Jesusonic Effects Documentation

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Here you find a brief description of some of the pre-programmed effects that are bundled with Jesusonic.

Note: Some may only be bundled with REAPER and are not included in the stand-alone version or DX version.

Contents

Delays

These are Delay effects. They are located in the Delay directory of the effects folder and those are:

delay: simple digital delay

delay_chfun: stereo bounce delay

delay_chorus: delay with integrated chorus in the delay path

delay_lowres: delay with adjustable resolution of the signal in the delay path

delay_tone: delay with tonal control

delay_varlen: variable length delay


Filters

Filter effects such as EQs. Located in Filters.

bandpass: Bandpass filter

dc_remove: DC offset removal plug-in

FIR_8: 8th tap finite impulse response filter

highpass: Highpass

lowpass: Lowpass

mdct-filter: Mdct-filter

parametric_eq: Parametric EQ


Guitar

Effects for use with guitar. Located in Guitar.

amp-model" Amp Modeler with selectable IRs to simulate various different preamps and combos etc.

chorus: Chorus effect

distort-fuzz: Delivers a fuzzy distortion such as a fuzzbox.

distortion: Digital distortion like modern distortion stomp boxes.

flanger: Flanger effect

Phaser: Phaser effect like heard on many psychedelic records in the 1960s.

IX Jesusonic Plugins

A collection of user-created audio and midi utilities, most of which are included in the REAPER installation package. Those that don't ship with REAPER can be found in the resources section of the REAPER website (http://stash.reaper.fm/) and download links will be provided.

They seem to work mostly as intended but I'm a sloppy coder so if you find any bugs, message me in the REAPER Forums (username 'IXix') and I'll try to help you out.

IX Audio Utils

The following plugins do mostly boring but occasionally useful things to audio. Most of them manipulate a track's audio channels and need to be placed on a track with more than the standard two channels to be of any use. Use the I/O button to configure how many audio channels a track contains.

Mixer_8xM-1xS

Description:

Mixes mono inputs 1 - 8 into a single stereo pair output on channels 1 + 2. Each input has sliders for gain and pan allowing you to mix the inputs into a single stereo image. By default, odd numbered inputs are panned hard left while even numbered inputs are panned hard right.

Mixer_8xS-1xS

Description:

Mixes input pairs 1+2, 3+4, 5+6, 7+8 into a single stereo pair, output on channels 1+2. Each pair of inputs has a slider to control the amount of signal that will be mixed into the output.

PhaseAdjustingRouter

Description:

Stereo Phase Inverter with selectable I/O. Takes signal from the selected input channels and modifies the phase according to the selected mode. The modified signal is then sent out on the selected output channels. Only the selected output channels will be modified so a signal recieved from inputs 1+2 and output on 3+4 will still be present in it's original form at outputs 1+2.

Parameters:

  • Input - Input channels (1+2, 3+4, 5+6 or 7+8)
  • Phase Mode - How the input signal will be modified
  • Output - Output channels (1+2, 3+4, 5+6 or 7+8)
Modes:
Normal Phase - No change.
Invert Left - Invert left channel only.
Invert Right - Invert right channel only.
Invert Both - Invert both channels.

StereoPhaseInvert

Description:

Tool to alter the phase of the left and right channels of a signal independently.

Parameters:

  • Mode - How the signal will be modified.
Modes:
Normal Phase - No change.
Invert Left - Invert left channel only.
Invert Right - Invert right channel only.
Invert Both - Invert both channels.

Switcher

Description:

Obsolete. Use Switcher 2 instead.

Switcher 2

Description:

Channel switching utility. Allows you to switch between monitoring up to four pairs of inputs. Use the level sliders to match up the percieved loudness of the sources. Useful for A/B comparisons.

Parameters:

  • Output Source - Which channels to monitor.
  • Level (n)+(n) - Gain trim for input channels.
Note: This plugin has been superseded by Switcher 3 (see below) which is far superior.

Switcher 3

Description:

Channel switching utility. Allows you to switch between monitoring up to four pairs of inputs. Use the level sliders to match up the perceived loudness of the sources. Useful for A/B comparisons.

Parameters:

  • Output - Which input pair to send to the output (A/B/C/D)
  • Output Level - Gain adjustment for output.
  • x Source - One for each input pair. Select which audio channels to monitor.
  • x Level - One for each input pair. Gain adjustment for input pair.

Download from http://stash.reaper.fm/v/1423/IX%20Switcher3.zip

SwixMitch

Description:

8 Input (4 stereo pairs), 2 Bus X-Fade Thing. Feeds input pairs 1+2, 3+4, 5+6, 7+8 to Busses A + B then mixes A + B to output channels 1+2. Thanks to LOSER for the improvements.
  • Dest (n)+(n) - Destination for input (Off, A, B, A+B). Seperate control for all four stereo pairs.
  • Mix A<->B - Crossfade. Controls the ratio of A to B present in the output signal.

IX MIDI Utils

The following plugins can be used to modify midi input/output in a variety of ways.

CCRider

Description:

Generates MIDI CC messages which can be used to control the parameters of other effects (if that effect recognises CCs)

Parameters:

  • MIDI Channel - Channel to send controller data on.
  • Controller - The number of the controller to be manipulated.
  • Centre - The centre value for the controller data.
  • Range (+/-) - Deviation above and below the centre value.
  • Off Value - Reset value sent when On/Off is switched to Off.
  • LFO Shape - Sine only for now. Included for future updates.
  • LFO Frequency - LFO rate. Effect depends on the selected Units.
  • LFO Units - Unit for LFO rate calculation.
  • Updates Per Beat - How many time per beat to send controller data.
  • On/Off - On/Off switch. Not quite the same thing as bypass.

Tips:

Use the On/Off switch rather than bypassing the effect. Turning it off sends the reset value specified by the 'Off Value' control. Turning it on resets the effect so you can sync the LFO to your song by automating the switch.
Don't forget that you can type values into the LFO Frequency control.
Generated CC's won't work with REAPER's learn function but you can get around this by using a midi loopback device such as MIDI Yoke to send the MIDI data out of REAPER and back in through the MIDI inputs so that the learn function will 'see' the CC data.

