ALEXB PROGRAMS MANUAL

Rev. 171222

Alessandro Boschi
Verbania - Italy
www.alexb.eu

Copyright © 2010-2022 All Rights Reserved

© 2010-2022 1 AlexB Programs Manual

ABOUT ME
AlexB is a one-man company, so:

Hi ! I'm Alex :)

I have been a member of the Acustica Audio community since the 2007, and started Beta-Testing
in 2009. I released my first commercial program libraries for Nebula Pro in 2009 because I wasn't
satisfied by the sound of theplugins.

What I looked for was a good emulation of the console to improve my music - I have composed a
lot of songs for Café del Mar in that years. My first Café del Mar recording was done with a Korg CR-
4 only, then the following years I have moved to PC world and Nebula has been found as the plugin
of my dreams.
Sincerely at the first test I wasn't satisfied at all by the sound. The libraries was very poorly sampled
and the plugin was a little cloudy and flat.
After being in touch with Giancarlo (the genius behind Acustica Audio) and to have said him about
my thoughts about what to improve in Nebula, he has promptly given me a new improved release
of the plugin. We have continued for the whole afternoon and after some exchanges of test and
new releases, finally Nebula became dynamic, open, deep and with life. Thank you Giancarlo !

So, pushed by this experience I've made some of the most highly sought after and rare hardware
devices available for use in the digital world while maintaining virtually all of the analog character
that makes recording a true art-form. Every sampled hardware piece has been refurbished and
modified to improve the sonic characteristics, thanks to my 30+ years of experience in electronics
and audio engineering. With hyper-realistic samplings of pristine mastering equalizers, top class
consoles, the most sought after compressors, and the rarest vintage devices, I'm proving to the
audio community that Acustica Audio sets the standard for the finest sound quality in the digital
realm by facilitating a true analog experience with programs that make full use of the VVKT
technology.

Please visit the website for more information: http://www.alexb.eu

Thank you !

AlexB... Audio Renaissance.

© 2010-2022 2 AlexB Programs Manual

NOTICES

Please do not illegally share the program libraries, your financial support allow me to continue in
developing. Be aware: there isn't any authorized reseller of my programs.

Disclaimer

This manual provides general information, preparation for use, installation and operating
instructions for the AlexB Programs Libraries. The information contained in this manual is subject
to change without notice. AlexB makes no warranties of any kind with regard to this manual, or the
product(s) it refers to, including, but not limited to, the implied warranties of merchantability and
fitness for a particular purpose. AlexB shall not be liable for errors contained herein or direct,
indirect, special, incidental, or consequential damages in connection with the furnishing,
performance, or use of this material or the product(s).

All product names used in this documentation are trademarks of their respective owners, which
are in no way associated or affiliated with my company (AlexB). These trademarks of other
manufacturers are used solely to identify the products of those manufacturers.

End User License Agreement (EULA)

By installing the software you confirm your acceptance of the AlexB End User License Agreement,
as well as the AlexB terms of service and privacy policy which can be found at:
www.alexb.eu/terms_and_conditions.html
www.alexb.eu/privacy_policy.html

This AlexB End-User License Agreement is between AlexB and you.

IMPORTANT – PLEASE READ THIS LICENSE AGREEMENT CAREFULLY BEFORE INSTALLING THIS
SOFTWARE.

By using the AlexB software you accept these terms. If you do not accept these terms, do not use
the Software.

1. Limited Use License.

The Software is licensed, not sold, by AlexB or Acustica Audio to the original end user for use only
on the terms set forth in the Agreement. If and only if your Software is purchased through AlexB or
Acustica Audio, AlexB, as Licensor, grants you, as an end user Licensee, a non exclusive license to
use the Software. The customer purchases the right to license the use of the programs, not the
actual ownership of a copy of the program. That means no sharing, copy or resell. User can install
the software on two computers and he can make a personal backup copy.

2. Title.
The Software is owned by AlexB and is Software is protected by copyright and other intellectual
property laws. AlexB retains title to and ownership of the Software and all copies, as well as any

© 2010-2022 3 AlexB Programs Manual

rights not specifically granted. This Agreement only gives you certain rights to use the Software
and related documentation, which may be revoked if you do not follow these terms.

3. Limited Rights to Install and Use the Software.

You may install the Software into the memory of two computers for your internal business use or
your own personal enjoyment, but may not redistribute or electronically transfer the Software to
someone else's computer or operate it in a time-sharing or service-bureau operation.
You may make one copy of the Software for backup purposes only. You may not modify, translate,
adapt, reverse engineer, decompile, create other works from, or disassemble the Software or any
portions thereof. Similarly, you may not copy, modify, adapt, transfer, or create other works based
upon the printed materials and "online" or electronic documentation accompanying or published
for use with the Software (the "Documentation"). You are free to edit and save new presets for your
own use, and not to distribute to others. If you make an alteration to a preset that you like and find
it useful, please save it as a new preset for your own use. The Software may include technological
measures that are designed to prevent or detect unlicensed use of the Software. Circumvention of
these technological measures is prohibited. Any attempt to circumvent technical limitations may
render the Software or certain features unusable or unstable, and may prevent you from updating
or upgrading the Software.

4. Export, Renting and Transfer Restrictions.

You may not export, convey, rent, sublicense, or otherwise distribute the Software or any rights
therein to any person or entity. You may not transfer or resell your Software license.

5. Warranty and Support.

Neither AlexB nor Acustica Audio warrant that the software will meet your requirements or that its
operation will be uninterrupted or error free, in the same way the use or the results of the use of the
Software or documentation in terms of their correctness, accuracy, reliability.
Technical support is for customers only. You can ask support via email or web form and receive a
reply at least into 24 hours.

Thank you

© 2010-2022 4 AlexB Programs Manual

CONTENTS

1. Documentation, Installation and Support

1.1 Introduction 19
1.2 Overview 19
1.3 Sampling Process 20
1.4 Golden Edition 20
1.5 Compressor's Regeneration 21
1.6 System Requirements 23
1.7 Installation and file BACKUP 23
1.8 The Skin 23

2. General Use
2.1 Parameter Settings 24
2.2 Off Line Process 24
2.3 Web Tricks, Trolls, Haters, Rumors, Myths... 25
2.4 Gain Staging 27
2.5 Common Controls 28

3. Modern Flagship Console - Golden Edition

3.1 About the original hardware 29
3.2 Session Setup 30
3.3 Preset List 31
3.4 Controls 33

4. Modern Flagship eQualizer - Golden Edition

4.1 About the original hardware 34
4.2 Session Setup 35
4.3 Preset List 36
4.4 Controls 37

5. Modern Flagship Dynamics - Golden Edition

5.1 About the original hardware 38
5.2 Session Setup 39

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5.3 Preset List 40
5.4 Controls 41

6. Modern Tube Console - Golden Edition SK

6.1 About the original hardware 44
6.2 Session Setup 45
6.3 Preset List 46
6.4 Controls 48

7. Modern Tube eQualizer - Golden Edition SK

7.1 About the original hardware 49
7.2 Session Setup 50
7.3 Preset List 51
7.4 Controls 52

8. Tube Compressor 1 - Golden Edition SK

8.1 About the original hardware 53
8.2 Session Setup 54
8.3 Preset List 55
8.4 Controls 56

9. Vintage Master eQualizer - Golden Edition SK

9.1 About the original hardware 58
9.2 Session Setup 59
9.3 Preset List 60
9.4 Controls 61

10. E-mi Broadcast eQualizer

10.1 About the original hardware 62
10.2 Session Setup 63
10.3 Preset List 64
10.4 Controls 64

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11. Orbital eQualizer
11.1 About the original hardware 65
11.2 Session Setup 66
11.3 Preset List 67
11.4 Controls 68

12. Orbital Dynamics

12.1 About the original hardware 69
12.2 Session Setup 70
12.3 Preset List 71
12.4 Controls 72

13. Magic Parametric eQualizer

13.1 About the original hardware 74
13.2 Session Setup 75
13.3 Preset List 76
13.4 Controls 77

14. Vintage American X-citer

14.1 About the original hardware 78
14.2 Session Setup 79
14.3 Preset List 80
14.4 Controls 81

15. American 16 Console Golden Edition Plus

15.1 About the original hardware 82
15.2 Session Setup 83
15.3 Preset List 84
15.4 Controls 85

16. American 5A eQualizer Golden Edition Plus

16.1 About the original hardware 86
16.2 Session Setup 87
16.3 Preset List 88

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16.4 Controls 88

17. American 5B eQualizer Golden Edition Plus

17.1 About the original hardware 89
17.2 Session Setup 90
17.3 Preset List 91
17.4 Controls 91

18. American 5 Dynamics

18.1 About the original hardware 92
18.2 Session Setup 93
18.3 Preset List 94
18.4 Controls 95

19. American 5 Mastering eQualizer

19.1 About the original hardware 96
19.2 Session Setup 97
19.3 Preset List 98
19.4 Controls 98

20. Neev 14 Console

20.1 About the original hardware 99
20.2 Session Setup 100
20.3 Preset List 101
20.4 Controls 103

21. Neev 73 eQualizer

21.1 About the original hardware 104
21.2 Session Setup 105
21.3 Preset List 106
21.4 Controls 106

22. Neev 64 Dynamics

22.1 About the original hardware 107

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22.2 Session Setup 108
22.3 Preset List 109
22.4 Controls 110

23. Neev 54 Dynamics

23.1 About the original hardware 111
23.2 Session Setup 112
23.3 Preset List 113
23.4 Controls 114

24. Valve Tech Dynamics

24.1 About the original hardware 115
24.2 Session Setup 116
24.3 Preset List 117
24.4 Controls 118

25. T95 Program eQualizer - Golden Edition SK

25.1 About the original hardware 120
25.2 Session Setup 121
25.3 Preset List 122
25.4 Controls 122

26. T361A Dolbee Sys

26.1 About the original hardware 123
26.2 Session Setup 124
26.3 Preset List 125
26.4 Controls 126

27. Neev 81 Sidecar Console

27.1 About the original hardware 127
27.2 Session Setup 128
27.3 Preset List 129
27.4 Controls 130

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28. Chandly Ltd Germanium
28.1 About the original hardware 132
28.2 Session Setup 133
28.3 Preset List 134
28.4 Controls 136

29. Vinylizer
29.1 About the original hardware 138
29.2 Session Setup 141
29.3 Preset List 142
29.4 Controls 143

30. Massive Mix eQ

30.1 About the original hardware 142
30.2 Session Setup 143
30.3 Preset List 144
30.4 Controls 145

31. 4K Console
31.1 About the original hardware 146
31.2 Session Setup 147
31.3 Preset List 148
31.4 Controls 150

32. 4K eQ Brown
32.1 About the original hardware 151
32.2 Session Setup 152
32.3 Preset List 153
32.4 Controls 154

33. 4K eQ Black
33.1 About the original hardware 155
33.2 Session Setup 156
33.3 Preset List 157

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33.4 Controls 158

34. 4K CH Dynamics
34.1 About the original hardware 159
34.2 Session Setup 163
34.3 Preset List 161
34.4 Controls 162

35. 4K G.Comp
35.1 About the original hardware 164
35.2 Session Setup 165
35.3 Preset List 166
35.4 Controls 167

36. Fenix Compressors

36.1 About the original hardware 169
36.2 Session Setup 170
36.3 Preset List 171
36.4 Controls 172

37. Ely X Qualizer

37.1 About the original hardware 173
37.2 Session Setup 174
37.3 Preset List 175
37.4 Controls 176

38. Fa-Tzu
38.1 About the original hardware 177
38.2 Session Setup 178
38.3 Preset List 179
38.4 Controls 180

39. Feel-Tek MK3

39.1 About the original hardware 181

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39.2 Session Setup 182
39.3 Preset List 183
39.4 Controls 184

40. SP79 German Mastering Console - Golden Edition

40.1 About the original hardware 185
40.2 Session Setup 186
40.3 Preset List 187
40.4 Controls 189

41. W95S German Mastering eQ

41.1 About the original hardware 190
41.2 Session Setup 191
41.3 Preset List 192
41.4 Controls 192

42. W95B German Mixing eQ

42.1 About the original hardware 193
42.2 Session Setup 194
42.3 Preset List 195
42.4 Controls 195

43. U73 German Mastering Compressor

43.1 About the original hardware 196
43.2 Session Setup 197
43.3 Preset List 198
43.4 Controls 199

44. Vintage PoolTeQ

44.1 About the original hardware 201
44.2 Session Setup 202
44.3 Preset List 203
44.4 Controls 204

© 2010-2022 12 AlexB Programs Manual

45. Ely X Comp
45.1 About the original hardware 205
45.2 Session Setup 206
45.3 Preset List 207
45.4 Controls 208

46. Neo Console

46.1 About the original hardware 210
46.2 Session Setup 211
46.3 Preset List 212
46.4 Controls 214

47. Trinit-eQ
47.1 About the original hardware 215
47.2 Session Setup 216
47.3 Preset List 217
47.4 Controls 217

48. Morpheus
48.1 About the original hardware 218
48.2 Session Setup 219
48.3 Preset List 220
48.4 Controls 221

49. Rupert 88 Console

49.1 About the original hardware 223
49.2 Session Setup 224
49.3 Preset List 225
49.4 Controls 227

50. Rupert 33 eQualizer

50.1 About the original hardware 228
50.2 Session Setup 229
50.3 Preset List 230

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50.4 Controls 230

51. Rupert 43 Compressor

51.1 About the original hardware 231
51.2 Session Setup 232
51.3 Preset List 233
51.4 Controls 234

52. Rupert 42 Tape FX

52.1 About the original hardware 236
52.2 Session Setup 237
52.3 Preset List 238
52.4 Controls 239

53. 9K Console
53.1 About the original hardware 240
53.2 Session Setup 241
53.3 Preset List 242
53.4 Controls 244

54. 9K eQ
54.1 About the original hardware 245
54.2 Session Setup 246
54.3 Preset List 247
54.4 Controls 247

55. 9K CH Dynamics
55.1 About the original hardware 248
55.2 Session Setup 249
55.3 Preset List 250
55.4 Controls 251

56. 9K G.Comp
56.1 About the original hardware 253

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56.2 Session Setup 254
56.3 Preset List 255
56.4 Controls 256

57. Harry 32
57.1 About the original hardware 258
57.2 Session Setup 259
57.3 Preset List 260
57.4 Controls 261

58. Tube Magnetic Saturator - Golden Edition

58.1 About the original hardware 262
58.2 Session Setup 263
58.3 Preset List 264
58.4 Controls 264

59. Analog Tape Emulator - Golden Edition

59.1 About the original hardware 266
59.2 Session Setup 267
59.3 Preset List 268
59.4 Controls 269

60. T65 Program eQ - Golden Edition

60.1 About the original hardware 270
60.2 Session Setup 271
60.3 Preset List 272
60.4 Controls 272

61. S9 Console - Golden Edition

61.1 About the original hardware 273
61.2 Session Setup 274
61.3 Preset List 275
61.4 Controls 277

© 2010-2022 15 AlexB Programs Manual

62. S9 eQ - Golden Edition
62.1 About the original hardware 278
62.2 Session Setup 279
62.3 Preset List 280
62.4 Controls 281

63. WSW eQ - Golden Edition SK

63.1 About the original hardware 282
63.2 Session Setup 283
63.3 Preset List 283
63.4 Controls 284

64. BP1
64.1 About the original hardware 285
64.2 Session Setup 286
64.3 Preset List 287
64.4 Controls 287

65. W295A - Golden Edition SK

65.1 About the original hardware 288
65.2 Session Setup 289
65.3 Preset List 290
65.4 Controls 290

66. W295B - Golden Edition SK

66.1 About the original hardware 291
66.2 Session Setup 292
66.3 Preset List 293
66.4 Controls 293

67. SoundTec 432 Vintage Parametric Disk Master eQualizer - Golden Edition
67.1 About the original hardware 294
67.2 Session Setup 295
67.3 Preset List 296

© 2010-2022 16 AlexB Programs Manual

67.4 Controls 296

68. W91A German eQ

68.1 About the original hardware 297
68.2 Session Setup 298
68.3 Preset List 299
68.4 Controls 299

69. W92 German eQ

69.1 About the original hardware 300
69.2 Session Setup 301
69.3 Preset List 302
69.4 Controls 302

70. Flexmix Console - Golden Edition SK

70.1 About the original hardware 303
70.2 Session Setup 304
70.3 Preset List 305
70.4 Controls 305

71. GM9 Mastering eQualizer - Golden Edition

71.1 About the original hardware 307
71.2 Session Setup 308
71.3 Preset List 309
71.4 Controls 310

72. VC1 Vintage Voice Channel

72.1 About the original hardware 311
72.2 Session Setup 312
72.3 Preset List 313
72.4 Controls 314

© 2010-2022 17 AlexB Programs Manual

73. Neev 09 - Golden Edition 316
73.1 About the original hardware 317
73.2 Session Setup 318
73.3 Preset List 319
73.4 Controls

74. Vintage Mastering Limiter - Golden Edition SK

74.1 About the original hardware 321
74.2 Session Setup 322
74.3 Preset List 323
74.4 Controls 324

75. SPQ Supreme Mastering eQ - Golden Edition SK

75.1 About the original hardware 327
75.2 Session Setup 328
75.3 Preset List 329
75.4 Controls 330

© 2010-2022 18 AlexB Programs Manual

1. Documentation, Installation and Support

1.1 - Introduction

Thank you for purchasing the AlexB library programs for Nebula.
Now you have one of the best professional high quality audio software. I have spent countless
hours to develop these no-compromise programs to give you only the best sound and the most
realistic “feel” as possible to the real hardware. I'm confident that this plugin will help you make
better and more professional mixes (while enjoying yourself even more)... Because: Sound First !

