Linda Audio releases InstaVibe - creative audio effect which can bring several kinds of modulation and distortion to your tracks. InstaVibe does not model any real hardware but it can be used for effects sonically similar to tape cassette (but it's not limited to).
InstaVibe includes four effect sections:
Saturation
Tube distortion
Subtle harmonic enhancer
EQ
3 profiles, each with a slightly different curve
Modes B and C add some additional distortion
Can also be turned off
LF and HF boost (resonance)
Age parameter (narrowing the EQ)
Noise
5 different types of noise - 2 audio cassettes, 2 vinyl records, and brown noise
Possibility of dynamically controlling the noise level with the input signal
Adjustable noise pitch
Modulation
Wow and scratch fluctuation
Adjustable stereo modulation width
Quad chorus with adjustable delay
InstaVibe also features Undo, Redo, A/B and 15 presets
If you like and use InstaVibe, please support its future development as well as development of my other plugins. You can donate via paypal:
Linda Audio releases SuperCrunch - great sounding and straight-forward guitar amp
plugin. SuperCrunch does not model any real hardware
but it is capable of very natural sound of classic tube amplifier. Its range
is from sparkling clean sound through gentle and not so gentle crunch tones to wild rock and metal distortion. There are
controls for input and output gain, drive gain and bright and there is a
choice of two channels - crunch and lead. You can also blend in the clean signal. The very important part of this amp is the 8-band graphic equalizer which is engaged before the tube stages which allows very wide shaping of the distortion character. It can be also gain-compensated. On top of that there is also cabinet simulation which can be switched off and consists of two phase aligned impulse responses between which you can continuously blend. Finally, gate with adjustable
threshold is also available.
If
you like and use SuperCrunch, please support its future development as
well as development of my other plugins. You can donate via paypal:
Linda Audio releases Fuzzy - versatile guitar fuzz distortion plugin
with some extra features. Fuzzy does not model any real hardware
but it is capable of wide spectrum of fuzz distorted sounds. Its range is from gentle fuzzy overdrive to complete rectifier mayhem. There are controls for input and output gain, boost gain and tone and there is a choice of two fuzz algorithms. On top of that there is also 8-band graphic equalizer with optional automatic gain compensation allowing radically change the overall sound. Finally, gate with adjustable threshold is also available.
If
you like and use Fuzzy, please support its future development as
well as development of my other plugins. You can donate via paypal:
Finaly I managed to build VST2, VST3 and AU plugins for Mac properly and
it passes all validations. Here are unsigned plugins for Intel Mac. If anyone needs M1 version, I hope I will be able to
build it in few days.
I would like to pay apple developer program to be able to properly sign
plugins and I have some ideas to make Sonicrusher even better. Also I
have prototypes of two other interesting plugins (very good and
versatile guitar amp simulator and great Shimmer reverb/delay effect).
And I hope there will be more.
Linda Audio releases Sonicrusher - versatile compressor plugin with some extra features. Sonicrusher does not model any real hardware but it is capable of everything from gentle transparent compression to extreme compression that will smack your drums hard. It can be run in Modern level detector mode (feed-forward) for fast and hard transient shaping, or Vintage (feed-back) detector mode which is more gentle. It has adjustable knee and RMS and of course hi-pass (and even lo-pass) sidechain filter. It can work also in "Split" mode, which compresses high frequencies separately with slightly different parameters (It is useful for example on vocals or on some synths). One other special feature is "Crush" - band-pass or hi-pass filter with overdrive which can add some life back to the compressed signal and even can be controlled by actual compression. There is also clipper with adjustable threshold, and dry/wet mix. Automatic gain compensation is also available.
If you like and use Sonicrusher, please support its future development as well as development of my other plugins. You can donate via paypal:
Here are unsigned plugins for Intel Mac (VST2, VST3 and AU). I hope in some near future I will be able to make M1 versions as well and get it signed properly.
Sonicrusher has three parts: compressor, crush/color section and output section.
1) Compressor
DRIVE - input gain in dB. Affects the level of input signal which also affects how much overdrive occurs in Crush and Warm sections. -40 to +18 dB.
THRESHOLD - level of signal where the compression starts. Its behavior is dependent on fat/tight, pumping/solid and modern/vintage settings.
RATIO - how much is the signal attenuated after the attack time. From 1:1.25 to 1:32.
ATTACK - length of the attack phase (from zero compression to 1:RATIO compression). From fast to slow.
