Super-Herculean Effort!!
Adobe Audition 3.0.1
- Thread starter TMTGTR
- Start date
I'll be posting VST plugins that I use including some tips on application in Au.
Spectrum Analyzer VST by seven-phases
This is a Really Good Spectrum Analyzer that I found recently by "Accident"
Au's native analyzer(s) are Curve, Curve-Fill, Bars and Spectral. I prefer bar-graph type analyzers and I feel this one is superior to Au's.
And it's open source.
From the author(s):
''Seven Phases Spectrum Analyzer is a real-time spectrum analysis VST plugin. The idea was to create an
old-fashioned tool reminiscent of classic hardware analyzers of the earlier centuries. Unlike most of other
analyzers available these days, this plugin is not FFT-based but utilizes a filter-bank algorithms that mould its
unique pros and cons.''
This final release (v1.09-beta) was in 2015 the "Sweet Spot" for XP compliant VSTs IMO.
I don't know what happened to the development.
Arguably the best freeware Spectrum Analyzer ever...(?)
Homepage and Download:
https://sevenphases.wordpress.com/spectrum-analyzer/
More technical info:
https://github.com/seven-phases/spectrum-analyzer
Spectrum Analyzer VST by seven-phases
This is a Really Good Spectrum Analyzer that I found recently by "Accident"
Au's native analyzer(s) are Curve, Curve-Fill, Bars and Spectral. I prefer bar-graph type analyzers and I feel this one is superior to Au's.
And it's open source.
From the author(s):
''Seven Phases Spectrum Analyzer is a real-time spectrum analysis VST plugin. The idea was to create an
old-fashioned tool reminiscent of classic hardware analyzers of the earlier centuries. Unlike most of other
analyzers available these days, this plugin is not FFT-based but utilizes a filter-bank algorithms that mould its
unique pros and cons.''
This final release (v1.09-beta) was in 2015 the "Sweet Spot" for XP compliant VSTs IMO.
I don't know what happened to the development.
Arguably the best freeware Spectrum Analyzer ever...(?)
Homepage and Download:
https://sevenphases.wordpress.com/spectrum-analyzer/
More technical info:
https://github.com/seven-phases/spectrum-analyzer
Airwindows VST Plugins PART 1
I'm going to cover the Airwindows VST plugins that I have resident and have used. Following that I'll be posting applications with these (and other VSTs).
Some things to know about Airwindows plugins:
The reason I use this is because some VST parameters in Au will ''Jump'' past certain settings numbers and by wrapping the VST to DX you can key in exact parameters on the keyboard or use sliders precisely.
I use the wrapper primarily for Airwindows VST plugins….''
Please see this post:
https://www.xpforums.com/threads/adobe-audition-3-0-1.935642/post-3275545
BitShiftGain Perfect increase or decrease in gain with no artifacts, but only in 6dB increments.
https://www.airwindows.com/bitshiftgain/
Hermepass Though there are more innocuous ways to correct D.C. Offset, I use this (With DX Wrapper).
https://www.airwindows.com/hermepass/
Hermetrim Avery specific volume adjuster with separate left, right, mid, side, and master parameters +- 1.5 dB I use this (With DX Wrapper).
https://www.airwindows.com/hermetrim/
EveryTrim Same as above but +- 12 dB I use this (With DX Wrapper)..
https://www.airwindows.com/everytrim/
Purest Gain I’m not a fan of additive amplitude (Tracking to –2 dB is optimum for me), but sometimes you need to amplify… or bring volume down. This is a simpler version of the ‘’Trim’’ plugins above. I use this (With DX Wrapper).
https://www.airwindows.com/purestgain-vst/
PurestDualPan takes Purest Gain to the next step by adding panning functions. I don’t use it too much since I like to use the dSound plugin. (https://www.xpforums.com/threads/adobe-audition-3-0-1.935642/post-3275490)
https://www.airwindows.com/purestdualpan/
OneCornerClip Wow! I believe there are many applications for this. I mostly use it when I want to get rid of individual amplitude spikes that will cause clipping on the next inline plugin.
A cool thing about this is that it has separate controls for Positive and Negative thresholds. IOW if the spike is e.g. only going up (Positive) from center line, then I don’t have to compress the bottom (Negative).
https://www.airwindows.com/onecornerclip-vst/
Dark I go into much detail about this dither plugin here:
https://www.xpforums.com/threads/adobe-audition-3-0-1.935642/post-3275388
https://www.airwindows.com/dark-redux/
Monitoring3 A handy utility to have to listen to your mixes with alternative monitoring. For instance it will show subs or peaks with exaggerated amplitude. Mono mix, LR invert, and more. It also offers a unique dither combination, which I have not tired yet.
https://www.airwindows.com/monitoring3/
Cans & CansAW I listen to mixes on a multitude of sources including different speaker/headphones/earbuds.
cans and CansAW utilities emulate different real headphones and thus different EQ Curves. If I find an anomaly in a mix, I will see what it sounds like on different monitoring plugins before attacking in a re-mix. I use these with and without headphones.
https://www.airwindows.com/cans/
https://www.airwindows.com/cansaw/
ClipOnly2 I used this in the past when I needed to get a wav down to -.39 dB (Which is my preferred ceiling for masters). I use a different method now, but if I need to do it on a quick demo it’s there. ClipOnly3 is available too but it’s ceiling is -.79 dB. I’ll explain how I create mastering/maximizer ceilings in another posting following this one.
https://www.airwindows.com/cliponly2/
Next up I’ll dive into what I use for signal processing e.g. Compressors, Reverbs, Saturators etc.
Ultrasonic and Hypersonic filtering VSTs will get their own posting in addition to what was already mentioned previously.
I'm going to cover the Airwindows VST plugins that I have resident and have used. Following that I'll be posting applications with these (and other VSTs).
Some things to know about Airwindows plugins:
- Airwindows plugins are free. Supported by voluntary Patreon subscribers.
- Airwindows plugins come in many formats. I recall reading somewhere that Chris Johnson the plugin creator works in Mac and his brother is the specialist whom ports to Windows, Linux, Mac Intel, Mac AU, Pi and more.
- Airwindows plugins process in ''Double Precision'' IOW 64bit float word length and up to 192 kHz sample rates.
- In 32bit DAWs Airwindows plugins use a dither algorithm when reducing word length from 64 to 32bit. (To my ears this is inaudible, even cumulatively, I presume that it adds to the audible quality though; these plugins sound nice!). https://www.airwindows.com/ditherfloat/
- Do not download Airwindows plugins individually! Download the complete zip file since these contain the most updated versions and the individual files are often-times older.
- Airwindows plugins are GUI-less. So the plugin controls will be very basic.
- Airwindows plugins do not come with presets.
- In (My Adobe Au installation) Airwindows plugins will skip parameters so I incorporate a workaround:
The reason I use this is because some VST parameters in Au will ''Jump'' past certain settings numbers and by wrapping the VST to DX you can key in exact parameters on the keyboard or use sliders precisely.
I use the wrapper primarily for Airwindows VST plugins….''
Please see this post:
https://www.xpforums.com/threads/adobe-audition-3-0-1.935642/post-3275545
- The sheer number of plugins available can be overwhelming (Over 500 to date and about 50 a year are released). I have been following Airwindows plugins since 2019 and the 20+ plugins I will be listing is a good start IMO (I’ve experimented with many, many more). My descriptions are very basic and I recommend you go to the plugin’s page at https://www.airwindows.com -> At the top there are links to VSTs https://www.airwindows.com/vsts/ and Tags https://www.airwindows.com/tags/ , they are short but important reads. next put plugin’s name in the search bar and read the author’s description, watch the video, read any posted comments, then go to gearspace.com and search the forum thread (Tip: Copy/paste the first full sentence on the Airwindows plugin page {Starting with: TL;DW:} to get right where you need using gearspace search)
- Airwindows plugins parameters are sometimes labeled with very unique names which require you read the web page descriptions and/or look up the forum discussion on gearspace.com of the particular plugin; gearspace is where Chris Johnson does light support.
- As I stated before ‘’… They are either unique or in my opinion compatible or superior to commercial alternatives.’’
BitShiftGain Perfect increase or decrease in gain with no artifacts, but only in 6dB increments.
https://www.airwindows.com/bitshiftgain/
Hermepass Though there are more innocuous ways to correct D.C. Offset, I use this (With DX Wrapper).
https://www.airwindows.com/hermepass/
Hermetrim Avery specific volume adjuster with separate left, right, mid, side, and master parameters +- 1.5 dB I use this (With DX Wrapper).
https://www.airwindows.com/hermetrim/
EveryTrim Same as above but +- 12 dB I use this (With DX Wrapper)..
https://www.airwindows.com/everytrim/
Purest Gain I’m not a fan of additive amplitude (Tracking to –2 dB is optimum for me), but sometimes you need to amplify… or bring volume down. This is a simpler version of the ‘’Trim’’ plugins above. I use this (With DX Wrapper).
https://www.airwindows.com/purestgain-vst/
PurestDualPan takes Purest Gain to the next step by adding panning functions. I don’t use it too much since I like to use the dSound plugin. (https://www.xpforums.com/threads/adobe-audition-3-0-1.935642/post-3275490)
https://www.airwindows.com/purestdualpan/
OneCornerClip Wow! I believe there are many applications for this. I mostly use it when I want to get rid of individual amplitude spikes that will cause clipping on the next inline plugin.
A cool thing about this is that it has separate controls for Positive and Negative thresholds. IOW if the spike is e.g. only going up (Positive) from center line, then I don’t have to compress the bottom (Negative).
https://www.airwindows.com/onecornerclip-vst/
Dark I go into much detail about this dither plugin here:
https://www.xpforums.com/threads/adobe-audition-3-0-1.935642/post-3275388
https://www.airwindows.com/dark-redux/
Monitoring3 A handy utility to have to listen to your mixes with alternative monitoring. For instance it will show subs or peaks with exaggerated amplitude. Mono mix, LR invert, and more. It also offers a unique dither combination, which I have not tired yet.
https://www.airwindows.com/monitoring3/
Cans & CansAW I listen to mixes on a multitude of sources including different speaker/headphones/earbuds.
cans and CansAW utilities emulate different real headphones and thus different EQ Curves. If I find an anomaly in a mix, I will see what it sounds like on different monitoring plugins before attacking in a re-mix. I use these with and without headphones.
https://www.airwindows.com/cans/
https://www.airwindows.com/cansaw/
ClipOnly2 I used this in the past when I needed to get a wav down to -.39 dB (Which is my preferred ceiling for masters). I use a different method now, but if I need to do it on a quick demo it’s there. ClipOnly3 is available too but it’s ceiling is -.79 dB. I’ll explain how I create mastering/maximizer ceilings in another posting following this one.
https://www.airwindows.com/cliponly2/
Next up I’ll dive into what I use for signal processing e.g. Compressors, Reverbs, Saturators etc.
Ultrasonic and Hypersonic filtering VSTs will get their own posting in addition to what was already mentioned previously.
4 Band Crossover Tool in Adobe 3.0.1
Before I go on to Airwindows plugins Pt II, I want to highlight a very powerful tool in Au that can be applied in a non-typical way.
Au comes bundled with a multiband compressor which is developed by iZotope(+).
Internet comments/Au Manual will explain using the multiband compressor as a compressor/limiter. But there is another way to use this plugin: as a 4 band crossover; because it has bypass and solo options for every band allowing you to isolate individual bands for processing! I find most third party free VST/DX multiband compressors do not offer these essential bypass and solo options.
Doing searches for free band splitter VST/DX plugins for legacy systems is exasperating IMO. I did find a few and they don't work (at least in Au for me).
This example will demonstrate applying a ''Stereoization'' VST to only the highest band on Track 1 and allowing the rest of the wav frequencies to pass through un-processed on track 2.
I find stereoization plugins will ''Suck out'' lower frequencies because they use delay/phase DSP (Digital Signal Processing) which messes with the center where low frequencies naturally reside.
