Hardware-style bit and resolution crusher, like really old sampler.

VariMu comes from Pressure, originally. What it does differently is trigger using different math: it uses the square of the input signal, not just the signal alone, and it also handles brief transients differently. This makes it sound very different from Pressure, so if you like Pressure you should try it… and if you didn’t like Pressure, you should also try it, because it sounds different.

With Spiral2, it lets onset transients through, especially if they’re happening suddenly out of existing silence (and bear in mind it can be only one sample of silence for it to work). It’s not a super obvious effect… but if you use Spiral to chop off peaks, and add this new effect (which I could only call Presence) then you can get quite the opposite effect: at full Presence, it sounds like everything’s being distorted but the meters show how onset transients are still getting through.

Aggressive stereo widener.

It was originally meant to sound like Massey TapeHead. It’s sort of a multiband tape emulation/distortion, and it didn’t end up sounding like TapeHead but it does have a sound of its own.

Analog-style bit and samplerate crusher.

The actual Single Ended Triode control is a special gain-staged saturation that’s asymmetrical. It’s a little like PurestWarm, only not, because rather than put a soft saturation on one-half of the waveform, it offsets everything and goes into the saturation with a bias voltage. Then it subtracts a related voltage, and scales the whole thing up or down based on how much distortion you’re looking to get. (shown in the source code, of course)

That means you have a ‘second harmonic generating’ asymmetrical distortion, but with NO crossover point. Unlike PurestWarm, SET is a continuous waveshaper just like using a real triode tube single-ended, and while you can crank it up to get obvious effects, its real magic is in using just a tiny amount to warm and sweeten things.

Electrifying fixed-frequency treble boosts.

Versatile space shaper for creating depth.

Final output stage for targeting dynamic range.

Righteous4 has NotJustAnotherDither (and the CD version) built right into it, along with an optimized ADClip and code from an old strange experiment I did called ShortBuss. Yep! Righteous4 is your all-purpose final output stage, which handles final clipping, saturating and even the dither to let you output 24 or 16 bit fixed point in the purest, most optimized way.

Golem takes in a stereo track, typically two mics on a guitar cab (a popular technique among metalheads), and mixes them to mono in the middle of the track.

It lets you balance the respective inputs so you hear more of L or R, and most importantly, Golem lets you apply a delay to only the side that you want to delay. The other side is always no-latency, straight through, but the one you’re delaying gets its little sample delay. Either one, it automatically switches.

It’s circle pieces butted up against each other, and only looks like it’s connected because it’s pretty flat going through those points. But the rate of curvature changes really suddenly and drastically at those points… and does it the same way, at the zero crossing of ConsoleChannel, Density, PurestDrive, PurestWarm, Channel, and lots and lots of other plugins I’ve made. It’s part of the ‘fatter, smooth’ sound of some of my distortions. Seemingly really fat and analog-sounding, but there’s a discontinuity as you go through zero, which is why it makes the audio sound obviously different.

Channel with new subtleties.

Airwindows stereo space shaping.

Console5 processing with powerful acoustic distance effects.

New kind of resonant lowpass EQ.

Bug-restored version of GrooveWear for more edge.

Just the EQ out of CStrip.

The original Console5 with DC offset (and a very minimal, defeatable DC remover).

OneCornerClip works like this: it’s like ADClip, except it spreads out the onset to clipping over possibly many samples. They converge upon the maximum possible output, which means the front edge of a clip takes on a continuous curve, moving its energy down into lower frequencies where the clippage is less bright and gritty, and more brutal and ballsy.