Mako Distortion VST, EXE, and Source Code

As many here know, I am always referencing a VST I am writing for fun using JUCE. I just posted the first release today.

Compared to a Kemper, it is a toy. But, it may spark some inspiration or be of use in other applications.

Running the EXE or VST may require downloading Microsoft C++ runtime files. It was written on Visual Studio 2022 C++.

MS Runtime Redistributables 2022 x64

The full post is on The Gear Page: TGP Mako Distortion

I did some quick tests early on of profiling the VST in the Kemper. So maybe that is something that may be a benefit.

Mako Distortion Sound Samples 1

My next VST will either be a pedal/amp modeler or a simple VST to add dynamics to a Kemper/Helix. The beginnings are called FRENZY in the MD VST. Or a drum sample based VST. Or....

Cheers

AMAZING EQ OVERDRIVE THING

When I started writing the Mako Distortion VST, I had no good idea how to create an amplifier EQ. My first thought was to make a Low Pass filter and a High Pass filter and then mix them.

So I started with:

- 2nd Order Low Pass with cutoff of 150Hz

- 2nd Order High Pass with cutoff of 1500 Hz

This is not the correct way to do EQ since there are phase shifts going on in each filter and adding them does weird things.

At the INPUT section of the VST I also have a High Pass filter set to 150 Hz to reduce the flubbyness of the guitar.

On the new VST I also added a 50Hz High Pass on the output.

I am now working on Mako Distortion 2 and changed my amp EQ to be sort of a graphic eq style. I have several modes where each EQ has different freqs and Qs, etc.

No matter what EQ I use, the new VST never quite sounds as good as the original EQ when it comes to playing my strat or tele clean thru it.

The new version of the VST has PEDALS/STOMPS. So I made a stomp using the original bad/incorrect EQ. Only this time I ran each filter thru a TanH function to get variable OD/Distortion on each band. The result is this super chimey soft OD sound.

And I have been struggling to get this type of sound on my Kemper since the day I bought it. My Line 6 gear gets very close very easily. So now I am trying to think how I can get it on the Kemper.

So I wanted to post the EQ response of the VST in case anyone wanted to try to dial it in on the Kemper. It is probably very close to what the Treble Booster response is (I have not tested). But the OD on each Band is what makes it amazing. Maybe Kemper can test it out and add it as a stomp for easy access on our Kemper.

Again the recipe in order of input to output:

- 2nd Order High Pass with cutoff of 150 Hz

- BAND 1 - 2nd Order Low Pass with cutoff of 150Hz
- Hyperbolic Tangent (TanH) of band 1 with gain control.

- BAND 2 - 2nd Order High Pass with cutoff of 1500 Hz
- Hyperbolic Tangent (TanH) of band 2 with gain control.

- Add Band1 and Band 2.

- 2nd Order High Pass with cutoff of 50 Hz

The chime really shines when you increase the gain before the TanH on Band 2.

Not sure how this is possible on the Kemper as it sits now. But the EQ curve will get us close. Maybe a little OD/SHAPER after the EQ will work.

On the Kemper you could also try the parallel path option with path 1 being LOW PASS and OD, path 2 being HIGH PASS and OD. But that does not leave much room for other stomps.

Another option is Graphic EQ before a Treble Booster. This may work best since the TB will add the needed gain on the higher freq bands?

At some point I can try to profile the VST on the Kemper and see how it comes out. The VST/PC has so much lag I am not sure I trust profiling VSTs. Probably 5-10 mS in and 5-10 mS out.

Did not know where else to post this idea so I stuck it here.

Cheers - Happy Kempering

Quote from Wheresthedug

The "wrong" EQ of High Pass, Low Pass and a bit in the middle is exactly how the EQ stack in most valve amps work.

True. I just dont think the filters are added together. Maybe they are??? It causes phase issues where the two overlap. But it gives the ability to add gain to one band and not the other which seems to make the chime.

All I know is doing it wrong let me get a wider variety of sounds/tones.

Doing it the correct way (even with different frequencies etc) still sounds the same generically.

I dropped a few profiles on the exchange of the jangly tone I made on the MD2.

They came out more of an acoustic sound once profiled and the settings were all way off. But I tweaked them in as best I could.

They are all jangley/acousticy type tones with a lot of high end. Think Louis Cato on Colbert. Dialed in on a strat/tele neck position. Some deep EQ and verb work nicely.

They respond well to Gain, Sag, and Compression adjustments.

Work best for tight disco stabs, edgy jangley alternative, jazz, etc. I put some chorus on one and it sounded just like... well One (Metallica).

They are called:

MakoD2-Chime01

MakoD2-Chime02

MakoD2-Chime03

MakoD2-Chime04

MakoD2-Chime05

MakoD2-Chime06

I gave it a shot, Cheers.

Quote from waraba

I admire your dedication man !

Very cool sir! Thank you so much for the response and sound clip.

I am retired and sit around coding or playing guitar all day. I am at that point where doing things for myself is long gone. I am not about to go on tour. Any little thing I can do to help others is my daily goal. If one person finds a profile useful, I have done my job!

Playing around with the VST more than I am doing programming, so the new version progress has slowed. Just wanted to note a couple things for other people making stuff. And maybe someone here finds it interesting.

GAIN STAGING

BayouTexan has a post about the best OverDrive pedal. Mateo_2006 stated he likes gain stages/stacking to a single pedal. I tend to agree for many situations.

I am finding a broad range of sounds by stacking my home made coded pedals: Chimera and Distorty.

- Chimera has two bands Low (150 Hz) and High (1500 Hz). Each has its own gain stage.

- Distorty has a single mid boost filter (800 Hz) and hard clipping.

I run Chimera -> Distorty - > Chimera.

The 1st Chimera has a boost in the 1500Hz that brightens up the sound and distortion.

The last Chimera boosts the 150 Hz band and adds fullness and more of a smoother amplifier sound.

WEIRD SYNTH EFFECT

I made a pedal that takes the SINE of the signal you are playing. When you start to add gain to the signal so it exceeds 1.0, you start to get into harmonics of the original signal. So playing softly sounds similar to a normal guitar. The louder you play the higher the pitch and implied harmonics.

Quote from Mateo_2006

Really distorted but still with clear 'edges'. No mud. In a few moments, the 'bloom' sounds like it is a bit out of your control like a muff does sometimes.

I always thought that Trevor Rabin had some of the heaviest sounds around combining synth sounds with harmonizers and serious hard wave distortion.

Yes, that effect is all about riding that line between normal sounds and the chaos of the frequency multiplication. Once that starts to happen you lose volume (RMS) so it starts to fall apart and get screechy.

I dont have a large recollection of TR's work. I see his name pop up more in his movie soundtrack work. So I am imagining the huge solo in Owner of Lonely Heart in your conversation. Pretty avant garde stuff at the time. And sonically it matched the synth orchestra stabs that were appearing.

It just blows my mind that a simple C++ Sin(Sample * Gain) function call creates this crazy sound.