Using the Au/iZotope multiband compressor as a crossover:
1) Open Au in multi-track view
2) Track 1: Right click-> Insert audio (e.g. ''My Song.wav'')
3) Track 2: Right click-> Insert ''My Song.wav'' (No need to make unique copy)
4) Track 1: Right click-> Effects Rack-> 1st slot-> Amplitude and Compression-> Multiband Compressor
5) Track 2: Right click-> Effects Rack-> 1st slot-> Amplitude and Compression-> Multiband Compressor
6) Track 1->Effects Rack-> Multiband Compressor-> In the right pane-> set output gain to 0, bypass the the limiter, (Even though limiter is bypassed, I put limiter threshold and margin at 0 and keep default attack 4 and release 500), make sure all three bottom options are unchecked.
For Bands 1, 2, 3, and 4, set all parameters to default: thresh: 0, gain: 0, ratio: 1, attack: 10ms. Release: 100ms. This is not necessary on any bypassed bands but is required on bands that are soloed.
Repeat for Track 2 Multiband Compressor.
7) In Track 1 Multiband Compressor, Set where you want the 3rd crossover point to be by either sliding it with your mouse or keying into the ''high'' field. E.g. 8000 Hz. In this example the 4th band will cover 8-20 kHz. Set the other two crossovers to anything e.g. low:120 hz, mid: 1000 Hz. On band 4 click the ''S'' solo button; it will light green and bands 1-3 will grey out.
8) In Track 2 Multiband Compressor set the same crossover points as in Track 1 Multiband Compressor i.e. low:120 hz, mid: 1000 Hz high: 8000 Hz
On bands 1-3 click the ''S'' solo buttons; they will light green and band 4 will grey out.
9) Track 1: Right click-> Effects Rack-> 2nd slot-> insert your chosen stereoization VST/DX/XFM plugin.
E.g. Au ''Stereo Expander'', Airwindows ''Hermetrim'' with side control up to taste, Airwindows ''SweetWide'', Airwindows ''Srsly3''etc.
On mastering I've been using Airwindows Discontapeity set to around 0.389999. Discontapeity is not a stereoization plugin per se, but it does create a unique stereo sound. (Using Discontapeity this way is one of my ''Secret Sauces'',... not so secret now I guess.
)
[NOTE! Trying to adjust the Discontapeity control in live playback may cause Au TO CRASH!]
10) Mix down the file, compare to the original... Go on from there...
Of course it does not have to be a stereoization effect; a light reverb, an expander, who knows. And you could apply the above example to processing 2 bands e.g. 5 kHz-8 kHz | 8 kHz-20 kHz and taper the amount of effect over the two bands; or work opposite, applying low frequency DSP while passing through mid and high.
I plan to test this crossover method using one of my favorite single band compressors: Airwindows Preassure 5 to morph it into a 4 band compressor...
Oh and you're not limited to 4 bands if you want to get intense. Just add more Au Multiband Compressors and keep track of your crossover ranges and solo/bypass etc.
(+)Though iZotope is known for internal double precision (64-bit) in 32 bit hosts going back to Windows 98 FE, I can't find any confirmation if that is the case in this .xfm. In fact I do not believe/know if.xfm can do double precision calculations.
That said, not all 32-bit precision is bad... My default chorus is the Au .xfm chorus which Is awsome IMO.
Before I go on to Airwindows plugins Pt II, I want to highlight a very powerful tool in Au that can be applied in a non-typical way.
Au comes bundled with a multiband compressor which is developed by iZotope(+).
Internet comments/Au Manual will explain using the multiband compressor as a compressor/limiter. But there is another way to use this plugin: as a 4 band crossover; because it has bypass and solo options for every band allowing you to isolate individual bands for processing! I find most third party free VST/DX multiband compressors do not offer these essential bypass and solo options.
Doing searches for free band splitter VST/DX plugins for legacy systems is exasperating IMO. I did find a few and they don't work (at least in Au for me).
This example will demonstrate applying a ''Stereoization'' VST to only the highest band on Track 1 and allowing the rest of the wav frequencies to pass through un-processed on track 2.
I find stereoization plugins will ''Suck out'' lower frequencies because they use delay/phase DSP (Digital Signal Processing) which messes with the center where low frequencies naturally reside.
Using the Au/iZotope multiband compressor as a crossover:
1) Open Au in multi-track view
2) Track 1: Right click-> Insert audio (e.g. ''My Song.wav'')
3) Track 2: Right click-> Insert ''My Song.wav'' (No need to make unique copy)
4) Track 1: Right click-> Effects Rack-> 1st slot-> Amplitude and Compression-> Multiband Compressor
5) Track 2: Right click-> Effects Rack-> 1st slot-> Amplitude and Compression-> Multiband Compressor
6) Track 1->Effects Rack-> Multiband Compressor-> In the right pane-> set output gain to 0, bypass the the limiter, (Even though limiter is bypassed, I put limiter threshold and margin at 0 and keep default attack 4 and release 500), make sure all three bottom options are unchecked.
For Bands 1, 2, 3, and 4, set all parameters to default: thresh: 0, gain: 0, ratio: 1, attack: 10ms. Release: 100ms. This is not necessary on any bypassed bands but is required on bands that are soloed.
Repeat for Track 2 Multiband Compressor.
7) In Track 1 Multiband Compressor, Set where you want the 3rd crossover point to be by either sliding it with your mouse or keying into the ''high'' field. E.g. 8000 Hz. In this example the 4th band will cover 8-20 kHz. Set the other two crossovers to anything e.g. low:120 hz, mid: 1000 Hz. On band 4 click the ''S'' solo button; it will light green and bands 1-3 will grey out.
8) In Track 2 Multiband Compressor set the same crossover points as in Track 1 Multiband Compressor i.e. low:120 hz, mid: 1000 Hz high: 8000 Hz
On bands 1-3 click the ''S'' solo buttons; they will light green and band 4 will grey out.
9) Track 1: Right click-> Effects Rack-> 2nd slot-> insert your chosen stereoization VST/DX/XFM plugin.
E.g. Au ''Stereo Expander'', Airwindows ''Hermetrim'' with side control up to taste, Airwindows ''SweetWide'', Airwindows ''Srsly3''etc.
On mastering I've been using Airwindows Discontapeity set to around 0.389999. Discontapeity is not a stereoization plugin per se, but it does create a unique stereo sound. (Using Discontapeity this way is one of my ''Secret Sauces'',... not so secret now I guess.
)[NOTE! Trying to adjust the Discontapeity control in live playback may cause Au TO CRASH!]
10) Mix down the file, compare to the original... Go on from there...
Of course it does not have to be a stereoization effect; a light reverb, an expander, who knows. And you could apply the above example to processing 2 bands e.g. 5 kHz-8 kHz | 8 kHz-20 kHz and taper the amount of effect over the two bands; or work opposite, applying low frequency DSP while passing through mid and high.
I plan to test this crossover method using one of my favorite single band compressors: Airwindows Preassure 5 to morph it into a 4 band compressor...
Oh and you're not limited to 4 bands if you want to get intense. Just add more Au Multiband Compressors and keep track of your crossover ranges and solo/bypass etc.
(+)Though iZotope is known for internal double precision (64-bit) in 32 bit hosts going back to Windows 98 FE, I can't find any confirmation if that is the case in this .xfm. In fact I do not believe/know if.xfm can do double precision calculations.
That said, not all 32-bit precision is bad... My default chorus is the Au .xfm chorus which Is awsome IMO.
Airwindows VST Plugins PART 2
''Processing Type'' Plugins (In no particular order)
Reverb
There is a plethora of available Airwindows processor reverbs, 46 to date. I personally prefer convolution reverbs though I have a few processing reverb plugins on hand. I’ve auditioned all Airwindows reverbs and IMHO ‘’CreamCoat’’ is the one I recommend to start with. CreamCoat has become my ‘’Go to’’ non-convolution reverb.
https://www.airwindows.com/creamcoat/
After that, I’d recommend you research/audition the other reverbs.
https://www.airwindows.com/category/reverb/
Compression
Under the Airwindows subcategory of ‘’Dynamics’’ there are 58 titles to date. Dynamics are, as with all DSP (Digital Signal Processing) very subjective.
Pressue5
Pressure5 is a single band compressor, which is worthy of putting on a track or buss. I use it in my current mastering chain as the broadband compression stage.
I had used Pressure4 before this and I auditioned Pressure6 after (interesting) but 5 is one of my ‘’Go to’’ compressors.
(I do use the DX wrapper in Au on Pressure5 because I like to get into very precise settings)
Chris Johnson oftentimes uses unconventional terminology and there are controls on this plugin that require understanding:
From the author:
‘’… there’s a ‘mewiness’ control that manages the way the ratio engages. You can dial in the intensity with which it ‘dynamic inverts’ and super-squishes the audio…’’
&
‘’… ‘PawClaw’. This manages the way ‘mewiness’ handles transients, the intent being to extra-squish the spiky transients on ‘Paw’ or to let them through more on ‘Claw’. It’s very subtle...’’
https://www.airwindows.com/pressure5/
When the opportunity calls for a multi-band compressor, I will experiment using the built-in Audition 3.0.1 four-band crossover I spoke about here:
https://www.xpforums.com/threads/adobe-audition-3-0-1.935642/post-3275645
Slew4
This is a very interesting and useful compressor. I’ve never seen one quite like it before.
I use it often and it is in my mastering chain.
From the author:
‘’… Slew4 is tape compression without the tape, for brightness control…’’
Watching the demonstration video is very helpful.
I sometimes record with electret microphones (e.g. cymbal overheads) and they tend to be a little ‘’Fizzy’’. This plugin is ideal for lowering that fizziness. It also can reduce digital harshness on a master.
https://www.airwindows.com/slew4/
Acceleration2
Acceleration2 is a high-frequency limiter.
From the author:
‘’… It’s like a brightness control that doesn’t really take away apparent brightness, just glues it really hard. Acceleration limiting is what you’d use mastering to vinyl, to avoid burning out the cutting head: it will get you a nice retro tone without obviously coloring things…”
I was using this plugin a lot before slew4 but kinda ‘’missing’’ it.. Now that I am using the Au four band crossover technique, I’ll be applying this plugin e.g. on the high band after pressure5. This is a really good and unique plugin!
https://www.airwindows.com/acceleration2/
Dynamics3
Dynamics3 is a straightforward Compressor/Expander worthy of tracks and busses.
This plugin is fantastic! One of my new ‘’Go to’’ compressors.
Watching the video is highly recommended.
(I do use the DX wrapper in Au on Pressure5 because I like to get into very precise settings)
https://www.airwindows.com/dynamics3/
TapeHack2
This is a very powerful compressor and resides in the heart of Airwindows ‘’ToTape9’’ and in the compressors in ConsoleH and ConsoleX2 plugins; easy to overdo it. This plugin emulates ‘tape compression’ but I’d venture to say it is unique in its approach to other plugins claiming same, and well, better. At first I was overdoing it and when I came back to listen I realized I had to taper it off. Applicable on single tracks and busses.
TapeHack2 is built on TapeHack, released 5 months earlier. It was a big hit and rightfully so.
From the author (TapeHack):
‘’…As a result, TapeHack does ‘tape compression’ better than anything I’ve ever made, full stop…’’
https://www.airwindows.com/tapehack2/
Honorable Mention
I have investigated so many of the dynamics plugins and I’m sure I missed some. I have used others and they deserve honorable mention:
Logical4
One of my other ''Go to'' Compressors
https://www.airwindows.com/logical4/
Pressure6
Still playing with it. May be a winner for vocal tracks for me.
https://www.airwindows.com/pressure6/
curve
Definitely unique. Does it' ''Own thing''
https://www.airwindows.com/curve/
To scroll through all the Dynamics plugin listings:
https://www.airwindows.com/category/dynamics/
More Airwindows plugins to come!
(Repeated from Airwindows VST Plugins PART 1)
Some things to know about Airwindows plugins:
The reason I use this is because some VST parameters in Au will ''Jump'' past certain settings numbers and by wrapping the VST to DX you can key in exact parameters on the keyboard or use sliders precisely.
