locoDog
I'm building (mostly built) a distortion plugin.
It has one master W/D dial first
It then has several (5 currently, edit 6) distortion equations, or which upto 3 can be used in series (in any order), each distortion equation has it own W/D to decide how much it is added to the FX chain
equation 1: has threshold & limit dials, any signal between T & L will == sampleLevel^2
equation 2: has T & L dials, any signal between T & L will == sampleLevel + T&L range
equation 3: has T & L dials, any signal between T & L will == sampleLevel^sampleLevel [this gives a wonderfully broken growl with a very low T]
equation 4: is a simple down sampler 2-100 [I never knew it was that simple to change the sound that much]
equation 5: is buffer dynamic bit-resolution [I sort of just made this idea up, but apparently it is a real thing] - if the loudest sample in the current buffer is say 0.6f and resolution is say 3, then samples are quantised to the nearest of 0.3,0.2,0.1,0.0, same thing applied to negative values.
[subtle fuzz until you get down to 1-8 levels]
As mentioned each equation has a W/D to tune it in, so there's 17 dials [currently!] far too deep menu diving for performance, but that's where the master W/D comes in, go on a dial poking expedition in practice, find something nice, save a copy, then you have a one dial distortion for performance.
I'm currently running 1 general test plugin and have 1 saved variation just for synthy breakdowns, but am thinking about a square wave the kick variation.
*Edit Added feedback equation, no distortion is complete without optional feedback, 17 dials... 19 dials what's the difference?
One distortion sounds the same as another distortion until you tune your ear to it, and melodic fans will run a mile. But for those that like to play dirty there's a nice mix of square waves, grit, dirt, fuzz, static, scream.
Still poking and thinking on ideas.
If windows and you want to try it, maybe get suggestions in before publishing then drop a post.
It has one master W/D dial first
It then has several (5 currently, edit 6) distortion equations, or which upto 3 can be used in series (in any order), each distortion equation has it own W/D to decide how much it is added to the FX chain
equation 1: has threshold & limit dials, any signal between T & L will == sampleLevel^2
equation 2: has T & L dials, any signal between T & L will == sampleLevel + T&L range
equation 3: has T & L dials, any signal between T & L will == sampleLevel^sampleLevel [this gives a wonderfully broken growl with a very low T]
equation 4: is a simple down sampler 2-100 [I never knew it was that simple to change the sound that much]
equation 5: is buffer dynamic bit-resolution [I sort of just made this idea up, but apparently it is a real thing] - if the loudest sample in the current buffer is say 0.6f and resolution is say 3, then samples are quantised to the nearest of 0.3,0.2,0.1,0.0, same thing applied to negative values.
[subtle fuzz until you get down to 1-8 levels]
As mentioned each equation has a W/D to tune it in, so there's 17 dials [currently!] far too deep menu diving for performance, but that's where the master W/D comes in, go on a dial poking expedition in practice, find something nice, save a copy, then you have a one dial distortion for performance.
I'm currently running 1 general test plugin and have 1 saved variation just for synthy breakdowns, but am thinking about a square wave the kick variation.
*Edit Added feedback equation, no distortion is complete without optional feedback, 17 dials... 19 dials what's the difference?
One distortion sounds the same as another distortion until you tune your ear to it, and melodic fans will run a mile. But for those that like to play dirty there's a nice mix of square waves, grit, dirt, fuzz, static, scream.
Still poking and thinking on ideas.
If windows and you want to try it, maybe get suggestions in before publishing then drop a post.
Inviato 5 hours ago
groovindj
Emulation of valve distortion?
"When an audio signal enters a valve, it passes through components like a cathode, grid, and anode. As you increase the gain, the tube struggles to process the electrical peaks, forcing it to clip the waveform.
Unlike solid-state (transistor) clipping, which can produce harsh, "fizzy" sounds, valve clipping softly rounds the tops of the waveforms. This compression generates rich even-order harmonics (multiples of the base frequency) that make instruments sound thicker, punchier, and more dynamic"
"When an audio signal enters a valve, it passes through components like a cathode, grid, and anode. As you increase the gain, the tube struggles to process the electrical peaks, forcing it to clip the waveform.
Unlike solid-state (transistor) clipping, which can produce harsh, "fizzy" sounds, valve clipping softly rounds the tops of the waveforms. This compression generates rich even-order harmonics (multiples of the base frequency) that make instruments sound thicker, punchier, and more dynamic"
Inviato 4 hours ago
locoDog
Dropped in simple tube distortion, drive 1.0-1.8 it's hardly noticeable, 2.0-~4.0 it add warmth, a bit higher and studio vocals start sounding like live [mic discipline goes awry] . And for the extremes drive goes to 11 because it just has to.
Busy plugin, I'm not sure but I think the dial limit is 32 or I might be imagining that.
Busy plugin, I'm not sure but I think the dial limit is 32 or I might be imagining that.
Inviato 3 hours ago