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    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.


    TL;DW: TripleSpread is a stereo tripler with extra wideness and GlitchShifter processing.


    Here’s a fun little toy that might make it into the toolkits of some otherwise non-Airwindows types :)

    TripleSpread is based off the code of GlitchShifter, but it’s designed around one task, and that is the ‘split a track into three, pan one hard left and pitch it down a few cents, pan another hard right and pitch it up a few cents’. That’s what it does. It’s a tripler. Alternately, if you put it on a LR pair of instruments, it’ll double each of those instruments and stay very stereo. Or if you put it on an LCR submix, it can sound like about twelve instruments. That’s the specialty of TripleSpread: making a big wide stereo effect.

    Except that it adds a new twist: as you bring up dry/wet, introducing the effect and progressively overpowering ‘dry’ (where the mono signal might be) it also fades out the mid content of the added stereo stuff. So you get a hyper-wide. Specifically, you get a hyper-wide that seamlessly fades between your clean, direct sound (however many sources you have in it) and the expanded, widened sound (adding pitch-shifted elements that are wider than the stereo field). These can be subtly pitch shifted, or nearly a semitone out if you crank it.

    And if that’s not enough, it’s still Glitch Shifter based, so you can increase the tightness control until it glitches out or reverts to dry… or you can turn it way down, until the pitch shifted tripled voices hardly relate to the original sound at all. That might be cool for ambient pads, wide stereo synthetic things or what have you: it’ll add an unpredictable echoey effect that’s also pitch shifted. Tighten it up, and you control that vagueness as much as you like. Tighten it more, and you can tie it to whatever rhythmic element you like: it’s certainly capable of widening LCR guitars while keeping the ‘guitar orchestra’ effect relatively tight, or you can get silly and try it on percussive sounds as long as you’re OK with it either glitching, or blurring the timing.

    All this is supported by Patreon, as always. So if you’d go and buy this at $50 for a perpetual license to be used on as many computers as you like plus you get the source code (I know, I’m so STRICT, what a meanie I am) then by all means go and add $50 to your Patreon pledge. Or, if you had one going, and this justifies keeping it going for another year, woohoo!

    This is a fun one. Hope you like it. :)

    Circle Of Fifths Reference Wheels

    This post is something I’ve been promising: these are the chords I base my synthesizer music on. The idea is that I’m using Music Thing Modular Chord Organs, which I’ve hot-rodded, and I can apply control voltages to vary chords around any given location on this wheel. More randomness gives you more striking chord departures.

    Rotating around the wheel (for ALL examples) means stepping by circle of fifths. For the two most recent wheels, the top set of chords (outlined in black) is actually the white keys on the piano. For each chord represented, if you START with that chord and stay in that mode it will be the mode written next to the chord (for instance, if you’re playing C Major, you’re in Ionian mode, and if you’re playing G7 major 7th you’re in Mixolydian mode). For every step to the side out of that radial stack of chords, one note changes out of the mode you’re using. Step farther (around the circle) and you go to increasingly difficult modes.
    Diatonic Wheel
    This is the Diatonic Wheel. As you can see, it starts with a scale from A to G, on the white keys of the keyboard. The first release of Airwindows Chord Organ Firmware comes with a set of SD card files that work with this wheel. On the down side, it has the locrian mode (centered on B minor diminished fifth chord) right in between major and minor, so it can give you chord sequences that are a little mysterious.
    Pentatonic Wheel
    This is the Pentatonic Wheel. It’s exactly the same as the Diatonic wheel, except that I thought I’d see what happened if you went with only the pentatonic scale and stuck the two remaining notes in as afterthoughts. This one places minor, major, and dorian minor next to each other! It should produce more consistent chordal centers with a more defined ‘feel’ than the purely diatonic arrangement. If you offset the chord choice way into the center of the wheel, you’ll be choosing among phrygian minors flat ninths, mixolydian sevenths, locrian diminished fifths and lydian add11s so there’s a big character difference between the edge of the wheel and the center of it. There’s a certain logic to the arrangement, and I think functionally it’ll just work better. If you’re randomly generating a melody, you can leave the melody chord organ set to purely a diatonic scale and it’ll still work fine (melody generation implies you’re adding an independent control voltage to one of the oscillators, rather than using the same one that’s selecting chords/basses for everything else).

    For further reference listen to some of the house music jams I’ve been doing for the last few years. That’s been the test bed for all this.

    Click on the images to get larger images that you can save or print out. You can probably print these okay, and they’re easier to read if you can rotate the paper they’re on :)


    TL;DW: BiquadDouble is a handy Airwindows cascaded biquad filter: steeper roll-off before resonance.


    Here’s another utility plugin! Some weeks it’s nice to be boring (for those reading this in the future, check the date: these are regrettably ‘interesting times’ where I live, most likely historically so)

    So it’s a boring old biquad.

    Except, if you’re into the details of how stuff works, it’s not THAT boring. It’s two biquad filters stacked, which means you can get twice as much cutoff steepness before resonance. Since it’s Airwindows, you can have any possible resonance setting anyway, from ‘impossibly high’ to so wide that it’s basically full bandwidth. That interacts interestingly with the stacked filters: some of the weird effects with super-wide filters will act different here. On top of that, it’s two stacked filters inside an internal Console mixing system: so the tone of the filter itself is ‘expanded’ in a way not common to boring old biquad filters. And it’s the most efficient (but least cooperative) biquad, meaning that it runs and sounds great but doesn’t always cooperate with rapid automation, so that might get interesting if you’re not careful.