I use the wrapper primarily for Airwindows VST plugins….''
Please see this post:
https://www.xpforums.com/threads/adobe-audition-3-0-1.935642/post-3275545
''Processing Type'' Plugins (In no particular order)
Reverb
There is a plethora of available Airwindows processor reverbs, 46 to date. I personally prefer convolution reverbs though I have a few processing reverb plugins on hand. I’ve auditioned all Airwindows reverbs and IMHO ‘’CreamCoat’’ is the one I recommend to start with. CreamCoat has become my ‘’Go to’’ non-convolution reverb.
https://www.airwindows.com/creamcoat/
After that, I’d recommend you research/audition the other reverbs.
https://www.airwindows.com/category/reverb/
Compression
Under the Airwindows subcategory of ‘’Dynamics’’ there are 58 titles to date. Dynamics are, as with all DSP (Digital Signal Processing) very subjective.
Pressue5
Pressure5 is a single band compressor, which is worthy of putting on a track or buss. I use it in my current mastering chain as the broadband compression stage.
I had used Pressure4 before this and I auditioned Pressure6 after (interesting) but 5 is one of my ‘’Go to’’ compressors.
(I do use the DX wrapper in Au on Pressure5 because I like to get into very precise settings)
Chris Johnson oftentimes uses unconventional terminology and there are controls on this plugin that require understanding:
From the author:
‘’… there’s a ‘mewiness’ control that manages the way the ratio engages. You can dial in the intensity with which it ‘dynamic inverts’ and super-squishes the audio…’’
&
‘’… ‘PawClaw’. This manages the way ‘mewiness’ handles transients, the intent being to extra-squish the spiky transients on ‘Paw’ or to let them through more on ‘Claw’. It’s very subtle...’’
https://www.airwindows.com/pressure5/
When the opportunity calls for a multi-band compressor, I will experiment using the built-in Audition 3.0.1 four-band crossover I spoke about here:
https://www.xpforums.com/threads/adobe-audition-3-0-1.935642/post-3275645
Slew4
This is a very interesting and useful compressor. I’ve never seen one quite like it before.
I use it often and it is in my mastering chain.
From the author:
‘’… Slew4 is tape compression without the tape, for brightness control…’’
Watching the demonstration video is very helpful.
I sometimes record with electret microphones (e.g. cymbal overheads) and they tend to be a little ‘’Fizzy’’. This plugin is ideal for lowering that fizziness. It also can reduce digital harshness on a master.
https://www.airwindows.com/slew4/
Acceleration2
Acceleration2 is a high-frequency limiter.
From the author:
‘’… It’s like a brightness control that doesn’t really take away apparent brightness, just glues it really hard. Acceleration limiting is what you’d use mastering to vinyl, to avoid burning out the cutting head: it will get you a nice retro tone without obviously coloring things…”
I was using this plugin a lot before slew4 but kinda ‘’missing’’ it.. Now that I am using the Au four band crossover technique, I’ll be applying this plugin e.g. on the high band after pressure5. This is a really good and unique plugin!
https://www.airwindows.com/acceleration2/
Dynamics3
Dynamics3 is a straightforward Compressor/Expander worthy of tracks and busses.
This plugin is fantastic! One of my new ‘’Go to’’ compressors.
Watching the video is highly recommended.
(I do use the DX wrapper in Au on Pressure5 because I like to get into very precise settings)
https://www.airwindows.com/dynamics3/
TapeHack2
This is a very powerful compressor and resides in the heart of Airwindows ‘’ToTape9’’ and in the compressors in ConsoleH and ConsoleX2 plugins; easy to overdo it. This plugin emulates ‘tape compression’ but I’d venture to say it is unique in its approach to other plugins claiming same, and well, better. At first I was overdoing it and when I came back to listen I realized I had to taper it off. Applicable on single tracks and busses.
TapeHack2 is built on TapeHack, released 5 months earlier. It was a big hit and rightfully so.
From the author (TapeHack):
‘’…As a result, TapeHack does ‘tape compression’ better than anything I’ve ever made, full stop…’’
https://www.airwindows.com/tapehack2/
Honorable Mention
I have investigated so many of the dynamics plugins and I’m sure I missed some. I have used others and they deserve honorable mention:
Logical4
One of my other ''Go to'' Compressors
https://www.airwindows.com/logical4/
Pressure6
Still playing with it. May be a winner for vocal tracks for me.
https://www.airwindows.com/pressure6/
curve
Definitely unique. Does it' ''Own thing''
https://www.airwindows.com/curve/
To scroll through all the Dynamics plugin listings:
https://www.airwindows.com/category/dynamics/
More Airwindows plugins to come!
(Repeated from Airwindows VST Plugins PART 1)
Some things to know about Airwindows plugins:
- Airwindows plugins are free. Supported by voluntary Patreon subscribers.
- Airwindows plugins come in many formats. I recall reading somewhere that Chris Johnson the plugin creator works in Mac and his brother is the specialist whom ports to Windows, Linux, Mac Intel, Mac AU, Pi and more.
- Airwindows plugins process in ''Double Precision'' IOW 64bit float word length and up to 192 kHz sample rates.
- In 32bit DAWs Airwindows plugins use a dither algorithm when reducing word length from 64 to 32bit. (To my ears this is inaudible, even cumulatively, I presume that it adds to the audible quality though; these plugins sound nice!). https://www.airwindows.com/ditherfloat/
- Do not download Airwindows plugins individually! Download the complete zip file since these contain the most updated versions and the individual files are often-times older.
- Airwindows plugins are GUI-less. So the plugin controls will be very basic.
- Airwindows plugins do not come with presets.
- In (My Adobe Au installation) Airwindows plugins will skip parameters so I incorporate a workaround:
The reason I use this is because some VST parameters in Au will ''Jump'' past certain settings numbers and by wrapping the VST to DX you can key in exact parameters on the keyboard or use sliders precisely.
I use the wrapper primarily for Airwindows VST plugins….''
Please see this post:
https://www.xpforums.com/threads/adobe-audition-3-0-1.935642/post-3275545
- The sheer number of plugins available can be overwhelming (Over 500 to date and about 50 a year are released). I have been following Airwindows plugins since 2019 and the 20+ plugins I will be listing is a good start IMO (I’ve experimented with many, many more). My descriptions are very basic and I recommend you go to the plugin’s page at https://www.airwindows.com -> At the top there are links to VSTs https://www.airwindows.com/vsts/ and Tags https://www.airwindows.com/tags/ , they are short but important reads. next put plugin’s name in the search bar and read the author’s description, watch the video, read any posted comments, then go to gearspace.com and search the forum thread (Tip: Copy/paste the first full sentence on the Airwindows plugin page {Starting with: TL;DW:} to get right where you need using gearspace search)
- Airwindows plugins parameters are sometimes labeled with very unique names which require you read the web page descriptions and/or look up the forum discussion on gearspace.com of the particular plugin; gearspace is where Chris Johnson does light support.
- As I stated before ‘’… They are either unique or in my opinion compatible or superior to commercial alternatives.’’
Airwindows VST Plugins PART 3
More ''Processing Type'' Plugins (In no particular order)
Guitar
There are a few Airwindows guitar based plugins. Being primarily a guitarist myself, I always track my guitars ‘’Natural’’ with my hardware amp and FX arrays. I’ve never been too reliant on guitar plugins, I had no need except when getting someone else’s guitar tracks.
ChimeyGuitar
I have one guitar processing plugin that I really like and is in my ‘’Go To’’ plugins: Airwindows ChimeyGuitar.
From the author:
‘’…ChimeyGuitar is a supremely compressible instrument amp…’’
ChimeyGuitar is not a distortion/overdrive plugin. I find ChimeyGuitar is scaled to work just the right frequencies for clean guitar and can bring out many varieties of ‘’Sparkle’’.
https://www.airwindows.com/chimeyguitar
There is a ChimeyGuitar2 but I find it to be too wild just as the author commented:
‘’…it is not going to be in the Basic or Recommended categories… Because it’s borderline dangerous…’’
PointyGuitar
I have tried and do keep the Airwindows distortion/overdrive plugin PointyGuitar around but have not found a need to use it often I believe it is one of the best sounding guitar distortion/overdrive plugins I’ve come across and I’d recommend it to anyone.
https://www.airwindows.com/pointyguitar/
Other guitar orientated plugins to check out:
WoodenBox:
To make an electric guitar sound like an acoustic guitar
https://www.airwindows.com/woodenbox/
Cabinet/Amp simulators:
Cabs
https://www.airwindows.com/thenewcabs/
Cabs2
https://www.airwindows.com/cabs2/
GrindAmp
https://www.airwindows.com/grindamp/
Bass Guitar
I don’t have the same amount of hardware for bass guitar in my studio that I do for guitar so I’ve been more apt to use Airwindows bass processing plugins.
ChimeyDeluxe
For Bass guitar I keep Airwindows ChimeyDeluxe in my ‘‘Go To’’ plugins. This is the Airwindows take on a Bass D.I. box; very good plugin IMO.
https://www.airwindows.com/chimeydeluxe/
BassKit - Not just for Bass Guitar
This is a very powerful plugin, which can be used on a singe track or a buss. Basskit is easy to overdo. I have used it a lot. Not just for bass guitar; keys, drums… anything. Basskit has many different ways to configure bass tones, one of my ‘’Go To’’ plugins. (I use the DX wrapper with this plugin in Au to get more precise control).
https://www.airwindows.com/basskit-vst/
Other Airwindows bass guitar plugins I’ve used and would recommend:
Wolfbot
Wolfbot is another D.I. emulator with a very different sound IMO.
https://www.airwindows.com/wolfbot/
CrickBass
Bass tone.
https://www.airwindows.com/crickbass/
BassAmp
Amp Sim
https://www.airwindows.com/bassamp/
Saturation
Airwindows puts a lot of work into the concept of saturation plugins and I believe that these plugins compete with anything else out there.
Tube2
Another excellent plugin for distortion/saturation is Tube2, another of my ‘’Go To’’ plugins. IMO it rates against any tube emulation plugin I have ever tried. And I prefer it. A couple of things you can do with this is stacking it in series, or apply it on the crossover trick I mentioned. This plugin works on a single track or a buss. I have used it in a mastering chain.
https://www.airwindows.com/tube2/
ToTape9
ToTape9 (And all the previous incarnations of the ToTape series) is one of Airwindows most popular plugins.
I use it as a compressor/compander/saturator.
Understanding this plugin will take some homework and I’m still studying it. ToTape plugins are very powerful and very easy to overdo.
The first time you open ToTape9, Save/write down the preset as Default.
I believe that the plugin’s natural default is pretty close to what works best.
One drawback is that there is a built in limiter ceiling that is -.69 dB and can’t be adjusted. You could easily cause clipping in the sub modules and never even know it at the final output.
What I do is get as close to a final output of -.68 dB as possible to ensure I’m under the limiter. Then I can gauge if a sub module is clipping if the output goes above -.68 dB. (#)
I recommend that you start by dialing in the input setting lower than the default but keep in mind other parameters can boost the output (Especially Tilt and Head Bump). There is a lot of ''Parameter Interplay'' here.
I don’t use the Flutter controls and I keep them off, but I have not used ToTappe9 as a true tape machine emulator (Yet).
I tune the head frequency based on the following chart, which I authored:
(Basically I believe that adjusting the head frequency to match the music’s key makes a qualitative difference)
Object:
Find Airwindows ToTape9 VST head frequency parameters for chromatic scale (based on A = 440 Hz) that come closest to the default head frequency setting of 68.75000 Hz [C#2-14]
Establish a test to discern if adjusting the VST's head frequency parameter to align with the note/key frequency causes a discernible quality improvement.
¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯
(1) Find VST numeric parameters for each note (+):
{These precise frequencies were painstakingly measured using AnalogX utility Freq}
55.00000 Hz [A1] {SpinAudio VST Wrapper: 0.4140394}
58.27000 Hz [A#1] {SpinAudio VST Wrapper: 0.436021}
61.73540 Hz [B1] {SpinAudio VST Wrapper: 0.4581665}
65.40605 Hz [C2] {SpinAudio VST Wrapper: 0.480512}
69.29560 Hz [C#2] {SpinAudio VST Wrapper: 0.5031081}
73.41620 Hz [D2] {SpinAudio VST Wrapper: 0.5259886}
77.78170 Hz [D#2] {SpinAudio VST Wrapper: 0.5491901}
82.40690 Hz [E2] {SpinAudio VST Wrapper: 0.5727473}
43.65352 Hz [F1] {SpinAudio VST Wrapper: 0.3264836}
46.24930 Hz [F#1] {SpinAudio VST Wrapper: 0.3484603}
48.99942 Hz [G1] {SpinAudio VST Wrapper: 0.3703235}
51.91310 Hz [G#1] {SpinAudio VST Wrapper: 0.3921596}
¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯
(2) Set up a test environment.
Create 12 32bit-48kHz tones of the above frequencies/notes.
55.00000 Hz [A1]
58.27000 Hz [A#1]
61.73540 Hz [B1]
65.40605 Hz [C2]
69.29560 Hz [C#2]
73.41620 Hz [D2]
77.78170 Hz [D#2]
82.40690 Hz [E2]
43.65352 Hz [F1]
46.24930 Hz [F#1]
48.99942 Hz [G1]
51.91310 Hz [G#1]
¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯
(3) Listening Tests:
ToTape9 Settings:
Input: 0.5
Tilt: 0.5
Shape 0.5
Flutter: 0.0
FlutterSpd: 0.0
Head Bump:0.5
HeadFrq: Variable
Output: 0.5
Loop each tone file through ToTape9 and listen to each of the 12 HeadFreq Settings.
¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯
Observation:
"Smoothness" or "Harshness" seems to be consistent with intervals.
Root
Minor 2nd
Major 2nd
Minor 3rd
Major 3rd
Perfect 4th
Diminished 5th
Perfect 5th
Minor 6th
Major 6th
Minor 7th
Major 7th
E Major 7th
For example using 43.65352 Hz [F1]
Root 43.65352 Hz [F1]
Perfect 5th 65.40605 Hz [C2]
Perfect 4th 58.27000 Hz [A#1]
Seem to have "Smoother" ocillation, while
Minor 2nd 46.24930 Hz [F#1]
Diminished 5th 61.73540 Hz [B1]
Minor 6th 69.29560 Hz [C#2]
Seem to have "Harsher" oscillation
¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯
Applying this method to various music files seems to confirm this.
Tests were assuming a 2 buss mixdown, there is much more latitude with individual instrument tracks.
Music with abrupt modulation/key change offers another degree of challenge.
In a mastering environment this could lead to big sonic differences from track to track.
I for one would refer to this table when setting up my ToTape9 parameters.
At the very least, I would look to avoid non-exact frequencies.
Which setting to choose would be dependent on engineer's discernment of course.
(I am now ready to see how the application of other parameters (Especially Head Bump)
might be able to mitigate the differences to make a cohesive sound from track to track.)
(+) Due to limitations of my DAW (Adobe Audition 3.0.1) in order to get exact parameters in Airwindows VSTs, I must use a DX wrapper (SpinAudio VST Wrapper). I find that the numeric parameters in the wrapper match the VST where they are the same. The limitation in the VST slider is it will jump past numeric values in Adobe Au 3.0.1.
https://www.airwindows.com/totape9/
****************************************************************************************************************************
I’ll mention TapeHack2 here again which is at the heart of ToTape9 and can also be used as a standalone saturator/compressor.
https://www.airwindows.com/tapehack2/
(Repeated from Airwindows VST Plugins PART 1)
Some things to know about Airwindows plugins:
The reason I use this is because some VST parameters in Au will ''Jump'' past certain settings numbers and by wrapping the VST to DX you can key in exact parameters on the keyboard or use sliders precisely.
I use the wrapper primarily for Airwindows VST plugins….''
Please see this post:
https://www.xpforums.com/threads/adobe-audition-3-0-1.935642/post-3275545
I remember a while ago when I stopped just stacking DSPs in a rack and took time to investigate each stage separately to find the "Inter Module Clipping (IMC)" being created, and it was so easy to fix.
I found it when I took apart what I was doing in Ozone. I'm surprised (Back then, Ozone 2) that the manual never said one should calculate each module separately in series (obvious to the developers I'm sure). You could clip the heck out of the EQ and never "See" it because the Compressor tamped it down.
More ''Processing Type'' Plugins (In no particular order)
Guitar
There are a few Airwindows guitar based plugins. Being primarily a guitarist myself, I always track my guitars ‘’Natural’’ with my hardware amp and FX arrays. I’ve never been too reliant on guitar plugins, I had no need except when getting someone else’s guitar tracks.
ChimeyGuitar
I have one guitar processing plugin that I really like and is in my ‘’Go To’’ plugins: Airwindows ChimeyGuitar.
From the author:
‘’…ChimeyGuitar is a supremely compressible instrument amp…’’
ChimeyGuitar is not a distortion/overdrive plugin. I find ChimeyGuitar is scaled to work just the right frequencies for clean guitar and can bring out many varieties of ‘’Sparkle’’.
https://www.airwindows.com/chimeyguitar
There is a ChimeyGuitar2 but I find it to be too wild just as the author commented:
‘’…it is not going to be in the Basic or Recommended categories… Because it’s borderline dangerous…’’
PointyGuitar
I have tried and do keep the Airwindows distortion/overdrive plugin PointyGuitar around but have not found a need to use it often I believe it is one of the best sounding guitar distortion/overdrive plugins I’ve come across and I’d recommend it to anyone.
https://www.airwindows.com/pointyguitar/
Other guitar orientated plugins to check out:
WoodenBox:
To make an electric guitar sound like an acoustic guitar
https://www.airwindows.com/woodenbox/
Cabinet/Amp simulators:
Cabs
https://www.airwindows.com/thenewcabs/
Cabs2
https://www.airwindows.com/cabs2/
GrindAmp
https://www.airwindows.com/grindamp/
Bass Guitar
I don’t have the same amount of hardware for bass guitar in my studio that I do for guitar so I’ve been more apt to use Airwindows bass processing plugins.
ChimeyDeluxe
For Bass guitar I keep Airwindows ChimeyDeluxe in my ‘‘Go To’’ plugins. This is the Airwindows take on a Bass D.I. box; very good plugin IMO.
https://www.airwindows.com/chimeydeluxe/
BassKit - Not just for Bass Guitar
This is a very powerful plugin, which can be used on a singe track or a buss. Basskit is easy to overdo. I have used it a lot. Not just for bass guitar; keys, drums… anything. Basskit has many different ways to configure bass tones, one of my ‘’Go To’’ plugins. (I use the DX wrapper with this plugin in Au to get more precise control).
https://www.airwindows.com/basskit-vst/
Other Airwindows bass guitar plugins I’ve used and would recommend:
Wolfbot
Wolfbot is another D.I. emulator with a very different sound IMO.
https://www.airwindows.com/wolfbot/
CrickBass
Bass tone.
https://www.airwindows.com/crickbass/
BassAmp
Amp Sim
https://www.airwindows.com/bassamp/
Saturation
Airwindows puts a lot of work into the concept of saturation plugins and I believe that these plugins compete with anything else out there.
Tube2
Another excellent plugin for distortion/saturation is Tube2, another of my ‘’Go To’’ plugins. IMO it rates against any tube emulation plugin I have ever tried. And I prefer it. A couple of things you can do with this is stacking it in series, or apply it on the crossover trick I mentioned. This plugin works on a single track or a buss. I have used it in a mastering chain.
https://www.airwindows.com/tube2/
ToTape9
ToTape9 (And all the previous incarnations of the ToTape series) is one of Airwindows most popular plugins.
I use it as a compressor/compander/saturator.
Understanding this plugin will take some homework and I’m still studying it. ToTape plugins are very powerful and very easy to overdo.
The first time you open ToTape9, Save/write down the preset as Default.
I believe that the plugin’s natural default is pretty close to what works best.
One drawback is that there is a built in limiter ceiling that is -.69 dB and can’t be adjusted. You could easily cause clipping in the sub modules and never even know it at the final output.
What I do is get as close to a final output of -.68 dB as possible to ensure I’m under the limiter. Then I can gauge if a sub module is clipping if the output goes above -.68 dB. (#)
I recommend that you start by dialing in the input setting lower than the default but keep in mind other parameters can boost the output (Especially Tilt and Head Bump). There is a lot of ''Parameter Interplay'' here.
I don’t use the Flutter controls and I keep them off, but I have not used ToTappe9 as a true tape machine emulator (Yet).
I tune the head frequency based on the following chart, which I authored:
(Basically I believe that adjusting the head frequency to match the music’s key makes a qualitative difference)
ToTape9 Head Frequency Tests
Object:
Find Airwindows ToTape9 VST head frequency parameters for chromatic scale (based on A = 440 Hz) that come closest to the default head frequency setting of 68.75000 Hz [C#2-14]
Establish a test to discern if adjusting the VST's head frequency parameter to align with the note/key frequency causes a discernible quality improvement.
¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯
(1) Find VST numeric parameters for each note (+):
{These precise frequencies were painstakingly measured using AnalogX utility Freq}
55.00000 Hz [A1] {SpinAudio VST Wrapper: 0.4140394}
58.27000 Hz [A#1] {SpinAudio VST Wrapper: 0.436021}
61.73540 Hz [B1] {SpinAudio VST Wrapper: 0.4581665}
65.40605 Hz [C2] {SpinAudio VST Wrapper: 0.480512}
69.29560 Hz [C#2] {SpinAudio VST Wrapper: 0.5031081}
73.41620 Hz [D2] {SpinAudio VST Wrapper: 0.5259886}
77.78170 Hz [D#2] {SpinAudio VST Wrapper: 0.5491901}
82.40690 Hz [E2] {SpinAudio VST Wrapper: 0.5727473}
43.65352 Hz [F1] {SpinAudio VST Wrapper: 0.3264836}
46.24930 Hz [F#1] {SpinAudio VST Wrapper: 0.3484603}
48.99942 Hz [G1] {SpinAudio VST Wrapper: 0.3703235}
51.91310 Hz [G#1] {SpinAudio VST Wrapper: 0.3921596}
¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯
(2) Set up a test environment.
Create 12 32bit-48kHz tones of the above frequencies/notes.
55.00000 Hz [A1]
58.27000 Hz [A#1]
61.73540 Hz [B1]
65.40605 Hz [C2]
69.29560 Hz [C#2]
73.41620 Hz [D2]
77.78170 Hz [D#2]
82.40690 Hz [E2]
43.65352 Hz [F1]
46.24930 Hz [F#1]
48.99942 Hz [G1]
51.91310 Hz [G#1]
¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯
(3) Listening Tests:
ToTape9 Settings:
Input: 0.5
Tilt: 0.5
Shape 0.5
Flutter: 0.0
FlutterSpd: 0.0
Head Bump:0.5
HeadFrq: Variable
Output: 0.5
Loop each tone file through ToTape9 and listen to each of the 12 HeadFreq Settings.
¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯
Observation:
"Smoothness" or "Harshness" seems to be consistent with intervals.
Root
Minor 2nd
Major 2nd
Minor 3rd
Major 3rd
Perfect 4th
Diminished 5th
Perfect 5th
Minor 6th
Major 6th
Minor 7th
Major 7th
E Major 7th
For example using 43.65352 Hz [F1]
Root 43.65352 Hz [F1]
Perfect 5th 65.40605 Hz [C2]
Perfect 4th 58.27000 Hz [A#1]
Seem to have "Smoother" ocillation, while
Minor 2nd 46.24930 Hz [F#1]
Diminished 5th 61.73540 Hz [B1]
Minor 6th 69.29560 Hz [C#2]
Seem to have "Harsher" oscillation
¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯
Applying this method to various music files seems to confirm this.
Tests were assuming a 2 buss mixdown, there is much more latitude with individual instrument tracks.
Music with abrupt modulation/key change offers another degree of challenge.