ChokingHazard

Description:

Allows each incoming note to choke (by sending a note-off) up to four other notes on independent channels. For example you could set it so that pressing C4 on channel 1 would cut E5 on channel 2, G#3 on channel 5, F6 on channel 10 and Bb2 on channel 16. Probably most useful for live control of multiple samplers.

Parameters:

  • Input Channel - MIDI Channel to monitor.
  • Trigger - Selects which trigger mapping to edit.
  • Choke n - Select which note will be cut when the trigger note is pressed.
  • Channel n - Selects which MIDI channel to send the note-off message on.

Tips:

Don't be confused by the Trigger control. The effect is activated by any MIDI note it receives. The Trigger control merely selects which 'page' of Choke controls to view and modify.
You can store your mappings as presets.

Download from http://stash.reaper.fm/v/1422/IX%20MIDI%20Utils%20II.zip

DuplicateFilter

Description:

Simple duplicate note blocker that works by counting note on/off events.

Parameters:

  • Input Channel - Which channel to work on.
  • Trigger 0 - Reset Counters.

Tips:

Editing MIDI notes while this plug-in is running can cause the note on/off counter to break. If this happens, hit trigger zero while no notes are playing to reset the counters.

KeyMap

Description:

MIDI Note Re-mapping utility. This effect re-maps incoming MIDI notes according to contents of the selected keymap file. You need to create a mapping file in order for this effect to do anything so make a copy of '00 - Default Mapping.txt' and alter it to suit your needs. Keymap files should be located in 'REAPER/Data/ix_keymaps/'.

Parameters:

  • Input Channel - Which channel to work on.
  • Mapping File - Which mapping file to use.
  • Note In - For info only. Select a note to see what mapping is applied.
  • Note Out - Shows mapping info for selected Note In
  • Reload Mapping - Causes the map file to reload. Useful when editing a map file.

Tips:

Use the 'Reload Mapping' control if you change the mapping while the file is in use. Mapping files not present when the effect is loaded will not show up in the list.
The 'Note In' and 'Note Out' controls are for information only and do not affect the settings. Selecting a note in the 'Note In' control will change the 'Note Out' control to display mapped note. These controls will react to MIDI input.
Note: This plugin has been superseded by MIDI_KeyMap II (see below) which is much more flexible and to easier use.

KeyMap II

Description:

An easier and more flexible approach to key re-mapping, made possible by recent JS updates.

Parameters:

  • On/Off - Whether mapping is in effect or not.
  • Channel - MIDI Channel to monitor.
  • Source Key - Selects which mapping to view and modify.
  • Destination Key - Selects which note will be sent when Source Key is pressed.

Tips:

Don't be confused by the Source Key control. The plugin is activated by all notes on the selected channel. The plugin maintains an internal map of source/destination pairs for all 128 possible MIDI notes and the Source Key control merely selects which pair to modify.
You can now save your mappings as presets. No need for fiddly data files!

Download from http://stash.reaper.fm/v/1422/IX%20MIDI%20Utils%20II.zip

KeySnap

Description:

MIDI Note constrain effect. This effect listens the input channel and either replaces or blocks bad notes. Allowable notes are controlled by a scale file which should be located in 'REAPER/Data/ix_scales'

Parameters:

  • Input Channel - Which channel to work on.
  • Note Min - Note range minimum. Notes lower than this will not be affected.
  • Note Max - Note range maximum. Notes higher than this will not be affected.
  • Root Note - The root note upon which to construct the scale.
  • Scale File - The file containing the scale information.
  • Mode - Work mode. Whether to block or remap notes outside the scale.
  • On/Off - Fairly pointless bypass switch.

Tips:

This effect will only work with positive scale values between 0 and 11. Values outside this range will cause incoming notes to map to the closest root note further down the keyboard.

Latch

Description:

Forces the specified keys to hold until they are pressed again. Sort of like having extra fingers.

Parameters:

  • Channel - Which MIDI channel to monitor.
  • Key - Selects which key to view and modify the settings for.
  • Latch - Whether latch is enabled for Key.

Tips:

Don't be confused by the Key control. The plugin is activated by all incoming notes on the selected channel. The plugin maintains an internal list of which keys to latch and the Key control merely selects which setting to modify.
You can save the settings as a preset.

Download from http://stash.reaper.fm/v/1422/IX%20MIDI%20Utils%20II.zip

Looper

Description:

As you might expect from the catchy title, it loops midi.

Parameters:

  • Input Channel - Which MIDI channel to monitor.
  • Loop Length - Length of the loop, obviously.
  • Loop Units - Units to use for Loop Length (Beats,Seconds,Milliseconds or Samples)
  • Repeats - Sets number of times notes will be repeated. Applies to new notes only. Zero is infinite repeat.
  • Fade - Reduces note velocity to zero in n steps, n being the number of repeats. Applies to new notes only.
  • Record - When enabled, incoming notes are added to the loop.
  • Dry Output - Whether to allow incoming notes to pass through the effect.

Tips:

Trigger 0 clears the buffers, as does setting zero loop length.
Trigger 1 toggles MIDI input recording on/off
Changing the loop length will scale any existing loop to fit the new loop length but changing the units will reset the loop.
Dry Output blocking is overridden by record off (it assumes you want to play over a loop.)

Download from http://stash.reaper.fm/v/1422/IX%20MIDI%20Utils%20II.zip

PatchUtil

Description:

Simple MIDI Bank/Patch selection utility.

Parameters:

  • Channel - MIDI Channel to send messages on.
  • Bank - Which bank to use.
  • Patch - Which patch to use.

Notes:

Operating either the Bank or Patch controls will cause the appropriate bank and patch messages to be sent.

Download from http://stash.reaper.fm/v/1422/IX%20MIDI%20Utils%20II.zip

Probalocity

Description:

Treats the velocity of incoming notes as a percentage probability that the note will be passed through the plugin. A velocity of 127 has a 100% chance of being played and a velocity of 12 has around a 10% chance of being played. Notes outside the specified range will pass through the plugin unchanged.

