Modeling Complex Harmonic Distortion with Free Tools

#Audio#Plugins#Harmonics#Modular#Free Software

Many audio plugins model harmonic distortion, but often it’s applied evenly across the frequency spectrum. What if you want to emulate analog gear that has more complex characteristics – like different harmonics dominating in the lows versus the highs?

In the video below, I demonstrate how to build such complex, frequency-dependent distortion profiles using free, modular tools:

This post summarizes the key concepts and provides links to the tools used in the video.

The Challenge: Beyond Flat Distortion

Simple distortion models can sound good, but analog gear often adds color non-uniformly. For example, the Lindell 50 series plugin (mentioned in the video) adds significant 3rd/5th order harmonics in the bass but shifts towards 2nd order harmonics in the treble. Our goal is to replicate this kind of frequency-dependent behaviour.

The Solution: A Modular Approach with Element

The core of this technique relies on Element by Kushview. It’s a free, open-source modular plugin host that lets you build custom audio processing chains inside your DAW. Think of it as a virtual rack where you can connect plugins in creative ways.

(Note: As mentioned in the video, save your Element patches often, as it could be unstable on some systems.)

Building the Harmonic Modules: Key Concepts

The video walks through the step-by-step process, but here are the core ideas:

  1. Isolate Harmonics: The key trick is to separate the desired harmonic distortion (e.g., 2nd order or 3rd order) from the fundamental signal. This is done using:
    • A saturation plugin (like the free M Saturator from MeldaProduction) to generate the harmonics.
    • A polarity inversion plugin (like the free Flipper by Refuse Software) to phase-cancel the original signal against the saturated signal, leaving mostly the harmonics.
  2. Frequency-Specific Processing: Once the harmonics are isolated, you can EQ only the harmonic signal. This allows you to shape where in the frequency spectrum the distortion is added. The video shows a specific technique using an EQ boost followed by another polarity inversion to create a targeted band for the distortion.
  3. Modular Construction: Element’s “Nested Graphs” are used to create self-contained modules for 2nd order and 3rd order harmonics. These can then be easily duplicated and managed.
  4. Combine and Blend: Finally, the processed harmonic signals (shaped by EQ) are mixed back with the original dry signal. You can add volume controls within Element for fine-tuning the blend.
  5. Third-Order Nuance: Isolating purely 3rd order harmonics can be tricky, often leaving some fundamental. The video shows how adjusting levels before the polarity inversion can help minimize this.

Conclusion

This modular approach offers a powerful way to design sophisticated, analog-inspired distortion characteristics without needing expensive plugins. By combining Element with free saturation and utility plugins, you gain precise control over harmonic content across the frequency spectrum.

You can find the Element patch file demonstrated in the video in the downloads section of this site.

Happy experimenting!