In a mastering environment this could lead to big sonic differences from track to track.
I for one would refer to this table when setting up my ToTape9 parameters.
At the very least, I would look to avoid non-exact frequencies.
Which setting to choose would be dependent on engineer's discernment of course.
(I am now ready to see how the application of other parameters (Especially Head Bump)
might be able to mitigate the differences to make a cohesive sound from track to track.)
(+) Due to limitations of my DAW (Adobe Audition 3.0.1) in order to get exact parameters in Airwindows VSTs, I must use a DX wrapper (SpinAudio VST Wrapper). I find that the numeric parameters in the wrapper match the VST where they are the same. The limitation in the VST slider is it will jump past numeric values in Adobe Au 3.0.1.
https://www.airwindows.com/totape9/
****************************************************************************************************************************
I’ll mention TapeHack2 here again which is at the heart of ToTape9 and can also be used as a standalone saturator/compressor.
https://www.airwindows.com/tapehack2/
(Repeated from Airwindows VST Plugins PART 1)
Some things to know about Airwindows plugins:
- Airwindows plugins are free. Supported by voluntary Patreon subscribers.
- Airwindows plugins come in many formats. I recall reading somewhere that Chris Johnson the plugin creator works in Mac and his brother is the specialist whom ports to Windows, Linux, Mac Intel, Mac AU, Pi and more.
- Airwindows plugins process in ''Double Precision'' IOW 64bit float word length and up to 192 kHz sample rates.
- In 32bit DAWs Airwindows plugins use a dither algorithm when reducing word length from 64 to 32bit. (To my ears this is inaudible, even cumulatively, I presume that it adds to the audible quality though; these plugins sound nice!). https://www.airwindows.com/ditherfloat/
- Do not download Airwindows plugins individually! Download the complete zip file since these contain the most updated versions and the individual files are often-times older.
- Airwindows plugins are GUI-less. So the plugin controls will be very basic.
- Airwindows plugins do not come with presets.
- In (My Adobe Au installation) Airwindows plugins will skip parameters so I incorporate a workaround:
The reason I use this is because some VST parameters in Au will ''Jump'' past certain settings numbers and by wrapping the VST to DX you can key in exact parameters on the keyboard or use sliders precisely.
I use the wrapper primarily for Airwindows VST plugins….''
Please see this post:
https://www.xpforums.com/threads/adobe-audition-3-0-1.935642/post-3275545
- The sheer number of plugins available can be overwhelming (Over 500 to date and about 50 a year are released). I have been following Airwindows plugins since 2019 and the 20+ plugins I will be listing is a good start IMO (I’ve experimented with many, many more). My descriptions are very basic and I recommend you go to the plugin’s page at https://www.airwindows.com -> At the top there are links to VSTs https://www.airwindows.com/vsts/ and Tags https://www.airwindows.com/tags/ , they are short but important reads. next put plugin’s name in the search bar and read the author’s description, watch the video, read any posted comments, then go to gearspace.com and search the forum thread (Tip: Copy/paste the first full sentence on the Airwindows plugin page {Starting with: TL;DW:} to get right where you need using gearspace search)
- Airwindows plugins parameters are sometimes labeled with very unique names which require you read the web page descriptions and/or look up the forum discussion on gearspace.com of the particular plugin; gearspace is where Chris Johnson does light support.
- As I stated before ‘’… They are either unique or in my opinion compatible or superior to commercial alternatives.’’
I remember a while ago when I stopped just stacking DSPs in a rack and took time to investigate each stage separately to find the "Inter Module Clipping (IMC)" being created, and it was so easy to fix.
I found it when I took apart what I was doing in Ozone. I'm surprised (Back then, Ozone 2) that the manual never said one should calculate each module separately in series (obvious to the developers I'm sure). You could clip the heck out of the EQ and never "See" it because the Compressor tamped it down.
Airwindows VST Plugins PART 4
More ''Processing Type'' Plugins (In no particular order)
’’EQ’’
Airwindow’s approach to EQ is IMO unique to say the least in names for parameters, the parameters themselves and the type of filters used internally. There are so many and I have not tried them all. Here are a few I have used and they sound great.
Energy2
This is a unique EQ for highs and high-mids. This is one of my ‘’Go To’’ Plugins (I use the SpinAudio DX wrapper on this for added precision in Au).
The algorithm reacts to the sample rate, which behaves in a non-traditional EQ way. (Energy2 works for all sample rates where Airwindows ‘’Energy’’ is built for 44.1kHz).
With labels like ‘’Hiss’’, ‘’Glitter’’, ‘’Rat’’, ‘’’Fizz’’, etc. it can be a challenge in some ways. However, there is logic to the names. This is one of the most unique EQs out there.
Read the website description, watch the video. This is a really good and unique EQ.
https://www.airwindows.com/energy2/
I also recommend reading the page on the original Energy where there is more information on what is under the hood of this great plugin.
https://www.airwindows.com/energy-vst/
Member Deff J at the Gearspace forums posted some presets which I used as a starting point:
https://gearspace.com/board/showpost.php?p=13377639&postcount=6
High Mid Resonance Control preset A (Airwindows Energy)
Hiss 0.710000
Glitter 0.710000
Rat 0.710000
Fizz -0.71000
Scrape -0.05599
Chug 0.000000
Yowr 0.000000
Snarl -0.45599
I/Dr/Wt 0.000000
High Mid Resonance Control Preset B (Airwindows Energy)
Hiss 0.746000
Glitter 0.728000
Rat 0.743999
Fizz -0.76800
Scrape -0.20999
Chug 0.000000
Yowr 0.000000
Snarl -0.45599
I/Dr/Wt 0.000000
PearEQ
Another great and unique EQ. The parameters are traditional labels:
High, HMid, Mid, LMid, Bass, Sub. This is one of my ‘’Go To’’ Plugins (I use the SpinAudio DX wrapper on this for added precision in Au).
https://www.airwindows.com/peareq/
Baxandall2
This is the Airwindows take on a traditional EQ. Baxandall EQs are like the old ‘’Bass’’ and ‘’Treble’’ tone knobs on old Hi-Fi systems. Baxandall EQs boost/cut from the centerout to the 20-20kHz frequency ranges. There is an Airwindows Baxandall3 but it’s too extreme for my tastes. I don’t use this plugin often but when I need a Baxandall. This is the one.
https://www.airwindows.com/baxandall2/
SmoothEQ3
A simple but excellent sounding 3-band EQ That I keep on hand.
https://www.airwindows.com/smootheq3/
Hermepass
I mentioned this EQ in part 1 for DC correction. But of course it’s applicable as a standard Hi Pass (I use this with DX Wrapper for more precision in Au).
https://www.airwindows.com/hermepass/
Honorable Mentions
Parametric
A VERY Serious 3-band EQ. Each band can set frequency, Gain AND Resonance (A bump at the cutoff frequency, adding resonance boosts the level of the cut-off frequency).
This EQ is on my ‘’To Do’’ list. I played around with it and ‘’whoa’’ got to experiment more when time permits.
https://www.airwindows.com/parametric/
Elliptical
Based on the same concept as Hermepass except it only affects the sides leaving the Mid alone.
https://www.airwindows.com/elliptical/
There are so many more Airwindows EqQ but this is what I’d recommend to start with.
(Repeated from Airwindows VST Plugins PART 1)
Some things to know about Airwindows plugins:
Airwindows plugins are free. Supported by voluntary Patreon subscribers.
Airwindows plugins come in many formats. I recall reading somewhere that Chris Johnson the plugin creator works in Mac and his brother is the specialist whom ports to Windows, Linux, Mac Intel, Mac AU, Pi and more.
Airwindows plugins process in ''Double Precision'' IOW 64bit float word length and up to 192 kHz sample rates.
In 32bit DAWs Airwindows plugins use a dither algorithm when reducing word length from 64 to 32bit. (To my ears this is inaudible, even cumulatively, I presume that it adds to the audible quality though; these plugins sound nice!). https://www.airwindows.com/ditherfloat/
Do not download Airwindows plugins individually! Download the complete zip file since these contain the most updated versions and the individual files are often-times older.
Airwindows plugins are GUI-less. So the plugin controls will be very basic.
Airwindows plugins do not come with presets.
In (My Adobe Au installation) Airwindows plugins will skip parameters so I incorporate a workaround:
''… I'll mention an abandonware VST to DX Wrapper application that I use.
The reason I use this is because some VST parameters in Au will ''Jump'' past certain settings numbers and by wrapping the VST to DX you can key in exact parameters on the keyboard or use sliders precisely.
I use the wrapper primarily for Airwindows VST plugins….''
Please see this post:
https://www.xpforums.com/threads/adobe-audition-3-0-1.935642/post-3275545
The sheer number of plugins available can be overwhelming (Over 500 to date and about 50 a year are released). I have been following Airwindows plugins since 2019 and the 20+ plugins I will be listing is a good start IMO (I’ve experimented with many, many more). My descriptions are very basic and I recommend you go to the plugin’s page at https://www.airwindows.com -> At the top there are links to VSTs https://www.airwindows.com/vsts/ and Tags https://www.airwindows.com/tags/ , they are short but important reads. next put plugin’s name in the search bar and read the author’s description, watch the video, read any posted comments, then go to gearspace.com and search the forum thread (Tip: Copy/paste the first full sentence on the Airwindows plugin page {Starting with: TL;DW:} to get right where you need using gearspace search)
Airwindows plugins parameters are sometimes labeled with very unique names which require you read the web page descriptions and/or look up the forum discussion on gearspace.com of the particular plugin; gearspace is where Chris Johnson does light support.
As I stated before ‘’… They are either unique or in my opinion compatible or superior to commercial alternatives.’’
More ''Processing Type'' Plugins (In no particular order)
’’EQ’’
Airwindow’s approach to EQ is IMO unique to say the least in names for parameters, the parameters themselves and the type of filters used internally. There are so many and I have not tried them all. Here are a few I have used and they sound great.
Energy2
This is a unique EQ for highs and high-mids. This is one of my ‘’Go To’’ Plugins (I use the SpinAudio DX wrapper on this for added precision in Au).
The algorithm reacts to the sample rate, which behaves in a non-traditional EQ way. (Energy2 works for all sample rates where Airwindows ‘’Energy’’ is built for 44.1kHz).
With labels like ‘’Hiss’’, ‘’Glitter’’, ‘’Rat’’, ‘’’Fizz’’, etc. it can be a challenge in some ways. However, there is logic to the names. This is one of the most unique EQs out there.
Read the website description, watch the video. This is a really good and unique EQ.
https://www.airwindows.com/energy2/
I also recommend reading the page on the original Energy where there is more information on what is under the hood of this great plugin.
https://www.airwindows.com/energy-vst/
Member Deff J at the Gearspace forums posted some presets which I used as a starting point:
https://gearspace.com/board/showpost.php?p=13377639&postcount=6
High Mid Resonance Control preset A (Airwindows Energy)
Hiss 0.710000
Glitter 0.710000
Rat 0.710000
Fizz -0.71000
Scrape -0.05599
Chug 0.000000
Yowr 0.000000
Snarl -0.45599
I/Dr/Wt 0.000000
High Mid Resonance Control Preset B (Airwindows Energy)
Hiss 0.746000
Glitter 0.728000
Rat 0.743999
Fizz -0.76800
Scrape -0.20999
Chug 0.000000
Yowr 0.000000
Snarl -0.45599
I/Dr/Wt 0.000000
PearEQ
Another great and unique EQ. The parameters are traditional labels:
High, HMid, Mid, LMid, Bass, Sub. This is one of my ‘’Go To’’ Plugins (I use the SpinAudio DX wrapper on this for added precision in Au).
https://www.airwindows.com/peareq/
Baxandall2
This is the Airwindows take on a traditional EQ. Baxandall EQs are like the old ‘’Bass’’ and ‘’Treble’’ tone knobs on old Hi-Fi systems. Baxandall EQs boost/cut from the centerout to the 20-20kHz frequency ranges. There is an Airwindows Baxandall3 but it’s too extreme for my tastes. I don’t use this plugin often but when I need a Baxandall. This is the one.
https://www.airwindows.com/baxandall2/
SmoothEQ3
A simple but excellent sounding 3-band EQ That I keep on hand.
https://www.airwindows.com/smootheq3/
Hermepass
I mentioned this EQ in part 1 for DC correction. But of course it’s applicable as a standard Hi Pass (I use this with DX Wrapper for more precision in Au).
https://www.airwindows.com/hermepass/
Honorable Mentions
Parametric
A VERY Serious 3-band EQ. Each band can set frequency, Gain AND Resonance (A bump at the cutoff frequency, adding resonance boosts the level of the cut-off frequency).