    Why do this at all?

    Because I sometimes like mocking up effects and plugins out of component parts. And if I was to use a stacked biquad filter as part of something else, it’s just more convenient to dial in the correct settings and get the tone exactly right: I could use two ‘Biquad’ instances, but remember that BiquadDouble stacks its filters INSIDE the Console processing, so it might not be as good to fake it, plus I’d have to set both the Biquad instances the same…

    The real answer is ‘because that’s how I roll’. Nobody asked for this. But maybe you reach for a biquad filter for simple tone shaping, and you keep trying to find a butter zone between too shallow, and too resonant. This might become your go-to basic filter. I can’t predict what will take off: for all I know, this is THE basic digital filter everyone’s been waiting for, the one that just sounds right for every purpose. Or not. But you can’t know until you try :)

    If I just made your silver bullet EQ (stranger things have happened) without even meaning to, by all means go to my Patreon and kick in an additional $50 a year. Or not, if you’d rather not. I never can tell what people will get super excited over, but the nice thing about relying on Patreon is that I don’t have to stick to only what I think will excite people or sell units. I can throw out a weird (or boring) experiment, that to me seems like no big deal, and if people love it then hey! It’s yours.

    Side note for coders: one of the reasons I’ve done BiquadDouble is to make it easy to add a stacked biquad of specific design to my, or your, code. So part of what this plugin is, is the code base on Github. It’s MIT license, you only have to credit Airwindows and you can use both my implementation and the Console code that wraps it. Might help you get a richer, deeper tone color than your plugin rivals :)


    TL;DW: GlitchShifter is a really gnarly, raw-sounding pitch shifter with a dose of insanity!


    And then some days it’s NOT BORING… :D

    This is one of the craziest secret weapons I’ve ever done. In fact, I’ve got plans for refining this one and making it do subtler things that are of use in pop mixing… but right now, this is Glitch Shifter! It is an audio monster, and it’s all yours.

    You can do equal-temperament pitch shifting, unquantized, or both. You can tell it to feed back, or keep it as a tightly tracked subtle dry/wet blend. But that’s just the start… that’s the top two sliders, the top one being Note (in semitones) and the bottom being trim (unquantized: if you’re on VST and can’t reset it to its default easily, be careful not to change it unless you want detuned effects). That gives you the base pitch shifting, like any pitch shifter plugin. Its tone comes from the algorithm: instead of smoothing the transitions, it always tries to find a spot where it can switch inside the position of its buffer in just a sample or two, seamlessly. That gives it a distinctive raw tone, less processed, but still essentially a pitch shifter plugin.

    Except this is NOT like other pitch shifter plugins, because it’s got that Tightness control, and that takes Glitch Shifter into full glitch in two different ways. If you’re trying to do a ‘nice’ pitch shift you’ll be wanting to tune this to your underlying track, but if you want to create sonic mayhem here is how you do it.

    Turning up Tightness all the way shortens the buffer zone in which the plugin finds its transitions. It makes the pitch shifted sound track the underlying sound more tightly… or MUCH more tightly… or so tightly that it glitches out and turns into a harsh de-rezzing bitscrunch sound, because the buffer’s not nearly long enough to contain a seamless loop of the underlying sound. Back off the Tightness, to get back to a ‘nice’ pitch shift, or turn it up for tightly tracked, robotic, nasty artifacts. All the way up and the pitch shifting is totally defeated.

    Turning DOWN Tightness has yet another effect. Since the larger buffer occupies more time, it’s easier and easier for the pitch shifter to find spots to seamlessly transition, so you can quickly get smooth legato effects without grind, and the lower the Tightness the smoother the pitch shift effect. Except, it’s not that simple. As the buffer size expands ever outward, the pitch shifter loses track of where it is. It decouples, unhooks from the underlying sound, and begins to delay and sample-chop the audio randomly. Not really randomly: it’s finding the most seamless transitions. But it starts acting like a granular effect… except it is NOT a granular effect, because those fade their grains in and out (typically) and GlitchShifter works entirely by splicing audio WITHOUT fades to smooth things. So when you drop Tightness super low, you get an uncontrollable pitch-delay thing going on. And then, if you add feedback, you’ve got many layers of stacked pitch-delay going on, unpredictably…

    But why tell you more? This is this week’s Airwindows plugin. Just like the boring old dithers, it is free for you to download and have (and even adapt to your own purposes under the MIT license, so long as you credit Airwindows). So I would say, time to go play! See what you get out of GlitchShifter, and if you would buy it for $50 for a perpetual forever license to use on any number of computers without limit, that also gives you the source code and lifetime support (mine, not yours! Once I’m pushing up electric daisies you’re on your own! ;) ) well then you can go to my Patreon and add $50 a year to whatever you’re giving, if anything. And in a year, you can see if I made another plugin you like :)

    BTW, if anyone wants to talk to me about ‘pay annually instead of monthly’, I’m seeing signs Patreon might start allowing that. I’ll tell you up front that it’s not set up in a ‘one-time’ way, though, it’s only replacing a monthly credit card hit with a yearly one, and I’m not sure that’s worth offering. Also, I’d have to turn on ‘hit your card immediately upon pledging’ and right now there’s no reason for me to ask that, so it just waits until the start of the month. Talk to me if you would like to see me turning on an ‘annual billing’ option. In the absence of ‘one time payment that runs for a year’ I’d rather not: recurring credit card stuff is worse not better if it’s annual, in my opinion. But anyway, first play with GlitchShifter and have some fun with it! That’s the important thing.

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