If you have any trouble with the software please do not hesitate to contact me at:

[email protected]

1.2 - Overview

Despite the digital revolution in the pro audio industry, many of today’s top albums are still mixed
on analog consoles and with analog outboard gear. Mixing into an analog desk just sounds better.
Everything sits better in the mix, there is more weight to the bottom, and the overall sound is more
three dimensional.
Analog devices produce electrical artifacts that affect frequency response, add harmonics, cause
signal clipping and increase noise. These artifacts, which audio engineers often consider the
character of a particular device, result from a combination of factors such as component grade,
technology type (i.e. vacuum tubes, ICs, transistors), power supply specifications, equipment casing
and other variables.
Depending on the circuit characteristics, input signal frequency response varies. Some circuits cut
frequencies, others boost them. This behaviour is part of the overall device character and should
not be confused with user adjustable EQ.
Total harmonic distortion (THD) is based on the levels of the odd and even harmonics of an input
signal, usually at a level much lower than the fundamental level. THD balance and decay are circuit
dependent, and thus differ from device to device.
Cross-Talk and Noise are two elements which every designer tends to avoid to not affect the audio
quality. Since in the analog world they can't be avoided, fortunately in digital domain with Volterra
Technology I have reduced the noise at less of -120dBfs and completely avoided Cross-Talk during
the sampling.
The result is an optimum full quality sound from a like-new working condition hardware.
I have recreated these non linearity characteristics into these programs by sampling the units in
excellent condition. Your tracks will become more alive with the classic vibe of a real hardware and
you may notice that your mixes may take on an almost magical quality with punch, glue, and
dimension that you didn’t hear with your other algorithmically based plugins.

© 2010-2022 19 AlexB Programs Manual

1.3 - Sampling Process

I believe that "Vectorial Volterra Kernels Technology" is the path of the future and will enable
analog sound to be implanted into digital DAW environments with real harmonic content and
analog vibe. In my creation of these Nebula Programs, I use only top notch modern and vintage
gear, precisely sampled by using my own proprietary technique with custom converters I have
built specifically for NAT3 which outperforms top notch commercial converters. Ultra filtered and
stable AC supply, high end cables, with particular care to the connections, levels and impedance
matching were used to translate the sonic qualities of this priceless devices into the Nebula
software technology. Every captured sample is analyzed and carefully listened. Every volume
change, gain change, frequency change is tested and accurately programmed without destructive
digital processing for optimized sound and then compared to the original device. The result is a
virtually indistinguishable digital replication of this landmark device.
The hardware is sampled without introduction of noise or aliasing. The thinking behind this process
is to provide the full quality of the analog behavior, which means placing all emphasis on quality
over cpu resources. The process is extremely efficient and optimized to be used on current
computer technology with a forward thinking to the future of more powerful systems, but this will
be a more cpu-intensive device than your typical software. Consider the value in having even one
instance of the original unit in your hardware rack and choose to see the true value in having the
best sound that technology has to offer.
The preset doesn't sound processed, harsh or digital as many plugins do, but instead it sounds like
a natural extension of the original audio, gluing your tracks in the mix with an analog vibe.

Some plugins make your recordings sound like digital.

Some plugins are supposed to make your recordings sound like analog.
THIS plugin helps make recordings sound like MUSIC !

1.4 – Golden Edition Plus

Golden Edition Plus is the last evolution in sampling and programming to answer at the customers
demand for a program library which covers the whole sample rate range used in musical
production: 44.1kHz, 48kHz, 88.2kHz and 96kHz.
To make this a new resampling of the units was necessary, so why not to improve the audio quality
also ?
A revision of my custom-built self-made converters has been done, which employs a non
commercial chip used in military satellites - thanks to my previous work as chief technician into
electronics and telecommunication lab for over 15 years, where called me "the doctor"... (who?), I
had access at that technology - and a new sampling and programming technique has been
developed with custom template and build up process.
The new Golden Edition Plus library allows better sound with less - unnecessary - kernerls, i.e. less
CPU/RAM load and less latency which doesn't make necessary anymore the LE version; new and
useful set of presets with program-change to expand the possibilities by leaving room for
creativeness.

© 2010-2022 20 AlexB Programs Manual

1.5 – Compressor's Regeneration

My mastering studio is full analog and the reason is because I never liked digital compressors,
neither vst or Nebula world. So I was reluctant to revise my old releases of compressor programs
library for Nebula, BUT some beta-testers and a good friend have pushed me to try to improve the
behavior and audio performance as much as possible.
As usual my wish was to release a good program library with the authentic behavior and sound, to
give the opportunity at who can't own the hardware unit to have that expensive sound in the box,
at a fraction of his cost.

So, I have tried several ways to make work better my "bad" compressors, after five new internal
releases that I haven't liked, I have decided to start from zero.
A new complete multi-template has been developed, without the use of my obsolete ten years old
NAT3 release.

Every single sample, program line, every parameter and digit, every compression curve, attack and
release shapes have been programmed, edited and calibrated manually, then tested, compared
and listened with the original unit.
When the program was ready, a fine tuning has been done with double check: analyzing and
listening session. This has been done for every single input/record changed/edited bit.
A very long and hard work, the same I do when I modify/upgrade the hardware !
The whole development's process has required over 960 hours of work, sampling, programming,
testing, thus converting into digital world over 6000 records manually (!!!).

The final result was a musical compressor with the reaction and behavior very close at the unit
sampled, with the exact curve's shape of the compression, attack and release which follow the
envelope-follower. The attack curve's shape gives the character by bringing the transient - it makes
recognizable the classic compression sound of the hardware: snap, smooth puff, etc... - while the
release curve's shape gives his breath at the music.

At the end of this fantastic adventure:

thanks to all many customers that have written me emails by showing their respect and support
for my work, so as the beta-testers and friends.

Cheers

© 2010-2022 21 AlexB Programs Manual

The curve's shape of the compression soft and hard knees The curve's shape of the attack and relese transients

The curve's shape of the Gate release The curve's shape and timing of the compressor

© 2010-2022 22 AlexB Programs Manual

1.6 - System Requirements

• Intel or AMD CPU based PC or MAC computer

• Free space on Hard Disk or better SDD (library size depending)
• Nebula3 v1.3.903 or Nebula4 with installed commercial license

1.7 – Installation and file BACKUP

After downloading, unpack the files and make a safe backup of the library. I reccommend to use a
Toshiba Canvio 2.5" HD as well to do a regular backup of your system with Acronis True Image.

Copy the files manually, *.N2P into \programs folder and *.N2V into \vectors folder.
Clean the \temp folder in the main root nebulatemprepository.

1.8 - The Skin

Skins for Nebula3 and Nebula4 have a cost but they are included in the libraries as gift.

To install the skin into Nebula3:

1 - copy the *.N2S file into the root skin folder
2 - run your DAW and open Nebula
3 - go into MAST Page
4 - set the Skin to ALEXB_N3
5 - click on save and reload Nebula

To install the skin into Nebula4:

1 - copy the *.N2S file into the root skin folder
2 - copy the Properties files into Properties root folder (present only if special N4 skin is available)
3 - run your DAW and open Nebula
4 – load a preset

SK libraries have special functions like “preset change” which allow you to switch between the
programs by retaining the settings. The use requires Nebula Setup. You can follow the video
instruction in the product web page.

After installation it's recommended to clean the \nebulatemprepository\temp folder.

Now you are ready to go at the next step to read how to use your new Nebula library!

Remember:
Scientific studies have proven that the brain is influenced more by the visual stimuli than acoustics.
What you see is not what you hear. In mixing and mastering nobody can hear your screen.

© 2010-2022 23 AlexB Programs Manual

2. General Use

2.1 - Parameter Settings

Some parameters must to be set into Nebula to work correctly with AlexB Programs.

Nebula3
The best way is to make copy-and-paste of Nebula3.dll and Nebula3.xml (or whatever is the name
of your installed Nebula plugin has) then rename both copies as AlexB-N3.dll and AlexB-N3.xml.
Now set the following parameters by editing the AlexB-N3.xml file:

<AHEADLENGTH> 6000 </AHEADLENGTH>

<RATECONVERSION> 4500000 </RATECONVERSION>
<OFREQD> 11 </OFREQD>
<SKINNAME> ALEXB_N3.N2S </SKINNAME>
<DSPBUFFER> 8192 </DSPBUFFER> (optional for better audio quality)

click on save and load the AlexB-N3 in your DAW.

Nebula4
The best way is to make copy-and-paste of N4.dll and N4.xml then rename both copies as
AlexB-N4.dll and AlexB-N4.xml.
Now set the following parameters by editing the AlexB-N4.xml file:

<AHEADLENGTH> 5000 </AHEADLENGTH>

<OFREQD> 11 </OFREQD>
<OTIMED> 5 </OTIMED>
<LEDSPEED> 3 </LEDSPEED>
<DSPBUFFER> 8192 </DSPBUFFER> (optional for better audio quality)

click on save and load the AlexB-N4 in your DAW.

NOTE: MAC users find more info on the “MAC Nebula4 Setup Addendum” on the website:
www.alexb.eu/nebula/AlexB_MAC_Nebula4_Setup_Addendum.pdf

2.2 - Off Line Process

If your DAW isn't powerful or you want/need to freeze or export processed audio tracks I strongly
recommend the Free NEBULASETUP2 by Zabukowski: http://zabukowski.com/software/

© 2010-2022 24 AlexB Programs Manual

2.3 – Web Tricks, Trolls, Haters, Rumors, Myths...

TIMED and Kernel Length

On the forums you will find many “tricks” which theoretically will improve sound and performance:
WRONG ! Please leave the libraries at their original conditions !
Results from these changes are widely varied and often lead to very undesirable results, as losing
dynamics and details.
The presets are programmed to sound as close as possible to the original sampled hardware. If you
change any parameter than the sound changes and it will be very different from the original
sampled unit.

Don't care, I don't, about all these rumors, tricks, myths and a tons of misinformations from
wannabe, trolls, haters & Co. which make things up about what someone has said by pretending to
know everything about what he thinks, how he works, what he does... And what he have to do.

My programs are perfect as is, they don't need any fix or debug*.
I'm referring to MY programs only. I haven't the arrogant presumption to say how other 3rd party
developers work, think, or to tell them what they should do.

I sample at the right level and matched impedance, my converters allow to set and fine tuning
these parameters.
I use real 0dBVU = -18dBfs reference to capture the real spectral and harmonic contents. Sampling
in this way gives the best and authentic sound compared to the sampled unit but also some minor
and irrelevant side effects which will be described underneath.
Sampling with lower value and then rise it digitally will produce a processed lifeless sound.

A lot of confusions and misinformations has appeared with the event of the plugin analyzers. These
tools are funny to use with plugins but if used with libraries they can show some good and some
not so good things, in some case they are artifacts created by them self.
(I don't use these tools, they are amateur-funny but not reliable for professional use. They use
single sweep/tone analysis, professional tools use calibrated multitone analysis and they cost 1000
times more).

Chirp... Chiorp, Chiurp !

Analyzing the library without the right gain staging it can show distortion and spike (someone
called it "chirp" – but chirp is a sweep, as reported in the Audio Precision user manual) because the
analyzer clips the library to 0dBfs while a library has the sweet spot at -18dBfs. So, no birds in the
library. XD
At the right level, no audible artifact is perceived and in the worse case that spike lives in the
-80dBfs region. very close at the noise floor of the majority of the hardware processors. So, don't
care.

To go to fix something that is not present or evident, because I wouldn't like to see it on the screen,
it damages and compromises the sound only by making the audio lifeless and flat. My test with the
beta-team proves it.

© 2010-2022 25 AlexB Programs Manual

Wooobble !
Another side effect I saw at the beginning of the sampling era is the ripple, which someone call it
wobble. Like the spike, ripple is a side product of the sampling process which lives in the bottom
end of the frequency spectrum. With the right use of the library and the right gain staging and
clean monitoring-room system it is almost inaudible or negligible. Reducing this artifact with
programming tricks only it's not good because the sound become lifeless and flat.
Recently with the Golden Edition releases the new sampling-programming process allows to
reduce the ripple at +/-0,1dB.
Curiously in over ten years nobody has complained about ripple and spike, before the event of
these plugin analyzers, and a lot of records has been produced – as Grammy Hawards, Cine
Hollywood, Top Hits Records … - .

But now yes: we hear all these artifacts with the eyes ! LoL

Another myth is the preamp. In the equalizer library.

Assuming that this hardware hasn't the preamp but a make-up gain depending by the circuit
adopted, my equalizer libraries don't need that “preamp” preset because they has been developed
to work and to sound in the same way as the sampled hardware. The interaction between the
preset at 1K and 3k or 5K, as described in the program manual, it gives the exactly behavior and
sound by filters and make-up stage. A different mode like filters + preamp has given poor and
inferior results in terms of audio quality during beta-testing: lifeless, narrow and flat stereo image,
unfocused details and less dynamics compared to my technology.
I have tried it in the 2009 and beta-tested it again and again during these years, so I still don't use
filter + premp mode because the hardware is not built in this way and this system-preset doesn't
sound good.

*At the end:

the demo audio and some demo programs are available to evaluate the quality and usefulness of
my programs. If you don't like what you hear simply don't use/buy it.

Thanks

© 2010-2022 26 AlexB Programs Manual

2.4 - Gain Staging

GUI's meters show the value in dBfs.

Take care with gain staging since the programs are close to the hardware, as reference 0dBVU on
the hardware corresponds to -18dBFS on your DAW digital meter.
Normally the best sound is achieved with occasional maximum digital peaks to -10dBfs, i.e. kick or
snare transients, pluck synth and other hits. On the mixbus the whole mix can hit an occasional
maximum digital peaks between -8dBfs and -6dBfs. (imperative!)
When the signal is too high the sound will be congested and saturated/distorted in a bad way, too
high peaks (and inter-sample peaks) overload Nebula which plays a BLIP as alert.

I recommend to mix with a good and precise VU Meter like this by Waves:
https://www.waves.com/plugins/vu-meter

It mimics the way our ears react to sound by giving you a more realistic representation of the way
audio level changes are actually perceived.
In this way you can easily check the levels on every single track and for the whole mix by inserting
the VUMeter as last instance on the mixbus and by setting the 0dBVU = -18dBfs on it (Headroom).

I suggest to deactivate or remove the VU Plugin when you export the mix to avoid any coloration.
Yes, some plugins color the sound even if they are analyzers and/or bypassed.

NOTE: a console, limiter, equalizer, tape machine or compressor is not a guitar amp! If you drop
the level back to where it wuold be using the real hardware, libraries can sound huge.

Useful video about to use the VU Meter and Gain Staging:

https://www.youtube.com/watch?v=2DVz_T48M-Q
https://www.youtube.com/watch?v=ECRx4WF3pcc

Great book about audio recording engineering:

https://bobbyowsinski.com/recording-engineers-handbook/

Another great book about music production with my contribution about console:
https://www.routledge.com/Producing-Music-1st-Edition/Hepworth-Sawyer-Hodgson-
Marrington/p/book/9780415789226

© 2010-2022 27 AlexB Programs Manual

2.5 - Common Controls

All programs have some common controls which are detailed below.

Input Gain
The Input Gain control sets the level at the input of the plugin.
The range is from -∞ dB to +6 dB.

Output Gain
The Output Gain control sets the level at the output of the plugin.
The range is from -∞ dB to +6 dB.

Bypass
This switch control sets the plugin operative or bypassed

Meters
Input and Output Meters display the levels at the input and output of the plugin in dBfs.
Compressors and Expander/Gate have a gain reduction meter also.

NOTE: clicking on the controls while pressing “ctrl” on computer keyboard, the control returns to
zero.

© 2010-2022 28 AlexB Programs Manual

3. Modern Flagship Console – Golden Edition

3.1 - About the original hardware

The Modern Flagship Console has set new standards as the ultimate analogue console and has
become the signature of excellence for the world’s premier engineers, producers and studios.
Professionals throughout the world have chosen the full, clean sound of the Modern Flagship
Console. Its high bandwidth pure audio path, superior dynamics, greater dynamic range and
greater control make the Modern Flagship Console the first choice for recording and mixing the
purest high fidelity recordings.

With its 100kHz bandwidth the Modern Flagship Console has been engineered to deliver
recordings at the best conceivable quality onto any format at any sample rate, capturing all the
energy and atmosphere of the original performance as perfectly as possible.

© 2010-2022 29 AlexB Programs Manual

3.2 - Session Setup

Modern Flaghship Console reproduces the sound of Modern British Recording Console by using a
library programs consisting of channels input, group bus and mixbus. To faithfully reproduce into
the DAW the analog console signal chain and workflow, I recommend using the Modern Flagship
Console in these session setup configuration:

Recording Console Emulation

– Insert the Line Input preset on the first insert of the DAW audio tracks
– Insert the Mix Bus preset on the first insert of the DAW master bus
– If you group channels in you DAW, i.e. drums elements, you can insert the Group Bus preset
as first insert in the submix group bus.
– Start your mix !

Mixing Console Emulation

– Insert the Line Input preset on the last insert of the DAW audio tracks
– Insert the Mix Bus preset on the last insert of the DAW master bus
– If you group channels in you DAW, i.e. drums elements, you can insert the Group Bus preset
as last insert in the submix group bus.
– Start your mix !

You should set the Pan Law in the DAW at -3dB.

TRICK: to emulate the non linearity between the channels of the console, you can set the GDRV
control slightly different on every track into a range of +/-3dB.

TIP: Which configuration to use ?

If you have recorded your tracks with a console or with colored preamps – by hardware or by
processing the audio files with, for example, the Preamp Colors & Saturation library – then the
Mixing Console Emulation is the right choice.
If you have tracking with clean and sterile preamps or your song has a lot of VST-instruments,
the Recording Console Emulation may to work better.
Experimenting and choosing by personal taste is the best way.