Parameters:

  • Input Channel - Which MIDI channel to monitor.
  • Note Min - Note range minimum.
  • Note Max - Note range maximum.
  • Scale - Multiplies input velocity by the specified amount.
  • Offset - Adds/subtracts the set amount from the scaled output velocity.

Tips:

Use the Scale and Offset controls to compensate for the softer velocities of less likely notes.

Download from http://stash.reaper.fm/v/1422/IX%20MIDI%20Utils%20II.zip

Router

Description:

MIDI Information Router. Listens to the input channel and redirects events on that channel to the output channel. There are three modes of operation:
  1. Route only note events within the specified range.
  2. Route all events *except* notes (regardless of note range).
  3. Route all non-note events and note events within the specified range.

Parameters:

  • Input Channel - Which channel to monitor.
  • Output Channel - Destination channel for affected events.
  • Mode - Work mode. See above.
  • Note Min - Note range minimum. Notes lower than this will not be affected.
  • Note Max - Note range maximum. Notes higher than this will not be affected.
  • Transpose - Transpose affected notes by n semitones.

Tips:

It seems that most VSTi's that do not allow you to specify an input channel will respond to events on ANY channel. This can be quite confusing/annoying.

Warning: In modes 1 and 3, changing the transpose control while an affected note is playing will cause the corresponding note-off to miss, resulting in an infinite sustain.

Tool

Description:

MIDI Note Modification effect. This plug-in has been rendered obsolete by Tool II which does the same and more.

Tool II

Description:

MIDI Note Modification effect. Listens for note events fitting note/velocity rules on the input channel. If it hears one then these things happen in this order:
  1. Depending on the 'Input Velocity Mode' setting, velocity may be clamped to the specified range.
  2. Velocity is multiplied by the scaling percentage.
  3. A random amount (+/- n% of velocity at this point) is added to the velocity.
  4. Velocity is clamped to the 'Output Velocity' range.
  5. Note is transposed by n semitones.
  6. A random (+/- n% of travel) pitch wheel message is sent to the output channel.
  7. Modified note/velocity information is output on the selected output channel.
MIDI_Tool II has two ways of dealing with notes which fall outside of the selected velocity range. Clamp To Range will set any values below/above the specified range to the minimum/maximum specified velocity. Ignore Outside Range will allow notes with velocities outside the specified range to pass unchanged.
Non-note events, note events not on the selected channel, or note events outside the note/velocity range should pass through the effect unchanged. The 'Pitch Reset' control specifies whether to centre the pitch-wheel when the effect recieves a note that will not be processed. You may wish to disable it to avoid cancelling existing pitch-wheel data.

Parameters:

  • Input Channel - Channel to monitor.
  • Note Min - Note range minimum. Notes lower than this will not be affected.
  • Note Max - Note range maximum. Notes higher than this will not be affected.
  • Input Velocity Min - See above.
  • Input Velocity Max - See above.
  • Input Velocity Mode - Sets input velocity behaviour. See above.
  • Velocity Scaling - Multiplies the velocities by the specified percentage.
  • Random Velocity - Random velocity percentage.
  • Output Velocity Min - Minimum velocity value for outgoing notes.
  • Output Velocity Max - Maximum velocity value for outgoing notes.
  • Transpose - Transpose affected notes by n semitones.
  • Random Pitch - Random pitch wheel adjustment.
  • Pitch Reset - Reset pitch wheel for un-processed notes.
  • Output Channel - Send affected notes and generated pitch wheel data to this channel.

Warning: Changing the range or transpose controls while midi data is passing through this effect may cause notes to stick.

Note: It seems that most VSTi's that do not allow you to specify an input channel will respond to events on ANY channel. This can be quite confusing/annoying.

Variant

Description:

MIDI Pattern Variation Effect. This effect listens to the input channel and replaces some of the notes with random(ish) notes. Which notes get replaced is controlled by a sequence file and what they get replaced with is controlled by a scale file. Some common scales and simple sequences are included but it's very simple to create your own. See below for details on scale/sequence files. Scale and sequence files should be located in the folders 'ix_scales' and 'ix_sequences' within the REAPER 'Data' folder.
Put simply, this effect counts notes and checks against the sequence file whether each note should be passed or modified. If a note is to be modified then a random note within the defined scale is substituted. Note that if you play a chord of four notes, the sequence counter will see four notes and advance four steps.
This effect doesn't really care what scale values you give it (unlike KeySnap which is very fussy.) Any number of offset values from -127 to 127 is fine. Output values exceeding the MIDI note range will be clamped accordingly.

Parameters:

  • Input Channel - Channel to work on.
  • Note Min - Note range minimum. Notes lower than this will not be affected.
  • Note Max - Note range maximum. Notes higher than this will not be affected.
  • Root Note - Root note to base the scale on.
  • Scale File - File containing the scale information.
  • Low Octave - Lowest octave for generated notes.
  • High Octave - Highest octave for generated notes.
  • Sequence File - File containing the sequence information.
  • On/Off - On/Off switch. Not quite the same thing as bypass.

Tips:

The On/Off switch resets the sequence counter. You can automate it to force the sequence to start at a specific point in your track.

Velocifier II

Description:

Pattern Based MIDI Velocity Modifier. This effect listens to the input channel and adjusts the velocity of some of the notes. Which notes get adjusted is controlled by a sequence file which should be located in the folder '/Data/ix_sequences/'. See below for details of how to create your own sequences.

Note that the sequence works by counting notes, so it will only work as an actual pattern on sequential notes. If four notes are played at once, the sequence will hear four notes and advance four steps.

Parameters:

  • Input Channel - Which channel to work on
  • Note Min - Note range minimum. Notes lower than this will not be affected.
  • Note Max - Note range maximum. Notes higher than this will not be affected.
  • Value - The centre velocity value for modified notes.
  • Variation - Random velocity variation (percentage of centre value)
  • Sequence File - The file containing the sequence information.
  • On/Off - On/Off switch. Not quite the same thing as bypass.

Tips:

The On/Off switch resets the sequence counter. You can automate it to force the sequence to start at a specific point in your track.

