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It seems that program itself is a donationware (pay what you want). The concept is pretty interesting.
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Interesting. "Where is the industry going?" is a great question.
Honestly, based on my plugin needs and inventory, I'll never make a custom plugin. But still cool.
DC Ron
BiaB Audiophile
Presonus Studio One
ASUS I9-12900K DAW, 32 GB RAM
Presonus Faderport 16
Too many guitars (is that a thing?)
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Huh, wonder whose algorithms that AI was 'trained' on ...
I do not work here, but the benefits are still awesome
Make your sound your own!
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Huh, wonder whose algorithms that AI was 'trained' on ... That’s a good question, because this can be a can of worms. About 15 years ago, I programmed a few VST plugins, and for one of them, I came up with an extremely efficient extension of the Fast Fourier Transform. When I posted this on a forum for plugin developers, someone pointed out that I had (without knowing it) come up with the same idea as someone else ten years earlier, who had published it as a master’s thesis. The problem: A few years later, a company had "acquired" the rights to this algorithm, so I couldn’t release my plugin without risking a lawsuit. Who knows what’s hidden in the code generated by AI...
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For the sake of discussion, lets assume the code used was in public domain.
The key here is a proof of concept, which I think is brilliant.
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For the sake of discussion, lets assume the code used was in public domain.
The key here is a proof of concept, which I think is brilliant. Misha, this is AMAZING! We are fortunate to be in the midst of a period of rapid advancement of AI in all areas! I look away for a month or two to focus on other things and when I return there are new insanely cool advances that have been made. It is really mind boggling! In my real job I design and code websites and apps. And recently, AI has begun to provide viable ways to generate high quality, highly functional code that would previously have required weeks or months of design and programming! We live in interesting times!
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I spent some time with Gemini coding up a "lush" reverb using Reaper's .jsfx script. It's not terrible, but Valhalla doesn't have any worries.
It took a lot of iterations to get something usable, but maybe I'm using the wrong AI.
desc: Householder Cloud with Ducking
// Householder matrix with a more sensitive sidechain envelope.
slider1:-17<-60, 0, 1>Wet Level (dB)
slider2:-12<-60, 0, 1>Dry Level (dB)
slider3:0.85<0.1, 0.97, 0.001>Decay (Lushness)
slider4:0.5<0.1, 0.99, 0.01>Damping
slider5:0.3<0, 1, 0.01>Modulation
slider6:50<0, 100, 1>Ducking Amount (%)
slider7:150<10, 500, 1>Ducking Recovery (ms)
@init
B_SZ = 131072; B_MSK = B_SZ - 1;
freemem = 0;
d1=freemem; d2=freemem+B_SZ; d3=freemem+B_SZ*2; d4=freemem+B_SZ*3;
freemem += B_SZ*4;
ap1=freemem; ap1l=1453; ap2=freemem+1453; ap2l=1997;
freemem += 4000;
l1=3433; l2=4547; l3=5641; l4=6823;
env = 0;
@slider
wet = 10^(slider1/20); dry = 10^(slider2/20);
g = min(slider3, 0.96);
damp = slider4;
m_inc = slider5 * 0.0002;
// Ducking sensitivity: Higher % = deeper cut
duck_amt = slider6 / 100;
rel_coeff = exp(-1/(srate * (slider7/1000)));
@sample
in = (spl0 + spl1) * 0.5;
// 1. IMPROVED DUCKING ENVELOPE
// Use a faster attack and a more responsive curve
abs_in = abs(in);
abs_in > env ? env = abs_in : env = env * rel_coeff;
// Apply a scaling factor to 'env' so ducking is audible even at -18dB
duck_sense = min(1, env * 2.5);
duck_gain = 1.0 - (duck_sense * duck_amt);
// DC Block
in_dc = in - prev_in + 0.999 * in_dc; prev_in = in;
m_ph += m_inc;
mod = (sin(m_ph) + 1) * 8;
function read_itp(buf, ptr) (
i = floor(ptr); f = ptr - i;
