Airwindows DeRez3: Free Mac/Windows/Linux/Pi CLAP/AU/VST3/VST2/LV2/Rack
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- čas přidán 15. 07. 2024
- www.airwindows.com/derez3/ / airwindows
I've long been interested in old school lo-fi digital.
It's partly because I've had ancient reverbs and things, stuff that produced a vibe far better than newer replacements, and it's partly because all my own efforts have been so much the opposite: working out how to dither 32-bit floating point and using it in all plugins, turning to 96k sampling rate and working out distributed filtering so the processing can be simpler than the wild overprocessing of oversampling: I've gone farther and farther towards ultra-resolution and learned how to adapt it musically so it doesn't just sound super-DAW-y and clinical.
But all the time, I've known of the great retro samplers. Some I've even bought, but not really known what to do with, a rock/prog guy like me. Some are out of my range and I can't afford them. I've even picked up some seminal records done with old samplers like that, or discovered they played a role in stuff I loved.
And then I started trying to improve on my undersampling for reverbs… and made a breakthrough that changed everything.
You see, when I undersample a reverb, I'm taking a sample only every two or four samples, and interpolating the result to give a high output sample rate. I've been sticking to exactly 2x or 4x sampling rate, and doing a linear reconstruction: you can hear what that sounds like in CrunchCoat, which is also fun to play with… but in essence it's taking the idea of interpolating, and going 'let's just take a reverb sample every X samples. What's X? Anything!'
So you got to swoop the reverb down to a gritty, low-fi mess. So far so good (or bad: but that's the point, it was called 'cursed retro digital' by my livestream and obviously I had to put it out as a plugin) But then, what would you do if you had a sequence of lo-fi samples, irregularly spaced, and you wanted to draw a smooth line through them, not a pointy line?
Graphics has a handy technique called Bezier curves. It lets you draw a smooth line between points. Depending on the Bezier curve, you might go through the points, or around them, depending on how you set it up. But the important thing is, it's not an audio calculation. The higher harmonics you might generate have nothing to do with the sound. It doesn't know it is a sound. It's just trying to draw the seamless, smoothest curve between some points.
Initial experiments with the reverbs went strangely. It would act like a cursed brickwall filter, but with a strange resonance unlike anything I'd heard before. In the ballpark, but always ruining the cleanness of the reverb and making horrible (but very smooth) artifacts… until I hit on using perfectly even divisors of the sample rate and that got me a plugin called CreamCoat and a whole batch of new reverbs I'm already beginning to use for everything.
But then… what happened to the horrible but very smooth artifacts? The Bezier curve reconstruction that isn't so careful to sound nice, that throws out strange artifacts never before experienced, but always very mellow and smooth like some kind of cursed brickwall or isolator filter?
Meet DeRez3. That's your Rate control. Unlike CrunchCoat it doesn't click when taken to zero, largely because it just goes to subsonics and never really to zero so it can't trap energy by mistake. Every parameter is control-smoothed because I expect this thing to be played like a synth filter… It's got a Rez control that's tweaked so at extreme low bit, it throws in a gating behavior that can be used in conjunction with the Rate to produce strange gatey effects on sounds. It's got a Dry/Wet that is actually set up like my Wetness controls: with full dry you can sneak in small amounts of DeRez without affecting dry level, with full wet you can sneak in traces of dry without cutting wet level. 0.5 gives you both.
This is an alternate way of dialing in those retro digital sounds without 'emulation' of all that analog stuff. No added noise, no simulated analog stages. Instead, it is the refinement of a concept for reconstructing lo-fi using Bezier curves, and only gets better the more rez you've got to hold it. 96k, double precision? Bring it on, it will just further optimize the vibe being produced by the algorithm. It's HI-FI low-fi. - Hudba
This man is a world treasure. Thankful for all this sound alchemy and knowledge, Chris!
The tone, quality and width of potential application is insane!
Will be putting this on everything.
This guy is actually a wizard..
The console version for hip hop sounds like a very good idea
this is amazing, one of my favorite plugs is airwindows bit glitter... i can't wait to dive into this one!
Sounds soooo cool Chris. Very unique type of crush 👍
You, Sir are a class act! I’m from hip hop land and deeply appreciate your work!
