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Airwindows Acceleration: AU, Mac and PC VST
Old 12th February 2018
  #1
Airwindows
 
chrisj's Avatar
Software Airwindows Acceleration: AU, Mac and PC VST



TL;DW: Acceleration limiter tames edge, leaves brightness.

Acceleration

This is a nice little plugin.

As requested, I've made a dedicated acceleration limiter, like the one in ToVinyl4. You don't have to mess with Groove Wear, or highpass anything: as a result, this ends up being the 'high end' acceleration limiter, mastering grade and useful in situations where ToVinyl might be overkill (ToVinyl was made in an era where I still had to make 'amazing marketable plugins with lots of features so people would pay $50 quickly before it got all pirated etc')

Ah, I remember those days

But now, it's different because Acceleration is free! AU, Mac and PC VST (stay tuned for a surprise on that front) and if you can't pay, go ahead and use it anyway. If you can, please do because I think the usefulness of me doing this work will become increasingly obvious, and the usefulness of me opensourcing plugin code has also become increasingly obvious. And it's brought you Acceleration, here and now.

The reason to be excited about that is, Acceleration's not a simple filter. It pretty much targets exactly the digital behavior that creates Gibb effect overshoots (the reason you often have to pad heavily limited material down to stop it being crackly and glare-y) and would probably work very well as literally an acceleration limiter for record cutting heads. But, in a largely digital world, it might be even more useful because you can feed it any old ITB mix, any weird edgy source material, and it'll clean up the nasty digital brightness while not sounding like it's doing anything. Check the video (it should be relatively obvious if you've got half decent tweeters) and try it out. The key is to not try and get the apparent volume of the highs to be less: instead, you're going after the character, or the presentation. If highs seem to be coming forward with nasty s***** extra energy, Acceleration will fix that tonal problem without altering the basic mix balance.

This work is supported by my Patreon, and again I expect to deliver a nice surprise quite soon that will further illustrate why keeping me on the job is nice. I hope you enjoy Acceleration as much as I do.
Old 12th February 2018
  #2
Here for the gear
 

Talking

Yay!
Old 12th February 2018
  #3
Lives for gear
 

What is the difference between Acc' and GrooveWaer ?
I can hear differences but I can't pinpoint the exact difference...
Old 12th February 2018
  #4
Deleted e71ab78
Guest
Excellent tool!! Thank you

Pretty please could you put an output gain on this, It'd be really handy if a clean output gain with +and - could be a standard for any effect that alters the level!

Last edited by Deleted e71ab78; 12th February 2018 at 08:41 AM.. Reason: typo
Old 12th February 2018
  #5
Gear Maniac
 

What a great tool!!
Thanks so much!
Old 12th February 2018
  #6
Gear Nut
 
Corrosive.Abuser's Avatar
 

Cheers Chris, been using this today over a ride heavy breakbeat - Rhythm labs : Zdzislawa Sosnicka/Ludzie Mowia, - tuned down 2 semitones and resequenced. I was probably being a bit brutal with it, but it certainly gave the other elements within the break more space to breath without the effect ever becoming too obvious. I ended up using it pre Capacitor>CStrip but post EveryTrim, with Fabfilters Pro-Q-2 as the first in chain, just to remove the ring/noise that is present in many breakbeats, - often I find a cut at around 2230hz with a Q of around 5 does wonders on raw breakbeats.

Anyway, thanks again for another extremely useful tool, always appreciated.

Last edited by Corrosive.Abuser; 12th February 2018 at 06:11 PM..
Old 13th February 2018
  #7
Airwindows
 
chrisj's Avatar
Quote:
Originally Posted by Eklo View Post
Excellent tool!! Thank you

Pretty please could you put an output gain on this, It'd be really handy if a clean output gain with +and - could be a standard for any effect that alters the level!
If I'd meant to I totally would have this is a processor which, if used properly, ought to have no perceptible difference in volume. Stuff that shifts volume will often get an output trim from me, stuff that makes big tone changes often gets a dry/wet, but I like some of these 'devices' being extremely stripped down and minimalistic, especially something like this which is meant to be used in subtlety.

It is open source now, so if you code, you can make one with both output gain and dry/wet

Honestly, I don't think you need that for this. It would be very difficult to even find a level match on changes this subtle, and the change is the removal of energy rather than adding it, plus it's energy so high that it's tricky to hear
Old 13th February 2018
  #8
Lives for gear
 
StoneyBCN's Avatar
 

Quote:
Originally Posted by A Tan View Post
What is the difference between Acc' and GrooveWaer ?
I can hear differences but I can't pinpoint the exact difference...
Some of us dissected these questions on the ToVinyl4 thread, with some excellent clarifications from Chris himself.