buf[i & B_MSK] * (1-f) + buf[(i+1) & B_MSK] * f;
);
n1 = read_itp(d1, p1 - l1 - mod);
n2 = read_itp(d2, p2 - l2 + mod);
n3 = read_itp(d3, p3 - l3);
n4 = read_itp(d4, p4 - l4);
// 2. Householder Scattering
sum_n = (n1 + n2 + n3 + n4) * 0.5;
t1 = n1 - sum_n; t2 = n2 - sum_n;
t3 = n3 - sum_n; t4 = n4 - sum_n;
function diffuse(sig, buf, len, p) (
out = buf[p] - sig;
buf[p] = sig + out * 0.6;
out;
);
f1 = diffuse(t1, ap1, ap1l, pap1 = (pap1+1)%ap1l);
f2 = diffuse(t2, ap2, ap2l, pap2 = (pap2+1)%ap2l);
// 3. Damping and Limiting
lp1 = atan(f1 * (1-damp) + lp1 * damp);
lp2 = atan(f2 * (1-damp) + lp2 * damp);
lp3 = atan(t3 * (1-damp) + lp3 * damp);
lp4 = atan(t4 * (1-damp) + lp4 * damp);
d1[p1] = in_dc + lp1 * g;
d2[p2] = in_dc + lp2 * g;
d3[p3] = in_dc + lp3 * g;
d4[p4] = in_dc + lp4 * g;
p1=(p1+1)&B_MSK; p2=(p2+1)&B_MSK; p3=(p3+1)&B_MSK; p4=(p4+1)&B_MSK;
// 4. APPLY DUCKING TO WET SIGNAL
// Multiplying the final wet sum by duck_gain
out_L = (lp1 + lp3) * wet * duck_gain;
out_R = (lp2 + lp4) * wet * duck_gain;
spl0 = (spl0 * dry) + out_L;
spl1 = (spl1 * dry) + out_R;
I've spent far too much time trying to get a ray-casting version of a studio room simulation to work.
-- David Cuny My virtual singer development blogVocal control, you say. Never heard of it. Is that some kind of ProTools thing?BiaB 2025 | Windows 11 | Reaper | Way too many VSTis.
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David,
Billy showed off his "local" LLM setup sometime ago. It was sort of in the back of my brain. A few days ago I've read on it, downloaded and briefly tested. While it is slower to respond, it produced viable answers, even on intricate questions. There are many free models. Some tailored for "reasoning" some for "coding". I am taking care of a friend, who needs a lot of attention, so not much time to play with these toys right now, but I definitely want to experiment with this FX plugin.
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Edited:
All right, here's a "Studio Simulation" that tries to create a binaural simulation of a sound source in a studio room with wood walls, also a Reaper .jsfx file. I had posted a version earlier, but it wasn't that great. The prior version could only cast a limited number of rays, while bakes the rays into an impulse response, which means the result is much more detailed.
This is an interesting technology, but it's a bit like a 3D printer - I'm not sure there are a lot of use cases for it in my life. It's easy to get lost in making a tool that - at the end of the day - just copies something else that's out there. It's way too easy for this sort of thing to become a timesink. I'm really no more the author of this tool as I am something I bought off the shelf. The difference is that something off the shelf had a lot more work go into it to make sure it was useful to lots of people.
I've restarted my voice synthesis using LLMs to help with the core functions, but I doubt that is going to be used by anyone other than me, either.
But if you're hankering for your own FX, Reaper's [b]jsfx[/i] is a really convenient way to do it.
I'm posting the code in case anyone want to try it out for grins and giggles.
// ---------------------------------------------------------------------------
// Plugin: Professional Studio Spatializer
// Author: Gemini AI Collaboration
// Date: March 2026
//
// PHYSICS LOGIC:
// 1. Stochastic Ray Tracing: Bakes 320 unique paths into a lookup table.
// 2. Inverse Square Law: Natural volume drop-off based on 1/Distance.
// 3. Air Absorption: High-frequency damping as a function of distance.
// 4. Wood Warmth: Frequency-dependent absorption (Low-Pass) on reflections.
// 5. Physical Diffusion: Stochastic time-jitter (up to 5ms) to smear transients.
//
// TECHNICAL CONSTRAINTS:
// - No scientific notation supported (e.g., use 0.00001, NOT 1e-5).
// - Circular Buffer: Power-of-two size (262144) for bitwise masking (& B_MSK).
// - Memory: Tables (0+) and Audio (20,000+) are separated to avoid corruption.