3.3 - Preset list:

© 2010-2022 30 AlexB Programs Manual

The Modern Flagship Console GE library includes the following programs displayed into menu
“MFC” and subgrouped into 44.1kHz, 48kHz, 88.2kHz and 96kHz.

MFCGE Input Line

MFCGE MIC Preamp
MFCGE LFE
MFCGE G.Bus
MFCGE M.Bus
MFCGE M.Bus Add-Ons

MFCGE Input Line

Input Line is the first stage of the console, normally it works as line amplifier and you should insert
it in every track as first or as last insert.

MFCGE MIC Preamp

Microphone Preamplifier has more coloration than Input Line and you can use it when more
character is needed. You can use it instead-or-with the Input Line, at your taste.

MFCGE LFE
The Low Frequency Effect Channel is a special channel used for sub frequency effects like
explosions, deep bass, etc. It should be used in parallel with a normal channel since LFE has a low
pass filter at 120Hz.

MFCGE G.Bus
If you send some tracks to a submix bus group in your DAW and you like to have the real sound by
Bus Group of the console, you can use the G.Bus preset as insert into DAW's submix bus group.
G.Bus has new concept in the Golden Edition: instead to have more presets with different colors,
there is one only with the control labeled G.BUS which allows to choose different colors:

1 : Clean = Original Clean G.Bus, the sound from the console

2 : Drum = Original Clean G.Bus with 88RS channel eQ patched
3 : Percussions = Original Clean G.Bus with vintage Pultec patched
4 : Acoustic = Original Clean G.Bus with GML8200 patched
5 : Guitars = Original Clean G.Bus with vintage API 550A patched
6 : Synthpad = Original Clean G.Bus with vintage Moog PEQ patched
7 : BGVocals = Original Clean G.Bus with custom handmade AlexB Parametric EQ patched
8 : Ambient = Original Clean G.Bus with vintage Filtek PB1 parched

MFCGE M.Bus
M.Bus is the final stage of the console, it must be the first or last insert in the mixbus of the DAW.
The M.BUS gives the original clean glue of the console.

MFCGE M.Bus Add-Ons

© 2010-2022 31 AlexB Programs Manual

M.Bus has new concept in the Golden Edition: instead to have more presets with different colors,
there is a preset called M.Bus ADD-Ons which could be used to give different colors. The TONE
control switchs between the sound of some top notch hardware with light equalization setup:

1 : Vintage = Vintage TG Mastering eQ

2 : Classic = Vintage Sontec 432
3 : Modern = SPL PQ

NOTE: ADD-Ons preset must be placed after M.Bus preset for the right interaction with it.
Use the ADD-Ons only if you need it, of course.

3.4 - Controls

© 2010-2022 32 AlexB Programs Manual

Over the common and the above described controls, MFCGE has also:

– GDRV: GDrive Control

The “GDRV” control is a unique feature not found in similar products from others brands
that comes from Acustica Audio VVKT proprietary technology and sampling aproach.
It allows you to control the amount of harmonic distortion that is coming from the analog
hardware. The “Input” control acts as the analog signal chain of the device, where reducing
the volume also reduces the harmonic distortion in accordance. The “GDrive” function
allows independent control of this harmonic content, so that the input level can be left
alone while making adjustments to the harmonics. Reducing the harmonics leads to a
cleaner signal with an already clean device. Increasing the harmonics should be done with
moderation.
This type of effect is not truly representative of a real console, but it can be useful when you
want more of the console’s nonlinear “vibe” without altering the channel’s levels. The
available range is ±12 dB.
Note that increasing the input signal the internal headroom will be reduced.

– THD: Drive Control

The “THD” control affects the harmonic contents in an unnatural way, but suitable if you
look for an effect. It rises ALL the harmonics at the same time.
The available range is ±12 dB.

NOTE: clicking on the controls while pressing “ctrl” on computer keyboard, the control returns to
zero.

4. Modern Flagship eQualizer – Golden Edition

© 2010-2022 33 AlexB Programs Manual

4.1 - About the original hardware

The Modern Flagship eQualizer has set new standards as the ultimate analogue processor and has
become the signature of excellence for the world’s premier engineers, producers and studios.
This equalizer is very usable and controls most situations effortlessly and musically, with a smooth
filters section, a sweet top-end and powerful lows, with less midrange aggression than a classic
British eQ.
Modern Flagship eQualizer manages to sound clean and crystal clear without being weak and
characterless. There is little apparent colouration, just a maturity of tone.

With its 100kHz bandwidth the Modern Flagship eQualizer has been engineered to deliver
recordings at the best conceivable quality onto any format at any sample rate, maintaining all the
energy and atmosphere of the original performance as perfectly as possible.

4.2 - Session Setup

© 2010-2022 34 AlexB Programs Manual

Modern Flaghship eQualizer reproduces the characteristic sound of Modern British Console
channel strip's eQualizer, this kind of equalizers are used in countless records in the world. To
faithfully reproduce this analog sound in the DAW, I recommend using the MFeQ in all tracks
where you need to shape the sound.

– On single track the Modern Flaghship eQualizer works great on all instruments and voices.
– On master track the Modern Flaghship eQualizer gives at the whole mix his classic clean,
natural and musical sound.

To emulate the original unit sound you should use both presets 1k and 3k by mixing them in this
way:

– When a single equalization band only is required you should use the 3k preset.
– When you need more than one band of equalization you should use the 1k presets and as
last band the 3k. This interaction gives the right color and harmonic contents.

NOTE: use the band/s you need only. Stacking unnecessary bands is the wrong way to emulate the
sampled hardware, the same by using more than one 3k preset.
Remember: every digital processing introduces quantizzation errors/noise which degrade the
sound, a smart use of the digital processing keeps the sound alive.

TRICK: to emulate the non linearity between the tracks, you can set the THD control slightly
different on every instance into a range of +/-2dB.

4.3 - Preset list:

© 2010-2022 35 AlexB Programs Manual

The Modern Flagship eQualizer GE library includes the following programs displayed into menu
“MFQ” and subgrouped into 44.1kHz, 48kHz, 88.2kHz and 96kHz, every subgroup has 1k and 3k
subgroup.

MFeQGE HPF
MFeQGE Low Shelf / Bell
MFeQGE 120 – 1300Hz
MFeQGE 1.3 – 9Khz
MFeQGE High Shelf / Bell
MFeQGE LPF

MFeQGE HPF
High Pass Filter -12dB/oct from 30Hz to 300Hz.

MFeQGE Low Shelf / Bell

Low Band from 33Hz to 440Hz +/- 20dB switchable from shelf to bell with Q 0.7 and Q 2.0.

MFeQGE 120 – 1300Hz

Low-Mid Band from 120Hz to 1300Hz +/- 20dB with variable Q from 0.4 to 10.

MFeQGE 1.3 - 9Khz

High Mid Band from 1.3kHz to 9kHz +/- 20dB with variable Q from 0.4 to 10.

MFeQGE High Shelf / Bell

High Band from 1.5kHz to 18kHz +/- 20dB switchable from shelf to bell with Q 0.7 and Q 2.0.

MFeQGE LPF
Low Pass Filter -12dB/oct from 1.5k to 18kHz.

4.4 - Controls

© 2010-2022 36 AlexB Programs Manual

Over the common and the above described controls, MFeQGE has also:

– CUTOF: Cut Off Control

The “CUTOF” control affects the filter's frequency cut.

– S/B : Shelf / Bell Control

This control switchs between shelf, bell with Q 0.7 and Bell with Q 0.2.

– FREQ: Frequency Control

The “FREQ” control sets the frequency to be boosted or attenuated.

– GAIN: Gain Control

The “GAIN” control sets the amount by which the frequency setting is boosted or
attenuated.

– Q: Q Control
The “Q” control sets the amplitude of the filter selected by FREQ control.

– THD: THD Control

The “THD” control affects the harmonic contents in an unnatural way, but suitable if you
look for an effect. It rises ALL the harmonics at the same time.
The available range is ±12 dB.

NOTE: clicking on the controls while pressing “ctrl” on computer keyboard, the control returns to
zero.

5. Modern Flagship Dynamics – Golden Edition

© 2010-2022 37 AlexB Programs Manual

5.1 - About the original hardware

The Modern Flagship Dynamics has set new standards as the ultimate analogue processor and has
become the signature of excellence for the world’s premier engineers, producers and studios.
This compressor is very usable and controls most situations effortlessly and musically, with a
smooth or hard knee, a sweet top-end and powerful lows, with less aggression than a classic RMS
compressor.
Modern Flagship Dynamics manages to sound clean but with character without being weak and
harsh. There is little apparent colouration, just a maturity of tone.

With its 100kHz bandwidth the Modern Flagship Dynamics has been engineered to deliver
recordings at the best conceivable quality onto any format at any sample rate, maintaining all the
energy, atmosphere and life of the original performance as perfectly as possible.

5.2 - Session Setup

© 2010-2022 38 AlexB Programs Manual

Modern Flaghship Dynamics reproduces the characteristic sound of Modern British Console
channel strip's Conmpressor, Expander and Gate; this kind of dynamics are used in countless
records in the world. To faithfully reproduce this analog sound in the DAW, I recommend using the
MFD in all tracks where you need to control dynamically the sound.

On single track the Modern Flaghship Compressor/Gate-Exp works great on all instruments and
voices. You can use it on group bus also with excellent results.

To emulate the original unit sound you should use the presets in this way:

– When a compressor is required you should use the Comp preset followed by the Line Out
preset.
– When your track needs a Gate or Expander, you should use the Gate or Exp preset followed
by the Line Out preset.
– If you need both Gate/Expander and Compressor you should insert the Gate, or Exp, preset
then the Comp preset and finally the Line Out preset.

Compressor loves to be pushed hot, input peak signal between -2dBfs to -6dBfs are good for that
typical softness transient sound of this unit. Input levels above -8dBfs allows more glue and
musicality. Anyway: use your ears and enjoy ! :)

External SideChain
The Sc presets are useful to control the dynamic module of the Compressor or the Gate/Expander
via external sidechain for ducking, pumping or other effect. To use sidechaining correctly please
refer at the manual of your DAW.
This function works on Nebula4 only.

NOTE: use the presets you need only. Stacking unnecessary presets is the wrong way to emulate
the sampled hardware. i.e. don't stack Gate/Exp + Comp + Line Out if you need the Comp or
Gate/Exp only.
Remember: every digital processing introduces quantizzation errors/noise which degrade the
sound, a smart use of the digital processing keeps the sound alive.

TRICK: to emulate the non linearity between the tracks, you can set the THD control slightly
different on every instance into a range of +/-2dB.

5.3 - Preset list:

© 2010-2022 39 AlexB Programs Manual

The Modern Flagship Dynamics GE library includes the following programs displayed into menu
“MFD” and subgrouped into 44.1kHz, 48kHz, 88.2kHz.

MFDGE Gate
MFDGE Gate Sc
MFDGE Exp
MFDGE Exp Sc
MFDGE Comp
MFDGE Comp Sc
MFDGE Line Out

MFDGE Gate
Gate with attack, release, threshold, range and HPF controls.

MFDGE Gate Sc
The same as the Gate preset but with external sidechain input and without HPF.

MFDGE Exp
Expander with attack, release, threshold, range and HPF controls.

MFDGE Exp Sc
The same as the Exp preset but with external sidechain input and without HPF.

MFDGE Comp
Compressor with attack, release, threshold, ratio, knee, HPF, gain makeup and wet/dry controls.

MFDGE Comp Sc
The
same as the Comp preset but with external sidechain input and without HPF.

MFDGE Line Out

Line Out stage with Gdrive and THD controls.

5.4 - Controls

© 2010-2022 40 AlexB Programs Manual

Over the common and the above described controls, MFDGE has also:

Compressor

– ATT: Attack Control

The “ATT” control defines the attack time of the compressor. Attack time is the duration
between the input signal reaching the threshold and processing being applied.
The original unit has program dependent attack time which is based on transient speed. It's
not possible to mimic rightly this behavior in Nebula, so the attack time in the preset is
program dependent based on the audio level. The normal operation value is between 3ms
to 7 ms (labeled 3.70), the fast operation value is between 1ms to 7ms (labeled 1.70). In the
original unit the fast attack is activated when the control knob is pulled-out, in the preset
when the control is rotated fully clockwise. This control is switchable between these two
values but some slightly variants in timing can be obtained by moving the control between
the two switch points.

– REL: Release Control

The “REL” control sets the amount of time it takes for processing to cease once the input
signal drops below the threshold level.
The available range is 10ms (labeled 0.01) to 2,9s, at 3s the control switchs to AUTO program
dependent release based on audio levels. In the original unit the program dependent
release is based on transient speed.

– THR: Threshold Control

The “THR” control defines the input level at which limiting or compression begins. Signals
that exceed this level are processed. Signals below the threshold are unaffected.
The range is variable from 0 to -64.

– RATIO: Ratio Control

The “RATIO” defines the amount of gain reduction to be processed by the module.
When the control is at maximum (10), the ratio is effectively infinity to one, yielding the
limiting effect.
The range is variable from 1:1 to 10:1

– KNEE: Knee Control

The “KNEE” control sets the compression characteristics. With hard knee compression, the
gain reduction applied to the signal occurs as soon as the signal exceeds the level set by the
threshold. With soft knee compression, the onset of gain reduction occurs gradually after
the signal has exceeded the threshold, producing a more musical response.
The compressor has soft knee characteristics (labeled 6dB) as standard with hard knee
(labeled 0dB) available by rotating fully clockwise the switchable control.

– HPF: High Pass Filter Control

The “HPF” control sets the cut-off point of a high-pass filter on the internal sidechain.
The range is variable from 0Hz to 2000Hz.
– MAKP: Gain Makeup Control
The “MAKP” control sets the output level of gain makeup.

© 2010-2022 41 AlexB Programs Manual

 The range is variable from 0dB to 25dB.

– WET: Dry/Wet Control

This control lets you balance between processed (Wet) and original signal (Dry) allowing you
to do parallel compression without routing to buses/aux.
The range is variable from 0% (Dry) to 100% (Wet).

Gate/Expander

– ATT: Attack Control

The “ATT” control defines the attack time of the Gate/Expander.
The normal operation value is 500us, the fast value is 50us. In the original unit the fast
attack is activated when the control knob is pulled-out, in the preset when the control is
rotated fully clockwise. This control is switchable between these two values but some
slightly variants in timing can be obtained by moving the control between the two switch
points. We're speaking of microseconds, of course.

– REL: Release Control

The “REL” control sets the amount of time it takes for processing to disengage once the
input signal drops below the threshold level.
The available range is 10ms (labeled 0.01) to 3s.

– THR: Threshold Control

The “THR” control defines the input level at which expansion or gating occurs. Any signals
below this level are processed. Signals above the threshold are unaffected.
The range is variable from 0 to -43.4.

– RANGE: Range Control

The “RANGE” controls the difference in gain between the gated/expanded and non-
gated/expanded signal. Higher values increase the attenuation of signals below the
threshold. When set to zero, no gating or expansion occurs.
The available range is 0 dB to 60 dB.

– HPF: High Pass Filter Control

The “HPF” control sets the cut-off point of a high-pass filter on the internal sidechain.
The range is variable from 0Hz to 2000Hz.

Line Out

– GDRV: GDrive Control

The “GDRV” control is a unique feature not found in similar products from others brands
that comes from Acustica Audio VVKT proprietary technology and sampling aproach.
It allows you to control the amount of harmonic distortion that is coming from the analog
hardware. The “Input” control acts as the analog signal chain of the device, where reducing
the volume also reduces the harmonic distortion in accordance. The “GDrive” function
allows independent control of this harmonic content, so that the input level can be left

© 2010-2022 42 AlexB Programs Manual

 alone while making adjustments to the harmonics. Reducing the harmonics leads to a
cleaner signal with an already clean device. Increasing the harmonics should be done with
moderation.
This type of effect is not truly representative of a real console, but it can be useful when you
want more of the console’s nonlinear “vibe” without altering the channel’s levels. The
available range is ±12 dB.
Note that increasing the input signal the internal headroom will be reduced.

– THD: Drive Control

The “THD” control affects the harmonic contents in an unnatural way, but suitable if you
look for an effect. It rises ALL the harmonics at the same time.
The available range is ±12 dB.

NOTE: clicking on the controls while pressing “ctrl” on computer keyboard, the control returns to
zero.

6. Modern Tube Console – Golden Edition SK

6.1 - About the original hardware

© 2010-2022 43 AlexB Programs Manual

The inclusion of valves in this console is not just a token addition. They form an essential part of the
signal path at several key points within the console: every channel and mic preamp incorporates an
ECC83/12AX7A valve stage, as do the Group and Stereo master MixBus amplifiers.
The original smooth and musical tube sound has been improved for better performance in
headroom and dynamics by cleaning audio path and replacing the stock 12AX7 tubes with 1960
NOS Telefunken, 1980 NOS Siemens and 1970 NOS Tesla, all hand selected, balanced and matched.
Some electrolytic capacitors have been replaced with Panasonic FR, Nichicon MUSE and BC while
other caps have been replaced with Wima. The power supply has been improved and the sound
now has more air, punch and detail with great warmth, rich harmonic content and natural in-your-
face tube saturation!

With its large bandwidth the Modern Tube Console has been engineered to deliver recordings at
the best conceivable quality onto any format at any sample rate, capturing all the energy and
atmosphere of the original performance as perfectly as possible.

6.2 - Session Setup

Modern Tube Console reproduces the sound of British Tube Recording Console by using a library
programs consisting of channels input, group bus and mixbus. To faithfully reproduce into the
DAW the analog console signal chain and workflow, I recommend using the Modern Tube Console
in these session setup configurations:

© 2010-2022 44 AlexB Programs Manual

Recording Console Emulation

– Insert the Line Input preset on the first insert of the DAW audio tracks
– Insert the Mix Bus preset on the first insert of the DAW master bus
– If you group channels in you DAW, i.e. drums elements, you can insert the Group Bus preset
as first insert in the submix group bus.
– Start your mix !