This EQ is on my ‘’To Do’’ list. I played around with it and ‘’whoa’’ got to experiment more when time permits.
https://www.airwindows.com/parametric/
Elliptical
Based on the same concept as Hermepass except it only affects the sides leaving the Mid alone.
https://www.airwindows.com/elliptical/
There are so many more Airwindows EqQ but this is what I’d recommend to start with.
(Repeated from Airwindows VST Plugins PART 1)
Some things to know about Airwindows plugins:
Airwindows plugins are free. Supported by voluntary Patreon subscribers.
Airwindows plugins come in many formats. I recall reading somewhere that Chris Johnson the plugin creator works in Mac and his brother is the specialist whom ports to Windows, Linux, Mac Intel, Mac AU, Pi and more.
Airwindows plugins process in ''Double Precision'' IOW 64bit float word length and up to 192 kHz sample rates.
In 32bit DAWs Airwindows plugins use a dither algorithm when reducing word length from 64 to 32bit. (To my ears this is inaudible, even cumulatively, I presume that it adds to the audible quality though; these plugins sound nice!). https://www.airwindows.com/ditherfloat/
Do not download Airwindows plugins individually! Download the complete zip file since these contain the most updated versions and the individual files are often-times older.
Airwindows plugins are GUI-less. So the plugin controls will be very basic.
Airwindows plugins do not come with presets.
In (My Adobe Au installation) Airwindows plugins will skip parameters so I incorporate a workaround:
''… I'll mention an abandonware VST to DX Wrapper application that I use.
The reason I use this is because some VST parameters in Au will ''Jump'' past certain settings numbers and by wrapping the VST to DX you can key in exact parameters on the keyboard or use sliders precisely.
I use the wrapper primarily for Airwindows VST plugins….''
Please see this post:
https://www.xpforums.com/threads/adobe-audition-3-0-1.935642/post-3275545
The sheer number of plugins available can be overwhelming (Over 500 to date and about 50 a year are released). I have been following Airwindows plugins since 2019 and the 20+ plugins I will be listing is a good start IMO (I’ve experimented with many, many more). My descriptions are very basic and I recommend you go to the plugin’s page at https://www.airwindows.com -> At the top there are links to VSTs https://www.airwindows.com/vsts/ and Tags https://www.airwindows.com/tags/ , they are short but important reads. next put plugin’s name in the search bar and read the author’s description, watch the video, read any posted comments, then go to gearspace.com and search the forum thread (Tip: Copy/paste the first full sentence on the Airwindows plugin page {Starting with: TL;DW:} to get right where you need using gearspace search)
Airwindows plugins parameters are sometimes labeled with very unique names which require you read the web page descriptions and/or look up the forum discussion on gearspace.com of the particular plugin; gearspace is where Chris Johnson does light support.
As I stated before ‘’… They are either unique or in my opinion compatible or superior to commercial alternatives.’’
I thought I’d share an interesting little tutorial that was released 9/15/00. It is a self-contained flash video that was published by Syntrillium, the makers of CoolEdit 96, 2000 and CoolEdit Pro before selling to Adobe who then developed Adobe Audition (Adobe Au) after.
The tutorial is called: ‘’ Short Course in Digital Audio’’
It is basic and I presume most people following this thread know all this stuff. But if you or someone you known is just getting started in digital audio, this is really a nice video.
From the author:
Ever wonder how all this digital audio stuff works? What bit depth is? How you get sound into a computer, and then how do you get it back out? What are waveforms, and where they come from? The Short Course in Digital Audio covers these topics and more in a review of basic audio concepts and terms.
Download it here (4.4 MB):
http://web.archive.org/web/20030404063159/http://support.syntrillium.com/tutorials/audcours.exe
Last edited:
CueListTool by Stefan Bion
From the author:
This utility allows you, among other things, to read, edit, and write back the cue lists embedded in WAV files by audio editing programs such as Adobe Audition. Cue lists can be saved as small text files and shared with other users.
With sound editors like e.g. Adobe Audition (formerly known as Syntrillium CoolEdit) you can mark individual points and regions within an audio recording, and store these markers (cues) together with an arbitrary label and a description in a special list,
Here’s where CueListTool comes into play: It enables you to export the cue list contained in a WAV file, and to save it to a separate, small file.
https://www.stefanbion.de/cuelisttool
1.98 MB Install…
Extracted and zipped: 602 kb
CueListTool _v1.8.5_Extracted.zip
From the author:
This utility allows you, among other things, to read, edit, and write back the cue lists embedded in WAV files by audio editing programs such as Adobe Audition. Cue lists can be saved as small text files and shared with other users.
With sound editors like e.g. Adobe Audition (formerly known as Syntrillium CoolEdit) you can mark individual points and regions within an audio recording, and store these markers (cues) together with an arbitrary label and a description in a special list,
Here’s where CueListTool comes into play: It enables you to export the cue list contained in a WAV file, and to save it to a separate, small file.
- Copy the Cue List from one WAV file into another WAV file.
- Export the Cue List from a WAV file to a separate small file (Cue List file).
- Write the Cues from a Cue List file into a WAV file.
- Show the Cue List as text with user-definable display format.
- Transfer the Cue List as text into the clipboard or save it to a plain text or RTF file.
- Create Cue Sheets for CD burning software to divide big audio files into individual CD tracks.
- Load the Cues from existing Cue Sheets, e.g. to write them back to a WAV file as a Cue-List.
- Modify all Cue data (Begin, End, Length, Label, Description, Type).
- Add, duplicate and delete Cues.
- Delete the entire Cue List from a WAV file.
- Exchange the Cue List between Adobe Audition and Audacity.
https://www.stefanbion.de/cuelisttool
1.98 MB Install…
Extracted and zipped: 602 kb
CueListTool _v1.8.5_Extracted.zip
Just a maintenance update.
Should XPforums vanish I've archived here (With the attachements):
https://web.archive.org/web/2026000...om/threads/adobe-audition-3-0-1.935642/page-3
Should XPforums vanish I've archived here (With the attachements):
https://web.archive.org/web/2026000...om/threads/adobe-audition-3-0-1.935642/page-3
Wow! Airwindows has just released PearLiteEQ a 4 band (vs. 6 band version) of a great EQ.
https://www.airwindows.com/pearliteeq/
Airwindows VST Plugins PART 5
Using Pafnuty VST as Exciter in a mastering chain+
Introduction
This post is going to cover a particular Airwindows VST plugin/application (Pafnuty, named for the Russian mathematician Pafnuty Chebyshev) and will also be a primer for mastering (With points made about my particular approach these days). Of course you don’t have to use the Airwindows plugin for this application, but I recommend you try it out against other Exciter plugins. As for the mastering stuff, I’ll be keeping it very basic for now. (And of course you can apply Pafnuty to tracks, edits etc.)
‘’Mastering Basics’’
I learned about mastering from surfing the web and especially from the tutorials and working with the program isotope Ozone (v2.0).
Isotope published many pdfs on mastering AND dithering and that’s where I got my start. (Some of my techniques are original and won’t be found in other mastering references. IOW ‘’Secret Sauces’’ I’ll be sharing in the future.)
The first step to good mastering is good MIXING. For my stuff I never say ‘’I’ll fix it in the master’’ because, well I did try in the past and… it sucked. I’ll always recommend people re-mix if they give me a mixdown with problems. Sometimes that is not possible and I will “”Fix it in the master’’ but I don’t like to if I can avoid.
The Mastering Chain
The mastering chain is done in series, one plugin after another that follows a particular order (I’m forgoing mid-side and multiband/parallel-crossover processing to keep it basic for now):
Equalization->
Reverb->
Single or Multiband Dynamics (Compression, Expansion, Limiting)->
Harmonic Exciter->
Stereo Imaging->
Post EQ->
Loudness Maximizer->
Dither->
SRC
There are many sub steps I use which I’ll discuss in the future.
The order of the mastering plugins, as well as what plugins to apply are optional. Though I no longer use Ozone, I follow the Ozone order listed above (with the exception of Post EQ which I’ll only use if I have to ‘’Fix it in the master’’ which I don’t need to do if I can Re-mix):
This post is about the Harmonic Exciter stage because I’m using Airwindows Pafnuty. I’ve tried a number of Exciter plugins and none come close to Pafnuty IMHO.
I don’t use Pafnuty2. It is scaled down to fit in VCV rack.
Q: Is the main difference between Pafnuty and Pafnuty2 that the latter just has less controls?
A: Yes. You shouldn't need to swap out the original for Pafnuty2. And sometimes you might like the extra controls
Background on Exciter DSP
I’ll use the definition of ‘’Exciter’’ (Not to be confused with Enhancer DSP) as: Signal processing of a sound file that adds dynamic harmonic synthesis with harmonic distortion and phase manipulation while creating higher order harmonics from the fundamental frequency.
IOW:
If I play an A 220 Hz note my exciter can add
On the Pafnuty Plugin, when you move the sliders to the right, the harmonics add, when you move the sliders to the left, the harmonics subtract; an interesting effect.
The application I’m demonstrating is for a song master that was recorded in 24 bit-96 kHz, and then converted to 32 bit float-192 kHz samplerate. (If you have a different sampling rate you will need to adjust the calculations accordingly). The content is Drums, Bass. Guitars, Vocals.
The Main Hurdle is Aliasing
An in-depth discussion on aliasing would exceed the intentions of this post. Suffice to say it is an unwanted artifact that can happen when applying DSP to digital audio above the sample rate of the file. IOW anything over 192 kHz in this example.
If we use the full audio frequency spectrum (20 Hz – 20 kHz) of our 32-192 file, and apply Pafnuty we’ll encounter aliasing at the 10th, 11th. 12th, and 13th harmonics as the table below shows:
So here are some options:
1) Not a big problem. Frankly I believe Chris Johnson when he says:
‘’…If the frequencies do go higher than the sampling rate then they do alias, but the way Pafnuty resists adding extra harmonics helps it to resist aliasing and if you don’t add lots of higher harmonics you can go very high in frequency, cleanly…’’
I have applied to full frequency spectrum (20 Hz – 20 kHz) with very slight 10th to 13th Harmonics and it sounds really, really good; or only use 2nd –9th Harmonics.
2) Upsample the file to 384 kHz
(I don’t know if Airwindows plugins can even process at 384 kHz)
Upsampling has its caveats. For me, I’d have to do it on the ‘’blind’’ since my hardware will not play back at 384 kHz let alone also applying DSP for real-time preview. Then I would have to downsample back to 192 before later downsampling to 96, 48 and 44.1 formats. IOW I don’t do this. I find a single upsample for mastering is worth the trade off of up-down SRC’’Generation loss’’
3) Using the crossover technique I refer to in post #45 you could limit how high Pafnuty engages and add more harmonics without aliasing. If you only process to 16 kHz, and do not use the 13th Harmonic:
4) Using the crossover technique I refer to in post #45 you could limit how high Pafnuty engages and add more harmonics without aliasing. If you only process to 14.75 kHz:
Quick refresher on using the crossover technique in Au:
1) Open Au in multi-track view
2) Track 1: Right click-> Insert audio (e.g. ''My Song.wav'')
3) Track 2: Right click-> Insert ''My Song.wav'' (No need to make unique copy)
4) Track 1: Right click-> Effects Rack-> 1st slot-> Amplitude and Compression-> Multiband Compressor
5) Track 2: Right click-> Effects Rack-> 1st slot-> Amplitude and Compression-> Multiband Compressor
6) Track 1->Effects Rack-> Multiband Compressor-> In the right pane-> set output gain to 0, bypass the limiter, (Even though limiter is bypassed, I put limiter threshold and margin at 0 and keep default attack 4 and release 500), make sure all three bottom options are unchecked.