Wobulator

Description:

LFO Controlled MIDI Pitch Wheel Generator. It wobulates your notes.

Parameters:

  • MIDI Channel - Channel to send controller data on.
  • Max Bend - Percentage of pitch wheel travel.
  • LFO Frequency - LFO rate. Effect depends on the selected Units.
  • LFO Units - Unit for LFO rate calculation.
  • Updates Per Beat - How many time per beat to send pitch wheel data.
  • On/Off - On/Off switch. Not quite the same thing as bypass.

Tips:

Use the On/Off switch rather than bypassing the effect. Turning it off centres the pitch wheel. Turning it on resets the effect so you can sync the LFO to your song by automating the switch.
Don't forget that you can type values into the LFO Frequency control.

IX Scale Files

Scale files are currently used by KeySnap and Variant.

A scale file is just an ASCII text file containing a bunch of numbers representing semitones above the root note (represented as zero). Each digit should be on a separate line. Spaces for readability are okay but there should be no extra lines after the last digit, otherwise the loader thinks there's another step. Comment lines starting with // are okay too.

Scales can be any length (the limit is 1024) and can contain any positive or negative value.

Here's an example:

//Scale file. This is the major scale.
0
2
4
5
7
9
11

The above example is how these scales were intended to be used. Here's another possibility:

//Scale file. Specialist values, limit to white keys of octave five.
60
62
64
65
67
69
71

With a scale like this, you can cause Variant to limit itself to the specified note numbers by setting the high and low octaves to zero. This would be useful for altering drum patterns.

IX Sequence Files

Sequence files are currently used by Variant and Velocifier II.

A sequence file is an ASCII text file containing a bunch of zeros and ones which will tell the effect to either do something or not. Each digit should be on a separate line. Spaces for readability are okay but there should be no extra lines after the last digit, otherwise the loader thinks there's another step. Comment lines starting with // are okay too. Sequences repeat and can basically be as long as you like as the limit is close to 1MB.

Here's an example:

//Sequence file. This sequence will trigger the effect on every fifth note.
0
0

0
0
1

IX KeyMap Files

Used by the KeyMap plugin, keymap files are ASCII text files containing a list of numbers representing how input notes will be transformed. The file should contain 128 entries, one for each note of the MIDI range. Each line that starts with a number will be treated as an entry.

One keymap, "00 - Default Mapping.txt", is supplied with REAPER and you can find it in the folder 'REAPER/Data/ix_keymaps/'. Make a copy of this and edit it to suit your requirements. Note that only the number at the beginning of the line matters. Everything else is ignored.

//Key Mapping File. Change the number at the beginning of the line to set the output note.
//Octave 0
0		(0) C
1		(1) C#
2		(2) D
3		(3) Eb
4		(4) E
5		(5) F
6		(6) F#
7		(7) G
8		(8) G#
9		(9) A
10		(10) Bb
11		(11) B

//etc.

//Octave 10
120		(120) C
121		(121) C#
122		(122) D
123		(123) Eb
124		(124) E
125		(125) F
126		(126) F#
127		(127) G

Liteon's JS pack

Discussion thread

Liteon's plugin pack for the JesuSonic platform.

# PLUGIN LIST
* SonicEnhancer (sonic_enhancer)
  Modeled after a popular unit for sonic enhancement. Produces an all pass
  filter near 700hz, progressively delays all lower frequencies and also has
  a DC filter.
  - input/output gain
  - low contour - adds a low end shelf
  - process - adds a high end shelf
  - cv - program dependent control voltage for the process amount
  - noise floor - adds noise floor at around -96dBFS

* TubeHarmonics (tubeharmonics/tubeharmonics_amp)
  A rough model of a dual tube circuit stage. Not an exact tube model, but
  perhaps closer to the triode family. Adds controllable and transient aware
  amount of odd and even harmonics to the signal. The effect can be very subtle
  or quite drastic. For testing purposes use a periodic signal. The "amp"
  version of the fx is a tube pre-amp stage.
  - separate odd / even harmonics amount
  - fluctuation - circuit instability also controls the transient awareness 
  - TS input - tube stage input in decibels (level of input signal)
  - TS ouput - tube stage ouput in decibels (level of harmonics) 
  - output - master out 
  
* Lo-Fi (lo-fi)
  A mono/stereo bitcrusher, sample rate reducer with post filter.
  - bitcrusher/sample rate reducer  
  - 2 point linear interpolation
  - 12db/oct low-pass filter
  - pre amp
  - outgain  

* PhaseMeter (phasemeter)
  A goniometer with precision amount, scaling and color schemes.
  - 3 (funky) color schemes
  - precision (cpu usage related)
  - positive scale amount
  
* StereoTilt (stereotilt)
  Mono-to-stereo filter. Spectrum on left channel is tilted in one direction,
  while the spectum on the right channel is flipped in the other.  
  - center frequency
  - tilt amount
  - balance
  - outgain
  
* FARModulator (farmodulator)
  FM, AM/RM effect, which can use 2 sine waves as carrier/modulator, but also
  any other input signal as modulator. Can produce a wide palette of sounds.  
  - operation modes - FM, M1(mixed), M2(mixed)
  - modulator signal selection 
  - separate modulator/carrier gain   
  - output gain
  Note: the effect is mono
  
* PRNG-Plot (prngplot)
  A plotter algorithm for generated pseudo-random numbers.
  
* Non-Linear Processor (nonlinear)
  Simple non-linear processor. Roughly mimics analog circuit behaviour.
  - saturation amount - sinusoidal waveshaper. adds "odd" harmonics.
  - fluctuation amount - adds probability to all parameters in the model.
  - floor reduction - adds filtered white noise at a defined range, calculated  
    from bit depth.
  - output gain -24/+24db  
  The effect also models a basic frequency response from an analog prototype.
  Two slopes at the bottom and low end are present and also a positive
  low-shelf, around 300hz. But the probability also affect the filter parameters.
  The result from this could be characterized as "dynamic", as opposed to "static"
  where a transfer function is time invariant.
  The amount of probability is material dependant and slightly increases
  for transients, found in the signal.
  