RELEASE - length of the release phase. Release phase starts when the signal goes below threshold again. From fast to slow.
HOLD - time that keeps compression even if the signal is bellow threshold in milliseconds. 0 to 500ms.
HI-PASS - hi-pass filter of the detector signal. Off or from 20Hz to 500Hz.
LO-PASS - lo-pass filter of the detector signal. Off or from 22KHz to 400Hz.
KNEE - the size of the compression knee rounding. At zero it is hard knee.
RMS - length of the window for averaging input signal value. With RMS at zero it is the peak detection and the bigger RMS, the more energy is needed for compression to start. It is useful for example for harder drum transient shaping.
FAT/TIGHT - affects the curve of the compression and the threshold. TIGHT is more snappy and distinct compression while FAT is fatter and more stable.
PUMPING/SOLID - PUMPING is faster and more pumping compression, SOLID is more stable and less pumping compression.
MODERN/VINTAGE - in MODERN mode the signal detector works in feed-forward mode, while in VINTAGE it works in feed-back mode which usually provides more gentle and smooth compression.
HF SPLIT - compresses hi frequencies separately with slightly different parameters (It is useful for example on vocals or on some synths). HF knob controls how much high frequencies are mixed back to the signal.
2) Crush/color section
CRUSH - adds band-passed or hi-passed compressed signal which is sent through non-linear distortion and mixed back. The distortion is dependent on the input signal, Drive and Crush.
CRUSH FREQ - crush filter frequency. 30Hz to 12KHz.
CRUSH Q - crush filter width.
HP/BP - crush filter type - hi-pass or band-pass.
ENV ON/OFF - when ENV is ON crush is controlled by actual compression (for example only on drum transients). With ENV OFF crush is constant.
WARM - adds another harmonic distortion. It is dependent on input signal level and on DRIVE.
COLOR - connected lo-shelf and hi-shelf filters which allows to darken or lighten the processed signal.
3) Output section
ST. LINK - with ST. LINK ON the detector signal is average of left and right. With ST. LINK OFF detector for each channel is computed separately. In fact this belongs more to the compressor section.
CLIP - enables hard clipping. Everything above clip thresh is trimmed to this level.
CLIP THRESH - level above that the output signal is trimmed.
OUTPUT - output level in dB. -40 to +24 dB.
DRY/WET - mix of dry and processed signal. Dry signal is not affected by Drive, but it is affected by Output.
AUTOGAIN - it has two variants. 1) STATIC, compensates compression constantly and relatively to Threshold, Ratio, Drive, Attack, Release and Hi-pass. It does not affect the compression. But it is not accurate, it always depends on specific input material and its compression. 2) DYNAMIC - works very accurate on every material, but it is in fact another level of slow compression with long RMS window and it does affect the overall compression. AUTOGAIN can be switched off.
BYPASS - global bypass.
Metering
There are also signal meters in the left part. Input and output level and level reduction meter showing values in dB. Each meter highlights maximum value for two seconds.
neděle 9. února 2020
Rock Amp is dead, RockStack is born!
Unfortunately for several reasons RockAmp is no longer available.
Instead check out its upgraded version called RockStack which I developed in cooperation with Audified. It has completely revamped DSP and also an integrated IR Cab simulator.
My first attempt on VST guitar amp simulator. No specific hardware simulated, no advanced circuit emulation algorithms used - just tuned to sound good. It is useful for rock and for low to mid-gain sounds, but it is also capable of some high-gain tones.
Features 3 drive modes - CLEAN, ROCK and METAL which differs in gain amount but also in distortion character and pre-equalization used.
BRIGHT switch engages algorithm which accentuates higher frequencies dynamically. It is very sensitive to the input signal level (this can be adjusted by INPUT).
PRE Equalizer not only shapes input signal frequencies but in ROCK and METAL drive modes also significantly affects the drive level and character.
POST Equalizer shapes output signal frequencies.
GATE features low pass filter on input signal controlled by envelope follower. Useful particularly for higher gain sounds, should be turned off for quiet lower gain sounds.
TIGHT affects how fast is the drive response to signal (the more tight - the faster drive amount falls).
FAT adds even harmonics to the signal.
BODY adds some middle and higher mid-range and some more aggression.
MOD is modulation effect which can be set up like chorus, flanger or vibrato. In mode I there is one delay line, in mode II there are two delay lines creating richer chorus effect.
DELAY is simple delay effect with overdrive and filter in feedback loop - it can be introduced by THRESH amount