// ---------------------------------------------------------------------------
desc: Pro-Studio Spatializer (Final Build)
// --- Sliders ---
slider1:0<-60, 12, 0.1>Output Gain (dB)
slider2:2.5<0.1, 20.0, 0.01>Distance (m)
slider3:0<-90, 90, 1>Source Angle (deg)
slider4:10<4, 60, 0.1>Room Width (m)
slider5:12<4, 60, 0.1>Room Depth (m)
slider6:0.6<0, 1, 0.01>Diffusion (Physical Smear)
slider7:0.5<0, 1, 0.01>Wall Warmth (Wood Damping)
@init
// --- Memory Allocation ---
IR_DATA_PTR = 0; // Start of physics tables
AUDIO_BUF_PTR = 20000; // Start of audio delay line (prevents clicking)
B_SZ = 262144; // ~5.9 seconds at 44.1kHz
B_MSK = B_SZ - 1; // Bitwise mask for fast wrapping
buf_pos = 0; // Write head for audio buffer
// Table Pointers (1024 slots each for safety)
impL_T = IR_DATA_PTR; // Left Delay Times (samples)
impR_T = IR_DATA_PTR + 1024; // Right Delay Times (samples)
impL_G = IR_DATA_PTR + 2048; // Left Gains (linear)
impR_G = IR_DATA_PTR + 3072; // Right Gains (linear)
// Constants
PI = 3.1415926535;
C = 343; // Speed of sound m/s
DENORM = 0.000000000000001; // Prevents CPU "underflow" spikes
function bake_room() (
d = slider2;
a_rad = slider3 * (PI / 180);
hw = 0.24; // Human head width (meters)
// Virtual source coordinates
sx = sin(a_rad) * d; sy = cos(a_rad) * d;
exL = -hw * 0.5; exR = hw * 0.5;
active_rays = 320;
seed = 888; // Fixed seed for deterministic acoustics
// Calculate base decay based on Wall Warmth
base_decay = 0.88 - (slider7 * 0.35);
i = 0;
loop(active_rays,
seed = (seed * 1103515245 + 12345) & 0x7FFFFFFF;
i == 0 ? (
// Direct Path logic
vx = sx; vy = sy;
decay = 1.0;
jit = 0;
) : (
// Reflection logic
rand_ang = (seed / 0x7FFFFFFF) * 2 * PI;
path_base = d + (i / active_rays) * ((slider4 + slider5) * 0.5);
// Diffusion: Inject random timing jitter to the rays
jit = ((seed % 200 / 100) - 1.0) * slider6 * 0.005;
vx = sx + cos(rand_ang) * path_base;
vy = sy + sin(rand_ang) * path_base;
decay = pow(base_decay, (path_base - d) / 2.5);
);
// Distances to virtual ears
rdL = sqrt((vx - exL)^2 + vy^2);
rdR = sqrt((vx - exR)^2 + vy^2);
// Convert to samples + apply diffusion jitter
impL_T[i] = ((rdL / C) + jit) * srate;
impR_T[i] = ((rdR / C) + jit) * srate;
// Inverse Square Law Gain * Decay Coefficient
impL_G[i] = (decay / max(1.0, rdL)) * 0.15;
impR_G[i] = (decay / max(1.0, rdR)) * 0.15;
i += 1;
);
ray_cnt = i;
// Pre-calculate filter coefficients for @sample
shadowL = min(1.0, 1.0 - max(0, slider3 / 100));
shadowR = min(1.0, 1.0 - max(0, -slider3 / 100));
air_loss = max(0.2, 1.0 - (d * 0.03));
wood_lp = 0.03 + (1.0 - slider7) * 0.5;
);
@slider
g_out = 10^(slider1/20);
bake_room(); // Re-calculate acoustics on parameter change
@sample
// Input + Denormal noise
sig_in = (spl0 + spl1) * 0.5 + DENORM;
AUDIO_BUF_PTR[buf_pos] = sig_in;
outL = 0; outR = 0;
idx = 0;
loop(ray_cnt,
// Linear Interpolation for high-fidelity fractional delays
tL = impL_T[idx]; itL = floor(tL); ftL = tL - itL;
vL = AUDIO_BUF_PTR[(buf_pos - itL) & B_MSK] * (1 - ftL) +
AUDIO_BUF_PTR[(buf_pos - itL - 1) & B_MSK] * ftL;
outL += vL * impL_G[idx];
tR = impR_T[idx]; itR = floor(tR); ftR = tR - itR;
vR = AUDIO_BUF_PTR[(buf_pos - itR) & B_MSK] * (1 - ftR) +
AUDIO_BUF_PTR[(buf_pos - itR - 1) & B_MSK] * ftR;
outR += vR * impR_G[idx];
idx += 1;
);
// Wood Absorption Stage
reflL += wood_lp * (outL - reflL);
reflR += wood_lp * (outR - reflR);
// Head Shadowing + Air Absorption Stage
fL += (shadowL * air_loss * 0.6) * (reflL - fL);
fR += (shadowR * air_loss * 0.6) * (reflR - fR);
// Final smoothing smear
dfL += 0.5 * (fL - dfL);
dfR += 0.5 * (fR - dfR);
resL = fL * 0.4 + dfL * 0.6;
resR = fR * 0.4 + dfR * 0.6;
buf_pos = (buf_pos + 1) & B_MSK;
spl0 = resL * g_out;
spl1 = resR * g_out;
@gfx 500 450