* Tilt EQ (tilteq)
  Simple "tilt" equalizer circuit. It has only two controls: Boost/Cut and a
  center frequency. While boosting or cutting volume with a shelving filter
  above the center frequency, it does the opposite with the range below the
  center frequency. This can produce very quick changes on the spectrum.
  For extreme settings: -6db will result a lowpass, +6db will result a highpass.   

* NP1136 (np1136peaklimiter)
  Program dependant peak limiter. Full documentation here:  
  http://sites.google.com/site/neolit123/Home/np1136_manual.pdf

* De-Esser (deesser)
  De-Esser which uses "splt-band" compression. The crossover is constructed with
  second order Linkwitz-Riley filters.
  - stereo/mono processing
  - target type - compress a band or the whole top end.
  - monitor on/off - listen to the compressed signal
  - frequency range - 20 - 20khz
  - bandwidth in ocvaves - 0.1 - 3.1oct
  - threshold - 0 to -80db
  - ratio - 1:1 - 20:1 
  - 3 time constants.
  - output -inf/24dB - output gain

* Pseudo-Stereo (pseudostereo)
  Pseudo-Stereo fx based on 'mdaStereo' by Paul Kellet. Can be used for
  mono-to-stereo conversations. Uses one feedback delay on R ('Haas fx' mode)
  or 2 separate feedback delays for L & R ('Comb' mode). Very light on the CPU.
  - fx amount (%) - haas / comb 
  - delay (ms) - feedback delay in milliseconds 
  - balance - L / R channel amount
  - output -20/20dB - output volume
  
* RingModulator (ringmodulator)
  A simple ring modulator circuit emulation. Uses a sinewave as the modulation
  signal, which can be 'waveshaped' with a diode, so that only the positive 
  semi-periods of time sinewave pass trought. Has feedback and non-linearities.
  - stereo/mono processing
  - mod-signal diode - on/off
  - mod-signal frequency - 20-20khz
  - feedback - 0-100% - lets the signal be processed multiple times by the RM
  - non-linearities - 0-100% - adds small variations to the mod-frequency and
  feedback amount.
  - mix - 0-100% - mixes the orginal signal with the processed signal.
  - output -inf/40dB - output volume
  - oversampling (on/off)

* StateVarible (morphing) filter (statevariable)
  Filter which uses x,y pads to morph between different states - LP, HP, BP, BR.
  - stereo/mono processing
  - lp,hp,bp,br modes
  - frequency range - 20-20000hz
 - res - resonance amount
 - filter amount - mixes the original signal with the filtered one.

* AppleFilter v.2 (applefilter72db)
  Original filter from apple.com AU tutorial. Modification allows up to
  12pole cascade (HP, LP).  
 - stereo/mono processing
 - slope - off/12db-72db per octave
 - frequency range - 20-20000hz
 - res - resonance amount -16/+16db 
 - output gain control -24/+24db

* 3BandPeakFilter (3bandpeakfilter)
  Filter bank containing two biquad peak filters from Stanley A. White's
  algorithms (JAES versions). Each filter provides three fully parametric bands.
  The plugin can be used as a three band EQ. Saturation control is also
  available.
  - two filter types: PF-3A, PF-3B. The two filters have similar behavior in   
  the midrange, but quite different at the low and high end.
  - stereo/mono processing
 - frequency ranges - 20-20000hz
 - gain -18/+18db
 - 12db lowpass, highpass
 - output gain control -24/+24db
 - saturation amount - 0-100% - adds harmonics and noise floor to the signal.
 - oversampling (on/off)

* VUMeterGFX / VUMeterGFXSum (vumetergfx/vumetergfxsum)
  Vintage-style VU meter with response and release controls. Uses the GFX
  section to draw all graphics in realtime. Summed (L+R) and stereo versions.
  - response control (MS) - RMS and peak meter response.
  - release - needle fallback time. 

* LorenzAttractor (lorenzattractor)
  Synthesizer based on Lorenz Attractor formulas. Has two oscillators: one sine
  wave, one square wave. There are various parameters that control both the
  sound and the plotted graphics. Can be used to produce ambient sounds.
  - rate - controls the rate at which the plotter/modulation is working.
  - plot osc 1+2/1 - when 'lines' is selected plotter outputs lines and the
  sound is a mix between osc 1 and 2 (sine+square). Otherwise when 'dots'
  is selected the output is a sine-wave only.
  - prandtl number - first parameter controling the attractor.
  - reileght number - second parameter.
  - color - changes the pallette of the plotter. When set to the farleft,
  modulation amount of osc1 is minimum. Otherwise its set to maximum.
  - tune - tunage of osc1 and osc2. 
  - output gain control -inf/+25dB 
  
* ShelvingFilter (shelvingfilter)
 Plugin with LowShelf and HighShelf biquad filters based on James A. Moorer's
  formulas.
 - stereo/mono processing 
 - frequency ranges - 20-20000hz
 - gain -12/+12db
 - output gain control -24/+24db
 
* PresenceEQ (presenceeq)
 Topend EQ based on James A. Moorer's formulas. Can add presence to the top end
  of sounds. Bandwidth of the boost is somehow smart and frequency dependant.
  Good sound.
 - stereo/mono processing 
 - frequency range - 3100hz-1850hz
 - cut/boost - -15/+15db
 - BW - bandwidth of the boost
 - output gain control -24/+24db
 
* BassManager (filename: bassmanager)
 This is a plugin for managing your bass samples. The idea behind this plugin
  is to make bass samples more present in the mix. It has full control over the
  low end. Sounds can be processed in stereo or mono. It has a 2pole lowshelf
  filter for boosting frequencies. Also a build in saturator, a control for
  high-end muffle and a limiter.
 - stereo/mono processing
 - spread - controls the width of the lowshelf
 - frequency - 30-250hz
 - boost - amount of boost for the low end - 0/24db
 - drive - adds saturation
 - muffle - "muffles" sharp highend frequencies.
 - output - controls the output gain -24/+24db
 - hipass - hipass filter for the low end at given frequency.
 - limiter(on/off) - to limit the output from the plugin
 - oversampling (on/off)

