Half-assed freeware FSU/delay plug-in by runagate here
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- KVRist
- 63 posts since 24 Aug, 2001
still not able to d/l it, turned off getright, still getting just an .htm file.
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- KVRAF
- Topic Starter
- 10286 posts since 17 Sep, 2004 from Austin, TX
daizo, I promise I'll get that up somewhere else for you.
The goodness of the plug is not anything I did to it but that it allows audio to be converted to SV based on it's zero-crossings routed to the delay mod.
Very, very few settings on it make much sense, even I who can look right at it's guts and trace the dignal spent 10x longer on the presets than just cobbling together the plug-in. As I say, I am no dev.
An yet miraculously the little bastard popped out the sounds of that sick VCF the program has and the zero-cross mod works like a charm, thought it's least DarkWare sounding moments happen when the delay time mod is set the lowest. FL only let's the knobs resolution get down to something like .175 or something like that with ctrl-click knob-turning. I'm sure someone who knew wtf they were doing could make it run better in short order. That's actually not a bad idea - if anyone else has Plug-In Constructor I'd be happy to supply the source file.
It's really nice to me to be able to make something that's been floating around in my head but without the slightest capacity to make it or obtain it.
Zero-Crossing to CV modulation is such a great and useful tool - I wish I could hard-wire it into a sax...
hum and you'd get a larger control message to, say, increase delay time, play a multiphonic and it'd send a huge CV level. It's not hard for people like me who can't make plug-ins to come up with ideas like this we simplu lack the knowledge. That's why I'm continually amazed at the loving attention our dev friends give to our ideas around here. The idea of contacting the maker of a Lost Technology stomp-pedal maker 3 years ago would have been completely ludicrous. I actually used to call ART and Zoom and ask them absurdly in-depth questions about their expression-pedal multifx!
BlortBlort, you understand me too well. I was using TheSuitcase to make most of these presets. A little pling and some Ugo Impact drums.
A fun thing to use are things that aren't symmetrical in the stereo field as the left and right fx chains are completely separate until they hit the output so, for instance, the zero-crossing modulation send is differently affecting the delay mod, the envelope followers the VCF freq.
And another good guess - I was already well under way to making a second plug but one of it's four audio sends was complete nonsense so I've got to re-do it. Devs must be much more analytical soundmakers than I.
Blort, your song is lovely. I've never heard those sounds before and they couple well with your maestoso Japanese autumn sound.
The goodness of the plug is not anything I did to it but that it allows audio to be converted to SV based on it's zero-crossings routed to the delay mod.
Very, very few settings on it make much sense, even I who can look right at it's guts and trace the dignal spent 10x longer on the presets than just cobbling together the plug-in. As I say, I am no dev.
An yet miraculously the little bastard popped out the sounds of that sick VCF the program has and the zero-cross mod works like a charm, thought it's least DarkWare sounding moments happen when the delay time mod is set the lowest. FL only let's the knobs resolution get down to something like .175 or something like that with ctrl-click knob-turning. I'm sure someone who knew wtf they were doing could make it run better in short order. That's actually not a bad idea - if anyone else has Plug-In Constructor I'd be happy to supply the source file.
It's really nice to me to be able to make something that's been floating around in my head but without the slightest capacity to make it or obtain it.
Zero-Crossing to CV modulation is such a great and useful tool - I wish I could hard-wire it into a sax...
hum and you'd get a larger control message to, say, increase delay time, play a multiphonic and it'd send a huge CV level. It's not hard for people like me who can't make plug-ins to come up with ideas like this we simplu lack the knowledge. That's why I'm continually amazed at the loving attention our dev friends give to our ideas around here. The idea of contacting the maker of a Lost Technology stomp-pedal maker 3 years ago would have been completely ludicrous. I actually used to call ART and Zoom and ask them absurdly in-depth questions about their expression-pedal multifx!
BlortBlort, you understand me too well. I was using TheSuitcase to make most of these presets. A little pling and some Ugo Impact drums.
A fun thing to use are things that aren't symmetrical in the stereo field as the left and right fx chains are completely separate until they hit the output so, for instance, the zero-crossing modulation send is differently affecting the delay mod, the envelope followers the VCF freq.
And another good guess - I was already well under way to making a second plug but one of it's four audio sends was complete nonsense so I've got to re-do it. Devs must be much more analytical soundmakers than I.
Blort, your song is lovely. I've never heard those sounds before and they couple well with your maestoso Japanese autumn sound.
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- KVRAF
- Topic Starter
- 10286 posts since 17 Sep, 2004 from Austin, TX
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- addled muppet weed
- 111341 posts since 26 Jan, 2003 from through the looking glass
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- KVRAF
- 3191 posts since 20 Sep, 2004 from Atlanta
Thanks, runny 
...of all the projects I started this weekend, I spent the least time on this one and like it the best! new tools = inspiration.
Great tip on the assymetric input...hadn't thought of it, but when you explain the principle of the zero crossing driving CV, it's kinda obvious... there some interesting things to be heard! we'll just have to see what more we can come up with....
...of all the projects I started this weekend, I spent the least time on this one and like it the best! new tools = inspiration.
Great tip on the assymetric input...hadn't thought of it, but when you explain the principle of the zero crossing driving CV, it's kinda obvious... there some interesting things to be heard! we'll just have to see what more we can come up with....
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- KVRAF
- 2277 posts since 2 Dec, 2003
Actually only the very first couple of DarkWare plugs didn't. Everything from halfway through DarkWare up to -now- has built in clipping at the end of the chain. Put a dB meter on any of the newer things and you'll see that it might go to the red, but it won't go off the scale. If it's too loud it's 'cause of other factors, not my VST. :pdubbyah wrote:does not have a limiter built in, jack dark's
Runagate congrats on releasing your first VST. It's a slippery slope, be careful...