Mixing Console Emulation

– Insert the Line Input preset on the last insert of the DAW audio tracks
– Insert the Mix Bus preset on the last insert of the DAW master bus
– If you group channels in you DAW, i.e. drums elements, you can insert the Group Bus preset
as last insert in the submix group bus.
– Start your mix !

You should set the Pan Law in the DAW at -3dB.

TRICK: to emulate the non linearity between the channels of the console, you can set the GDRV
control slightly different on every track into a range of +/-3dB.

TIP: Which configuration to use ?

If you have recorded your tracks with a console or with colored preamps – by hardware or by
processing the audio files with, for example, the Preamp Colors & Saturation library – then the
Mixing Console Emulation is the right choice.
If you have tracking with clean and sterile preamps or your song has a lot of VST-instruments,
the Recording Console Emulation may to work better.
Experimenting and choosing by personal taste is the best way.

6.3 - Preset list:

The Modern Tube Console GE library includes the following programs displayed into menu “MTC”
and subgrouped into 44.1kHz, 48kHz, 88.2kHz and 96kHz.

MTCGE Input Line

MTCGE MIC Preamp
MTCGE G.Bus
MTCGE M.Bus

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MTCGE M.Bus Add-Ons

MTCGE Input Line

Input Line is the first stage of the console, normally it works as line amplifier and you should insert
it in every track as first or as last insert.

MTCGE MIC Preamp

Microphone Preamplifier has more coloration than Input Line and you can use it when more
character is needed. You can use it instead-or-with the Input Line, at your taste.

MTCGE G.Bus
If you send some tracks to a submix bus group in your DAW and you like to have the real sound by
Bus Group of the console, you can use the G.Bus preset as insert into DAW's submix bus group.
G.Bus has new concept in the Golden Edition: instead to have more presets with different colors,
there is one only with the control labeled G.BUS which allows to choose different colors:

1 : Clean = Original Clean G.Bus, the sound from the console

2 : Drum = Original Clean G.Bus with 88RS channel eQ patched
3 : Percussions = Original Clean G.Bus with vintage Pultec patched
4 : Acoustic = Original Clean G.Bus with GML8200 patched
5 : Guitars = Original Clean G.Bus with vintage API 550A patched
6 : Synthpad = Original Clean G.Bus with vintage Moog PEQ patched
7 : BGVocals = Original Clean G.Bus with custom handmade AlexB Parametric EQ patched
8 : Ambient = Original Clean G.Bus with vintage Filtek PB1 parched

MTCGE M.Bus
M.Bus is the final stage of the console, it must be the first or last insert in the mixbus of the DAW.
The M.BUS gives the original clean glue of the console.

MTCGE M.Bus Add-Ons

M.Bus has new concept in the Golden Edition: instead to have more presets with different colors,
there is a preset called M.Bus ADD-Ons which could be used to give different colors. The TONE
control switchs between the sound of some top notch hardware with light equalization setup:

1 : Vintage = Vintage TG Mastering eQ

2 : Classic = Vintage Sontec 432
3 : Modern = SPL PQ

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ADD-Ons preset must be placed after M.Bus preset for the right interaction with it.
Use the ADD-Ons only if you need it, of course.

6.4 - Controls

Over the common and the above described controls, MTCGE has also:

– GDRV: GDrive Control

The “GDRV” control is a unique feature not found in similar products from others brands
that comes from Acustica Audio VVKT proprietary technology and sampling aproach.
It allows you to control the amount of harmonic distortion that is coming from the analog
hardware. The “Input” control acts as the analog signal chain of the device, where reducing

© 2010-2022 47 AlexB Programs Manual

 the volume also reduces the harmonic distortion in accordance. The “GDrive” function
allows independent control of this harmonic content, so that the input level can be left
alone while making adjustments to the harmonics. Reducing the harmonics leads to a
cleaner signal with an already clean device. Increasing the harmonics should be done with
moderation.
This type of effect is not truly representative of a real console, but it can be useful when you
want more of the console’s nonlinear “vibe” without altering the channel’s levels. The
available range is ±12 dB.
Note that increasing the input signal the internal headroom will be reduced.

– THD: Drive Control

The “THD” control affects the harmonic contents in an unnatural way, but suitable if you
look for an effect. It rises ALL the harmonics at the same time.
The available range is ±12 dB.

NOTE: clicking on the controls while pressing “ctrl” on computer keyboard, the control returns to
zero.

7. Modern Tube eQualizer – Golden Edition SK

7.1 - About the original hardware

No other high end equaliser can offer the same degree of power and flexibility as the Modern Tube
eQualizer which is included in the Modern Tube Console as parametric channel equalizer.
This equalizer is very usable and controls most situations effortlessly and musically, with his
warmth, transparency, smoothness and less midrange aggression than a classic British eQ.

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Modern Tube eQualizer manages to sound clean and clear without being weak and characterless.
There is little tube colouration, just a maturity of tone.

With its broad bandwidth the Modern Tube eQualizer has been engineered to deliver recordings at
the best conceivable quality onto any format at any sample rate, maintaining all the energy and
atmosphere of the original performance as perfectly as possible.

7.2 - Session Setup

MTeQGE reproduces the characteristic sound of Vintage Modern Tube eQualizer, this kind of
equalizers are used in countless records in the world. To faithfully reproduce this analog sound in
the DAW, we recommend using the MTeQGE in all tracks where you need to shape the sound.

– On single track the Modern Tube eQualizer works great on all instruments and voices.
– On master track the Modern Tube eQualizer gives at the whole mix his classic clean, natural
and musical sound.

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To emulate the original unit sound you should use both presets 1k and 3k by mixing them in this
way:

– When a single equalization band only is required you should use the 3k preset.
– When you need more than one band of equalization you should use the 1k presets and as
last band the 3k. This interaction gives the right color and harmonic contents.

NOTE: use the band/s you need only. Stacking unnecessary bands is the wrong way to emulate the
sampled hardware, the same by using more than one 3k preset.
Remember: every digital processing introduces quantizzation errors/noise which degrade the
sound, a smart use of the digital processing keeps the sound alive.

TRICK: to emulate the non linearity between the tracks, you can set the THD control slightly
different on every instance into a range of +/-2dB.

7.3 - Preset list:

The Modern Tube eQualizer GE library includes the following programs displayed into menu “MTQ”
and subgrouped into 44.1kHz, 48kHz, 88.2kHz and 96kHz, every subgroup has 1k and 3k subgroup.

MTeQGE Shelf
MTeQGE 50 – 330Hz
MTeQGE 330-2000kHz
MTeQGE 2 – 18Khz

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MTeQGE Shelf
Low and High Shelf combo at 80Hz and 12kHz +/- 15dB

MTeQGE 50 – 330Hz
Low-Mid Band from 50Hz to 330Hz +/- 15dB with variable Q from 0.8 to 7.

MTeQGE 330 - 2000Hz

High Mid Band from 330Hz to 2000Hz +/- 15dB with variable Q from 0.8 to 7.

MTeQGE 2 - 18kHz
High Band from 2kHz to 18kHz +/- 15dB with variable Q from 0.8 to 7.

7.4 - Controls

Over the common and the above described controls, MTeQGE has also:

– FREQ: Frequency Control

The “FREQ” control sets the frequency to be boosted or attenuated.

– GAIN: Gain Control

The “GAIN” control sets the amount by which the frequency setting is boosted or
attenuated.

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 – Q: Q Control
The “Q” control sets the amplitude of the filter selected by FREQ control.

– THD: THD Control

The “THD” control affects the harmonic contents in an unnatural way, but suitable if you
look for an effect. It rises ALL the harmonics at the same time.
The available range is ±12 dB.

NOTE: clicking on the controls while pressing “ctrl” on computer keyboard, the control returns to
zero.

8. Tube Compressor 1 – Golden Edition SK

8.1 - About the original hardware

The Tube Compressor 1 maintains its position as the most flexible, polished sounding high end tube
compressor on the market today.
This compressor has been heavy modified becoming very usable and it controls most situations
effortlessly and musically, with a smooth tube sound, a sweet top-end and powerful lows, with less
aggression than a classic VCA compressor.
Tube Compressor 1 manages to sound clean but with character without being weak and harsh.
There is little tube and input stage colouration, just a maturity of tone.

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With its broad bandwidth the Tube Compressor 1 has been engineered to deliver recordings at the
best conceivable quality onto any format at any sample rate, maintaining all the energy,
atmosphere and life of the original performance as perfectly as possible.

8.2 - Session Setup

TC1GE reproduces the characteristic sound of classic British Tube Compressor; this kind of unit are
used in countless records in the world. To faithfully reproduce this analog sound in the DAW, I
recommend using the TC1GE in all tracks and group bus where you need to control dynamically
the sound.
On single track the TC1GE works great on acoustic instruments and voices. On group bus the TC1GE
works great on drums and percussions.

To emulate the original unit sound you should use the presets in this way:

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 – When you need to control the dynamic Insert the Comp preset followed by the Line Out
preset.
– By changing the input stage you achieve different color of the resulting sound and different
compression behavior for the transients.

Compressor loves to be pushed hot, input peak signal between -2dBfs to -6dBfs are good for that
typical softness transient sound of this unit. Input levels above -8dBfs allows more glue and
musicality. Anyway: use your ears and enjoy ! :)

External SideChain
The Sc presets are useful to control the dynamic module of the Compressor via external sidechain
for ducking, pumping or other effect. To use sidechaining correctly please refer at the manual of
your DAW.
This function works on Nebula4 only.

NOTE: use the presets you need only. Stacking unnecessary presets is the wrong way to emulate
the sampled hardware.
Remember: every digital processing introduces quantizzation errors/noise which degrade the
sound, a smart use of the digital processing keeps the sound alive.

8.3 - Preset list:

The TC1GE library includes the following programs displayed into menu “TC1” and subgrouped into
44.1kHz, 48kHz, 88.2kHz.

TC1GE Comp
TC1GE Comp SC
TC1GE Line Out

TC1GE Comp
Compressor with attack, release, threshold, ratio, Input, HPF, gain makeup and wet/dry controls.

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TC1GE Comp SC
The same as the Comp preset but with external sidechain input and without HPF.

TC1GE Line Out

Line Out stage with Gdrive and THD controls.

8.4 - Controls

Over the common and the above described controls, TC1GE has also:

– ATT: Attack Control

The “ATT” control defines the attack time of the Compressor.
The control varies from 0.5ms to 50ms.

– REL: Release Control

The “REL” control sets the amount of time it takes for processing to cease once the input
signal drops below the threshold level.
The control varies from 40ms (0.04) to 4s.

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 – THR: Threshold Control
The “THR” control defines the input level at which compression begins. Signals that exceed
this level are processed. Signals below the threshold are unaffected.
The range is variable from 0 to -64.

– Input: Input Stage Control

The Input control sets the input stage of the compressor: DI, Line, Mic-preamp.
The switchable values are 1 (DI), 2 (Line) and 3 (Mic-preamp).

– HPF: High Pass Filter Control

The “HPF” control sets the cut-off point of a high-pass filter on the internal sidechain.
The range is variable from 0Hz to 2000Hz.

– MAKP: Gain Makeup Control

The “MAKP” control sets the output level of gain makeup.
The range is variable from 0dB to 25dB.

– WET: Dry/Wet Control

This control lets you balance between processed (Wet) and original signal (Dry) allowing you
to do parallel compression without routing to buses/aux.
The range is variable from 0% (Dry) to 100% (Wet).

Line Out and Line Out FX

– GDRV: GDrive Control

The “GDRV” control is a unique feature not found in similar products from others brands
that comes from Acustica Audio VVKT proprietary technology and sampling aproach.
It allows you to control the amount of harmonic distortion that is coming from the analog
hardware. The “Input” control acts as the analog signal chain of the device, where reducing
the volume also reduces the harmonic distortion in accordance. The “GDrive” function
allows independent control of this harmonic content, so that the input level can be left
alone while making adjustments to the harmonics. Reducing the harmonics leads to a
cleaner signal with an already clean device. Increasing the harmonics should be done with
moderation.
This type of effect is not truly representative of a real console, but it can be useful when you
want more of the console’s nonlinear “vibe” without altering the channel’s levels. The
available range is ±12 dB.
Note that increasing the input signal the internal headroom will be reduced.

– THD: Drive Control

The “THD” control affects the harmonic contents in an unnatural way, but suitable if you
look for an effect. It rises ALL the harmonics at the same time.
The available range is ±12 dB.

© 2010-2022 56 AlexB Programs Manual

NOTE: clicking on the controls while pressing “ctrl” on computer keyboard, the control returns to
zero.

9. Vintage Mastering eQualizer – Golden Edition SK

9.1 - About the original hardware

Custom designed for the classical mastering division of Teldec Records, these very rare discrete
stereo mastering program equalizers are passive coils. The original circuit has received some
modification to make it suitable for modern mastering purpose by improving the original
musicality that makes program audio sound better and more punchy just by passing through it
even when set "flat".
One unit has three bands: low, mid and high while the other unit, even more rare and used to
equalize the audio in the cinema, has two bands only: low and high.

With its broad bandwidth the Vintage Mastering eQualizer GE has been engineered to deliver
recordings at the best conceivable quality onto any format at any sample rate, maintaining all the
energy and atmosphere of the original performance as perfectly as possible.

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9.2 - Session Setup

VMeQGE reproduces the characteristic sound of Vintage Program eQualizer, this kind of equalizers
are used in countless records in the world. To faithfully reproduce this analog sound in the DAW,
we recommend using the VMeQGE in all tracks where you need to shape the sound.

– On single track the Vintage Mastering eQualizer works great on all instruments and voices.
– On master track the Vintage Mastering eQualizer gives at the whole mix his classic clean,
natural and musical sound.

To emulate the original unit sound you should use both presets 1k and 3k by mixing them in this
way:

– When a single equalization band only is required you should use the 3k preset.
– When you need more than one band of equalization you should use the 1k presets and as
last band the 3k. This interaction gives the right color and harmonic contents.

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NOTE: use the band/s you need only. Stacking unnecessary bands is the wrong way to emulate the
sampled hardware, the same by using more than one 3k preset.
Remember: every digital processing introduces quantizzation errors/noise which degrade the
sound, a smart use of the digital processing keeps the sound alive.

TRICK: to emulate the non linearity between the tracks, you can set the THD control slightly
different on every instance into a range of +/-2dB.

9.3 - Preset list:

The Vintage Mastering eQualizer GE library includes the following programs displayed into menu
“VMQ” and subgrouped into 44.1kHz, 48kHz, 88.2kHz and 96kHz, every subgroup has 1k and 3k
subgroup.

VMeQGE MPE30 Movie

VMeQGE HFs
VMeQGE LFs
VMeQGE MF

VMeQGE Movie
Low and High Shelf combo at 60Hz and 10kHz +/- 12dB

VMeQGE HFs
High Shelf fixed 10k, 20k, 30kHz +/- 10dB

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VMeQGE LFs
Low Shelf fixed 30, 40, 60Hz +/- 10dB

VMeQGE MF
Mid bell fixed 125*, 250, 500, 700, 1k, 1.4K, 2k, 2.8k, 4k, 5.6kHz +/- 10dB

NOTE: * display shows 0.13kHz but the correct working frequency is 0.125kHz i.e. 125Hz.

9.4 - Controls

Over the common and the above described controls, VMeQGE has also:

– FREQ: Frequency Control

The “FREQ” control sets the frequency to be boosted or attenuated.

– GAIN: Gain Control

The “GAIN” control sets the amount by which the frequency setting is boosted or
attenuated.

– THD: THD Control

The “THD” control affects the harmonic contents in an unnatural way, but suitable if you
look for an effect. It rises ALL the harmonics at the same time.
The available range is ±12 dB.

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NOTE: clicking on the controls while pressing “ctrl” on computer keyboard, the control returns to
zero.

10. Em-i Broadcast eQualizer

10.1 - About the original hardware

A Very Rare piece of British Broadcasting history, EBeQ is the rare vintage germanium program
equalizer built for BBC broadcast console in the '70 years. The unit has been totally refurbished and
re calibrated since it was improperly racked into fake Abbey Road case using telephone cables and
low quality components.
Now, with audio grade electronics and Mogami premium cables, this fantastic EQ is returned to
shine with his stunning lows, wide midrange and an incredibly airy top end, with the full
germanium character and coils sweetness. This unit share the same circuitry of the Abbey Road
mastering console TG12410.

With its broad bandwidth the Em-i Broadcast eQualizer has been engineered to deliver recordings
at the best conceivable quality onto any format at any sample rate, maintaining all the energy and
atmosphere of the original performance as perfectly as possible.

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10.2 - Session Setup

Em-i Broadcast eQualizer reproduces the characteristic sound of Vintage Program eQualizer, this
kind of equalizers are used in countless records in the world. To faithfully reproduce this analog
sound in the DAW, we recommend using the EBeQ in all traks where you need to shape the sound.

– On single track the Em-i Broadcast eQualizer works great on all instruments and voices.
– On master track the Em-i Broadcast eQualizer gives at the whole mix his classic clean,
natural and musical sound.

To emulate the original unit sound you should use both presets LE and HQ by mixing them in this
way:

– When a single equalization band only is required you should use the HQ preset.
– When you need more than one band of equalization you should use the LE presets and as
last band the HQ. This interaction gives the right color and harmonic contents.

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NOTE: use the band/s you need only. Stacking unnecessary bands is the wrong way to emulate the
sampled hardware, the same by using more than one HQ preset.
Remember: every digital processing introduces quantizzation errors/noise which degrade the
sound, a smart use of the digital processing keeps the sound alive.

