)

While I’m working on the Big Sur issues and getting my studio back together for streaming… and measuring the Mackie 1202 I got, and putting another De Lisle Pentatone in another guitar and making a plugin of it and etc etc etc… hey why not, here’s a utility plugin.

I don’t know how useful this’ll be for you: a person asked me for it, and I was able to do it. This just does one thing.

Every few minutes (as in, one minute to ten minutes) it swaps the L and R channels. It sweeps them across in about a tenth of a second, to prevent any sort of pop or anything. When it’s in LR or RL mode, it is 100% direct pass-through of the audio data word, so this is as clean as stuff like LeftToMono: it’s one of those ones that just copies the data over, not even touching it. That said, this doesn’t belong in your mix: the idea is that if you’re mixing and you do stuff asymmetrically, it’s like visual arts: you might need to flip the canvas left-to-right to see if things are off balance. That’s all this plugin does. You set how many minutes will elapse before it flips or re-flips.

Again, I don’t know if this is gonna set your world on fire, but somebody asked. And it’s a nice break from all the intense struggling with setting up a machine to run Big Sur and all. I’ll let you know when that develops further. See some of you folks on Monday for my coding stream! And I’m actively working on being able to resume the music-making streams in a way that’s comfortable to do, and will give me novel music to use for each plugin posting. It seems like that ought to be possible, I just overcomplicate everything. More later :)

Brought to you by the Airwindows Patreon, which will unlock Hardware Synth Building DIY when I hit $2000 a month, at which point I start sending people electronic parts free so long as I’m above the threshold :)

Preponderant

TL;DW: Preponderant is Airwindows Anti-Soothe, a strange tone intensifier and balancer.

Preponderant.zip(377k)

Sometimes, it’s just… strange.

Preponderant was created in an attempt to combine the old ResEQ concept with Soothe, in such a way that it’d give you three tightly controlled bands of emphasis (one thing Airwindows is all about is maximizing resonant sonority and intensity, not blindly removing it) and then also balance them on the fly so that all the bands would tend to be constantly active. This would bring up the high band, for instance, giving that ‘hyping of detail’ effect. In theory, it’d work.

And maybe it does. But I don’t blame you if this one just drives you crazy and makes you mad. I had to scramble to get rid of an extra 24 dB of gain on tap for each band because when I started making the video, the plugin went insane and started blowing up: I thought I could let it throw in extra energy but I was sorely mistaken. One hasty bugfix later, we have… something? We have Preponderant. There is thankfully nothing else like it anywhere :D

Turn up Resonance and Wet to hear what it’s focussing on. Use the Narrow, Medium and Wide controls to dial in frequency bands: each is twice as wide as the previous, so using Narrow will give you the tightest focus on a frequency range. Set ’em to areas in your sound (middle is the midrange). Preponderant is named because it can be tuned between areas of preponderant energy, and areas of power or areas of no energy, and it’ll compensate to give about the same output for each band you select, no matter how much energy is ‘supposed’ to be there. It’ll boost quietness, suppress intense resonant areas that are much louder than they should be, or you can simply tune to a different frequency range and avoid the resonant stuff.

Also, it’s not a compressor. In no sense is it turning down louder stuff, or up quieter stuff. If you put it on drums you’ll scream in horror (unless you know exactly what you’re doing and have other drums to fill in a more continuous sonic flow). It’s rapidly balancing the bands while keeping the dynamics just as they are. Might be good on spot mics, toms or kick or something. Horrible on room mics or overall mics. Good on heavy guitar stems as it’ll retain dynamics there. It will be immediately obvious whether Preponderant is working on a track or stem.

You HAVE to pick real audio for every band, or it will just make some up. Subsonics on a skinny guitar? It’ll turn down the other bands until it thinks they balance with whatever subsonics you selected. By the same token, ice-pick zone on the same guitar? It’ll make it balance with the other bands you chose.

This will sound terrible. So, turn down the resonance until the sound is less insanely resonant. It’ll still sound terrible. Turn the dry/wet right back to dry (which will probably sound real boxy and dull by comparison).

Then, feed in a little of the Preponderant, just until you start to hear it accentuate the stuff that you chose.

THERE you go.

Preponderant is one of those Airwindows audio chainsaws. The final version (without the 24 dB boosts) is intentionally made to just cut and restrict stuff, explicitly so if you don’t know what you’re doing you’ll hate it and not use it. This is intentional as you could hurt your mix, your ears, and your sensibilities.

On the other hand, if you know how to dial in areas of power and focus and find three things about a sound that are useful in the fray of a mix, I’m not sure I’ve ever made a plugin that will so aggressively give you what you ask it for. (and if that’s not enough, a few of you will want to use the original version. I’m not going to encourage this, and you must choose: that or the real, volume-cutting version. They install with the same name and the same ID so you can’t have both, and shouldn’t have the boosty version, ever. But if you want to blow up your mix, then YES, you may. The rest of you, and me, please work with the one that doesn’t boost?)

Have fun and be careful out there! Brought to you by the Airwindows Patreon :)

Infinity

TL;DW: Infinity is a MatrixVerb specifically designed to sustain and layer sounds forever.

Infinity.zip(383k)

Here’s a follow-up to what I’ve been doing with Householder reverbs, and my recent plugins MatrixVerb (for flexibility) and Reverb (optimized for size variation only). The algorithm I’m using has one more specialty: infinity! The way it works, if you do nothing else except feed it back on itself, it will sustain infinitely: that’s its basic, natural state.

And so I did. :)

Of course that’s too simple: there’s a filter (not in the feedback path) that will let you sweep its frequencies in and out, from deep space to bright and unnatural textures. There’s a size control that will let you resize the space from gong-like tones to the depths of galaxies… and a damping control that does NOT make the reverberations die away. Instead, it just applies a subtle darkening, useful if you’re looking for darker spaces.

More importantly, Infinity is tailored to handle anything from subtle noises to the full blast of a mix: if you saturate it and keep adding sound, what’ll happen is that it’ll begin to squeeze out earlier infinity to make room for what’s coming in. That way, the maximum level will stay under control, but it’ll also tend to emphasize the most recent thing you did (as long as it’s loud). If you’re not adding loud things, you’ll continue to build up the texture as you go.

It’s also a dual mono effect. What that means is, you’re adding things to infinitely sustain at distinct places in the stereo image. What’s on the left stays on the left, likewise with the right, centered stuff will stay centered. This is different from both MatrixVerb and Reverb, both of which will ‘spread’ centered information as the reverb continues. Infinity doesn’t have the stereo pitch shifting that would cause that to happen, because it’s entirely dedicated to providing pads and spaces that can literally sustain forever without change. So, it can also sustain a sound-space across the stereo field that doesn’t change the stereo mix, either. You can keep things mostly panned to the center, or put in super-wide stuff that’s fully L or R, or both.

My hope is that this is an inspiring tool for those who like making ambient spaces. You can combine it with MatrixVerb to have a distinct, unvarying source of infinite sound which is then broadened and made richer by the added options of MatrixVerb in a way you couldn’t do from MatrixVerb alone. Or, you can just use it as its own little instrument. Hope you like it!

I get paid to make these things full-time, every week, through being on Patreon. If you like that being part of your life, and sometimes you get a nice free plugin from me, you can join the Patreon provided you can afford to do it: otherwise, please let me give you plugins while you get into more of a position to give back. For now, things look good and I expect to even start my ‘DIY synth parts’ project before long. Then I’ll be able to give back in an even more exciting way than just making plugins every week. (but I’ll keep doing that as long as there are plugins to be made!)

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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.