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- KVRAF
- Topic Starter
- 10286 posts since 17 Sep, 2004 from Austin, TX
Well, unfortunately now that I've actually discovered Plug-In Constructor, which any monkey could make a plug-in with, it's abandonware and I regret that I never opened it before.
There's no VY meter in it, no limiter. There's the zero-cross module, VCA, VCF, and LFO which can be CV or audio, a very simple delay (up to 8000 ms), as ADSR, an Envelope Follower to CV, a little bit of routing stuff. There's a CV-VU meter kind of thing, but it's not for audio. I now notice that there's a soft-clip option in most of the modules.
Well, Jack, I've been poking around in SE every once in a while for the last 3 years and I know I'm not cut out for it. The theory behind some designs is simple. Actually making that work with all the routing madness, fixing up bugs and the like and being precise is the hard part it seems. I don't even understand wtf 1/2 the modules do. The maths and logic involved were last witnessed by me 15 years ago and long-forgotten. The GUI stuff is the most heinous part - I can't even imagine messing with that madness. So I think I'm safe.
I wish there was a VST that was zero-cross to midi like the several lovely envelope-to-midi plugs around. I still can't believe there's not some sort of inter-VST CV message sort of thing because all hosts deal with midi in such different ways. I may still take you up on your offer from long ago to ferret out which SE modules would accomplish specific tasks someday
There's no VY meter in it, no limiter. There's the zero-cross module, VCA, VCF, and LFO which can be CV or audio, a very simple delay (up to 8000 ms), as ADSR, an Envelope Follower to CV, a little bit of routing stuff. There's a CV-VU meter kind of thing, but it's not for audio. I now notice that there's a soft-clip option in most of the modules.
Well, Jack, I've been poking around in SE every once in a while for the last 3 years and I know I'm not cut out for it. The theory behind some designs is simple. Actually making that work with all the routing madness, fixing up bugs and the like and being precise is the hard part it seems. I don't even understand wtf 1/2 the modules do. The maths and logic involved were last witnessed by me 15 years ago and long-forgotten. The GUI stuff is the most heinous part - I can't even imagine messing with that madness. So I think I'm safe.
I wish there was a VST that was zero-cross to midi like the several lovely envelope-to-midi plugs around. I still can't believe there's not some sort of inter-VST CV message sort of thing because all hosts deal with midi in such different ways. I may still take you up on your offer from long ago to ferret out which SE modules would accomplish specific tasks someday
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- KVRAF
- 5017 posts since 13 Dec, 2005 from The Void
Jack re-inforces what I said earlier here. I'd tend to disagree with you suggestion to use a peak limiter before your device because an incoming digital signal over 0 will be have all transients shaved off the top. Without it, if you crank somthing up before it, you'll encouter digital clipping, whcih I assume you don't want. If there are issues with the effect requiring a loud input signal, you could place an input amp at the begining of your effect's signal chain, even a compressor, as long as you watch out for hard knee compression that willl smash your incoming signal. The best effects are ones that will exploit transients, not destroy them(personal opnion here), or at least destroy them in clever ways.JackDark wrote:Actually only the very first couple of DarkWare plugs didn't. Everything from halfway through DarkWare up to -now- has built in clipping at the end of the chain. Put a dB meter on any of the newer things and you'll see that it might go to the red, but it won't go off the scale. If it's too loud it's 'cause of other factors, not my VST. :pdubbyah wrote:does not have a limiter built in, jack dark's
If I were to build this device, I'd do three major things that have nothing to do with your actual effect:
1 - Place an input amp with meter that will give accurate readings and warn against digital clipping.
1a - Place a compressor in the chain, but *only* if it's really needed. Make sure that you have a compression amount meter here as well.
2 - After the parts that make your effect unique, add an amp/mixer with an accurate read out.
3 - AFTER the amp, place a peak limiter at the END of the signal chain, and leave it ON. I don't even make mine visible anymore, becuase I don't want someone inexperienced to disable one and have a kablooey situation. And the thing is, if the user is watching the output meter and not letting it red line(which is still no biggie, cause your limiter's at work anyways, they can AVOID redline outputs, which ultimately are best anyways, and leave headroom for mixdown/mastering.
Here's a graphic representation of what the signal flow in your instrument would be if I made it:
I know it's quick and dirty, but I only had like 5 minutes to make this for you.
Hope it helps; gotta run.
Cheers,
D
Jens, "B.t.w.: it appears I was wrong"
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- KVRAF
- Topic Starter
- 10286 posts since 17 Sep, 2004 from Austin, TX
Excellent advice.Sickle wrote: If I were to build this device, I'd do three major things that have nothing to do with your actual effect:
1 - Place an input amp with meter that will give accurate readings and warn against digital clipping.
1a - Place a compressor in the chain, but *only* if it's really needed. Make sure that you have a compression amount meter here as well.
2 - After the parts that make your effect unique, add an amp/mixer with an accurate read out.
3 - AFTER the amp, place a peak limiter at the END of the signal chain, and leave it ON. I don't even make mine visible anymore, becuase I don't want someone inexperienced to disable one and have a kablooey situation. And the thing is, if the user is watching the output meter and not letting it red line(which is still no biggie, cause your limiter's at work anyways, they can AVOID redline outputs, which ultimately are best anyways, and leave headroom for mixdown/mastering.
Here's a graphic representation of what the signal flow in your instrument would be if I made it:
I know it's quick and dirty, but I only had like 5 minutes to make this for you.
Hope it helps; gotta run.
Cheers,
D
Holy crap is that picture painfully hilarious!
I'd put that into my projects just to look at it, like Crunkball, lol!
Thanks, Sickle