I friggin love this thing, Chris, thanks so much. While you are working on lo-fi reverbs, i'd love to see something like a granular octaverb type thing! Something like Galactic (or maybe MV), crossed with Melt, but with all the grains sped up double speed. If you could include a knob for altering the sample rate on the grains, that would be crazy!
Well, this is the kind of work you'd need to have to go forward to that. There's no special reason I couldn't run grains and do the Bezier reconstruction on those, and they'd sound like DeRez3 but be a granular effect. Since you're doing a curve-fitting process, it's kinda well suited to grains.
@@airwindows Thanks for the response, super interesting!
You're crushin' this whole life. You're the best!
Well done Chris. Instant hit! As always, thank you!
0:09 this made my evening 👌😂
That thing sounds really cool. Well done, Chris! Lovely stuff, as usual!
love the sound immediately wow
wow Chris amazing stuff the best one ! ty very much for this master piece !
I just want to say, you are legendary, the things you have done are beyond appreciated, i didn't know there was a channel, it just popped up in my feed, I'm happy, thank you
Simple but crazy. Awesome stuff.
Just about to purchase Ableton again and what a person to stumble upon. Cant wait to use some of your work. Thanks in advance. Cheers from Dublin
This is great! Gonna come in real handy. Thank you buddy!!
Cool! I am going to apply this to my dungeon synth project
De-Rezz my favorite bit-crusher....very nice sound in nr 3
amazing, thanks!
This is great!
Your secondary dialogue is priceless advice.
It's a lot of work! But it's important. I started doing it because my regular communication is more chill and natural: gotta have something flashing on the screen, might as well have it be a useful commentary.
@@airwindows Sir,I am eternally grateful for meter. You have single handedly ended the loudness wars & scientifically proven the sonic superiority of the 70s.
Thank You, Thank You, Thank You.
Chris, thank you for all the content and support. I wonder if maybe you can clone a Linn LM2 someday, you know, a fully featured and close to original LM2 machine on VST! :). There are some BIN files and RAW sounds from the machine out there you can use to make it. That work would be wonderful for VST surgeon like you. Thank you so much for everything!
Why can't you just take whatever sample you like… and put it through DeRez3? :) why in the WORLD would I be trying to cop the mojo of a vintage machine when I want to teach you to make your OWN mojo…
DeRez2 with the dry signal mixed back in seems like it would sound great on the drum kit... adjusting the "hard" parameter to taste. Maybe as an "air" effect for the cymbals.
I wonder if this will work on my m1 Mac mini Digital Performer rig.
Sounds great man. I’ve hopped in to some mixing live streams and very much like what console x is doing. I do implore you, however, to consider releasing a version of the console x system where the channel strip plugin doesn’t rely on the plugin’s internal faders and pan sliders. As an engineer handling 100+ track sessions, I gotta be able to see all my faders and pan pots on the screen at once to be able to move quickly-much as an analog mixing engineer would get a lot from seeing those all laid out on the console. So if there was a way to make a version where the faders and pan pots at least *didn’t hurt* the encode/decode process, man, that would be phenomenal.
If your DAW supports post-fader plugins, just put the channel plugins in there then your faders work independent of encode/decode.
So far, I can't do that. It would be different if the DAW supports post-fader plugins, though I can still do better with internal controls because I can design them into the spot on the 'circuit' that is most effective. Console7 did some pretty sophisticated things that can't be reproduced with a post-fader setup.
@@SamHocking I know this, but I’m not switching to Cubase any time soon
@@chiriyama.komushi Logic, Pro tools, or reaper depending on the client. But really, I’ve tried a lot of the work arounds to make it work the way it is-which is why I’m asking for consideration for the ergonomics from the c man himself lol
@@chiriyama.komushi yes I’ve done it that way. It doesn’t work for my workflow. Respectfully, im not looking for a workaround-I’m hoping there’s a version of console x in the cards for the people out there who like / don’t have the time to redo their whole workflow
Hi Chris. If you would like remote access to an SP1200 , s950 and MPC3000. I would gladly run some audio through my collection of samplers for you
Gold,🎉 don't like dsp but..❤