Maths, the plugin what lets you write your own equations for an effect, updated and now it's got access to the last 256 input and output samples, error messages, and lp/hp/bp/notch filters. Should help with emulating circuits or just achieving different effects. Don't have to use Melda's Utility anymore to use past samples, and you have access to much more now.

http://socalabs.com/developer-tools/maths/

Cheers for the heads up on these guys! Looks like a great set of tools. I'd be especially interested in trying them in the VCV Rack environment through Host.

Nice to know this thread still gets the odd visit. Man, things have really accelerated out there since this started. It seems that proper circuit modelling is now a common practice in the marketplace. Lately, I've been especially impressed by what IK have done since the Leslie... the Tape collection, and then MODO Drums in particular, which is taking it to a whole new level with physical modelling (my new obsession-in-waiting?)

My band had a busy year in which I've been doing a ton of engineering and mixing (and gigging), keeping me from contributing further to the conversation. Working in often less-then-ideal musical environments, I found like many others did that oeksound Soothe has an uncanny ability to remove strong room modes from mic signals. This led to a DI-based tracking approach, and a ton of fun faking up stereo guitar cab/room/mic arrangements with Austrian Audio Polar Designer, Exponential Audio Nimbus, TDR Proximity, Crave EQ, Airwindows Powersag, and Venn Audio V-Clip. Likewise, the combo of Soothe, Nimbus, Polar Designer, and Proximity on some super-dry-booth vocals was like shaping with putty. Much like with drum overhead mics, and indeed an electrical circuit, there's a very symbiotic relationship going on between all those variables from source to mic, which equates to the tone that goes to tape; a whole other interesting world of modelling to explore.

I will start this physical/ambient modelling thread up some day! Perhaps soon. I bet plenty of folks have got some cool ideas going on.

Back OT - has anybody been using the Airwindows encode/decode stuff for anything interesting recently? I've been wrapping it around Crave EQ in super-wide band-pass mode, to act like a typical active stage with some feedback. Interesting how the phase-shift causes hotter lows but very alias-prone highs :(

Back to 96k we go...

I'm currently experimenting emphasized frequency Console sandwich Equalizer.
Before input to console channel pre-emphasize the signal by using EQ and use EQ inside console then de-emphasize after console bus. This let us have frequency dependent THD.



I tend to pre-emphasize low frequency while ducking high frequency to reduce aliasing at 44.1k/48k.



The Frequency response of above THD's sample.



I'm using C5Raw Console because that has much magical sounding. But sometimes unexpected DC issue occur. It's still experiment phase for me though really interesting!

Excellent stuff, my friend.

Hadn't really looked into pre/de-emphasis though.

My instinct is to try this to create a big saturated resonant hump in the lows, transitioning to perfect linear decoding as frequency increases.

Also to try it with an asymmetrical encode/decode for even-order harmonic enhancement...

@ kojei thanks for the idea. I'm going to try to "draw" a transformer-ish THD plot in Crave EQ and see what we can get.

Is anybody messing with VCV rack?

The Befaco modules include a slew limiter, just like the Airwindows ones. Typically used to slow the rate of change between one pitch to another (portamemto), the fun of Rack is that you can patch audio into such a module if you wish. Testing on Square waves, it behaves and sounds much the same as Chris's plugin...

And, in Rack, feedback routing is quite simple, and also behaves differently to other DAW's because it doesn't process audio in blocks.

Aside from observing slew-limited Square waves under the scope, by running V/Oct into the slew limiter, then into the scope, one can gather a better understanding of "slowing the rate of change" as in slew limiting.

I'm interested in furthering my Diode experiments (which I've further refined since the last posts) into something like a diode ladder filter for synth patches. If anything interesting comes of it, I'll post again later this week.

I think Airwindow's saturations really work well with this pre/de-emphasis method. I use PurestWarm with a transformer-ish THD plot and it sounds more warmth to me.