Share, discover, and download transfer function curves and plugin presets.
@Derickgtwk · 116 downloads ·
Designed to be inserted directly into channels without further adjustment, aiming for the smooth saturation characteristic of 1940s rack units. You need to match the gain stage to the saturation's headroom; I do not recommend using it on the master bus.
@Derickgtwk · 252 downloads ·
For those who enjoy the gritty sound of RCA broadcast mixers from the 1950s, this preset will recreate that unique character well. I recommend using this on all channels of the mixer in use, or for something more realistic, summing 4 to 6 channels.
@Derickgtwk · 228 downloads ·
based on a two-stage octal tube preamplifier topology without NFB
@Derickgtwk · 226 downloads ·
For those who enjoy the wildest octave fuzz, I tried to recreate the Ibanez Standard Fuzz distortion as best as possible using LiveSpice and other tools. My original idea was to replicate the FY6 / Superfuzz / Shaftesbury Duo Fuzz, but I thought the Ibanez version would be a more sophisticated take on this fuzz.
@zvukofor · 172 downloads ·
A snashot of the Ordinary Magic Bee Jelly hardware saturation circuit by Zvukofor Sound Labs. Use SCAN knob to tune assymetry/harmonics balance.
@UnKnoWn · 199 downloads ·
Fibonacci polynomials based curve, blend parameter morph between odd and even
@UnKnoWn · 306 downloads ·
Nice dynamic saturation curve based on captures from analog obsession's TUBA VST plugin. Play with input gain can squash the sound in a really good way !
@UnKnoWn · 367 downloads ·
Cool asymetrical compression using a capture from ableton's vinyl distortion plugin, use env. rise and fall parameters to control attack and decay
@BuffaloSupernova · 366 downloads ·
Based off nonlinear compressor but using assymetric shapes. Uses the envelope follower to apply a nonlinear pseudo-compression. Rather than controlling the volume directly the envelope modifies the nonlinear transfer function to apply more or less loudness/saturation. When the envelope is low a heavy tanh saturation is applied (which is like having a good ammount of gain going into the nonlinear compressor), when the evelope increases the curve is pushed down to a linear transfer function decreasing the loudness and the harmonics generated. Thus, transients get the most clipping applied (high gain into the saturation prior to the envelope closing) - quiet parts of the signal get louder (low gain into the linear part of tanh brings up the volume) - loud sustained signals get less saturation (the transfer function goes towards a linear curve for sustained sounds - so their loudness is compressed).