* Butterworth Filter (filename: butterworth24db)
 Classic sounding 24db filter model!
 - stereo/mono processing
 - filter mode - LP/HP
  - cutoff frequency - 20-20000hz
  - resonance amount - 0-0.9
  - limiter(on/off) - to limit the output from the plugin
  - output gain control -24/+24db

  ! This plugin comes with a warning !
 Due to the internal filter architecture this pluging may behave as unstable
 when cutoff frequency is automated very fast in the low end. A limiter will
 automatically kick-in in such cases so that user speakers aren't blown out. :)

* Chebyshev Filter - Type1 (filename: cheby24db)
  Classic sounding 24db filter model! With a very specific resonance.
  - stereo/mono processing
  - filter mode - LP/HP/BP
  - cutoff frequency - 20-20000hz
  - passband ripple amount - 0-0.9 (Produces two noticeable peaks on the
  spectrum)
  - limiter(on/off) - to limit the output from the plugin
  - output gain control -24/+24db

* Moog Filter (filename: moog24db)
  Classic sounding 24db filter plugin modeled after the infamous Moog Filter.
  - stereo/mono processing
  - filter mode - LP/HP/BP
  - cutoff frequency - 20-20000hz
  - resonance amount - 0-0.85
  - drive - adds saturation to the signal
  - limiter(on/off) - to limit the output from the plugin
  - output gain control -24/+24db
  - oversampling (on/off)
 
* Pink Noise Generator (filename: pinknoisegen)
 A simple pink noise generator with mono/stereo output.
  - stereo/mono - one/two channels noise output
  - output gain control -24/+24db

* RBJ Stereo Filter (filename: rbjstereofilter12db)
  A filter that controls only the stereo image of a sound. Useful for precise
  sound modeling. Based on RBJ filters cookbook. Includes saturation.
  - filter amount - controls mix between original signal and filtered one. 
  - HP - 12db hipass for the stereo image at given frequency. 
  - LP - 12db lowpass for the stereo image at given frequency. 
  - drive - saturation for the stereo image.
  - side - stereo image width.
  - mid - mid amount.
  - output gain control (m+s) -24/+24db
  - oversampling (on/off)

* Simple 6db LP Filter (filename: simplelp6db)
  A simple 6db LP filter. Good for less steeper cuts of high end sounds.
  CPU friendly and good for automation. No resonance control.
  - mono/stereo processing
  - cutoff frequency - 20-20000hz
  - output gain control -24/+24db
 
* WaveshaperMulti (filename: waveshapermulti)
  A waveshaper bank with different waveshaper formulas.
  - mono/stereo processing
  - type - selected waveshaper formula
  - drive - controls amount of saturation
  - muffle - "muffles" sharp highend frequencies.
  - output gain control -24/+24db
  - limiter(on/off) - to limit the output from the plugin
  - oversampling (on/off) 

LOSER

3 band eq:

3 band joiner:

3 band splitter:

4 band eq:

4 band joiner:

4 band splitter:

5 band joiner:

5 band splitter:

Amplitude modulator:

DDC:

DVJCS:

Exciter:

Master Limiter:

Phase Meter:

ppp:

SP1 Limiter JS:

Stereo:

Stereo Enhancer:

Time Difference Pan:

Tranny Killer:

Wave Shaping Dstr:

Meters

tone meter:

tuner: Tune guitars or anything else, plug in the effect, add to an audoi track and it tells you what note you're playing.

vu meter:

MIDI

drum trigger

note on delay

arp

chorderiser

chord key

eater

map to key

Multi Channel MIDI Keyswitch

Intended for virtual instruments accepting one MIDI channel of input, typically channel 1. Inspired by the KeySwitch module in Bidule.

Download: http://stash.reaper.fm/v/11328/Multi%20Channel%20MIDI%20Keyswitch

note repeater

transpose

velocity control

The SStillwell Jesusonic Effects Collection

These are some of the most interesting and versatile plug-ins available in the Jesusonic Collection.

3x3: 3-band eq with harmonic enhancement

4x4: 3-band eq with harmonic enhancement (different style of enhancement)

1175: Fast-attack compressor, similar in style to a UREI 1176.

autoexpand: Downward expander with program-dependent attack/release.

chorus: Chorus effect

chorus_stereo: Stereo chorus effect

delay_pong: Ping-pong delay

delay_tempo: Delay with optional tempo synchronization.

dirtsqueeze: Compressor that adds quite a bit of grit and distortion

drumtrigger: Plugin that generates MIDI trigger from sound input, optionally passing the dry audio signal as well

eventhorizon: non-lookahead limiter that simply rounds off and truncates peaks.

exciter: HF boost/enhancer

expander: Downward expander with manual attack/delay times.

expressbus: Compressor...meant to be used on buss signals.

fairlychildish: Emulation of SOME of the features of a Fairchild 670 compressor.

flangebaby: Flanger

hpflpf: steep high-pass & low-pass filters in a single plug

hugebooty: LF frequency enhancer...adds upper harmonics to LF content

louderizer: Psychoacoustic loudness enhancer

louderizer_lpf: Psychoacoustic loudness enhancer (with LPF to choose what frequencies are affected)

majortom: Compressor, ala dbx160 VU (old model) or kinda like an LA2A when in Feedback mode.

mastertom: Same as majortom, different algorithm, slightly different sound.

ozzifier: Multi-voice chorus/delay...you'll recognize it.

randomizer: Randomizes midi input...useful for taking signal from drumtrigger and using multiple reasamplomatic instances to trigger multiple snare samples, avoiding machine-gun triggered snare sound.

rbj4eq: 4-band EQ

rbj7eq: 7-band EQ

rbj1073: 3-band EQ with HPF, same feature choices as Neve 1073.

realoud: Psychoacoustic loudness enhancer, with different algorithm than louderizer.

realoud_lpf: Same relation to realoud as louderizer_lpf is to louderizer. Low Pass Filter.

thunderkick: LF enhancer...adds in subharmonics to enhance lowest octaves. Note: does NOT work well with pitched instruments. Mostly useful for kick drum.

volscale: Think of it as a MIDI compressor...scales output volume range and adds/removes gain.

