BARYON

Add mass. BARYON generates, shapes and animates the sub-bass your source only hints at.

It listens to the bass you have and generates the octave you can feel: three independent bands of pitch-tracked subharmonics, shaped by an analog-modelled saturation stage, a compressor, a dual dynamic EQ, a beat-locked LFO, and a gated, limited output section. A complete low-end instrument in one window, on DSP that is measured, unit-tested and torture-certified.

The heart of the plugin: a three-band subharmonic generator with three generation philosophies, selectable per instance.

• · DIVIDE  The classic divider approach. The source band is squared and fed to a flip-flop that toggles on every rising zero crossing.
• · SYNTH  Waveform modelling. BARYON estimates the dominant pitch of each band from its zero-crossing period and runs a clean, continuous-phase sine.
• · HYBRID  The grit of the divider blended with the body of the sine.
• · Per-band cells  Each band gets its own colour-coded cell: a hero LEVEL knob, ON and SOLO pills, LOW/HIGH crossover controls, and a per-band RATIO selector.

A dedicated modulator that breathes life into the generated sub: tremolo applied to the sub only, never your dry signal.

• · Five waveforms  SINE, TRI, SAW, SQUARE and S&H. Rate runs free or SYNC to host tempo.
• · Position RETRIG  In sync mode the LFO’s phase is derived from the host’s song position every block, staying beat-locked through loops and relocates.
• · PHASE (0 to 180°)  Offsets the right channel’s LFO for widening motion no static tool can produce.
• · The display  Shows the selected shape over a full-scale ghost, with a gold cursor riding the curve at the engine’s published phase.

Two stages of harmonic identity, laid out on shared columns so the eye never hunts.

• · PUNCH / EDGE  Shapes the generated sub itself: PUNCH carves a tight, kick-friendly knee; TONE rolls the top; DRIVE feeds a six-mode EDGE saturator.
• · Colour stage  A hero DRIVE pushes the compressor’s colour stage, with switchable oversampling (OFF / 2× / 4×) to keep aggressive settings alias-free.
• · Headroom  DC blockers sit at the end of the nonlinear chain, draining offset in under a second while leaving 20 Hz programme within 0.095 dB.

ANANKE, the compression engine from the ROGERIAN suite, configured as a focused, single-purpose processor.

• · TRANSFER display  Draws the actual gain law on a 10 dB grid: threshold marker, the soft-knee region, and the ∞:1 hard-limit curve.
• · Gain-reduction history  Hangs from the ceiling: the shaded area is the gain removed, sampled from the audio thread every 2.5 ms.
• · Controls  THRESH, RATIO, KNEE, ATTACK, RELEASE, and RMS: the detector’s averaging window from 1 to 50 ms.

Two independent processors, EQ IN before the generator and EQ OUT after it, each with a 24 dB/oct high-pass and low-pass plus a dynamic bell with FREQ, GAIN, Q, THRESH and DYN range.

• · Direct manipulation  Drag a node for frequency and gain, Cmd-drag for Q, Opt-drag to set the dynamic range.
• · Live bells  The dynamic bells animate with the music: a faint REACH line marks full configured travel and a haloed LIVE line rides the current position.
• · LINK  Runs one detection path on the mono sum, so both channels’ bells always move identically.

The final say. A post-limiter L/R meter spans the top: gold bars that turn amber past the limiter ceiling, and a peak readout in dB.

• · Gain staging  Compressor MAKEUP, PARALLEL, master DRY/WET and OUT TRIM.
• · Limiter  A stereo-linked, look-ahead brickwall: CEILING, LOOKAHEAD, RELEASE and a CLIP mode.
• · Gate  A fast fixed 0.3 ms attack preserves transients; HOLD stops chatter on decaying hits; RANGE sets how far closed it goes.
• · Gate display  The THRESH knob wears the incoming level as a live ring, and the gate view beside it scrolls three seconds of history.