For Bands 1, 2, 3, and 4, set all parameters to default: thresh: 0, gain: 0, ratio: 1, attack: 10ms. Release: 100ms. This is especially required on bands that are soloed.
Repeat for Track 2 Multiband Compressor.
7) In Track 1 Multiband Compressor, Set the 3rd crossover point to 16 kHz (or 14.75 kHz) by either sliding it with your mouse or keying into the ''high'' field.
Set the other two crossovers to anything e.g. low:120 Hz, mid: 1000 Hz.
On bands 1-3 click the ''S'' solo buttons; they will light green and band 4 will gray out.
8) In Track 2 Multiband Compressor set the same crossover points as in Track 1 Multiband Compressor i.e. low:120 hz, mid: 1000 Hz high: 16 kHz (or 14.75 kHz)
On bands 4 click the ''S'' solo buttons; it will light green and bands 1-3 will gray out.
9) Track 1: Right click-> Effects Rack-> 2nd slot-> insert Pafnuty and set 13th harmonic to ‘’0’’. (Or use all Harmonics up to 14.75 kHz).
Now we can process all audio between 20 Hz - 16 kHz with Pafnuty up to 12th harmonic without aliasing. Or all audio between 20 Hz - 14.75 kHz with Pafnuty up to 13th harmonic without aliasing
10) Mix down the files, compare to the original... Go on from there.
As Harmonics get more ‘’Out There’’ we see there is slight de-tuning. In the case of e.g. the 11th and 13th harmonics we are off by near a ¼ step! (7th harmonic is also a bit de-tuned).
Additional Tips:
Auditioning Pafnuty Alone
1) Using the invert function, invert the entire sound file and copy.
2) Undo the invert.
3) Apply Pafnuty.
4) Mix Paste the inverted copy you made on top of the Pafnuty processed file.
Now you will hear only what Pafnuty is doing by itself.
Tune to the Music
Start with the obvious harmonics:
2nd, 3rd, 4th, 6th, 8th and 12th, these are octaves and octaves+ perfect 5ths
Then dial in the others.
Detuning Issues
Since adding the 11th harmonic introduces an interval of a diminished 5th and a detune of -49 cents (a ¼ step), consider leaving it out altogether; the tone might be smoother to your ear.
18 kHz processing (On a 192 kHz Sample Rate)
If you are willing to forgo harmonics 11, 12 & 13, using the crossover method, you can process up to 18 kHz.
Ultrasonic Filtering
Before applying Pafnuty I’ll always apply an ultrasonic filter to the sound file first, I’d recommend Airwindows HypersonX ‘’D’’ (HypersonX has 7 flavors of filter), or Ultrasonic, (or UtrasonX). (I’ll be posting an in-depth discussion of ultrasonic filtering in the future). If using the crossover technique, place the filter in the Track 1 FX rack before Pafnuty.
https://www.airwindows.com/hypersonx/
https://www.airwindows.com/ultrasonic/
Another filtering option is TDR Ultrasonic Filter
https://vladgsound.wordpress.com/2014/12/21/tdr-ultrasonic-filter-alpha-version/
DC Offset
After using Pafnuty there is very strong chance there will be a DC offset. In Au I do DC correction using Airwindows Hermepass with the SpinAudio DX Wrapper.
E.g. After applying Pafnuty, I get the following stats:
Peak Amplitude: -.78 dB/-.74 dB
DC Offset: .035%/.034%
I apply Hermepass:
HermepassDX: (Cutoff .000/Slope 1)
Peak Amplitude: -.77 dB/-.73 dB
DC Offset: 0%/0%
Most times a cutoff of .000 works, but if it does not, the DX wrapper allows for very fine increase in Au. Slope is always 1.
The Gearspace Presets
I found this preset on the gearspace .com forum and it is one of my ‘’Go To’’ Pafnuty presets for mastering. To get it in Au I must use the SpinAudio DX wrapper.
Pafnuty Gearspace Preset_01
Second: 0.250000 {SpinAudio VST Wrapper: 0.625000}
Third: 0.590000 {SpinAudio VST Wrapper: 0.795000}
Fourth: 0.207999 {SpinAudio VST Wrapper: 0.604000}
Fifth: 0.394000 {SpinAudio VST Wrapper: 0.697000}
Sixth: 0.139999 {SpinAudio VST Wrapper: 0.570000}
Seventh: 0.233999 {SpinAudio VST Wrapper: 0.617000}
Eighth: 0.082000 {SpinAudio VST Wrapper: 0.541000}
Ninth: 0.126000 {SpinAudio VST Wrapper: 0.563000}
Tenth: 0.044000 {SpinAudio VST Wrapper: 0.522000}
Eleventh: 0.070000 {SpinAudio VST Wrapper: 0.535000}
Twelfth: 0.024000 {SpinAudio VST Wrapper: 0.512000}
Thirteenth: 0.036000 {SpinAudio VST Wrapper: 0.518000}
Inv/Wet: 0.55001 {SpinAudio VST Wrapper: 0.775001}
The preset post:
https://gearspace.com/threads/airwindows-pafnuty-mac-windows-linux-au-vst.1248794/
Originally Posted by stinkyfingers
Here's a "pre-set"...
Chrisj: Nice! That is smooth as silk: recommended to check out
My note: For some reason the first quoted post was deleted from the thread by stinkyfingers.
On the same thread there is a second preset posted:
Pafnuty Gearspace Preset_02
Second: 0.65971 {SpinAudio VST Wrapper: 0.829986}
Third: 0.77083 {SpinAudio VST Wrapper: 0.885415}
I attach a text file with the presets, PNG and the above Harmonic/Interval Table:
Pafnuty_Gearspace Preset.zip
A Unique Pitch Shifter
To quote Gearspace member StoneyBCN:
‘’…If you null out the dry signal leaving only harmonics, it makes a heck of a nice pitch-shifter/harmonizer…’’
Keeping in mind the Harmonic/Interval Table above, Pafnuty can be used as a pitch shifter/harmonizer. To test this out:
1) Create a new file
2) Use the ‘’Generate Tones’’ function and make a 5 second A 440 Hz sound file.
3) Using the invert function, invert the entire sound file and copy.
4) Undo the invert.
5) Apply Pafnuty 4th Harmonic = 2nd Octave only
6) Mix Paste the inverted copy you made on top of the Pafnuty processed file.
Now you will hear the tone an octave up.
7) Correct the DC offset with Airwindows Hermepass (e.g. Cutoff 0.310000 /Slope 1)
8) Experiment with other harmonics…
Mid-Side It!
Of course this technique can be applied to anything, not just a harmonic exciter, but since we’re here:
1) Take a sound file.
2) Using Airwindows EveryTrim, drop the Mid –12 dB and raise the master about 6 dB.and apply; you now have a side only file.
3) Using the invert function, invert the entire sound file and copy.
4) Undo the invert.
5) Apply Pafnuty (or anything, really) to taste.
6) Mix Paste the inverted copy you made on top of the Pafnuty processed file.
7) DC Correct with Hermepass (Always start DC Correct Cutoff 0.00 /Slope 1 and work up slowly)
8) Save the file to a unique name.
9) Open multitrack-> Track 1 place original sound file.
10) Track 2-> Insert Pafnuty side file you just made. Mix away!
Links
Reminder: When downloading Airwindows plugins always download the entire zip collection to insure getting the latest version.
Pafnuty
https://www.airwindows.com/pafnuty-vst/
https://gearspace.com/board/new-pro...windows-pafnuty-mac-windows-linux-au-vst.html
Pafnuty2
https://www.airwindows.com/pafnuty2/
https://gearspace.com/board/new-pro...ac-windows-linux-pi-au-vst-rack-spoilers.html
Harmonics Calculator
https://mustcalculate.com/electronics/harmonics.php?f=14750
Harmonic Series Calculator
https://frequencydetector.com/harmonic-series-calculator/
A Final Note:
One of the things I like about posting here is reviewing my own techniques. As I look at this I think it’s worth it for me to re-evaluate my method. I’m leaning towards trying the 16 kHz method I outlined above but with and without the 11th harmonic.
Using Pafnuty VST as Exciter in a mastering chain+
Introduction
This post is going to cover a particular Airwindows VST plugin/application (Pafnuty, named for the Russian mathematician Pafnuty Chebyshev) and will also be a primer for mastering (With points made about my particular approach these days). Of course you don’t have to use the Airwindows plugin for this application, but I recommend you try it out against other Exciter plugins. As for the mastering stuff, I’ll be keeping it very basic for now. (And of course you can apply Pafnuty to tracks, edits etc.)
‘’Mastering Basics’’
I learned about mastering from surfing the web and especially from the tutorials and working with the program isotope Ozone (v2.0).
Isotope published many pdfs on mastering AND dithering and that’s where I got my start. (Some of my techniques are original and won’t be found in other mastering references. IOW ‘’Secret Sauces’’ I’ll be sharing in the future.)
The first step to good mastering is good MIXING. For my stuff I never say ‘’I’ll fix it in the master’’ because, well I did try in the past and… it sucked. I’ll always recommend people re-mix if they give me a mixdown with problems. Sometimes that is not possible and I will “”Fix it in the master’’ but I don’t like to if I can avoid.
The Mastering Chain
The mastering chain is done in series, one plugin after another that follows a particular order (I’m forgoing mid-side and multiband/parallel-crossover processing to keep it basic for now):
Equalization->
Reverb->
Single or Multiband Dynamics (Compression, Expansion, Limiting)->
Harmonic Exciter->
Stereo Imaging->
Post EQ->
Loudness Maximizer->
Dither->
SRC
There are many sub steps I use which I’ll discuss in the future.
The order of the mastering plugins, as well as what plugins to apply are optional. Though I no longer use Ozone, I follow the Ozone order listed above (with the exception of Post EQ which I’ll only use if I have to ‘’Fix it in the master’’ which I don’t need to do if I can Re-mix):
This post is about the Harmonic Exciter stage because I’m using Airwindows Pafnuty. I’ve tried a number of Exciter plugins and none come close to Pafnuty IMHO.
I don’t use Pafnuty2. It is scaled down to fit in VCV rack.
Q: Is the main difference between Pafnuty and Pafnuty2 that the latter just has less controls?
A: Yes. You shouldn't need to swap out the original for Pafnuty2. And sometimes you might like the extra controls
Background on Exciter DSP
I’ll use the definition of ‘’Exciter’’ (Not to be confused with Enhancer DSP) as: Signal processing of a sound file that adds dynamic harmonic synthesis with harmonic distortion and phase manipulation while creating higher order harmonics from the fundamental frequency.
IOW:
If I play an A 220 Hz note my exciter can add
- 440 Hz 2nd Harmonic
- 660 Hz 3rd Harmonic
- 880 Hz 4th Harmonic
- 1,100 Hz 5th Harmonic etc tones to it. This can bring out a sonic ‘’Increase’’ that was not there before.
On the Pafnuty Plugin, when you move the sliders to the right, the harmonics add, when you move the sliders to the left, the harmonics subtract; an interesting effect.
The application I’m demonstrating is for a song master that was recorded in 24 bit-96 kHz, and then converted to 32 bit float-192 kHz samplerate. (If you have a different sampling rate you will need to adjust the calculations accordingly). The content is Drums, Bass. Guitars, Vocals.
The Main Hurdle is Aliasing
An in-depth discussion on aliasing would exceed the intentions of this post. Suffice to say it is an unwanted artifact that can happen when applying DSP to digital audio above the sample rate of the file. IOW anything over 192 kHz in this example.
