Built-in plug-ins short documentation

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Built-in plug-ins short documentation
  • Cohmpressor

    Cohmpex is both a compressor and an expander.

    - Attack: envelope detection attack time
    0.1 ... 100 ms

    - Release: detection release time
    1.0 ... 1000.0 ms

    - R. Low: Compression or expession level for level under the knee
    1:16 expansion ... neutral ... compression 16:1.

    - R. High: same for levels above the knee

    - Knee L: knee level.
    -48 ... +24 dB

    - Knee S:knee curve amplitude.
    0 dB (hard knee) ... 12 (soft knee)

    - Gain: output gain correction
    -48 dB ... +48 dB

    - SideCh: side chain activation (envelop detection will then work on side chain input)
    Off ... on


    Flancho is a generic modulation effect that uses a delay line plus a chorus and a flanger.

    - FxMix: a dry/wet
    0 (dry) ... 100 % (wet)

    - Speed: LFO oscillator period. You can synchronize oscillations to current projects' tempo (see Tempo control)
    1/64 ... 256 beats or seconds

    - Delay:
    minimal delay time in the line. The shorter this time is, the more highlighted high frequencies are.
    0.4 ... 40 ms

    - Depth:
    Oscillation amplitude on the line delay time. So the delay varies between Delay to Delay+Depth.
    0 ... 20 ms

    - Waveform type: the LFO waveform type.
    - Sine : sinusoid
    - Triangle : triangle
    - Ramp up : increasing sawtooth
    - Ramp down : decreasing sawtooth
    - Random : sinusoid with random variations

    - Waveform shape: this parameter bends the LFO waveform. A positive value stretches the end of the wave, a negative value stretches the beginning of the wave.
    -100 ... +100 %

    - Number of voices: number of replicas used by flanger / chorus. These voices are phase-shifted to make it more consistent.
    1 ... 4

    - Feedback: regeneration level within the delay line. When the feedback is not equal to 0, it's a flanger. The regeneration can be positive or negative.

    - Tempo control
    - Slave: the delay parameter is then bound to the tempo and it is then expressed in beats.
    - Free: the delay parameter is then free, and it is then expressed in seconds.

    - Phase set: when this parameter is changed, it inits the LFO's phase with its value.
    0 ... 360 degrees


    Filter is a multi-mode filter.

    - Type: Filter type amongst:

    - LP Moog : low pass filter Mood emulation used in the MMM: 24 dB/oct

    - LP squeezer : based on Moog's one but wilder

    - LP sqz. defect : based on squeezer but in a "broken circuit" mode.

    - LP 12 / LP 24 /LP 48 : classical resonant low pass, from 12 to 48 dB/oct

    - HP 12 / HP 24 / HP 48 : classical high pass

    - BP 6 / BP 12 / BP 24 : classical band pass

    - Peak 6 / Peak 12 :  resonant only

    - Notch: classical notch

    - Comb P / Comb N : Comb filter with positive or negative resonance

    - Cutoff: cutoff frequency

    - Reso: resonance level. The three first filters auto oscilates when the resonance is high. For notch, the higher the Reso is, the thiner the notch is.

    - Fatness: this parameter depends on with filtre type it is applied.

    For classical filter and combs, it controls volume variation when resonance is varying. 0%: the resonant peak remain at the same level, making then the global level varying. 100%: no volume compensation at all. The resonant peak may then reach high level.

    Regarding squeezers , it impacts the filter savagery. It may totally change the resonance color. 

    - Attack: envelop detection attack time

    - Release: envelop detection release time

    - Amp: amplitude of how envelop impacts cutoff frequency

    - SideCh: when on, envelop is plugged in side-chain input.


    A very simple limiter

    - Level: the signal limitation level
    -12 dB ... +12 dB


    PEq is a 4 bands parametric Eq.

    - Type:
    - Peak : bell-shaped. Frequency will the bell peak or the bottom of the bowl.
    - Low shelf: low frequency shefl. Cutoff gives the highest frequency of the shelf.
    - High shelf: high frequency shefl. Cutoff gives the lowest frequency of the shelf. 

    - Frequency: cutoff frequency (Hz)

    - Gain: amplification of the bell/bowl or shelf


    This vocoder works only with a side-chain. The first input pin (on left in the gear rack) is the "voice", also called modulator. The second input pin (on right) is the "music", also called carrier.

    Vocod works like a classical vocoder. Carrier and modulator are processed by two filters banks, covering 6 octaves (from 95Hz to 6kHz). Envelops are applied on the modulator and applied on the carrier. Carrier bands are then rebuild to go in the output.


    - Slope: sharpness of peak filters. 12dB/octave or 24dB/octave. It works better when steep (24) but it eats more CPU.

    - Bands: Filter bands density. The number goes from 1 to 12 bands by octave. The most more dense it is, the sharper the voice reproduction is.

    - Width: carrier bands width (modulator bands are always 100%). The thiners bands are, the more harmonic the output is. Tonality is mainly based on bands' spaces generated by density parameter.

    - Tune:  Move slightly bands in spectrum. It make possible to adjust a specific band to tune a specific note.

    - SV: Sibilant volume. That's the modulator part that is directly sent to the output. Modulator is filtered so only frequencies above 6kHz go through. Regarding a voice, the point is to allow the "hissing" part to pass in order to improve understandability.

    - Release : envelopp detector release time. Attack time is automatically set.

    - Trs :  Envelope transposition. To shift carrier bands and modulator bands. Created formants are then shift up or down in spectrum, making the voice like Mickey ones or bad Japonese robots.

    - Disto : Distortion amount applied to each individual bands.

    - Pan : stereophonic band separation. 0%: no processing. 100%: each bands are transformed in mono then alternatively sent to right and left, making a stereo effect. In that case, fixing the width parameter catch the whole spectrum instead of having some holes.

  • HeY Yellow-force,
    Je ne savais pas vers quel topic me diriger pr poser mes questions:
    Je souhaiterais avoir des informations supplémentaires et complémentaires sur la création de A à Z d'un VST, si vous êtes en mesure de me répondre. J'ai effectué des recherches sur le net qui m'ont un peu avancée mais je reste dans un flou artistique. DU coup je fai sappel à la OHM FORCE pour tenter d'acquerir des réponses plus claires et précises dans la mesur du possible.
    Je n'ai pas le niveau ni les connaissances nécessaire à la programmation complète d'un VSTi en C ++.
    Il y aurait-il une possibilité de programmer alternativement en Java ou PHP ou Flash pour créer des mini-modules?
    En réalité je souhaiterais créer l'interface graphique d'un VST, mais je ne sais pas quels paramètres prendre en compte principalement. Combien de boutons par modules? Ordre de composition de l'interface ? (cela doit se faire en fonction d'un squelette en C++).
    Merci d'avance,
    A bientôt sur la toile !