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Dead Duck Free Effects Bundle


[Image: DD%2BAutoFilter.png]

A resonant 4-pole low-pass filter with a built-in LFO modulator.

[Image: DD%2BAutoPan.png]

An auto-panning modulation effect with optional tempo-sync and width control.

[Image: DD%2BBitCrusher.png]

A bit-crusher effect for lo-fi distortion.

[Image: DD%2BChannel.png]

A multi-function channel-strip plugin featuring gate, compressor, equaliser, limiter, filters and gain controls with comprehensive input, output and gain-reduction metering.
Channel combines a gate, compressor, equaliser and limiter with 'clean-up' filters, input and output gain control and level metering to provide a single plugin for a variety of mixing duties.

It includes the following features:
Compressor with makeup gain and mix controls
Four-band parametric EQ
Switchable Gate/Compressor/EQ signal flow
12 dB/oct high-pass filter (10 to 1000 Hz)
12 dB/oct low-pass filter (2 to 20 kHz)
Input and output gain trim (+/- 20 dB
Limiter with optional hard-clipper
Input and output level meters
Compressor and limiter gain reduction meters

The signal flow is as follows:
Input gain
Input metering
High-pass filter
Low-pass filter
Output gain
Output metering
The Gate/Compressor/EQ are processed in the order determined by the 'G-C-E' switches; each switch allows the EQ to be applied before or after the gate and compressor stages.

The Gate, Compressor, EQ and Limiter sections are derived from the individual plugins described in more detail in their own posts.

The limiter module uses a 'look-ahead' buffer to manage the incoming signal and thus introduces a fixed latency of 1.5 ms into the plugin's signal flow. This latency remains even when the limiter is bypassed. To cater for latency-free processing, a second channel-strip plugin, 'Channel2' is available.

[Image: DD%2BChorus.png]

A stereo chorus effect with optional tempo-sync.

[Image: DD%2BCompressor.png]

It includes the following features:

Input gain control (+/- 20 dB)
Compression threshold down to -40 dB
Compression ratio from 1:1 to 10:1
Attack and release controls
Up to 20 dB makeup gain
Mix control for 'New-York' or parallel compression techniques
Sidechain input gain trim
Sidechain 12 dB/oct high-pass filter
Side chain 'listen' option with metering
Option external sidechain input
Level meters for input, output and gain reduction

The signal flow is as follows:

[Image: Compressor%2BSignal%2BFlow.png]

The side chain signal in the lower half of the diagram is derived from either the main stereo input (1 & 2) or an external stereo input (3 & 4) as determined by the 'External' switch. It can then be adjusted using the 'Trim' and 'Low Cut' controls before being used to determine the gain reduction applied to the main signal flow, shown in the upper part of the diagram.

The 'Listen' switch can be used to temporarily divert the sidechain signal to the audio output to allow the signal to be monitored, both aurally and via the input level meter.

The 'Mix' control combines the uncompressed signal (after the input trim control) with the compressed signal (after the makeup gain control) to provide for so-called 'New-York' or parallel compression techniques, or to simply compare the compressed output signal with the original uncompressed input.

[Image: DD%2BDeEsser.png]

It includes the following features:
Input gain control (+/- 20 dB)
De-essing range from 1 kHz to 15 kHz
De-essing threshold down to -80 dB
Attack and release controls
Level meters for input, output and signal reduction

DeEsser allows the levels of excess sibilance and other unwanted high frequency sounds to be reduced. It is based on a narrow-band compressor that allows a selected range of frequencies to be dynamically reduced without affecting frequencies outside that range. The 'Low Freq' and 'High Freq' controls determine the range of the centre frequency band in which the DeEsser operates; anything above or below that range is left unchanged.

Being based on a compressor, the DeEsser operates in much the same way as any other compressor; gain reduction is applied to the signal in the 'de-essing' band when it exceeds the 'Threshold' level, by a ratio determined by the 'Amount' control. Use these controls in combination with 'Low Freq' and 'High Freq' to best isolate and reduce the unwanted high frequency peaks in the input signal. Use the 'Listen' switch to silence the frequencies ouside the de-essing band allowing the effect of the gain reduction to be heard more clearly.

'Attack' and 'Release' work as they would in any other compressor; use them when necessary to smooth the changes in gain reduction appled to the signal.

Finally, the 'Input' control allows the incoming signal level to be trimmed by up to +/- 20 dB.

[Image: DD%2BDelay.png]

A stereo delay featuring independent left and right channels with optional stereo linking and tempo-sync.

[Image: DD%2BDJEQ.png]

The DJEQ provides three bands of equalisation split between the low and high frequency values. Each band can be boosted by up to 6 dB or cut all the way down to -inf, while a kill switch for each band allows it to be silenced instantly.

Rather than the 'bell' or 'shelf' curves provided by the Dead Duck Equaliser plugin, the DJEQ provides a 'flat' response between the crossover points defined by the two frequency settings.

The following example curve shows the response with crossover frequencies of 100 Hz and 5 kHz where the bands have been set to +6 dB, -4 dB and +3 dB respectively.

