61–68 of 68 posts
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Seconded. Unfortunately Linux support is relatively rare in VST land. Also I wish CLAP would get more traction as a plugin format.
As someone producing in linux land I wish CLAP was more widespread as well
Hey, I'm a long-time music producer and I'm dying to get into this exact kind of work - writing plugins and eventually synthesizers from scratch. I'm curious what your path was to get to the point where you can write an audio plug-in from scratch - I noticed you're using the JUCE framework, and that's about as far as I got and I never really escaped tutorial hell.
https://github.com/sudara/awesome-juce
(Direct link to the raw data here: https://raw.githubusercontent.com/sudara/awesome-juce/main/s...)
Some truly wonderful things in there to learn from - starting with basic plugins, all the way up to synthesizers and a full DAW. Be sure you mine that resource!
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I would absolutely recommend using JUCE-- it is very well documented, with an active forum full of helpful people. When starting out, the first plugin I made was a gain/panning plugin, then a simple saturation plugin. These are good ones to start out with, since the output for a sample only depends on the input of that sample, and not the samples before it. After that, I would recommend making a delay plugin: there a…
I completely agree with your comment and would like to emphasize the part of about the delay. I wrote a toy synthesizer for the ESP32 where I used STK for the bulk of the synthesis. That was pleasant endeavor but the real pleasure started when I wrote my delay effect. I had so much fun adding features like multiple playback heads with separate feedback and volume. Another fun thing to implement was the apregiator and…
Pitch quantization.
Very cool. Some of the more extreme examples start to remind me of one of the B-sides of Aphex Twin’s Windowlicker.
There was even one album that the name escapes me right now (all the track names were named like, if not directly after, exploits) where every other track was more or less just a string of encoder glitches.
I suspect a lot of his sound from that period came from griefing MP3 encoder settings (I mean pretty much all his music features some form of audio sample/synth griefing.)
As soon as I heard those examples the first thing I thought of was Aphex twin (and actually also specifically windowlicker)
[0] https://youtu.be/FATTzbm78cc?t=152 - the "underwater" effect can be heard in this timestamp but there are definitely others layered in the background throughout the track
I love the fact that you're shipping a linux version of this. Thank you, really! I do not understand why developers who make VST3 plugins explicitly choose not to ship linux builds by choice.
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I always thought an interesting format would have been the plastic disc with a physical track similar to vinyl, but read optically so that it could be a disc that was compact like that other digital format. The loss in fidelity would naturally cause the format to have a charm of its own. Sort of like those old films with an optical audio track that have a distinctive sound.
Laserdisc is analog optical, but not so compact.
That said, assuming a pilot signal was added one could probably put two to three hours of PAL-frequency analog audio (which completely went away with digital sound) onto a CD.
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I remember first seeing that quote on a Kotaku article, where they had unfortunately misinterpreted "the crap sound of 8-bit" as referring to retro videogame music made on 8-bit CPUs, rather than (what he was actually referring to) 8-bit audio[0]. [0] i.e. https://en.wikipedia.org/wiki/Audio_bit_depth
Funnily enough, to get the "crap sound of 8-bit" you usually needed a 16-bit computer (the Amiga). But that's nothing compared to the "crap sound of 1-bit", i.e. playing sampled sound using the PC speaker. I still remember thinking "how is this even possible?!" when I first heard it...