If we use the full audio frequency spectrum (20 Hz – 20 kHz) of our 32-192 file, and apply Pafnuty we’ll encounter aliasing at the 10th, 11th. 12th, and 13th harmonics as the table below shows:
Frequency up to 20000 Hz
| Harmonic | Frequency |
| 2nd harmonic | 40 kHz |
| 3rd harmonic | 60 kHz |
| 4th harmonic | 80 kHz |
| 5th harmonic | 100 kHz |
| 6th harmonic | 120 kHz |
| 7th harmonic | 140 kHz |
| 8th harmonic | 160 kHz |
| 9th harmonic | 180 kHz |
| 10th harmonic | 200 kHz [over 192 kHz Sample rate] |
| 11th harmonic | 220 kHz [over 192 kHz Sample rate] |
| 12th harmonic | 240 kHz [over 192 kHz Sample rate] |
| 13th harmonic | 260 kHz [over 192 kHz Sample rate] |
So here are some options:
1) Not a big problem. Frankly I believe Chris Johnson when he says:
‘’…If the frequencies do go higher than the sampling rate then they do alias, but the way Pafnuty resists adding extra harmonics helps it to resist aliasing and if you don’t add lots of higher harmonics you can go very high in frequency, cleanly…’’
I have applied to full frequency spectrum (20 Hz – 20 kHz) with very slight 10th to 13th Harmonics and it sounds really, really good; or only use 2nd –9th Harmonics.
2) Upsample the file to 384 kHz
(I don’t know if Airwindows plugins can even process at 384 kHz)
Upsampling has its caveats. For me, I’d have to do it on the ‘’blind’’ since my hardware will not play back at 384 kHz let alone also applying DSP for real-time preview. Then I would have to downsample back to 192 before later downsampling to 96, 48 and 44.1 formats. IOW I don’t do this. I find a single upsample for mastering is worth the trade off of up-down SRC’’Generation loss’’
3) Using the crossover technique I refer to in post #45 you could limit how high Pafnuty engages and add more harmonics without aliasing. If you only process to 16 kHz, and do not use the 13th Harmonic:
Frequency 16000 Hz
| Harmonic | Frequency |
| 12th harmonic | 192 kHz |
| 13th harmonic | 208 kHz (Aliasing will occur) |
4) Using the crossover technique I refer to in post #45 you could limit how high Pafnuty engages and add more harmonics without aliasing. If you only process to 14.75 kHz:
Frequency 14750 Hz
| Harmonic | Frequency |
| 13th harmonic | 191.75 kHz |
Quick refresher on using the crossover technique in Au:
1) Open Au in multi-track view
2) Track 1: Right click-> Insert audio (e.g. ''My Song.wav'')
3) Track 2: Right click-> Insert ''My Song.wav'' (No need to make unique copy)
4) Track 1: Right click-> Effects Rack-> 1st slot-> Amplitude and Compression-> Multiband Compressor
5) Track 2: Right click-> Effects Rack-> 1st slot-> Amplitude and Compression-> Multiband Compressor
6) Track 1->Effects Rack-> Multiband Compressor-> In the right pane-> set output gain to 0, bypass the limiter, (Even though limiter is bypassed, I put limiter threshold and margin at 0 and keep default attack 4 and release 500), make sure all three bottom options are unchecked.
For Bands 1, 2, 3, and 4, set all parameters to default: thresh: 0, gain: 0, ratio: 1, attack: 10ms. Release: 100ms. This is especially required on bands that are soloed.
Repeat for Track 2 Multiband Compressor.
7) In Track 1 Multiband Compressor, Set the 3rd crossover point to 16 kHz (or 14.75 kHz) by either sliding it with your mouse or keying into the ''high'' field.
Set the other two crossovers to anything e.g. low:120 Hz, mid: 1000 Hz.
On bands 1-3 click the ''S'' solo buttons; they will light green and band 4 will gray out.
8) In Track 2 Multiband Compressor set the same crossover points as in Track 1 Multiband Compressor i.e. low:120 hz, mid: 1000 Hz high: 16 kHz (or 14.75 kHz)
On bands 4 click the ''S'' solo buttons; it will light green and bands 1-3 will gray out.
9) Track 1: Right click-> Effects Rack-> 2nd slot-> insert Pafnuty and set 13th harmonic to ‘’0’’. (Or use all Harmonics up to 14.75 kHz).
Now we can process all audio between 20 Hz - 16 kHz with Pafnuty up to 12th harmonic without aliasing. Or all audio between 20 Hz - 14.75 kHz with Pafnuty up to 13th harmonic without aliasing
10) Mix down the files, compare to the original... Go on from there.
Harmonic/Interval Table
Odd-Numbered Harmonics | Even-Numbered Harmonics |
| 1st Harmonic = Fundamental Tone (Unison) | 2nd Harmonic = 1st Octave |
| 3rd Harmonic = 1st Octave + Perfect 5th (+3 cents) | 4th Harmonic = 2nd Octave |
| 5th Harmonic = 2nd Octave + Major 3rd (-14 cents) | 6th Harmonic = 2nd Octave + Perfect 5th (+2 cents) |
| 7th Harmonic = 2nd Octave + minor 7th (-31 cents) | 8th Harmonic = 3rd Octave |
| 9th Harmonic = 3rd Octave + Major 2nd (+4 cents) | 10th Harmonic = 3rd Octave + Major 3rd (-14 cents) |
| 11th Harmonic = 3rd Octave + dim 5th (-49 cents) | 12th Harmonic = 3rd Octave + Perfect 5th (+2 cents) |
| 13th Harmonic = 3rd Octave + Major 6th (+41 cents) | 14th Harmonic = 3rd Octave + minor 7th (-31 cents) |
| 15th Harmonic = 3rd Octave + Major 7th (-12 cents) | 16th Harmonic = 4th Octave |
Additional Tips:
Auditioning Pafnuty Alone
1) Using the invert function, invert the entire sound file and copy.
2) Undo the invert.
3) Apply Pafnuty.
4) Mix Paste the inverted copy you made on top of the Pafnuty processed file.
Now you will hear only what Pafnuty is doing by itself.
Tune to the Music
Start with the obvious harmonics:
2nd, 3rd, 4th, 6th, 8th and 12th, these are octaves and octaves+ perfect 5ths
Then dial in the others.
Detuning Issues
Since adding the 11th harmonic introduces an interval of a diminished 5th and a detune of -49 cents (a ¼ step), consider leaving it out altogether; the tone might be smoother to your ear.
18 kHz processing (On a 192 kHz Sample Rate)
If you are willing to forgo harmonics 11, 12 & 13, using the crossover method, you can process up to 18 kHz.
Ultrasonic Filtering
Before applying Pafnuty I’ll always apply an ultrasonic filter to the sound file first, I’d recommend Airwindows HypersonX ‘’D’’ (HypersonX has 7 flavors of filter), or Ultrasonic, (or UtrasonX). (I’ll be posting an in-depth discussion of ultrasonic filtering in the future). If using the crossover technique, place the filter in the Track 1 FX rack before Pafnuty.
https://www.airwindows.com/hypersonx/
https://www.airwindows.com/ultrasonic/
Another filtering option is TDR Ultrasonic Filter
https://vladgsound.wordpress.com/2014/12/21/tdr-ultrasonic-filter-alpha-version/
DC Offset
After using Pafnuty there is very strong chance there will be a DC offset. In Au I do DC correction using Airwindows Hermepass with the SpinAudio DX Wrapper.
E.g. After applying Pafnuty, I get the following stats:
Peak Amplitude: -.78 dB/-.74 dB
DC Offset: .035%/.034%
I apply Hermepass:
HermepassDX: (Cutoff .000/Slope 1)
Peak Amplitude: -.77 dB/-.73 dB
DC Offset: 0%/0%
Most times a cutoff of .000 works, but if it does not, the DX wrapper allows for very fine increase in Au. Slope is always 1.
The Gearspace Presets
I found this preset on the gearspace .com forum and it is one of my ‘’Go To’’ Pafnuty presets for mastering. To get it in Au I must use the SpinAudio DX wrapper.
Pafnuty Gearspace Preset_01
Second: 0.250000 {SpinAudio VST Wrapper: 0.625000}
Third: 0.590000 {SpinAudio VST Wrapper: 0.795000}
Fourth: 0.207999 {SpinAudio VST Wrapper: 0.604000}
Fifth: 0.394000 {SpinAudio VST Wrapper: 0.697000}
Sixth: 0.139999 {SpinAudio VST Wrapper: 0.570000}
Seventh: 0.233999 {SpinAudio VST Wrapper: 0.617000}
Eighth: 0.082000 {SpinAudio VST Wrapper: 0.541000}
Ninth: 0.126000 {SpinAudio VST Wrapper: 0.563000}
Tenth: 0.044000 {SpinAudio VST Wrapper: 0.522000}
Eleventh: 0.070000 {SpinAudio VST Wrapper: 0.535000}
Twelfth: 0.024000 {SpinAudio VST Wrapper: 0.512000}
Thirteenth: 0.036000 {SpinAudio VST Wrapper: 0.518000}
Inv/Wet: 0.55001 {SpinAudio VST Wrapper: 0.775001}
The preset post:
https://gearspace.com/threads/airwindows-pafnuty-mac-windows-linux-au-vst.1248794/
Originally Posted by stinkyfingers
Here's a "pre-set"...
Chrisj: Nice! That is smooth as silk: recommended to check out
My note: For some reason the first quoted post was deleted from the thread by stinkyfingers.
On the same thread there is a second preset posted:
Pafnuty Gearspace Preset_02
Second: 0.65971 {SpinAudio VST Wrapper: 0.829986}
Third: 0.77083 {SpinAudio VST Wrapper: 0.885415}
I attach a text file with the presets, PNG and the above Harmonic/Interval Table:
Pafnuty_Gearspace Preset.zip
A Unique Pitch Shifter
To quote Gearspace member StoneyBCN:
‘’…If you null out the dry signal leaving only harmonics, it makes a heck of a nice pitch-shifter/harmonizer…’’
Keeping in mind the Harmonic/Interval Table above, Pafnuty can be used as a pitch shifter/harmonizer. To test this out:
1) Create a new file
2) Use the ‘’Generate Tones’’ function and make a 5 second A 440 Hz sound file.
3) Using the invert function, invert the entire sound file and copy.
4) Undo the invert.
5) Apply Pafnuty 4th Harmonic = 2nd Octave only
6) Mix Paste the inverted copy you made on top of the Pafnuty processed file.
Now you will hear the tone an octave up.
7) Correct the DC offset with Airwindows Hermepass (e.g. Cutoff 0.310000 /Slope 1)
8) Experiment with other harmonics…
Mid-Side It!
Of course this technique can be applied to anything, not just a harmonic exciter, but since we’re here:
1) Take a sound file.
2) Using Airwindows EveryTrim, drop the Mid –12 dB and raise the master about 6 dB.and apply; you now have a side only file.
3) Using the invert function, invert the entire sound file and copy.
4) Undo the invert.
5) Apply Pafnuty (or anything, really) to taste.
6) Mix Paste the inverted copy you made on top of the Pafnuty processed file.
7) DC Correct with Hermepass (Always start DC Correct Cutoff 0.00 /Slope 1 and work up slowly)
8) Save the file to a unique name.
9) Open multitrack-> Track 1 place original sound file.
10) Track 2-> Insert Pafnuty side file you just made. Mix away!
Links
Reminder: When downloading Airwindows plugins always download the entire zip collection to insure getting the latest version.
Pafnuty
https://www.airwindows.com/pafnuty-vst/
https://gearspace.com/board/new-pro...windows-pafnuty-mac-windows-linux-au-vst.html
Pafnuty2
https://www.airwindows.com/pafnuty2/
https://gearspace.com/board/new-pro...ac-windows-linux-pi-au-vst-rack-spoilers.html
Harmonics Calculator
https://mustcalculate.com/electronics/harmonics.php?f=14750
Harmonic Series Calculator
https://frequencydetector.com/harmonic-series-calculator/
A Final Note:
One of the things I like about posting here is reviewing my own techniques. As I look at this I think it’s worth it for me to re-evaluate my method. I’m leaning towards trying the 16 kHz method I outlined above but with and without the 11th harmonic.
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