An acceleration limiter is something useful for mastering TO vinyl - it does a special kind of limiting that helps the needle on the deck run smoothly in the groove of the vinyl. It's quite fancy, but you're getting a kind of treble limiting of sorts.

Groovewear more closely resembles an artefact of playing back music FROM vinyl - specifically older, or thinner, pieces of vinyl and that erosion you find on the outer edge of the record. Definitely not useful for a mastering-to-vinyl scenario, moreso an aged-vinyl-like-effect.

I really couldn't comment further on the how's or what's... Check that thread, and maybe if we're lucky Chris might offer some further wisdom down the line?

I'm really glad this got parted out (and seemingly the range extended a lot?), I'm only just downloading it now but my first thought is to try Acceleration on some reverb and delay returns. Maybe I can also see myself sticking this in front of Tubedesk or similar, as an intentional kind of ageing effect unlike any other I have.

It's gonna be really interesting to see hwere this one pops up in a mix...

BTW Thank you for listenening and delivering, brother Johnson!
Old 13th February 2018
  #9
Airwindows
 
chrisj's Avatar
Sure. GrooveWear averages the rate of change of the waveform (tries to not have it do 'sharp corners', but it can still move quickly, just not turn quickly). The one in ToVinyl sounds more like a slightly scratchy, fuzzy record playback, and the dedicated GrooveWear has a deeper range and a smoother sound from the same basic algorithm. It's a 'change the sound' algorithm, makes stuff sound different.

Acceleration reads the waveform and tries to find places where the signal zags and zigs and zags again, very quickly, like you might get in an S or a cymbal sound. It tries to wipe out only such moments, but not touch equally bright noises (even if the waveform 'turns quickly') as long as the waveform isn't turning back on itself at super-treble frequencies. It tries to hide what it does, and only react to the most extreme treble events.

So, GrooveWear makes a sound and you can hear it being applied. Acceleration tries not to make a sound, and tries to remove only super-trebly details and not affect anything else. You'll hear it most obviously if you have VERY bright edgy stuff, and you can make the brightness 'sit back' and be more polite, and it won't sound like you did anything unless you A/B it with the original sound. With GrooveWear, it's meant to sound like you did something, but something good with a good tone.

Might be that GrooveWear is more suited to your reverb and delay returns, but you can try either or both. I bet Acceleration would do great things on a digital reverb that would otherwise be too bright, lacking depth. You'd be able to set its depth in the mix using Acceleration, even if it's still very bright.
Old 13th February 2018
  #10
Deleted e71ab78
Guest
Quote:
Originally Posted by chrisj View Post
If I'd meant to I totally would have this is a processor which, if used properly, ought to have no perceptible difference in volume. Stuff that shifts volume will often get an output trim from me, stuff that makes big tone changes often gets a dry/wet, but I like some of these 'devices' being extremely stripped down and minimalistic, especially something like this which is meant to be used in subtlety.

It is open source now, so if you code, you can make one with both output gain and dry/wet

Honestly, I don't think you need that for this. It would be very difficult to even find a level match on changes this subtle, and the change is the removal of energy rather than adding it, plus it's energy so high that it's tricky to hear
I hear what your saying Chris, all good

Last edited by Deleted e71ab78; 13th February 2018 at 04:44 AM..
Old 13th February 2018
  #11
Lives for gear
 

Quote:
Originally Posted by chrisj
Might be that GrooveWear is more suited to your reverb and delay returns, but you can try either or both.

I bet Acceleration would do great things on a digital reverb that would otherwise be too bright, lacking depth. You'd be able to set its depth in the mix using Acceleration, even if it's still very bright.
...or as a Compressor/Limiter front-end ?
(sidechain filter on steroids ? as it "fries" the transients - makes them less obvious to the sensing mechanism in compressors/limiters - but they're still there).

Thanks for the explanation !
Old 13th February 2018
  #12
Gear Addict
 

Not much to add except this sounds really good and I can already tell it will be on my 2buss a lot. Turning it up to about 15% at the very end right before the dither on a track I'm finishing up was basically inaudible but makes everything less fatiguing. Really nice.
Old 13th February 2018
  #13
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Beatworld's Avatar
Quote:
Originally Posted by TMOQuantity View Post
Not much to add except this sounds really good and I can already tell it will be on my 2buss a lot. Turning it up to about 15% at the very end right before the dither on a track I'm finishing up was basically inaudible but makes everything less fatiguing. Really nice.
Haven't used the stand alone yet but have used the acceleration limiter in ToVinyl a lot over the years.
I like inserting it earlier in the 2buss chain.
Get rid of the bright edgy stuff before any compression and certainly before final limiting (and any subsequent dither).

Looking forward to trying the stand alone ASAP.
Old 16th February 2018
  #14
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wakestyle's Avatar
Tried it on a few different examples and I'll be darned if I can hear it doing anything. I want to believe it's making things less harsh but... I guess I can't hear it working.

edit update:
I can hear it now, easily. Not sure why I couldn't before, but I work at 48khz generally.