3x3 and 4x4

The 3x3 harmonic enhancer is very useful for boosting the harmonic content of instruments to help bring them to life in a mix. For example, if you have a hi-hat that was recorded with a cheap, dull sounding mic, you could set the "hi drive %" of the 3x3 to 100, and boost the hi gain until it had the desired amount of sizzle. Or let's say you recorded a bass guitar, but it lacks important bottom end in the mix (sounds thin) and has no definition (sounds dull). You could set the low and hi drive to 100% and start boosting/cutting until it sounds like a bass guitar

Likewise, the 4x4 provides harmonic enhancement, but with slightly different sonic qualities in each of the three bands. The 4x4 is particularly good for putting into an ultra high enhancement mode without crunching the CPU. You can do this by opening it up in the editor and changing the drive % limit on sliders 1, 3, and 5 to 200, or even 1000 - This can let you have more control over how much enhancement you want (especially if you desire a LOT).

How are these EQs different from other EQs? the harmonic enhancement in these two EQs is such that by sliding the virtual faders, you can dial in great tones without much effort at all, which means you won't have to think much about it, which means you can spend more time doing other more important things like installing the latest reaper update :)

1175

The 1175 is a VERY FAST ATTACK compressor reminiscent of the hardware UREI 1176 compressor. The attack slider lets you choose from as fast as 20 microseconds (that's 0.02 miliseconds) for transient killing, and extends as slow as 2000 microseconds (2ms). BUT, if you want to use the 1175 with more run-of-the-mill attack settings, open it up in the editor and change the line

slider4:20<20,2000,10>Attack time (usec.) to slider4:20<20,10000,10>Attack time (usec.)


This will allow to set attack times up to 10ms (1 ms = 1000usec). Setting the attack much longer than 10000 is doable, but you should watch CPU usage of the plug-in after this point. The 1175 is great for vocal, snare, and kick compression as well as mix compression - you can get some wonderful results when you set attack times from 1ms - 10ms and short release times of 50-100ms, then mixing in the results to around 5-10%. (on the 1175, setting an attack of 10ms and 60ms release will work particularly well for beefing up a kick drum along with the rbj1073 - see tips below). One of the coolest features of the 1175 is the "mix" slider, which lets you specify how much of the compressed sound you want to hear in the mix. Setting this to 100 lets all of the compression thorough, while setting it to 0 give you the original uncompressed signal. this is especially useful when you use the ultra fast attack settings, but want to keep some jump in the track (ala New York style vocal compression).

dirtsqueeze

If you want a compressor that gives the impression of a completely overdriven analog circuit, then look no further because dirt squeeze is for you! dirtsqueeze has innocuous settings for such a unique sounding compressor - the regular threshold, ratio, automakeup gain, and manual gain. But as you raise the ratio and lower the threshold, you will quickly notice unmistakable analogesque distortion being introduced to the signal along with the compression. this compressor is great Especially for electric guitars. You can use dirtsqueeze in replacement of other more gritty and harsh sounding distortion plugins to add in extra crunch to your electric guitars while bringing tonal details to the forefront all at once! Try it out on the rhythm guitar in the demo "Making Me Nervous" that comes with reaper - first normalize the track (right click on the track's event, go to item processing, then normalize). Lower the track volume until it is around the same as before. Then insert dirtsqueeze and dial in the following:

  • threshold -12
  • ratio - 4:1
  • automakeup - no
  • manual make-up - 0

Almost like magic, the guitar has a new life to it - a life with much more distortion! dirtsqueeze does have some erratic behavior on very low thresholds. With this compressor, a good rule of thumb is to dial in the settings just until you start to hear the distortion, then tweak it a few dB until you're satisfied with the tone. In otherwords, it's sweet spot seems to be someplace just below the signal peaks.

drumtrigger

Use this plugin with your favorite drum synth, sampler, or VSTi etc. to replace drums. If you are clever, you can maybe put ReaGate in front of this to even further tweak your triggering.


  • Open Threshold: When peak signal goes above this level, send NOTE ON on MIDI Channel & MIDI Note#.
  • Close Threshold: When peak signal drops below this level, AND Retrigger Interval milliseconds have passed, send NOTE OFF on MIDI Channel and MIDI Note#.
  • Retrigger interval: minimum note length, and also minimum time between notes.
  • Original Signal Mix: Should I pass through the original audio? If so, how much?
  • MIDI Channel, MIDI Note#: Hopefully these are self-explanatory
  • Peak Det. Interval: Look for a peak within a x millisecond window. The peak volume found determines the velocity of the MIDI note, where 0 dB = 127 MIDI Volume
  • Trigger align (ms): Move the MIDI notes forward or backward in time x milliseconds to help you midi notes line up precisely with your audio.


Major Tom

Major tom is an excellent compressor that can be used in a wide variety of ways. Here is a description of the settings: Threshold, Ratio (1:1 to 20:1), Gain (this is the make-up gain), Soft Knee? (you can choose between soft knee or hard knee), Detector Input (choose between normal or sidechain for ducking), Automakeup? (choose between automatic makeup gain or manual makeup gain), Detection - (choose between peak or RMS) - The RMS window is 10ms, and has 2.5 microsecond peak detector), Detection source - Choose between feedforeward (regular compression) or feedback (includes an opto attack of 2ms, release of 200ms)

a good explanation of The difference between Feedforward and Feedback Compression

Major tom works very well in a variety of settings, and you can really hear the ratio at work clamping transients.

FairlyChildish

The adjustable settings on this compressor are
Threshold
Bias
AGC
Time constant
Level Detector RMS window.

There are two non-adjustable settings "current comp ratio" and "gain reduction", which move automatically with the program signal - currently, fairlychildish is the only JS compressor that lets you see how much gain reduction is happening!

Here is a breakdown of the plug-in.