TRICK: to emulate the non linearity between the tracks, you can set the DRIVE control slightly
different on every instance into a range of +/-5dB.

10.3 - Preset list:

The Em-i Broadcast eQualizer library includes 4 different programs:

HQ presets with 7 kernels and LE presets with 1 kernel displayed into sub-menu “EBQ”

EBeQ Presence : Mid bell fixed 1.4K, 2.8k, 4k, 5.6kHz + 6dB
EBeQ Shelf: Low and High Shelf combo at 60Hz (Bass) +/- 6dB and 10kHz (Treb) +/- 12dB

10.4 - Controls

The Em-i Broadcast eQualizer has only a few but intuitive and effective controls which are detailed
below.

Frequency Control
FREQ The “FREQ” control sets the frequency to be boosted or attenuated.

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 Gain Control
GAIN The “GAIN” control sets the amount by which the frequency setting is boosted.
The available range is ±6 dB for Bass and ±12dB for Treble.

Drive Control
DRIVE The “DRIVE” control affects the harmonic contents in an unnatural way, but
suitable if you look for an effect.
The available range is ±30 dB.

NOTE: clicking on the controls while pressing “ctrl” on computer keyboard, the control returns to
zero

11. Orbital eQualizer

11.1 - About the original hardware

This is an American classics from the 1980's: a quasi-parametric equalizer of high professional
quality. The flexibility offered by the OReQ makes it a particularly powerful tool in nearly all areas of
audio: sound reinforcement, public address, recording studio, broadcasting, motion picture sound,
disco, theatre. Equipped with the optional output transformer and totally refurbished as new, the
unit sounds clean, slightly dense with a nice mojo. The OReQ easily meets the quality, performance,
and reliability requirements of the demanding professionals, and is also well suited for use in semi
pro applications.

With its broad bandwidth the Orbital eQualizer has been engineered to deliver recordings at the
best conceivable quality onto any format at any sample rate, maintaining all the energy and
atmosphere of the original performance as perfectly as possible.

© 2010-2022 64 AlexB Programs Manual

11.2 - Session Setup

Orbital eQualizer reproduces the characteristic sound of the classic American eQualizer, this kind of
equalizers are used in countless records in the world. To faithfully reproduce this analog sound in
the DAW, we recommend using the OReQ in all tracks where you need to shape the sound.

– On single track the Orbital eQualizer works great on all instruments and voices.
– On master track the Orbital eQualizer gives at the whole mix his classic clean, natural and
musical sound.

To emulate the original unit sound you should use both presets LE and HQ by mixing them in this
way:

– When a single equalization band only is required you should use the HQ preset.
– When you need more than one band of equalization you should use the LE presets and as
last band the HQ. This interaction gives the right color and harmonic contents.

© 2010-2022 65 AlexB Programs Manual

NOTE: use the band/s you need only. Stacking unnecessary bands is the wrong way to emulate the
sampled hardware, the same by using more than one HQ preset.
Remember: every digital processing introduces quantizzation errors/noise which degrade the
sound, a smart use of the digital processing keeps the sound alive.

NOTE2: on some frequencies when boosting or cutting, the whole volume can rise up or fall
down a little, you can compensate this with the Output Gain Control.

TRICK: to emulate the non linearity between the tracks, you can set the DRIVE control slightly
different on every instance into a range of +/-5dB.

11.3 - Preset list:

The Orbital eQualizer library includes 10 different programs:

HQ presets with 3 kernels and LE presets with 1 kernel displayed into sub-menu “ORQ”

OReQ 20-63Hz : Bell variable from 20 to 63Hz +/- 16dB variable Q from 0 to 10
OReQ 63-180Hz : Bell variable from 63 to 180Hz +/- 16dB variable Q from 0 to 10
OReQ 180-440Hz : Bell variable from 180 to 440Hz +/- 16dB variable Q from 0 to 10
OReQ 440-1400Hz : Bell variable from 440 to 1400Hz +/- 16dB variable Q from 0 to 10
OReQ 1.4-4.2kHz : Bell variable from 1.4k to 4.2kHz +/- 16dB variable Q from 0 to 10
OReQ 4.2-8kHz : Bell variable from 4.2k to 8kHz +/- 16dB variable Q from 0 to 10
OReQ 8-20kHz : Bell variable from 8k to 20kHz +/- 16dB variable Q from 0 to 10
OReQ BAX : Low and High Baxandall combo +/- 16dB
OReQ HPF : High Pass Filter -12dB/oct from 20Hz to 2kHz
OReQ LPF : Low Pass Filter -12dB/oct from 2kHz to 20kHz

NOTE: Q is numerical as in the original sampled hardware.

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11.4 - Controls

The Orbital eQualizer has only a few but intuitive and effective controls which are detailed below.

Cut Off Control

CUTOF The “CUTOF” control affects the filter's frequency cut.

Frequency Control
FREQ The “FREQ” control sets the frequency to be boosted or attenuated.

Gain Control
GAIN The “GAIN” control sets the amount by which the frequency setting is boosted or
attenuated. The available range is ±16 dB.

Q Control
Q The “Q” control sets the amplitude of the filter selected by FREQ control.

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 Drive Control
DRIVE The “DRIVE” control affects the harmonic contents in an unnatural way, but
suitable if you look for an effect.
The available range is ±30 dB.

NOTE: clicking on the controls while pressing “ctrl” on computer keyboard, the control returns to
zero.

12. Orbital Dynamics

12.1 - About the original hardware

Orbital Dynamics are composed by a compressor and a limiter. Both units are a classics American
Broadcast dynamics and they come from an FM Broadcast station located in Texas, they have been
refurbished but the original broadcast setup has been kept (upon customer demand). So the
sound sampled is unusual and more on the FX side with really BIG bottom.

The Compressor (G-Ravity) has program dependent attack and release, the basic preset emulates
the original unit. The Limiter (Co-Smonaut) is a pretty fast limiter at 1kernel with HF control which
emphasizes the high frequency over 3kHz, as G-Ravity the basic Co-Smonaut's preset emulates the
original unit.

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12.2 - Session Setup

Orbital Dynamics reproduces the characteristic sound of classics American Broadcast Compressor
and Limiter, this kind of compressor are used in top records in the world. To faithfully reproduce
this analog sound in the DAW, we recommend using the ORD in all tracks where you need to
control dynamically the sound.

On single track : Orbital Dynamics is inserted on the audio tracks as insert in the position at
your taste. It works great on all instruments and voices.

On master track : Orbital Dynamics is inserted on the group bus, as last insert giving at the
whole submix his classic sound.

TRICK: to emulate the original sound closely, you should set the AHEAD control to 5.4ms.

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12.3 - Preset list:

The Orbital Dynamics library includes 4 different programs:

HQ presets with 5 kernels and LE presets with 1 kernels displayed into sub-menu “ORD”

ORD G-Ravity : Compressor with variable controls and HPF on internal sidechain
ORD G-Ravity esc : Compressor with variable controls and external sidechain
ORD Co-Smonaut : Limiter with variable controls and HPF on internal sidechain
ORD Co-Smonaut esc : Limiter with variable controls and HPF on internal sidechain

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12.4 - Controls

The Orbital Dynamics has only a few but intuitive and effective controls which are detailed below.

Attack Control
ATT The “ATT” control defines the attack time of the compressor. Attack time is the
duration between the input signal reaching the threshold and processing being
applied.
The range is variable from 0,5ms to 50ms

Release Control
REL The “REL” control sets the amount of time it takes for processing to cease once
the input signal drops below the threshold level.
The available range is 40ms to 4s

Threshold Control
THR The “THR” control defines the input level at which limiting or compression begins.
Signals that exceed this level are processed. Signals below the threshold are
unaffected.

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 The range is variable from 0dB to -48,1dB

RAT Ratio Control

The “RAT” defines the amount of gain reduction to be processed by the module.
The range is variable from 1,5:1 to 30:1

Ahead Control
AHEAD The “AHEAD” control sets the look-ahead to control the fast transients.
The range is variable from 0ms to 6ms

Drive Control
DRIVE The “DRIVE” control affects the harmonic contents in an unnatural way, but
suitable if you look for an effect. The available range is ±24 dB
Gain Control
GAIN The “GAIN” control sets the output level of gain makeup.
The range is variable from 0dB to 25dB

HPF Control
HPF The “HPF” control sets the cut-off point of a high-pass filter on the internal
sidechain.
The range is variable from 0Hz to 500Hz

HF Control
HF The “HF” control emphasizes the high frequency over 3kHz.
The range is variable from 0 to 10 numerical.

NOTE: clicking on the controls while pressing “ctrl” on computer keyboard, the control returns to
zero.

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13. Magic Parametric eQualizer

13.1 - About the original hardware

Designed in the '70 era, this rare 2 unit rack is a clean parametric equalizer and is greatly revered
even today for its performance and quality, especially on electric bass, synth bass, electric guitars,
synthesizers and voice. The line amp has a drive knob which gives harmonic saturation up to 10dB,
the bell filters allow to cut and boost to over 20dB. The MPeQ easily meets the quality,
performance, and reliability requirements of the demanding professionals.

With its broad bandwidth the Magic Parametric eQualizer has been engineered to deliver
recordings at the best conceivable quality onto any format at any sample rate, maintaining all the
energy and atmosphere of the original performance as perfectly as possible.

© 2010-2022 73 AlexB Programs Manual

13.2 - Session Setup
Magic Parametric eQualizer reproduces the characteristic sound of this classic eQualizer, this kind
of equalizers are used in countless records in the world. To faithfully reproduce this analog sound in
the DAW, we recommend using the MPeQ in all tracks where you need to shape the sound.

– On single track the Magic Parametric eQualizer works great on all instruments and voices.
– On master track the Magic Parametric eQualizer gives at the whole mix his classic musical
sound.

To emulate the original unit sound you should use both presets LE and HQ by mixing them in this
way:

– When a single equalization band only is required you should use the HQ preset.
– When you need more than one band of equalization you should use the LE presets and as
last band the HQ. This interaction gives the right color and harmonic contents.

NOTE: use the band/s you need only. Stacking unnecessary bands is the wrong way to emulate the
sampled hardware, the same by using more than one HQ preset.

© 2010-2022 74 AlexB Programs Manual

Remember: every digital processing introduces quantizzation errors/noise which degrade the
sound, a smart use of the digital processing keeps the sound alive.

NOTE2: on some frequencies when boosting or cutting, the whole volume can rise up or fall
down a little, you can compensate this with the Output Gain Control.

TRICK: to emulate the non linearity between the tracks, you can set the DRIVE control slightly
different on every instance into a range of +/-5dB.

13.3 - Preset list:

The Magic Parametric eQualizer library includes 5 different programs:

HQ presets with 3 kernels and LE presets with 1 kernel displayed into sub-menu “MPQ”

MPeQ 31-440Hz : Bell variable from 31 to 440Hz +/- 20dB variable Q from 0,25 to 4
MPeQ 440-3200Hz : Bell variable from 440 to 3.2kHz +/- 20dB variable Q from 0,25 to 4
MPeQ 3,2-16kHz : Bell variable from 3.2k to 16kHz +/- 20dB variable Q from 0,25 to 4
MpeQ Line Clean: line amp clean
MPeQ Line Driven: line amp driven

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13.4 – Controls

The Magic Parametric eQualizer has only a few but intuitive and effective controls which are
detailed below.

Frequency Control
FREQ The “FREQ” control sets the frequency to be boosted or attenuated.

Height Control
HEIGH The “HEIGH” control sets the amount by which the frequency setting is boosted or
attenuated.
The available range is ±20 dB.

Width Control
WIDTH The “WIDTH” control sets the Q amplitude of the filter selected by FREQ control.

Drive Control
DRIVE The “DRIVE” control affects the harmonic contents in an unnatural way, but
suitable if you look for an effect.

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 The available range is ±30 dB.

GDrive Control
GDRV The “GDRV” control is a unique feature not found in similar products from others
brands that comes from Acustica Audio VVKT proprietary technology and
sampling aproach.
It allows you to control the amount of harmonic distortion that is coming from the
analog hardware. The “Input” control acts as the analog signal chain of the device,
where reducing the volume also reduces the harmonic distortion in accordance.
The “GDrive” function allows independent control of this harmonic content, so
that the input level can be left alone while making adjustments to the harmonics.
Reducing the harmonics leads to a cleaner signal with an already clean device.
Increasing the harmonics should be done with moderation.
This type of effect is not truly representative of a real console, but it can be useful
when you want more of the console’s nonlinear “vibe” without altering the
channel’s levels. The available range is ±12 dB.. Note that increasing the input
signal the internal headroom will be reduced.

NOTE: clicking on the controls while pressing “ctrl” on computer keyboard, the control returns
to zero.
NOTE2: do not adjust the ATTCK and RELS controls, leave them at stock value (center 12
o'clock).

14. Vintage American X-citer

14.1 - About the original hardware

The Vintage American X-citer brought its distinctive sound by leading recording artists in the
middle of 1970. A true ground-breaker, this unit was highly regarded for its ability to increase and
enhance presence, brightness, and detail on vocal tracks and masters alike. The VAX easily meets
the quality, performance, and reliability requirements of the demanding professionals.

With its broad bandwidth the Vintage American X-citer has been engineered to deliver recordings
at the best conceivable quality onto any format at any sample rate, maintaining all the energy and
atmosphere of the original performance as perfectly as possible.

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14.2 - Session Setup

Vintage American X-citer reproduces the characteristic sound of a vintage American Exciter, this
kind of Aural Exciter are used in top records in the world. To faithfully reproduce this analog sound
in the DAW, we recommend using the VAX in all tracks where you need to control dynamically the
sound.

On single track : Vintage American X-citer is inserted on the audio tracks as insert in the
position at your taste. It works great on all instruments and voices.

On master track : Vintage American X-citer is inserted on the group bus, as last insert giving
at the whole submix his classic sound.

TRICK: to emulate the non linearity between the tracks, you can set the DRIVE control slightly
different on every instance into a range of +/-5dB.

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14.3 - Preset list:

The Vintage American X-citer library includes 9 different programs:

HQ presets with 10 kernels displayed into sub-menu “VAX”

Vintage American X-Citer: complete emulation with input stage drive and tone controls
VAX Acoustic : Hi-Quality Preset useful for acoustic material
VAX Drum Bus: Hi-Quality Preset to use on Drum Bus
VAX Guitars : Hi-Quality Preset to use with Guitars tracks
VAX Synth : Hi-Quality Preset to use with Synth tracks
VAXVocals : Hi-Quality Preset to use with Vocals tracks
VAX Mastering : Hi-Quality Preset for mastering use
VAX Crisp Mastering : Hi-Quality Preset for mastering use
VAX Dark Mastering : Hi-Quality Preset for mastering use

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14.4 – Controls

The Vintage American X-citer has only a few but intuitive and effective controls which are detailed
below.

i-Drive Control
I-DRV The “I-DRV control affects the drive input level at the 1st amplifier stage.
The available range is 0-10 numerical.

Tone Control
TONE The “Tone” control sets the point where the exciter begins to engage.
The available range is 0-10 numerical.

Drive Control
DRIVE The “DRIVE” control affects the harmonic contents in an unnatural way, but
suitable if you look for an effect.
The available range is ±30 dB.

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 GDrive Control
GDRV The “GDRV” control is a unique feature not found in similar products from others
brands that comes from Acustica Audio VVKT proprietary technology and
sampling aproach.
It allows you to control the amount of harmonic distortion that is coming from the
analog hardware. The “Input” control acts as the analog signal chain of the device,
where reducing the volume also reduces the harmonic distortion in accordance.
The “GDrive” function allows independent control of this harmonic content, so
that the input level can be left alone while making adjustments to the harmonics.
Reducing the harmonics leads to a cleaner signal with an already clean device.
Increasing the harmonics should be done with moderation.
This type of effect is not truly representative of a real console, but it can be useful
when you want more of the console’s nonlinear “vibe” without altering the
channel’s levels. The available range is ±12 dB.. Note that increasing the input
signal the internal headroom will be reduced.

NOTE: clicking on the controls while pressing “ctrl” on computer keyboard, the control returns to
zero.
NOTE2: do not adjust the ATTCK and RELS controls, leave them at stock value (center 12 o'clock).

15. American 16 Console Golden Edition Plus

15.1 - About the original hardware

This American Company has rightfully earned its place in the music history books, not to mention
the hearts of all kinds of engineers. And this stalwart American console, the A16, deserves its spot in
2520 Op-Amp's legendary lineage. Here, you get the premium analog circuitry and unmistakable
mojo of a straight-from-the-'60s American console.
Professionals throughout the world have chosen the rich and punching sound of the American 16
Console. Its high bandwidth pure audio path, superior dynamics and greater control make the
American 16 Console the first choice for recording and mixing Rock, Pop, Jazz and more.

With its broad bandwidth the American 16 Console has been engineered to deliver recordings at
the best conceivable quality onto any format at any sample rate, capturing all the energy and
atmosphere of the original performance as perfectly as possible.

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15.2 - Session Setup

American 16 Console reproduces the sound of Modern American Recording Console using a library
programs consisting of channels input, group bus, mixbus and pan-fader. To faithfully reproduce
into the DAW the analog console signal chain and workflow, we recommend using the American 16
Console in one of two following session setup configurations.

As a virtual summing box : Input Channel is inserted on the last insert of the DAW audio
tracks, like a direct out routed to a summing box. The MixBus is placed on the first insert of
the master track, just as the stereo return would be routed from the analog console back to
the DAW.

To simulate a console : Input Channel is inserted on the first insert of the DAW audio tracks,
the MixBus is placed on the last insert of the master track. If you group channels in your
DAW, i.e. drums elements, you can insert the GroupBus as last insert in the submix group
bus to achieve the classic bus coloration. Optionally you can insert the pan-fader at the end
of each channel track.

