DSPplug windows VST2 VST3 hydra doubler released

[kingozrecords]

This new doubler sounds very much like hardware! I personally guarantee that you can re-create most any Phil Collins, Weeknd, U2, RHCP, Foo fighters or most any vocal/guitar effect with this plug-in.

You will be a believer in the simple, sound engineering of the lfo control signal being employed in a straight forward manner (the very reason that large plug-in manufacturers have failed miserably to make a good doubler historically).



Among even the larger companies, there are really no doublers that sound undamaged enough to be commercial, this does however, and the realization of that is enabled by having a solid multi-band control gui that's both efficient and practical.

available for 3 usd (regularly 5 usd):
https://www.kvraudio.com/marketplace/ds ... by-dspplug

Simply, the algorithms for doublers will often use lfo as a control signal, and yet it can cause an artifical sound to occur sounding like a slow sweep feedback. I was able to come up with something that negates that, but moreover, also allows for control of the lfo speed.

Currently, the downside to this doubler is that when you change the delay in ms, there's sometimes noise resulting, not too loud but there. I will need to come up with an algorithm to combat and defeat this.

Aside, it's a hardworking; extremely well optimized utility using 2-3% cpu on even the latest 64 bit daw's, furthermore; when the gui is not open it disables any graphical output and saves memory.

hydra-v-1-0.jpg

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Customers of the past notably might have remembered the bug which plagued flowstone creations: the GUI showing in the top left screen. I've been able to defeat that and have posted that fix furthermore for fellow developers. I'm highly invested in ensuring that flowstone is a product with which developers can make comparable products with, because if I can help to ensure product quality - Than I am also having a positive impact on the industry.

It's My opinion that often the better math for dsp is infact with flowstone, but that's due to the fact that the forum at dsprobotics and image-line has been catered to and has continued to see activity. The only drawback now is that most developers are not considering stability and limitations of the cpu as they should. But luckily the product in a graphical tense is limiting, reducing the negative resulting.

Here's a famous track made with a doubler called "In the air tonight" by Phil Collins


And a brand new track by Me, called 'Mice and Men' (made using the hydra)

[kingozrecords]

I have updated this product, due to a customer wishing Me to add makeup. I took the liberty of adding a broader stereo sound, which allows a much more drastic phase. I notice too that the overall sound is a little better, a bit fuller.
Here's the new look for the hydra which incorporates the extra makeup controls.
.

[gentleclockdivider]

You will be a believer in the simple, sound engineering of the lfo control signal being employed in a straight forward manner (the very reason that large plug-in manufacturers have failed miserably to make a good doubler historically).

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Among even the larger companies, there are really no doublers that sound undamaged enough to be commercial-

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It's My opinion that often the better math for dsp is infact with flowstone, but that's due to the fact that the forum at dsprobotics and image-line has been catered to and has continued to see activity.

Dude , you're just dellusional , bitten by the dunning -kruger bug
BUt please go on ,the entertainment factor is indeed the best in the industry

[kingozrecords]

You will be a believer in the simple, sound engineering of the lfo control signal being employed in a straight forward manner (the very reason that large plug-in manufacturers have failed miserably to make a good doubler historically).

--------------------------

Among even the larger companies, there are really no doublers that sound undamaged enough to be commercial-

---------------

It's My opinion that often the better math for dsp is infact with flowstone, but that's due to the fact that the forum at dsprobotics and image-line has been catered to and has continued to see activity.

Dude , you're just dellusional , bitten by the dunning -kruger bug
BUt please go on ,the entertainment factor is indeed the best in the industry

You show a great disrespect to someone who has spent nearly a decade to learn and hone their craft of audio engineering. It's not appropriate in this forum.

If I were a moderator, I would suspend your account for a few weeks to help you to understand your error in judgement.

I respect, utilize and attempt to use audio engineering in a straight forward and strict manner, which exactly replicates the simplicity of similar analog functions. I do not do this by means like "hardware emulation", but instead by utilizing linear algebra in its most efficient and simplest form.

Of course math on paper uses symbols and words, but these words and meaning are lost to linear algebra for dsp purposes because everything instead becomes basic trigonometry, parenthesis, addition, subtraction, division and bit shifting.

It goes beyond "faking it" and re-iterating some fancy terminology you merely "interpreted"; that in itself is wholly useless without being able to turn that mathematics into something simple and efficient.

But what mathematician can explain all mathematics with addition and subtraction, and the simplest trigonometry? What mathematician can use division to achieve these things and explain them finitely? They are very rare, and they do not hide behind symbols and words; enshrouding their lack of knowledge and their lack of experience. Such a mathematician is well beyond the scope of the master's level of understanding and alma mater. Though I admit I am merely scraping the surface still.

I use plain math to create what I do. You have defamed a realization of mathematics in action; to create a pure stereo that is not relying on punch's amplitude, that does not swerve to the left or the right like the Lauridsen technique does. It's like comparing a jet engine or ionic pulse-craft propulsion mechanism to the earlier prop employing a weak gas engine. The phase resulting is predictable, refined and measurable.

The imbalanced phase of the Lauridsen technique is the result of the lack of sophistication where, in contrast My new Hydra employs sample accurate percentiles of time. I would also remind, that not only does this method make mono to stereo; it also makes stereo to wider stereo. These are extremely rare feats by any measurement, and I would also suggest that by these same means not only is it possible via these measurements perceivably to create this effect yet the clear and simple mathematics could also serve to control this phase with an exacting percentile moreover, if the lfo control signal were used as a divisor.

I remind that the Lauridsen technique is albeit useless with 808 bass samples; and instead you'd require haas - For the crossover of less affected bass needs to be manually adjusted to accommodate the proper phase resulting, or lack thereof.