The Bias

When this is set low and the threshold set to catch peaks, you get fairly hard ratios of 30:1 (give or take) - and as you lower the threshold, the ratios goes up a LOT - to around 300:1 (give or take). But with the bias set high and the threshold set to just catch the peaks, you get some gentle compression, with the ratio fluctuating from around 1.1 to 3:1. As you lower the threshold, the ratio goes up ... to around the 15:1 mark give or take.

Time constant

Time constant affects the attack/release times of the compressor. The original Fairchild hardware had some REALLY short attack times (measured in microseconds), and LOOOONG release times (measured in fractions of a MINUTE). The higher the time constant, the longer the attack and release, generally. attack and release times on "fairlychildish" are measured in microseconds, the lowest value being 200 microseconds (0r 0.2 ms) on time constants 1 and 2, AND 5. On time constants 3, 4 and 6, the attack time is 0.4 ms. The release times of time constant 1 is 300ms, time constant 2 is 800ms, time constant 3 is 2000ms, time constant 4 is 5000ms time constant 5 is 10,000ms and time constant 6 is a whopping 25 seconds!

BUT, part of the beauty of the JS plugins is that you can change the default settings by manipulating the code. You may find that an attack setting of 0.1 (100ms) and a release of either 0.2500 (250ms), 0.5000 (500ms) or 1.000 (1000ms/1 seconds) might provide smoother compression (perhaps in replacement of the 25 second release and ultra fast attack of time constant 6). You may also find that setting the attack to 0.0100 (10ms) and release to 0.100 (100ms) might work well for guitar and vocal compression with fairlychildish.

AGC

There are two options for this - Lat/Vert and Left/Right. the Lat/Vert setting on the Fairchild was used when cutting actual masters for vinyl. What it does is switch the level detection and compression from normal stereo to L+R and L-R, reconstituting the normal signals after compression. This allows you to separately compress the center signal (typically bass) from the side signals...a form of Mid/Side compression. The reason it was used on vinyl was to keep the grooves from being cut too wide (lateral) or too deep (vertical).

The level detector rms window slider

The RMS window acts in a similar fashion to the RMS slider in Reacomp. When this is set to very low values, the compression follows the curves of the waveform more closely. As you move the value higher, you get a smoother compression and less gain reduction.

Making the Settings work Together

With "fairlychildish", there is a direct correlation between threshold and ratio - i.e. the higher the signal goes over the threshold, the higher the ratio will be (you can actually visualize the gain reduction and release times by watching the automatic sliders move). With High threshold situations where you want to work mostly on peaks, you may want to set the time constant and level detector RMS window values lower, which should result in gain reductions of between 1 and 4dB. With lower threshold settings, you should set the time constant and RMS window values a little higher - just know that setting a time constant of 6 will give an EXTREMELY LONG release of 25 seconds. The bias works as a pseudo ratio control - and it will really squash peaks when it is set very low. Even though you can set the threshold very low, threshold settings below -15dB (on hot signals) will produce pumping, due to the nature of its fast attack, so higher, peak-cathcing thresholds seem to be where the sweet spots are for "fairlychildish" using the default settings.

rbj1073

the RBJ1073 is a great EQ reminiscent of the Hardware 1073 by Neve. The high shelf of this EQ is a frequent go-to option on the hardware 1073. It has a fixed frequency of 12k, but the wide Q of the slope affects the signal lower down the spectrum.

This slope has been emulated beautifully in the JS version of the 1073, which gives anything you run through it a really nice "sheen" due to the broad-spread lift it can generate. It will also really tame the harsh high end of some percussion. The rbj1073 works quite like the original in that you can crank it right up and still get pleasing tones out of it (if you need it to).

Tips

If the high shelf sounds like it's getting brittle, but you like the smooth top it's giving you, you can try dialing in a few db cut at 3.2k on the mid frequency filter. Similar complimentary boosts/cuts can be made with the mid range filters.

Another trick you can do with the original neve hardware which you can also do on the 1073 fx (!!) is to cut the bottom off with the HP filter and boost at the same time. For example, you can make quite a nice change to the timbre of a bass sound by selecting the low cut filter (say to 50 hz) and boosting the low shelf at 60 hz. You get clean, punchy bass with no unwanted "woof".

rbj4

the rbj4 is a semi-parametric EQ that has selectable frequencies via drop down boxes. The choice of frequencies might seem a little odd at first, but there is a definite method to the madness. The Q on the rjb4 is 0.8 for all bands.

Band 1 - choose between 40, 80, 160, 315 and 500hz

Band 2 - Choose between 125, 250, 500, 1k and 2k

Band 3 - 315, 630, 1.2, 2.5 and 5khz

Band 4 - 1.6, 3.2, 6.4, 9 and 12khz

Since the Q of the rbj4 is 0.8, this EQ works very well as a sweetner. The options in Band 1 are suitable for low end shelving, and also sweetening a vocal track (315hz is an often overlooked, yet somewhat magical area for vocals), Band 2 has the go-to options for mid-band sweetening up to 500hz. Band 3 gives you a variety of choices between adding lower harmonic sweetness, upper harmonics (1.2khz is a bit of a magic bullet for bass attack and a small boost 2.5khz can sometimes do wonders for an electric guitar) and 5khz presence options. Band 4 starts you off at 1.6khz (try a boost here, and a cut at 2.5khz on a guitar track), and lets you choose between some key frequencies in the high end of the spectrum. Again, don't let the wide Q fool you, as this EQ can work some magic and is quite versatile. This puppy is yet another go-to EQ available only in reaper!

Utitily

bitred: A bit reduction effect with setable dithering.

KanakaMS5: M/S decoder.

KanakaMS5Encoder1: M/S encoder.

Utility Tips

First insert the KanakMS5Encoder1, then insert Reacomp as the next plug-in of the chain, and finish off the sequence with KanakaMS5. Set the LP filter in reacomp to 20hz, and set the detector imput to Main L. Set the ratio to around 4:1, attack to 2ms, and release of 60-100ms. Lower the threshold until you see no more than 2dB of gain reduction. This will help glue the kick into your mix. Try mixing "into this" from the start - you might be pleasantly surprised at the results. Play with the LP filter to vary the amount of kick compression you get - i.e. setting the LP to 60 can give you a HUGE sounding kick.

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