You should set the Pan Law in the DAW at -3dB. You might like to use the Pan-Fader (included in
the library) on some stereo tracks and group bus instead of the DAW's panner, the A16GE+

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Pan-Fader should be the last insert into DAW's track or group bus leaving the Pan Law in the DAW
to 0dB.
Obviously the Panner doesn't work on mono tracks but you can still use the fader which gives
better sound and precision compared to the DAW's counterpart.

TRICK: to emulate the non linearity between the channels of the console, you can set the GDRV
control slightly different on every track into a range of +/-3dB.

15.3 - Preset list:

The American 16 GE+ library includes the following programs displayed into menu “A16” and
subgrouped into 44.1kHz, 48kHz, 88.2kHz and 96kHz.

A16GE+ Input
A16GE+ G.Bus
A16GE+ M.Bus
A16GE+ Panner

A16GE+ Input
The A16GE+ Input in is the first stage of the console, normally it works as line amplifier and you
should insert it in each track of the mix. With the Input preset you can choose between DI (1), Line
(2) and Mic-Preamp (3) by selecting them with the Source control.

A16GE+ G.Bus

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If you send some tracks to a submix bus group in your DAW and you like to have the real sound by
Bus Group of the console, you can use the G.Bus preset as insert into DAW's submix bus group.
G.Bus has new concept in the Golden Edition+: instead to have more presets with different colors,
there is only ones with the “Type” control which allows to choose different colors:

1 : Clean = Original Clean G.Bus, the pure sound from the console
2 : Drum = Original Clean G.Bus with 88RS channel eQ patched
3 : Percussions = Original Clean G.Bus with vintage Pultec patched
4 : Acoustic = Original Clean G.Bus with GML8200 patched
5 : Guitars = Original Clean G.Bus with vintage API 550A patched
6 : Synthpad = Original Clean G.Bus with vintage Moog PEQ patched
7 : BGVocals = Original Clean G.Bus with Neumann W492 EQ patched
8 : Ambient = Original Clean G.Bus with vintage Filtek PB1 parched

A16GE+ M.Bus
M.Bus has new concept in the Golden Edition+: instead to have more presets with different colors,
there is only ones with the “Type” control which allows to choose different colors:

1 : Vintage = The sound of the “Vision-airy” console Mixbus

2 : Clean = Original clean console mixbus
3 : Modern = Original Clean Mixbus with modern API 5500 eQ patched

M.Bus has been sampled at full headroom so you have to follow the gain staging (pag.27 ). By using
the G.Drive you get from clean to very hot/saturated signal out.

A16GE+ Panner
Console stereo panner and fader with -3dB Pan Law.

15.4 - Controls

The American 16 Console has only a few but intuitive and effective controls which are detailed
below.

Source Control
SOURCE The “SOURCE” control selects the input source of the first stage of the console.
The options are: DI, Line and Mic-Preamp.

TYPE TypeControl
The “Type” control selects the optional type of G.Bus or M.Bus.
See description.

GDRV GDrive Control

The “GDRV” control is a unique feature not found in similar products from others
brands that comes from Acustica Audio VVKT proprietary technology and

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 sampling aproach.
It allows you to control the amount of harmonic distortion that is coming from the
analog hardware. The “Input” control acts as the analog signal chain of the device,
where reducing the volume also reduces the harmonic distortion in accordance.
The “GDrive” function allows independent control of this harmonic content, so
that the input level can be left alone while making adjustments to the harmonics.
Reducing the harmonics leads to a cleaner signal with an already clean device.
Increasing the harmonics should be done with moderation.
This type of effect is not truly representative of a real console, but it can be useful
when you want more of the console’s nonlinear “vibe” without altering the
channel’s levels. The available range is ±12 dB.. Note that increasing the input
signal the internal headroom will be reduced.

DRIVE Drive Control

The “DRIVE” control affects the harmonic contents in an unnatural way, but
suitable if you look for an effect.
The available range is ±12 dB.

NOTE: clicking on the controls while pressing “ctrl” on computer keyboard, the control returns to
zero.
NOTE2: do not adjust the ATTCK and RELS controls, leave them at stock value (center 12 o'clock).

16. American 5A eQualizer Golden Edition Plus

16.1 - About the original hardware

Designed by the now legendary Saul Walker in the late 60's, this discrete EQ was first used as a
modular OEM equalizer. As the industry rapidly embraced the sonic quality of this unit, it quickly
found it's way into many custom console designs becoming the standard channel module EQ
when the company began manufacturing consoles in 1971.
The combination of Walker's incomparable 2520 op amp and his "Proportional Q" circuitry give the
user an uncomplicated way to generate acoustically superior equalization.

With its broad bandwidth the American 5AGE+ eQualizer has been engineered to deliver
recordings at the best conceivable quality onto any format at any sample rate, maintaining all the
energy and atmosphere of the original performance as perfectly as possible.

Two hand-selected refurbished units has been sampled fitted in the console in real stereo
configuration, to achieve the best sound by console's internal strong and clean power supply.

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16.2 - Session Setup

American 5AGE+ eQualizer reproduces the characteristic sound of vintage American eQualizer, this
kind of equalizers are used in countless records in the world. To faithfully reproduce this analog
sound in the DAW, we recommend using the A5AGE+ eQ in all tracks where you need to shape the
sound.

– On single track : American 5AGE+ eQualizer is inserted on the audio tracks as insert in the
position at your taste. It works great on all instruments and voices.
– On master track : American 5AGE+ eQualizer is inserted on the mixbus, or group bus, as last
insert giving at the whole mix his classic sound.

Fine Tuning: You have to respect the correct gain staging (pag.27)
To emulate the original unit sound you can use one or more presets in this way:

– When a single equalization band only is required you have to set the “Δ” (D) control to +3,5
– When two equalization bands is required you have to set the “Δ” (D) control to +1.5
– When three equalization bands is required you have to set the “Δ” (D) control to +0

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* “Δ” (D) control has to be set on each one used preset.

NOTE: use the band/s you need only. Stacking unnecessary bands is the wrong way to emulate the
sampled hardware.
Remember: every digital processing introduces quantizzation errors/noise which degrade the
sound, a smart use of the digital processing keeps the sound alive.

16.3 - Preset list:

The American 5A Golden Edition Plus eQualizer library includes 8 different programs displayed in
main menu “A5A”: presets with stock stepped gain control displayed into sub-menu “STG” and
presets with continuous gain control displayed into sub-menu “CNG”.

A5AGE+ Filter : Band Pass Filter at 50Hz / 15k 12dB/octave

A5AGE+ Filter Alone : Band Pass Filter at 50Hz / 15k 12dB/octave
A5AGE+ Low Shelf/Bell : Low Shelf & Bell filters 50, 100, 200, 300, 400Hz +/- 12dB
A5AGE+ 75-1000Hz : Low Mid Bell 400, 800, 1.5k, 3k, 5kHz +/- 12dB proportional Q
A5AGE+ High Shelf/Bell : High Shelf & Bell filters 5k, 7k, 10k, 12.5k, 15kHz +/- 12dB proportional Q

Note: Filter preset doesn't need “Δ” (D) control when stacked with other presets.
If you need the Filter only without stacking other bands, for example before a reverb FX, then use
Filter Alone preset.

16.4 – Controls

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The American 5AGE+ eQualizer has only a few but intuitive and effective controls which are
detailed below.

Frequency Control
FREQ The “FREQ” control sets the frequency to be boosted or attenuated. Stepped

Gain Control
GAIN The “GAIN” control sets the amount by which the frequency setting is boosted or
attenuated.
The available range is ±12 dB stepped.

THD Δ Delta Control

See section 17.2

NOTE: clicking on the controls while pressing “ctrl” on computer keyboard, the control returns to
zero.

17. American 5B eQualizer Golden Edition Plus

17.1 - About the original hardware

Originally conceived for use in American's consoles, this latest version is a continuation of the
original 1967 equalizer with one additional filter band and several new frequencies. Incorporating
American's exclusive circuitry and proprietary components (such as the legendary 2520 op-amp),
the A5BGE+ artfully blends the past with the present.
Many eQs today offer a huge assortment of complex features, but the A5BGE+ provides exactly the
right number of controls to the professional engineer.

With its broad bandwidth the American 5BGE+ eQualizer has been engineered to deliver
recordings at the best conceivable quality onto any format at any sample rate, maintaining all the
energy and atmosphere of the original performance as perfectly as possible.

Two vintage hand-selected refurbished units has been sampled fitted in the console in real stereo
configuration, to achieve the best sound by console's internal strong and clean power supply.

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17.2 - Session Setup

American 5BGE+ eQualizer reproduces the characteristic sound of Classic American eQualizer, this
kind of equalizers are used in countless records in the world. To faithfully reproduce this analog
sound in the DAW, we recommend using the A5BGE+ eQ in all tracks where you need to shape the
sound.

– Onsingle track : American 5BGE+ eQualizer is inserted on the audio tracks as insert in the
position at your taste. It works great on all instruments and voices.
– On master track : American 5BGE+ eQualizer is inserted on the mixbus, or group bus, as last
insert giving at the whole mix his classic sound.

Fine Tuning: You have to respect the correct gain staging (pag.27)
To emulate the original unit sound you can use one or more presets in this way:

– When a single equalization band only is required you have to set the “Δ” (THD) control to +4
– When two equalization bands is required you have to set the “Δ” (THD) control to +1.5
– When three equalization bands is required you have to set the “Δ” (THD) control to +1
– When four equalization bands is required you have to set the “Δ” (THD) control to 0

* “Δ” (D) control has to be set on each one used preset.

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NOTE: use the band/s you need only. Stacking unnecessary bands is the wrong way to emulate the
sampled hardware.
Remember: every digital processing introduces quantizzation errors/noise which degrade the
sound, a smart use of the digital processing keeps the sound alive.

17.3 - Preset list:

The American 5B Golden Edition Plus eQualizer library includes 8 different programs displayed in
main menu “A5B”: presets with stock stepped gain control displayed into sub-menu “STG” and
presets with continuous gain control displayed into sub-menu “CNG”

A5BGE+ Low Shelf/Bell : Low Shelf & Bell filters 30, 40, 50, 100, 200, 300, 400Hz +/- 12dB
A5BGE+ 75-1000Hz : Low Mid Bell 75, 150, 180, 240, 500, 700, 1kHz +/- 12dB proportional Q
A5BGE+ 0.8-12.5kHz : High Mid Bell 800, 1.5k, 3k, 5k, 8k, 10k, 12.5kHz +/- 12dB proportional Q
A5BGE+ High Shelf/Bell : High Shelf & Bell filters 2.5k, 5k, 7k, 10k, 12.5k, 15k, 20kHz +/- 12dB

17.4 – Controls

The American 5BGE+ eQualizer has only a few but intuitive and effective controls which are
detailed below.

Frequency Control
FREQ The “FREQ” control sets the frequency to be boosted or attenuated. Stepped

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 Gain Control
GAIN The “GAIN” control sets the amount by which the frequency setting is boosted or
attenuated.
The available range is ±12 dB stepped.

THD Δ Delta Control

See section 17.2

NOTE: clicking on the controls while pressing “ctrl” on computer keyboard, the control returns to
zero.

18. American 5 Dynamics

18.1 - About the original hardware

The American 5 Dynamics, originally released in the 70s, is a feedback type compressor with an
additional "Ceiling" fine-tune function which can increase gain reduction and varying the
frequency and THD response.
Equally useful as a tracking, mixdown or program compressor/limiter, the A5D utilizes "vintage"
dynamics control and an easy to use multi-function control set. It delivers dynamics control
behavior unlike VCA feed forward compressors so common today. American 5 Dynamics makes
use of the 2510 and 2520 op-amps and manages to sound clean but with character without being
weak and harsh.

With its broad bandwidth the American 5 Dynamics has been engineered to deliver recordings at
the best conceivable quality onto any format at any sample rate, maintaining all the energy,
atmosphere and life of the original performance as perfectly as possible.

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18.2 - Session Setup

American 5 Dynamics reproduces the characteristic sound of American Vintage Console

Compressor, this kind of compressor are used in top records in the world. To faithfully reproduce
this analog sound in the DAW, we recommend using the A5D in all tracks where you need to
control dynamically the sound.

On single track : American 5 Dynamics is inserted on the audio tracks as insert in the
position at your taste. It works great on all instruments and voices.

On master track : American 5 Dynamics is inserted on the group bus, as last insert giving at
the whole submix his classic sound.

TRICK: to emulate the original sound closely, you should set the AHEAD to 5.4ms.

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18.3 - Preset list:

The American 5 Dynamics library includes 16 different programs:

HQ presets with 5 kernels and LE presets with 1 kernel displayed into sub-menu “A5D”

A5D VT Comp : 2:1 compressor with variable controls and HPF on internal sidechain
A5D VT Comp esc : 2:1 compressor with variable controls and external sidechain
A5D FT Comp : 2:1 compressor with fixed attack time and HPF on internal sidechain
A5D FT Comp esc : 2:1 compressor with fixed attack time and external sidechain
A5D VT Lim : 20:1 limiter with variable controls and HPF on internal sidechain
A5D VT Lim esc : 20:1 limiter with variable controls and external sidechain
A5D FT Lim : 20:1 limiter with fixed attack time and HPF on internal sidechain
A5D FT Lim esc : 20:1 limiter with fixed attack time and external sidechain

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18.4 – Controls

The American 5 Dynamics has only a few but intuitive and effective controls which are detailed
below.

Attack Control
ATT The “ATT” control defines the attack time of the compressor. Attack time is the
duration between the input signal reaching the threshold and processing being
applied.
The range is variable from 3ms to 10ms

Release Control
REL The “REL” control sets the amount of time it takes for processing to cease once
the input signal drops below the threshold level.
The available range is 100ms to 2.5s

Threshold Control
THR The “THR” control defines the input level at which limiting or compression begins.
Signals that exceed this level are processed. Signals below the threshold are
unaffected. The range is variable from 0dB to -48,1dB

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 Ceiling Control
CLING The “CLING” can increase gain reduction while simultaneously varying the
frequency and THD response.
The range is variable from 0 to 20:1

Ahead Control
AHEAD The “AHEAD” control sets the look-ahead to control the fast transients.
The range is variable from 0ms to 6ms
Gain Control
GAIN The “GAIN” control sets the output level of gain makeup.
The range is variable from 0dB to 25dB

HPF Control
HPF The “HPF” control sets the cut-off point of a high-pass filter on the internal
sidechain.
The range is variable from 0Hz to 500Hz

NOTE: clicking on the controls while pressing “ctrl” on computer keyboard, the control returns to
zero.

19. American 5 Mastering eQualizer

19.1 - About the original hardware

This musical sounding dual eQualizer embodies more than 40 years of tradition where the original
proportional Q filter design with reciprocal boost and cut is used. It's through this design and
sound that all-discrete Class AB 2520 amplifier products have achieved a nearly sacrosanct, if not
mythical, status amongst audio engineers.
The new range control broadens the unit's utility to include mastering applications by changing
the four bands' boost/cut steps from the original 2 dB into continuous variable step. This made the
unit useful for mixing and mastering use making audio program sounds better and more punchy
and 3D just by passing through it, even while set "flat."

With its broad bandwidth the American 5 Mastering eQualizer has been engineered to deliver
recordings at the best conceivable quality onto any format at any sample rate, maintaining all the
energy and atmosphere of the original performance as perfectly as possible.

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19.2 - Session Setup

American 5 Mastering eQualizer reproduces the characteristic sound of Modern American

eQualizer, this kind of equalizers are used in countless records in the world. To faithfully reproduce
this analog sound in the DAW, we recommend using the A5M eQ in all tracks where you need to
shape the sound.

– On master track : American 5 Mastering eQualizer is inserted on the mixbus, or group bus,
as last insert giving at the whole mix his classic sound.
– On single track : American 5 Mastering eQualizer is inserted on the audio tracks as insert in
the position at your taste. It works great on all instruments and voices.
– Mastering : American 5 Mastering eQualizer is inserted on the audio track as insert in the
position at your taste.

To emulate the original unit sound you should use both presets LE and HQ by mixing them in this
way:

– When a single equalization band only is required you should use the HQ preset.
– When you need more than one band of equalization you should use the LE presets and as
last band the HQ. This interaction gives the right color and harmonic contents.

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NOTE: use the band/s you need only. Stacking unnecessary bands is the wrong way to emulate the
sampled hardware, the same by using more than one HQ preset.
Remember: every digital processing introduces quantizzation errors/noise which degrade the
sound, a smart use of the digital processing keeps the sound alive.

NOTE2: on some frequencies when boosting or cutting, the whole volume can rise up or fall
down a little, you can compensate this with the Output Gain Control.

TRICK: to emulate the non linearity between the tracks, you can set the DRIVE control slightly
different on every instance into a range of +/-5dB.

19.3 - Preset list:

The American 5 Mastering eQualizer library includes 12 different programs:

HQ presets with 7 kernels and LE presets with 1 kernel displayed into sub-menu “A5M”

A5M Low Shelf : Low Shelf 30, 40, 50, 100, 200, 300, 400Hz +/- 12dB
A5M Low Peak : Low Peak 30, 40, 50, 100, 200, 300, 400Hz +/- 12dB proportional Q
A5M Low Mid : Low Mid Bell 75, 150, 180, 240, 500, 700, 1kHz +/- 12dB proportional Q
A5M High Mid : High Mid Bell 800, 1.5k, 3k, 5k, 8k, 10k, 12.5kHz +/- 12dB proportional Q
A5M High Peak : High Peak 2.5k, 5k, 7k, 10k, 12.5k, 15k, 20kHz +/- 12dB proportional Q
A5M High Shelf : High Shelf 2.5k, 5k, 7k, 10k, 12.5k, 15k, 20kHz +/- 12dB

19.4 – Controls

The American 5 Mastering eQualizer has only a few but intuitive and effective controls which are
detailed below.