I am a student and learned professional who has been attempting to learn a craft; that has been reverse engineering math of the early 1900's so to create new techniques for the last 7 years, like that of employing the extra aliasing of side and the resulting room noise to create new types of filters like de-essers and de-noisers, noise gates, compressors and now new, original mono to stereo techniques. Any insight into the mastery of Alan Blumlein that I have gained has been hard earned and I am deserving of a civil tone and respect in this forum.

Your total lack of respect for dedication and professionalism is buffoonery, and absolutely intolerable. I remind that many of My contributions to this community include that of open source and undeniably utilitarian free products such as the esquire 3 and the titan gate.

The titan gate for instance uses the addition of both mid and side to thicken the signal to bolster the effectiveness of the control signal driving the dBFS detection mechanism, ensuring that room noise is done away with in an exacting fashion.

Such things require discipline, dedication and the absolute lack of ego so as to truly gain an appreciation of. For the love of audio I cannot stand unruliness.

GUI control design

gui control overview.jpg

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Band Mix control

mix control.jpg

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Audio Mix Mechanism

audio mix mechanism.jpg

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I also remind, that I was the first to publicly release working open source mouse wheel support for flowstone, I'd made a working EBU 2016 LUFS mechanism (exactly as accurate as youlean loudness meter and WLM plus) including oversampling and I've been for the first time in flowstone's history to overcome the flickering gui error/glitch of flowstone (where the gui appears in the top left of the screen during load). Up until the time I released this useful information, flowstone was a flawed method which could never function in the same way as other vst methodologies.

[Guenon]

Your total lack of respect for dedication and professionalism is buffoonery, and absolutely intolerable.

The seeming lack of respect towards your work, and the way your general reputation has become here, stems from your own conduct. It's totally okay to comment on things like nonsensical descriptions of operating principles and strange claims of grandeur. Otherwise anything goes. You enjoy flipping it upside down, and describe reactions like that as disrespect and bullying, but never think about the disrespect you are showing towards actual established developers of trustworthy products - who you are so often badmouthing when describing your own phenomenal work that allegedly so often seems to surpass them. Not a good marketing look, that, by the way.

So, yeah. You compare and discredit and then go on to say things like "in sound quality I can beat any company that makes audio software", "I can prove to you that I make the very best software in the world", and so on (direct quotes). Peppered with strange technical claims, over and over, and technical rhetoric that intends to create an expert vibe but often fails when getting down to the specifics, revealing fundamental flaws in understanding and implementation. Like, given that you like to talk about mathematics, throwing around general terms as you do, would it be possible to arrange a public "making of" type of interview between yourself and some seasoned professional mathematicians, for example?

An example I'm mentioning again: not that long ago you claimed that using vector graphics in a plugin GUI (instead of bitmaps) causes aliasing in the audio itself. You said the reason is, vector GUIs are more math heavy, and the added load will cause "eccentricities" to happen in the actual result of the audio processing. That's what aliasing is, in a nutshell. According to you. This was all described in a very expert, knowing tone, again invoking your years of experience and all that - yet it's complete nonsense at its core.

Recently you also tried to appropriate the name and reputation of a certain well-known freeware plugin, in making a "new version" and "recreation" of it, and then backpedaled when others - including the moderation here - pointed out that it's a) not okay and b) not working at all like the original - and even when reframed as a non-related "inspired by" thing, it still didn't do some of the main things that made the original useful in the first place.

Commenting on things like this must be okay, as otherwise - I'll say it again - anything goes. Anyone would be able to claim anything and it's all just dandy. It has started out as constructive criticism, but you shut down that sort of discussion really fast with walls of text of how expert you are, and then the customary general commentary of "this is weird, again" ensues.

Anyway. You have a tendency of describing things that don't really work the way you say they do. Also, when launching a sample library product, you had warez stuff rolling around on your Windows desktop in your official product launch video. And so on and so on. People respond to you as they see appropriate, based on what you actually do, not what you just claim you do.

[DJErmac]

I hope this is all a very elaborated joke.

The guy claims his plugins are a revolution in audio, but they always sound like @ss, he sells them for $10 (genius buiseness ?), he says he spent 7 years studying audio like it’s a whole life, when people ask him for an audio demo of the plugin he fails to understand the point and simply puts a link to a video where he used the plugin instead of an A/B, and when somebody says he’s not that good he goes apes#it.

If the guy is serious, we’re going to see incredible things happen in the future, but it looks like the best joke in plugins history imho.

[kingozrecords]

I never got rude, I merely state what I've done; how I've contributed and how I don't think this forum is really for getting angry on. This video may be instructive. Hope you like hydra!

[Guenon]

Yeah, let's concentrate on the plugin. I checked both the initial video and the 1.1 one. There are multiple mentions and comparisons to Phil Collins and his "In the Air" vocal sound. However, just by hitting a regular mono summing button on the output of your DAW or mixer/interface/etc. (tested it both in software and hardware), the "Hydra doubling effect" heard in those videos vanishes. It's almost like - no, it's exactly that - you are internally flipping the polarity of (most of) the wet sound, on one channel, in order to make it "wide" ... and while doing that, the essence of the effect becomes totally mono incompatible.

That's some widening stereo magic right there.

Phil Collins sure doesn't lose the essence of his doubler sound when someone listens to "In the Air Tonight" on a single speaker radio , but it seems if you use Hydra, you do.

To hear this, just listen to the aforementioned videos, at any point really, or preferably some point where the controls are being moved about, for added impact, heh. (The five minute mark or so, in the 1.1 presentation video, is a good one ). And push the mono button on your out bus.