Last edited by wakestyle; 2nd March 2018 at 05:26 AM..
Old 16th February 2018
  #15
Gear Addict
 

Chris, is this identical to the implementation that's in ToVinyl or have you tweaked it? It could be my imagination but to me it sounds jut a little bit nicer, although that's probably because I tended to also add just a little bit of side highpass when I use ToVinyl for this task. Whatever it is, my first reaction is that it's both more subtle and more obvious at the same time, like you can maybe get it to step on the highs a bit more than the TVinyl implementation but at the same time it sounds a bit less processed. Maybe the curve of the control is different and it has a bigger sweet spot now? Was it logarithmic in ToVinyl?I haven't done any proper sie by side comparisons so it could easily just be my imagination.

I really like both of them, ToVinyl sounds fantastic on analog drum machines in particular. I recently got particularly good results on a track recorded from the main out of my Tanzmaus by hitting it hard with NC-17, then rolling of the highs ever so slightly with Average, then using ToVinyl to tighten up the lows a bit with the highpass controls and push the hihats forward in the mix with the groove wear control, then Buttercomp to give them a bit more weight and finally putting Acceleration at the end to take a bit of the edge back off the hats. I'd never use that many plugins on a single track normally, but your stuff really lends itself to stacking a bunch of them for subtle tone shaping without it sounding overprocessed and unnatural.

Thanks as always.
Old 16th February 2018
  #16
Lives for gear
 

Quote:
Originally Posted by wakestyle View Post
Tried it on a few different examples and I'll be darned if I can hear it doing anything. I want to believe it's making things less harsh but... I guess I can't hear it working.
This :
Quote:
Originally Posted by chrisj View Post
Acceleration tries not to make a sound, and tries to remove only
super-trebly details and not affect anything else. You'll hear it most obviously if
you have VERY bright edgy stuff
, and you can make the brightness 'sit back' and
be more polite, and it won't sound like you did anything unless you A/B it with
the original sound
Old 17th February 2018
  #17
Airwindows
 
chrisj's Avatar
In fairness if wakestyle is using it at a high sample rate like 96K or 192K it'll become a LOT harder for Acceleration to kick in, and harder to hear it when it does

TMOQuantity, I think it's controlled about the same, but ToVinyl runs a 26-pole IIR filter. You can say that if it's set really low (like the 10hz or so at the bottom of the setting) that it measures the same as if it wasn't there. But I think that's wrong, and that the 26 poles of filtering do affect the sound, and I think you're hearing the absence of that highpass filter. Which is a large part of why I did it: it's nice enough to exist as a specialized, purified version. Like 'PurestAccelerationLimiter', but with a simpler name.
Old 18th February 2018
  #18
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mutetourettes's Avatar
 

Quote:
Originally Posted by chrisj View Post
In fairness if wakestyle is using it at a high sample rate like 96K or 192K it'll become a LOT harder for Acceleration to kick in, and harder to hear it when it does
hmmmm. Chris could you say a word or two about how this plugin works with sample rate? so I guess people running a lathe should stick to low sample rates?
Old 18th February 2018
  #19
Gear Maniac
 

A kind of Acceleration limiter for the low frequencies would be nice!! (Just an idea.)
Old 18th February 2018
  #20
Lives for gear
 

Quote:
Originally Posted by broco View Post
A kind of Acceleration limiter for the low frequencies would be nice!! (Just an idea.)
Airwindows Decelerate ! \m/

I really like the combination of Accelerate and GrooveWear...
Old 18th February 2018
  #21
Airwindows
 
chrisj's Avatar
Quote:
Originally Posted by mutetourettes View Post
hmmmm. Chris could you say a word or two about how this plugin works with sample rate? so I guess people running a lathe should stick to low sample rates?
Almost nobody is actually running a lathe, and those who are can work stuff out for themselves. Pretty sure you can still make Acceleration engage, but the other side of that comment is: your source audio has to have the content which needs to be removed. In my demo I could've chosen plenty of tracks where Acceleration was harder to use, simply because they didn't contain dangerous high frequency spikes.

There's a reason I pointed out tambourine sounds for my example. If you put it on say a distance-miked string section, or a conga or upright bass or even some vocals, there may be no sound in there capable of triggering Acceleration (or hurting a lathe).
Old 18th February 2018
  #22
Gear Addict
 

Quote:
Originally Posted by chrisj View Post
In fairness if wakestyle is using it at a high sample rate like 96K or 192K it'll become a LOT harder for Acceleration to kick in, and harder to hear it when it does

TMOQuantity, I think it's controlled about the same, but ToVinyl runs a 26-pole IIR filter. You can say that if it's set really low (like the 10hz or so at the bottom of the setting) that it measures the same as if it wasn't there. But I think that's wrong, and that the 26 poles of filtering do affect the sound, and I think you're hearing the absence of that highpass filter. Which is a large part of why I did it: it's nice enough to exist as a specialized, purified version. Like 'PurestAccelerationLimiter', but with a simpler name.

