Corrode

Resonator and erosion plugin for macOS and Windows

A tuned body, and the grit that eats it.

VST3 · AU

No audio demo for Corrode.

The Corrode interface — resonator and erosion plugin for macOS and Windows

CorrodeModulTone

A resonating body tuned to a note, and a sub-millisecond delay modulated by noise that degrades it. The switch that matters is which one happens first. Erode > Body feeds the body something already broken, so the grit is in the note. Body > Erode rings it clean and degrades the result, so the grit is on the note. Same two engines, two different sounds. In Mid-Side mode a single Divergence knob sets how far the sides depart from the centre: tighter and drier one way, looser and dirtier the other. Freeze holds the body where it is and stops feeding it, which is a parameter you can automate onto a downbeat.

Body types

Beam

Modal. A struck bar: partials spread wide of a harmonic series, and the high ones die first.

Plate

Modal. Dense and inharmonic, with partials nowhere near a harmonic series. The only honest way to place them is one at a time, which is what a modal bank does.

Membrane

Modal. Drum-like ratios. Short decays read as a skin, long ones as something metallic stretched over a frame.

String

Waveguide. A tuned delay with damping and dispersion in its feedback loop, which is how a real stiff string goes sharp up top.

Pipe

Waveguide. Open-tube behaviour, hollow, and the most forgiving of the six under heavy erosion.

Tube

Waveguide. Closed and narrower than Pipe, with an odd-harmonic emphasis that sits well under a vocal.

What it does

Six body types across two engines: Beam, Plate and Membrane are modal banks, String, Pipe and Tube are waveguides
Three routings: Erode > Body, Body > Erode, and Parallel from the same excitation
Tune is continuous over six octaves and reads as a note name with the cents offset when there is one
Decay from 20 ms to 20 seconds, with Material, Brightness, Inharmonic and Spread shaping how the partials die
Erosion in three modes — mono noise, per-channel noise, or a sine — with frequency, bandwidth and amount
The erosion modulator is level-normalised, so Amount means the same thing at every bandwidth and doesn't change meaning when you switch mode
Divergence sets how far the sides depart from the centre in Mid-Side mode, on one bipolar control
Mono Below collapses the low end up to 400 Hz, and Width runs from 0 to 200% on the way out
Sidechain input can excite the body instead of the main signal, and the pitch can follow MIDI or track the key
Freeze holds whatever the body is ringing and stops feeding it. It is a parameter rather than a button, so it can arrive on the downbeat
An envelope follower points at Erosion, Decay or Brightness — one destination at a time, with a bipolar Depth that ducks where positive opens
The follower reads in decibels, so it behaves the same on a quiet track as a loud one, and its Speed knob sets attack and release together at a fixed 1:50
Body and Sidechain each have an enable switch, and the window gets shorter when one is off