Manufacturer: R_Ware

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AW_Slew is a combination of three ports: Airwindows Slew1, Airwindows Slew2 and Airwindows Slew3. The algorithms have been refined for the VM environment.

TL;DW: A new approach to slew clipping meant for a more analog-like darkening effect. Limit or wipe out the highest frequencies, near the Nyquist frequency.

R_Ware goodies added are the selector switch between all three Slew algorithms and an inversion toggle that, when enables, makes the module output only the slew component of the signal according to the chosen algorithm.

Slew1 is a simple plugin to let you do slew clipping. You can use it to morph and transform percussive sounds or hats, you can give a unique and interesting ‘grind’ to instruments or glue stuff together into a retro, old-school-sampler, grungey grind, or you can use it on things like reverb sends to really amp up the sense of distant loud sound in a room or space.

Slew2 doesn’t act anything like Slew. What it does, is it puts a particular behavior on the extreme highs. Set to an intermediate value, it’s an acceleration limiter. Cranked all the way up… it behaves like one of the nodes in Average with a 100% cancellation, but the point of total cancellation is also the Nyquist frequency. Slew2 produces a very natural-sounding brickwall filter exactly at that frequency, with the response falling off faster and faster until it’s totally gone when you hit the Nyquist limit (digital sampling theory: at 48kHz (VM SampleRate) it is 24kHz where the treble cuts off).

This makes a third Slew plugin, and every one is strikingly different. Slew (original) darkens radically and makes a grungy, clipped tone (it’s in Channel, too, very subtly). Slew2, though there are some similarities in code, acts wildly different: it produces an intense rolloff that is only right up at the Nyquist frequency, and is an elegant anti-glare solution, but barely has a tone at all.

Slew3 uses ideas from Acceleration and DeBess to produce a slew clipping that’s actually reading information beyond what the samples provide: it’s like it reconstructs the wave a bit and is most effective where you’d get intersample peaks. It’s NOT an EQ: it has very striking dynamic qualities. It’s not a pure ‘glare cutter’ like Slew2, either: there’s a limit to how much it will darken. But what it’s all about is producing an analog top-end on your digital content.

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