That makes sense.

Also, for what it's worth I'm running 96k and it sounds great. I can definitely hear it working even at settings down in the 25%-50% range of the slider (but not so much below that, I'd say around 15%-20% is where it usually goes completely transparent for me) and it sounds great all the way to 100%.
Old 18th February 2018
  #23
Lives for gear
 
mutetourettes's Avatar
 

Quote:
Originally Posted by chrisj View Post
Pretty sure you can still make Acceleration engage, but the other side of that comment is: your source audio has to have the content which needs to be removed. In my demo I could've chosen plenty of tracks where Acceleration was harder to use, simply because they didn't contain dangerous high frequency spikes.

There's a reason I pointed out tambourine sounds for my example. If you put it on say a distance-miked string section, or a conga or upright bass or even some vocals, there may be no sound in there capable of triggering Acceleration (or hurting a lathe).
Ok, sorry Chris i'm still slightly not getting it.. are you saying that acceleration works on different stuff at high sample rates or just that high sample rates will in most cases (e.g. let's say a tambourine recording) mean less of the 'digital nastiness' that acceleration might generally be improving?
Old 19th February 2018
  #24
Gear Addict
 
RobAcid's Avatar
 

thank you chris, this is perfect!
Old 20th February 2018
  #25
Airwindows
 
chrisj's Avatar
Quote:
Originally Posted by mutetourettes View Post
Ok, sorry Chris i'm still slightly not getting it.. are you saying that acceleration works on different stuff at high sample rates or just that high sample rates will in most cases (e.g. let's say a tambourine recording) mean less of the 'digital nastiness' that acceleration might generally be improving?
Though Acceleration adapts to sample rates (let me check: yep! Being open source is nice, now I can just look anytime without even leaving Chrome), it's still dependent on individual samples compared against adjacent samples. I can increase the sensitivity and I do increase it at higher sample rates, but the 'window' it looks at gets smaller and smaller as sample rate increases.

It's like several plugins of mine which interact directly with the sample rate: that's a choice I have to make. It could 'compare samples with samples exactly 0.01 milliseconds away', which would always produce the same extent of the effect for the same control setting, or it could compare samples with adjacent samples, which would always produce the same AMOUNT of digital de-glaring and removal of Gibb effect on extreme high frequency stuff, which is related to how the reconstruction of samples works.

I choose the latter because I think it's more relevant. You shouldn't use something like this on presets anyway, and the interesting area is where it's taking away unpleasant digital qualities. At high sample rates, it's just easier to avoid those unpleasant qualities in highs, but this still directly affects that rather than trying to do 'the same amount of cut'. It's more like 'the same amount of taming digital highs' and what's left over will vary slightly depending on sample rate: you can get away with more highs at high sample rates without it being a sonic problem.

Old 21st February 2018
  #26
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I'm finding that feeding intermediate levels of Acceleration into Density/Drive makes things sound very "expensive" - like a million bucks. I'm curious if others are trying it early on their track inserts like this, and noticing similar things?

Probably one of the best cures for sample library digititis I can name, since it doesn't straight roll the highs off but just kinda does a buff and sheen thing. What a special tool.

While many trade on "making digital be like analogue", Airwindows is here "making digital sound GOOD".
Old 22nd February 2018
  #27
Gear Head
 

This is the Serum killer LOLz

PurestDrive to Acceleration -> neuro DnB ->
Old 22nd February 2018
  #28
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b0se's Avatar
Quote:
Originally Posted by StoneyBCN View Post
I'm finding that feeding intermediate levels of Acceleration into Density/Drive makes things sound very "expensive" - like a million bucks. I'm curious if others are trying it early on their track inserts like this, and noticing similar things?

Probably one of the best cures for sample library digititis I can name, since it doesn't straight roll the highs off but just kinda does a buff and sheen thing. What a special tool.

While many trade on "making digital be like analogue", Airwindows is here "making digital sound GOOD".
Yeah, they're a perfect match (density/accel)! Been using them with Spectre and I couldn't be happier with the sound. So rich and dense.
Old 22nd February 2018
  #29
Lives for gear
I love this plug in. It’s pure gold. I didn’t know I needed it until I tried it. Works perfectly for taming harshness.
Old 22nd February 2018
  #30
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b0se's Avatar
You're an absolute diamond to the digital audio world @ chrisj ! Thanks so much.

I really—really—hope a DAW gets implemented using your stuff as the backbone. Imagine it!
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