[Image: DJEQ_curve.png]

Activating the mid-band kill switch gives this response:

[Image: DD%2BDualFilter.png]

A high-pass and low-pass filter combination with full-range cutoff frequencies and resonance.

[Image: DD%2BEqualiser.png]

A four-band parametric equaliser with switchable low- and high-shelf bands.

[Image: DD%2BExpander.png]

It includes the following features:
Input gain control (+/- 20 dB)
Expansion threshold down to -40 dB
Expansion ratio from 1:1 to 10:1
Attack and release controls
Sidechain input gain trim
Sidechain 12 dB/oct high-pass filter
Side chain 'listen' option with metering
Option external sidechain input
Level meters for input and output
As the name might suggest the Expander is basically an 'inverted' compressor in that is allows dynamic range to be increased by applying gain reduction to the signal when it falls below a set threshold. These basic differences aside the controls of the Expander are much the same as those of the Compressor: set the 'Threshold' to determine when gain reduction is applied and 'Ratio' to determine by how much.

Although it is similar in operation to the Compressor, the signal flow of the Expander is closer to that of the Gate since it lacks the Makeup and Mix controls of the compressor:

[Image: Gate%2BSignal%2BFlow.png]

In fact it can be useful to think of the Expander as a Gate, in which the signal below the threshold is reduced rather than blocked.

As with the Compressor and Gate the signal used to determine the gain reduction can be trimmed, filtered and monitored using the controls in the 'Sidechain' section. Activate the 'External' switch to use an external signal (from inputs 3 & 4) to control the expansion.

[Image: DD%2BFilter.png]

A multi-mode filter including low-pass, high-pass, band-pass and band-stop responses from 12 to 48 dB/octave.

[Image: DD%2BFlanger.png]

A stereo flanger with optional tempo-sync.

[Image: DD%2BGate.png]

It includes the following features:

Input gain control (+/- 20 dB)
Gate threshold down to -40 dB
Attack, hold and release controls
Sidechain input gain trim
Sidechain 12 dB/oct high-pass filter
Side chain 'listen' option with metering
Option external sidechain input
Level meters for input and output

[Image: DD%2BLimiter.png]

It includes the following features:

Input gain control (+/- 20 dB)
Limiting threshold down to -40 dB
Hard clipping threshold from -40 dB to 3 dB
Release control
Input, output and gain reduction metering

The limiter is a 'soft' limiter in that it does not provide 'brick-wall' limiting. The input signal can exceed the limiting threshold but usually no more than about 0.3 dB. Use the 'Clip' control to set a hard limit

the required threshold if necessary. Set the 'Clip' control below the limiter threshold for some hard-clipping distortion or set it to +3 dB to deactivate it completely.

The limiter uses a 'look-ahead' buffer to manage the incoming signal which introduces a fixed latency of 1.5 ms into the plugin's signal flow.

[Image: DD%2BMonoDelay.png]

mono-delay with optional 'ping-pong' stereo output and tempo-sync

[Image: DD%2BOverdrive.png]

An overdrive distortion effect.

[Image: DD%2BPhaser.png]

A stereo, multi-stage phaser with optional tempo-sync.

[Image: DD%2BReverb.png]

An efficient algorithmic reverb with pre-delay and input filtering.

[Image: DD%2BRingMod.png]

A ring-modulation effect.

[Image: DD%2BSigGen.png]

A signal-generator with sine, pink noise and white noise outputs.

[Image: DD%2BTiltEQ.png]

A tilt-equaliser for adjusting high/low frequency balance.

[Image: DD%2BTremolo.png]

A volume-modulation effect with optional tempo-sync

[Image: DD%2BUtility.png]

Utility provides a number of functions often needed when mixing a track, these are:
Phase inversion
Input modes for stereo, mono and mid/side channel processing
Gain trim (+/- 20 dB)
Pan with multiple pan-law options
Gain level (-infinity to 0 dB)
Input/output metering

The signal processing order is as follows:

The phase of each stereo input channel can be inverted.

The stereo input can be modified as follows:
Swapped left/right
The left channel passed to both left/right output channels (right channel ignored)
The right channel passed to both left right output channels (left channel ignored)
Both channels summed to a mono mix and passed to both output channels
L/R channels converted to mid/side (or mid/side back to L/R)

The gain level can be adjusted by up to +/- 20 dB.

Pan adjusts the left/right balance. The Pan control offers a choice of modes:
Inactive (pan control is bypassed)
Constant Power pan-law (-3 dB cut when centre-panned)
'SSL' style pan-law (-4.5 dB cut when centre-panned)
Linear pan-law (-6 dB cut when centre-panned)

Level allows the output gain to be adjusted from 0 (-infinity) to unity (0 dB). This is provided mainly to allow for track volume automation; in many DAWs automating the volume will take control of the channel fader preventing it from being used for any further adjustment. Automating a separate level control allows it to remain free.

The output can be modified as follows:
Use Mid/Side to change a stereo signal to mid/side or an already converted mid/side signal back to stereo
Use Hard Clip to prevent excessive output levels by restricting the signal to 0 dB

The stereo input and output levels are shown by two sets of level meters; input on the left and output on the right.

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