// --- GUI Background ---
gfx_r=0.08; gfx_g=0.07; gfx_b=0.06; gfx_rect(0,0,gfx_w,gfx_h);
// --- Auto-Scaling Logic ---
cx = gfx_w / 2; cy = (gfx_h / 2) + 20;
max_dim = max(slider4, slider5);
view_scale = (min(gfx_w, gfx_h) * 0.75) / max_dim;
rw = slider4 * view_scale; rd = slider5 * view_scale;
// Draw Room Boundary
gfx_r=0.3; gfx_g=0.2; gfx_b=0.1;
gfx_rect(cx - rw/2, cy - rd/2, rw, rd, 0);
// Metrics
gfx_r=0.8; gfx_g=0.8; gfx_b=0.7;
gfx_x = 20; gfx_y = 20;
gfx_printf("Room Dimensions: %0.1f m x %0.1f m", slider4, slider5);
gfx_y += 18;
gfx_printf("Path Distance: %0.2f meters", slider2);
// Listener (Mics)
gfx_r=1; gfx_g=1; gfx_b=1;
gfx_circle(cx - 5, cy, 2, 1); gfx_circle(cx + 5, cy, 2, 1);
gfx_x = cx - 28; gfx_y = cy + 12; gfx_drawstr("Mics");
// Source Position
src_x = cx + sin(slider3 * PI / 180) * slider2 * view_scale;
src_y = cy - cos(slider3 * PI / 180) * slider2 * view_scale;
// Clip icons to room walls
src_x = max(cx - rw/2, min(cx + rw/2, src_x));
src_y = max(cy - rd/2, min(cy + rd/2, src_y));
gfx_r=1; gfx_g=0.5; gfx_b=0;
gfx_circle(src_x, src_y, 6, 1);
gfx_r=1; gfx_g=0.9; gfx_b=0;
gfx_line(cx, cy, src_x, src_y); // Distance visualization
// Data Label
gfx_x = src_x + 10; gfx_y = src_y - 10;
gfx_printf("%d deg", slider3);
Last edited by dcuny; 4 hours ago. Reason: New and better code.
-- David Cuny My virtual singer development blogVocal control, you say. Never heard of it. Is that some kind of ProTools thing?BiaB 2025 | Windows 11 | Reaper | Way too many VSTis.
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David,
Billy showed off his "local" LLM setup sometime ago. It was sort of in the back of my brain. A few days ago I've read on it, downloaded and briefly tested. While it is slower to respond, it produced viable answers, even on intricate questions. There are many free models. Some tailored for "reasoning" some for "coding". I am taking care of a friend, who needs a lot of attention, so not much time to play with these toys right now, but I definitely want to experiment with this FX plugin. I've been re-doing my vocal synth program. Now that I've got the equivalent of a DSP expert on hand, I've been able to get past a number of hurdles. I find that it works well when closely guided. I'm using the free version of Gemini, with occasional assists from the free Pro version when it can't track down a serious bug. I'll probably have to get a subscription, because I keep running into the issue of it having a limited number of tokens and so constantly losing context. It can do common coding things quite well. For example, I'd been planning to use a spectral morphing algorithm of my own design to handle missing phoneme transitions - something that would require tagging phonemes to identify formants. Gemini suggested I use Line Spectral Frequencies instead - an algorithm that's been around since 1974 and used in phone transmission. It relied on LPC filters - something I'd never been able to implement correctly. Gemini free was able to crank out the functions I needed, but Gemini Pro was needed to debug it, where it immediately identified that Gemini free was trying to something nonsensical. Between the two programs I eventually got it working. That's something I wouldn't be able to do on my own. On the other hand, Gemini free is constantly hallucinating away key parts of the program and introducing regressions. By the time it's solved one problem, it's entirely forgotten what the rest of the program does. Sounds like I may need to get a hold of Billy. 
-- David Cuny My virtual singer development blogVocal control, you say. Never heard of it. Is that some kind of ProTools thing?BiaB 2025 | Windows 11 | Reaper | Way too many VSTis.
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