Frequency Control
FREQ The “FREQ” control sets the frequency to be boosted or attenuated. Stepped.

GAIN Gain Control

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 The “GAIN” control sets the amount by which the frequency setting is boosted or
attenuated.
The available range is ±12 dB continuous.

NOTE: clicking on the controls while pressing “ctrl” on computer keyboard, the control returns to
zero.

20. Neev 14 Console

20.1 - About the original hardware

One of the classic Neev consoles of the early 70s is the N14. This high quality, Class A desk, was the
first of the "80 series" of legendary top class consoles and it bears "His" name. His preamp modules
have established themselves as the most sought after mic-pres in the history of recording. This is
especially true for vocals. The amazing summing amp gives a rich, warm and fat sound...that
"magic Neev sound"!
Professionals throughout the world have chosen the rich and fat sound of the Neev 14 Console. Its
high bandwidth pure audio path, superior dynamics and greater control make the Neev 14 Console
the first choice for recording and mixing Rock, Pop, Jazz and more.

With its large bandwidth the Neev 14 Console has been engineered to deliver recordings at the
best conceivable quality onto any format at any sample rate, capturing all the energy and
atmosphere of the original performance as perfectly as possible.

© 2010-2022 98 AlexB Programs Manual

20.2 - Session Setup

Neev 14 Console reproduces the sound of Vintage British Recording Console using a library
programs consisting of channels input, group bus and mixbus. To faithfully reproduce into the
DAW the analog console signal chain and workflow, we recommend using the Neev 14 Console in
one of two following session setup configurations.

As a virtual summing box : Input Channel is inserted on the last insert of the DAW audio
tracks, like a direct out routed to a summing box. The MixBus is placed on the first insert of
the master track, just as the stereo return would be routed from the analog console back to
the DAW.

To simulate a console : Input Channel is inserted on the first insert of the DAW audio tracks,
the MixBus is placed on the last insert of the master track. If you group channels in your
DAW, i.e. drums elements, you can insert the GroupBus as last insert in the submix group
bus to achieve the classic bus coloration.

You should set the Pan Law in the DAW at -3dB. You might like to use the analog panner (included
in the library) on some stereo tracks and group bus instead of the DAW panner, the N14 Panner
should be the last insert into DAW's track or group bus leaving the Pan Law in the DAW to 0dB.

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TRICK: to emulate the non linearity between the channels of the console, you can set the GDRV
control slightly different on every track into a range of +/-3dB.

20.3 - Preset list:

The Neev 14 Console library includes 27 different programs:

HQ presets with 10 kernels and LE presets with 3 and 5 kernels displayed into sub-menu “N14”

N14 Line in : line input channel

N14 MIC Pre : microphone preamplifier
N14 G.Bus Clean : Group Bus clean signal
N14 G.Bus Acoustic : Group Bus with equalizer patched useful for acoustic instruments
N14 G.Bus AmbFX : Group Bus with equalizer patched useful for ambient & FX
N14 G.Bus BG Vox : Group Bus with equalizer patched useful for backing vocals
N14 G.Bus Drum : Group Bus with equalizer patched useful for drums
N14 G.Bus GTR : Group Bus with equalizer patched useful for guitars
N14 G.Bus Percussions : Group Bus with equalizer patched useful for percussions
N14 G.Bus SynthPad : Group Bus with equalizer patched useful for synthesizers and pads
N14 M.Bus Clean : vintage original MixBus
N14 M.Bus Modern : MixBus with modern transformer
N14 M.Bus Fat : MixBus with additional transformer for a more fat sound
N14 Panner : Panner -3dB pan law

N14 Line in
The Neev 14 Console Line in is the first stage of the console, normally it works as line amplifier and
you should insert it in every track.

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N14 MIC in
The Neev 14 Console microphone preamplifier has more coloration than Line in and you can use it
when more character is needed.

N14 G.Bus Clean

If you send some tracks to a submix bus group in your DAW and you like to have the real sound by
Bus Group of the console, you can insert the G.Bus Clean preset as last insert into DAW's submix
bus group.

N14 G.Bus Acoustic

When acoustic instruments are grouped into a submix in your DAW, you might want to have the
G.BUS Acoustic preset as last insert into DAW's submix bus group to give a cohesive colored glue.

N14 G.Bus Amb&FX

When ambients, reverb, echo and other effects are used into an aux-send/return in your DAW, you
may like to have the G.BUS Amb&FX preset as last insert into these DAW's channels to give more
spatial dimension.

N14 G.Bus BG Vox

When backing vocals tracks are grouped into a submix in your DAW, try inserting the G.BUS BG
Vox preset as last insert into DAW's submix bus group to push a little in the backward the sound by
achieving air and transparency.

N14 G.Bus Drum

When drum instruments are grouped into a submix in your DAW, you may want to have the G.BUS
Drum preset as last insert into DAW's submix bus group to give a cohesive punching glue.

N14 G.Bus GTR

When guitars are grouped into a submix in your DAW, try using the G.BUS GTR preset as last insert
into DAW's submix bus group to give a cohesive brilliant glue.

N14 G.Bus Percussions

When percussions are grouped into a submix in your DAW, you might like to have the G.BUS
Percussions preset as last insert into DAW's submix bus group to give a cohesive snapping glue.

N14 G.Bus SynthPad

When synthesizers and Pads are grouped into a submix in your DAW, maybe try the G.BUS
SynthPad preset as last insert into DAW's submix bus group to give a cohesive focused glue.

N14 M.Bus Clean

Neev 14 Console Mix Bus is the final stage of the console, it must be inserted in the mixbus of the
DAW.
The M.BUS Clean gives the original clean glue.

N14 M.Bus Modern

When a polished glued mix is needed, try the M.BUS Modern preset as last insert into DAW's
mixbus.

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N14 M.Bus Fat
When a more fat sound is needed, use the M.BUS Fat preset as last insert into DAW's mixbus.

20.4 - Controls

The Neev 14 Console has only a few but intuitive and effective controls which are detailed below.

GDrive Control
GDRV The “GDRV” control is a unique feature not found in similar products from others
brands that comes from Acustica Audio VVKT proprietary technology and
sampling aproach.
It allows you to control the amount of harmonic distortion that is coming from the
analog hardware. The “Input” control acts as the analog signal chain of the device,
where reducing the volume also reduces the harmonic distortion in accordance.
The “GDrive” function allows independent control of this harmonic content, so
that the input level can be left alone while making adjustments to the harmonics.
Reducing the harmonics leads to a cleaner signal with an already clean device.
Increasing the harmonics should be done with moderation.
This type of effect is not truly representative of a real console, but it can be useful
when you want more of the console’s nonlinear “vibe” without altering the
channel’s levels. The available range is ±12 dB.. Note that increasing the input
signal the internal headroom will be reduced.

DRIVE Drive Control

The “DRIVE” control affects the harmonic contents in an unnatural way, but

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 suitable if you look for an effect.
The available range is ±30 dB.

NOTE: clicking on the controls while pressing “ctrl” on computer keyboard, the control returns to
zero.
NOTE2: do not adjust the ATTCK and RELS controls, leave them at stock value (center 12 o'clock).

21. Neev 73 eQualizer

21.1 - About the original hardware

First launched in 1970, the N73 modules have established themselves as one of the most sought
after mic pres in the history of recording. This Class-A discrete transistor mic/line amp with 3-band
EQ and high-pass filter epitomizes the Neev "essence", it can add texture and vibe to the music
that is unique to the unit. Get the sound of a real vintage unit, with St.Ives/Marinair transformers
and Motorola power transistor. Not a modern reissue or a clone with cheap electronic components.
The N73 easily meets the quality, performance, and reliability requirements of the demanding
professionals.

With its broad bandwidth the Neev 73 eQualizer has been engineered to deliver recordings at the
best conceivable quality onto any format at any sample rate, maintaining all the energy and
atmosphere of the original performance as perfectly as possible.

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21.2 - Session Setup

Neev 73 eQualizer reproduces the characteristic sound of the Vintage British eQualizer, this kind of
equalizers are used in countless records in the world. To faithfully reproduce this analog sound in
the DAW, we recommend using the N73 in all tracks where you need to shape the sound.

– On single track : Neev 73 eQualizer is inserted on the audio tracks as insert in the position at
your taste. It works great on all instruments and voices.
– On master track : Neev 73 eQualizer is inserted on the mixbus, or group bus, as last insert
giving at the whole mix his classic sound.

To emulate the original unit sound you should use both presets LE and HQ by mixing them in this
way:

– When a single equalization band only is required you should use the HQ preset.
– When you need more than one band of equalization you should use the LE presets and as
last band the HQ. This interaction gives the right color and harmonic contents.

NOTE: use the band/s you need only. Stacking unnecessary bands is the wrong way to emulate the
sampled hardware, the same by using more than one HQ preset.

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Remember: every digital processing introduces quantizzation errors/noise which degrade the
sound, a smart use of the digital processing keeps the sound alive.

NOTE2: on some frequencies when boosting or cutting, the whole volume can rise up or fall
down a little, you can compensate this with the Output Gain Control.

TRICK: to emulate the non linearity between the tracks, you can set the DRIVE control slightly
different on every instance into a range of +/-5dB.

21.3 – Preset list:

The Neev 73 eQualizer library includes 8 different programs:

HQ presets with 3 kernels and LE presets with 1 kernel displayed into sub-menu “N73”

N73 Low Cut Filter : High Pass Filter -18dB/oct at 50, 80, 160, 300Hz
N73 Low Shelf : Low Shelf 35, 60, 110, 220Hz +/- 15dB
N73 Mid Freq: Bell Filter 0.36, 0.7, 1.6, 3.2, 4.8, 7.2kHz +/- 18dB
N73 High Shelf: High Shelf +/- 18dB

21.4 – Controls

The Neev 73 eQualizer has only a few but intuitive and effective controls which are detailed below.

Cut Off Control

CUTOF The “CUTOF” control affects the filter's frequency cut.

Frequency Control
FREQ The “FREQ” control sets the frequency to be boosted or attenuated.

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 Gain Control
GAIN The “GAIN” control sets the amount by which the frequency setting is boosted or
attenuated.

DRIVE Drive Control

The “DRIVE” control affects the harmonic contents in an unnatural way, but
suitable if you look for an effect.
The available range is ±30 dB.

NOTE: clicking on the controls while pressing “ctrl” on computer keyboard, the control returns to
zero.

22. Neev 64 Dynamics

22.1 - About the original hardware

Designed in 1974, the Vintage N64 mono Limiter/Compressor unit quickly became a legend by
achieving secret-weapon status among studio professionals, thanks to its unique sound and
functionality. Discrete, Class A/B design and transformer-coupled circuits used in the input ensured
a totally unique sound. This unit is still sought after, decades after production stopped, and they
remain one of the milestone pieces of studio equipment.
Neev 64 Dynamics manages to sound clean but with character without being weak and harsh.
There is little apparent colouration, just a maturity of tone.

With its large bandwidth the Neev 64 Dynamics has been engineered to deliver recordings at the
best conceivable quality onto any format at any sample rate, maintaining all the energy,
atmosphere and life of the original performance as perfectly as possible.

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22.2 - Session Setup

Neev 64 Dynamics reproduces the characteristic sound of Vintage British Console Compressor, this
kind of compressor are used in top records in the world. To faithfully reproduce this analog sound
in the DAW, we recommend using the N64 in all tracks where you need to control dynamically the
sound.

On single track : Neev 64 Dynamics is inserted on the audio tracks as insert in the position at
your taste. It works great on all instruments and voices.

On master track : Neev 64 Dynamics is inserted on the group bus, as last insert giving at the
whole submix his classic sound.

TRICK: to emulate the original sound closely, you should set the controls DRIVE to +3dB and
AHEAD to 5.4ms.

© 2010-2022 107 AlexB Programs Manual

22.3 - Preset list:

The Neev 64 Dynamics library includes 8 different programs:

HQ presets with 5 kernels and LE presets with 1 kernel displayed into sub-menu “N64”

N64 Compressor : Compressor with variable controls and HPF on internal sidechain. Fixed attack
3ms.
N64 Compressor esc : Compressor with variable controls and external sidechain. Fixed attack 3ms.
N64 Limiter : Limiter with variable controls and HPF on internal sidechain. Fixed attack 4ms.
N64 Limiter esc : Limiter with variable controls and external sidechain. Fixed attack 4ms.

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22.4 – Controls

The Neev 64 Dynamics has only a few but intuitive and effective controls which are detailed below.

Release Control
REL The “REL” control sets the amount of time it takes for processing to cease once
the input signal drops below the threshold level.
The available range is 100ms to 1,5s for the compressor and 50ms to 800ms for the
limiter.

Threshold Control
THR The “THR” control defines the input level at which limiting or compression begins.
Signals that exceed this level are processed. Signals below the threshold are
unaffected.
The range is variable from 0dB to -48,1dB

Ratio Control
RAT The “RAT” defines the amount of gain reduction to be processed by the module.
When the control is at maximum (10), the ratio is effectively infinity to one,
yielding the limiting effect.
The range is variable from 1,5:1 to 6:1 for the compressor.

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 Ahead Control
AHEAD The “AHEAD” control sets the look-ahead to control the fast transients.
The range is variable from 0ms to 6ms

Drive Control
DRIVE The “DRIVE” control affects the harmonic contents in an unnatural way, but
suitable if you look for an effect.
The available range is ±24 dB

Gain Control
GAIN The “GAIN” control sets the output level of gain makeup.
The range is variable from 0dB to 25dB

HPF Control
HPF The “HPF” control sets the cut-off point of a high-pass filter on the internal
sidechain.
The range is variable from 0Hz to 500Hz
NOTE: clicking on the controls while pressing “ctrl” on computer keyboard, the control returns to
zero.

23. Neev 54 Dynamics

23.1 - About the original hardware

Neev’s Holy Grail of compressors, the vintage N54 began life as a module in Neev’s legendary 1970s
mixing consoles, applying its trademark colored sound to signals fed into it. As you’d expect from a
classic Neev product, it isn’t exactly transparent – instead, think rich, think ‘thick’, and think ’round’.
It can do great things on single track but it excels on stereo bus operation, where the N54’s abilities
to glue stereo sub-mixes together are in a class of their own with buss compression.
Neev 54 Dynamics manages to sound clean but with character without being weak and harsh.
There is little apparent colouration, just a maturity of tone.

With its large bandwidth the Neev 54 Dynamics has been engineered to deliver recordings at the
best conceivable quality onto any format at any sample rate, maintaining all the energy,
atmosphere and life of the original performance as perfectly as possible.

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23.2 - Session Setup

Neev 54 Dynamics reproduces the characteristic sound of Vintage British Console Bus Compressor,
this kind of compressor are used in top records in the world. To faithfully reproduce this analog
sound in the DAW, we recommend using the N54 in all tracks where you need to control
dynamically the sound.

On single track : Neev 54 Dynamics is inserted on the audio tracks as insert in the position at
your taste. It works great on all instruments and voices.

On master track : Neev 54 Dynamics is inserted on the group bus, as last insert giving at the
whole submix his classic sound.

TRICK: to emulate the original sound closely, you should set the controls DRIVE to +3dB and
AHEAD to 5.4ms.

© 2010-2022 111 AlexB Programs Manual

23.3 - Preset list:

The Neev 54 Dynamics library includes 8 different programs:

HQ presets with 5 kernels and LE presets with 1 kernel displayed into sub-menu “N54”

N54 Compressor : Compressor with variable controls and HPF on internal sidechain. Fixed attack
5ms.
N54 Compressor esc : Compressor with variable controls and external sidechain. Fixed attack 5ms.
N54 Limiter : Limiter with variable controls and HPF on internal sidechain. Fixed attack 5ms.
N54 Limiter esc : Limiter with variable controls and external sidechain. Fixed attack 5ms.

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23.4 – Controls

The Neev 54 Dynamics has only a few but intuitive and effective controls which are detailed below.

Release Control
REL The “REL” control sets the amount of time it takes for processing to cease once
the input signal drops below the threshold level.
The available range is 400ms to 1,5s for the compressor and 100ms to 800ms for
the limiter.

Threshold Control
THR The “THR” control defines the input level at which limiting or compression begins.
Signals that exceed this level are processed. Signals below the threshold are
unaffected.
The range is variable from 0dB to -48,1dB

Ratio Control
RAT The “RAT” defines the amount of gain reduction to be processed by the module.
When the control is at maximum (10), the ratio is effectively infinity to one,
yielding the limiting effect.

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 The range is variable from 1,5:1 to 6:1 for the compressor.

Ahead Control
AHEAD The “AHEAD” control sets the look-ahead to control the fast transients.
The range is variable from 0ms to 6ms

Drive Control
DRIVE The “DRIVE” control affects the harmonic contents in an unnatural way, but
suitable if you look for an effect.
The available range is ±24 dB

Gain Control
GAIN The “GAIN” control sets the output level of gain makeup.
The range is variable from 0dB to 25dB

HPF Control
HPF The “HPF” control sets the cut-off point of a high-pass filter on the internal
sidechain.
The range is variable from 0Hz to 500Hz
NOTE: clicking on the controls while pressing “ctrl” on computer keyboard, the control returns to
zero.

24. Valve Tech Dynamics

24.1 - About the original hardware

All tube-based Opto compressors from 1985. The number of hit records featuring these
compressors is countless and the number of stars demanding them for their recording and mixing
is extreme! Use them for keys, guitars, vocals, mixbus, mastering, the result is always musical and
transparent. Some differences exist between the two units, the C2A dual compressor has a little
more "round" character to the compression and a little different frequency response compared to
C1B mono compressor. Valve Tech Dynamics manages to sound clean but with character without
being weak and harsh. There is little apparent colouration, just a maturity of tone. The units has
been refurbished with BC audio capacitors and NOS Telefunken / Siemens tubes.

The Valve Tech Dynamics has been engineered to deliver recordings at the best conceivable quality
onto any format at any sample rate, maintaining all the energy, atmosphere and life of the original
performance as perfectly as possible.

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24.2 - Session Setup

Valve Tech Dynamics reproduces the characteristic sound of Vintage Denmark Compressor, this
kind of compressor are used in top records in the world. To faithfully reproduce this analog sound
in the DAW, we recommend using the VTD in all tracks where you need to control dynamically the
sound.

On single track : C1B or C2A is inserted on the audio tracks as insert in the position at your
taste. It works great on all instruments and voices.

On master track : C2A is inserted on the group bus, as last insert giving at the whole submix
his classic sound.

TRICK: to emulate the original sound closely, you should set the AHEAD to 5.4ms.

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24.3 - Preset list:

The Valve Tech Dynamics library includes 8 different programs:

HQ presets with 5 kernels and LE presets with 1 kernel displayed into sub-menu “VTD”

C1B Compressor : Compressor with variable controls and HPF on internal sidechain.
C1B Compressor esc : Compressor with variable controls and external sidechain.
C2A Compressor : Compressor with variable controls and HPF on internal sidechain.
C2A Compressor esc : Compressor with variable controls and external sidechain.

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24.4 – Controls

The Valve Tech Dynamics has only a few but intuitive and effective controls which are detailed
below.

Attack Control
ATT The “ATT” control defines the attack time of the compressor. Attack time is the
duration between the input signal reaching the threshold and processing being
applied.
The range is variable from 0.5ms to 300ms (C1B) and from 3ms to 60ms (C2A)

Release Control
REL The “REL” control sets the amount of time it takes for processing to cease once
the input signal drops below the threshold level.
The available range is from 50ms to 10s (C1B) and 60ms to 2s (C2A)

Threshold Control
THR The “THR” control defines the input level at which limiting or compression begins.
Signals that exceed this level are processed. Signals below the threshold are
unaffected.
The range is variable from 0dB to -48,1dB

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 Ratio Control
RAT The “RAT” defines the amount of gain reduction to be processed by the module.
The range is variable from 2:1 to 10:1 (C1B) and 1.5:1 to 10:1 (C2A)

Ahead Control
AHEAD The “AHEAD” control sets the look-ahead to control the fast transients.
The range is variable from 0ms to 6ms

Drive Control
DRIVE The “DRIVE” control affects the harmonic contents in an unnatural way, but
suitable if you look for an effect.
The available range is ±24 dB

Gain Control
GAIN The “GAIN” control sets the output level of gain makeup.
The range is variable from 0dB to 25dB

HPF Control
HPF The “HPF” control sets the cut-off point of a high-pass filter on the internal
sidechain.
The range is variable from 0Hz to 500Hz

NOTE: clicking on the controls while pressing “ctrl” on computer keyboard, the control returns to
zero.

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25. T95 Program eQualizer SK

25.1 - About the original hardware

Elegant and Natural sounding, this is the first version of super rare pure class-A germanium
equalizer by Telefunken (not to be confused with the next silicon transistor release, the W395,
which has different transformers also). T95GE delivers a pure heavenly sound for drums, voice,
acoustic instruments, guitars, as well as entire mixes during mixdown and mastering. Two units
have been completely refurbished and match-calibrated. The T95GE easily meets the quality,
performance, and reliability requirements of any demanding professional.
With its broad bandwidth the T95GE Program eQualizer has been engineered to deliver recordings
at the best conceivable quality onto any format at any sample rate, maintaining all the energy and
atmosphere of the original performance as perfectly as possible.

With its broad bandwidth the T95GE Program eQualizer has been engineered to deliver recordings
at the best conceivable quality onto any format at any sample rate, maintaining all the energy and
atmosphere of the original performance as perfectly as possible.

© 2010-2022 119 AlexB Programs Manual

25.2 - Session Setup

T95GE Program eQualizer reproduces the characteristic sound of Vintage Germanium Program
eQualizer, this kind of equalizers are used in countless records in the world. To faithfully reproduce
this analog sound in the DAW, we recommend using the T95GE in all tracks where you need to
shape the sound.

– On Bus Group : T95GE Program eQualizer is inserted on the audio tracks as insert in the
position at your taste. It works great on all instruments and voices.
– On master track : T95GE Program eQualizer is inserted on the mixbus, or group bus, as last
insert giving at the whole mix his classic sound.
– Mastering : T95GE Program eQualizer is inserted on the audio track as insert in the position
at your taste.

To emulate the original unit sound you should use both presets 1K and 3K by mixing them in this
way:

– When a single equalization band only is required you should use the 3K preset.
– When you need more than one band of equalization you should use the 1k presets and as
last band the 3k. This interaction gives the right color and harmonic contents.

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NOTE: use the band/s you need only. Stacking unnecessary bands is the wrong way to emulate the
sampled hardware, the same by using more than one 3K preset.
Remember: every digital processing introduces quantizzation errors/noise which degrade the
sound, a smart use of the digital processing keeps the sound alive.

NOTE2: on some frequencies when boosting or cutting, the overall volume can increase or
decrease a little, you can compensate this with the Output Gain Control.

TRICK: to emulate the non linearity between the tracks, you can set the THD control slightly
different on every instance into a range of +/-2dB.

25.3 - Preset list:

The T95GE Program eQualizer library includes 12 different programs:

3K presets with 3 kernels and 1K presets with 1 kernel displayed into sub-menu “T95”

T95GE Shelf A: Low and High Shelf at 60Hz and 10kHz +/- 12dB (unit A)
T95GE Shelf B: Low and High Shelf at 60Hz and 10kHz +/- 12dB (unit B)
T95GE Shelf Combo: A+B units configured in stereo mode, Low and High Shelf at 60Hz and 10kHz
+/- 12dB (both units in dual-mono->stereo)
T95GE Mid A : Mid bell fixed 700, 1k, 1.4K, 2k, 3kHz + 8dB (unit A)
T95GE Mid B : Mid bell fixed 700, 1k, 1.4K, 2k, 3kHz + 8dB (unit B)
T95GE Mid Combo : A+B units configured in stereo mode, Mid bell fixed 700, 1k, 1.4K, 2k, 3kHz + 8dB
(both units in dual-mono->stereo)

25.4 – Controls

The T95GE Program eQualizer has only a few but intuitive and effective controls which are detailed
below.

Frequency Control
FREQ The “FREQ” control sets the frequency to be boosted or attenuated.

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 Gain Control
GAIN The “GAIN” control sets the amount by which the frequency setting is boosted or
attenuated.
The MF bell has broad curve when boosted and narrow curve when it is cut.

THD Control
THD The “THD” control affects the harmonic contents in an unnatural way, but suitable
if you look for an effect.
The available range is ±12 dB.

NOTE: clicking on the controls while pressing “ctrl” on computer keyboard, the control returns to
zero

26. T361A Dolbee Sys

26.1 - About the original hardware

The T361A is one of a series of noise reduction systems for use in analog magnetic tape recording.
T361A is the first professionally built broadband noise reduction for recording studios in 1965 by
Telefunken. Today this unit is often used as FX on many audio materials as voice, guitars, and synth.
By increasing and enhancing presence, brightness, and details. The T361A easily meets and exceeds
he quality, performance, and reliability requirements of the demanding professionals.

With its broad bandwidth the T361A has been engineered to deliver recordings at the best
conceivable quality onto any format at any sample rate, maintaining all the energy and
atmosphere of the original performance as perfectly as possible.

© 2010-2022 122 AlexB Programs Manual

26.2 - Session Setup

T361A reproduces the characteristic sound of a vintage Dolbee Sys, this kind of gears are used in all
records in the world in the tape era. To faithfully reproduce this analog sound in the DAW, we
recommend using the T361A in all tracks where you need to control dynamically the sound.

On single track : T361A is inserted on the audio tracks as insert in the position at your taste. It
works great on all instruments and voices.

On master track : T361A is inserted on the group bus, as last insert giving at the whole
submix his classic sound.

Mastering : T361A is inserted on the audio track as last insert, before the brickwall limiter.

TRICK: to emulate the non linearity between the tracks, you can set the DRIVE control slightly
different on every instance into a range of +/-5dB.

NOTE: in the “Test Tone” folder there are the audio sample of the original D-Tone

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26.3 - Preset list:

The T361A library includes 9 different programs:

HQ presets with 10 kernels displayed into sub-menu “361”

T361A Line Standard: line input (normally the signal comes from the console)
T361A Line Mod1: line input with CAT22 board modified
T361A Line Mod2: line input with CAT22 board modified
T361A Line Mod3: line input with CAT22 board modified
T361A Tape Standard: tape input (normally the signal comes from the tape)
T361A Tape Mod1: tape input with CAT22 board modified
T361A Tape Mod2: tape input with CAT22 board modified
T361A Tape Mod3: tape input with CAT22 board modified
T361A Mastering: your secret-weapon for mastering use!

NOTE: be careful when the Tape Mod* presets are used, these presets can give freak FX ! Please
use them with a low audio level.

© 2010-2022 124 AlexB Programs Manual

26.4 – Controls

T361A has only a few but intuitive and effective controls which are detailed below.

Drive Control
DRIVE The “DRIVE” control affects the harmonic contents in an unnatural way, but
suitable if you look for an effect. The available range is ±30 dB.

GDrive Control
GDRV The “GDRV” control is a unique feature not found in similar products from others
brands that comes from Acustica Audio VVKT proprietary technology and
sampling aproach.
It allows you to control the amount of harmonic distortion that is coming from the
analog hardware. The “Input” control acts as the analog signal chain of the device,
where reducing the volume also reduces the harmonic distortion in accordance.
The “GDrive” function allows independent control of this harmonic content, so
that the input level can be left alone while making adjustments to the harmonics.
Reducing the harmonics leads to a cleaner signal with an already clean device.
Increasing the harmonics should be done with moderation.
This type of effect is not truly representative of a real console, but it can be useful
when you want more of the console’s nonlinear “vibe” without altering the
channel’s levels. The available range is ±12 dB.. Note that increasing the input
signal the internal headroom will be reduced.

NOTE: clicking on the controls while pressing “ctrl” on computer keyboard, the control returns to

© 2010-2022 125 AlexB Programs Manual

zero.
NOTE2: do not adjust the ATTCK and RELS controls, leave them at stock value (center 12
o'clock).

27. Neev 81 Sidecar Console

27.1 - About the original hardware

Custom designed and hand-made by AlexB, the sidecar console is based on eight legendary
vintage Class AB mic-preamps and equalizers which come from the 70's era "with a lot of
character". The summing amp has a vintage design of pure Class A with Carnhill transformers
which gives that “in your face” Neev sound.
A professional studio requested me to build this sidecar console for their dance-techno production,
choosing the rich, dynamics and fat sound it has. Its high bandwidth pure audio path, superior
dynamics and greater control make the Neev 81 Sidecar Console the first choice for recording and
mixing Rock, Pop, Dance and more.

With its large bandwidth the Neev 81 Sidecar Console has been engineered to deliver recordings at
the best conceivable quality onto any format at any sample rate, capturing all the energy and
atmosphere of the original performance as perfectly as possible.

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27.2 - Session Setup

Neev 81 Sidercar Console reproduces the sound of Vintage British Recording Console using a library
programs consisting of channels input, equalizer and mixbus. To faithfully reproduce into the DAW
the analog console signal chain and workflow, we recommend using the Neev 81 Sidecar Console
in one of two following session setup configurations.

As a virtual summing box : Input Channel is inserted on the last insert of the DAW audio
tracks, like a direct out routed to a summing box. The MixBus is placed on the first insert of
the master track, just as the stereo return would be routed from the analog console back to
the DAW.

To simulate a console : Input Channel is inserted on the first insert of the DAW audio tracks,
the MixBus is placed on the last insert of the master track.

You should set the Pan Law in the DAW at -3dB. You might like to use the analog panner (included
in the library) on some stereo tracks and group bus instead of the DAW panner, the N81 Panner
should be the last insert into DAW's track or group bus leaving the Pan Law in the DAW to 0dB.

TRICK: to emulate the non linearity between the channels of the console, you can set the GDRV
control slightly different on every track into a range of +/-3dB.

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27.3 - Preset list:

The Neev 81 Sidecar Console library includes 23 different programs:

HQ presets with 10 and 3 kernels and LE presets with 5, 3 and 1 kernels displayed into sub-menu
“N81”

N81 Input Line : line input channel

N81 Mic Pre : microphone preamplifier
N81 MixBus : MixBus
N81 Panner : Panner -3dB pan law
N81 Low Cut Filter: 18dB/octave slope 27, 47, 82, 150, 270Hz
N81 Hi-Cut Filter: 18dB/octave slope 3.9, 5.6, 8.2, 12, 18kHz
N81 Low Freq Peak : bell filter 33, 56, 100, 180, 330Hz +/-18dB
N81 Low Freq Shelf : shelf filter 33, 56, 100, 180, 330Hz +/-18dB
N81 Low Mid Freq : bell filter 220Hz, 270, 330, 390, 470, 560, 680, 820, 1000, 1200Hz +/-18dB, Low/Hi Q
N81 Hi-Mid Freq: bell filter 1.5, 1.8, 2.2, 2.7, 3.3, 3.9, 4.7, 5.6, 6.8, 8.2kHz +/-18dB, Low/Hi Q
N81 Hi-Freq Shelf : shelf filter 3.3, 4.7, 6.8, 10, 15kHz +/-18dB
N81 Hi-Freq Peak : peak filter 3.3, 4.7, 6.8, 10, 15kHz +/-18dB

N81 Input Line

The Neev 81 Sidecar Console Input Line is the first stage of the console, normally it works as line
amplifier and you should insert it in every track.

N81 Mic Pre

The Neev 81 Sidecar Console microphone preamplifier has more coloration than Line in and you
can use it when more character is needed.

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N81 MixBus
Neev 81 Sidecar Console MixBus is the final stage of the console, it must be inserted in the mixbus
of the DAW
to give the original clean glue.

27.4 - Controls

The Neev 81 Sidecar Console has only a few but intuitive and effective controls which are detailed
below.

GDrive Control
GDRV The “GDRV” control is a unique feature not found in similar products from others
brands that comes from Acustica Audio VVKT proprietary technology and
sampling aproach.
It allows you to control the amount of harmonic distortion that is coming from the
analog hardware. The “Input” control acts as the analog signal chain of the device,
where reducing the volume also reduces the harmonic distortion in accordance.
The “GDrive” function allows independent control of this harmonic content, so
that the input level can be left alone while making adjustments to the harmonics.
Reducing the harmonics leads to a cleaner signal with an already clean device.
Increasing the harmonics should be done with moderation.
This type of effect is not truly representative of a real console, but it can be useful
when you want more of the console’s nonlinear “vibe” without altering the
channel’s levels. The available range is ±12 dB.. Note that increasing the input
signal the internal headroom will be reduced.

DRIVE Drive Control

The “DRIVE” control affects the harmonic contents in an unnatural way, but
suitable if you look for an effect.
The available range is ±30 dB.

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 Cut Off Control
CUTOF The switchable “CUTOF” control affects the filter's frequency cut.

Frequency Control
FREQ The switchable “FREQ” control sets the frequency to be boosted or attenuated.

Gain Control
GAIN The “GAIN” control sets the amount by which the frequency setting is boosted or
attenuated.
The available range is ±18 dB.

Q Control
Q The switchable “Q” control sets the amplitude of the filter selected by FREQ
control.

NOTE: clicking on the controls while pressing “ctrl” on computer keyboard, the control returns to
zero.
NOTE2: do not adjust the ATTCK and RELS controls, leave them at stock value (center 12 o'clock).

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28. Chandly Ltd Germanium

28.1 - About the original hardware

Chandly Ltd Germanium is a class A compressor with transformers, the compression circuit uses
FET gain reduction element. The compression curve, the knee, can be selected by various diode
combination and the tone can be selected from flat, smooth and driven.
Chandly Ltd Germanium manages to sound with character without being weak and harsh. There is
little apparent colouration, just a maturity of tone. This library programs is the result of more than
300GB of sampled data from the original hardware.

With its large bandwidth the Chandly Ltd Germanium has been engineered to deliver recordings
at the best conceivable quality onto any format at any sample rate, maintaining all the energy,
atmosphere and life of the original performance as perfectly as possible.

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28.2 - Session Setup

Chandly Ltd Germanium reproduces the characteristic sound of Germanium Compressor, this kind
of compressor are used in top records in the world. To faithfully reproduce this analog sound in the
DAW, we recommend using the CLG in all tracks where you need to control dynamically the sound.

On single track : Chandly Ltd Germanium is inserted on the audio tracks as insert in the
position at your taste. It works great on all instruments and voices.

On master track : Chandly Ltd Germanium is inserted on the group bus, as last insert giving
at the whole submix his classic sound.

Some notes on useage:

It is helpful to understand a little about what the different curves are (based on the diode selected,
going from softest to hardest knee)

Resistance - This is the gentlest and most neutral of the knee curves.

Germanium Soft - Uses a single germanium diode. Has a very slightly sharper knee and starts to
introduce some “vibe”.

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Germanium Medium - This uses 5 germanium diodes (different type than the other) as well as the
diode from the soft setting. This is even slightly more sharper kneed and more colorful.

Silicon Medium - This uses a single silicon diode and ihas a sharper knee than the other modes. It
also has a different tonal character than the other modes.

Silicon Hard - This uses 2 silicon diodes in combination, sharpening the knee even more, and of
course adding yet more “vibe”.

Zener Hard - This uses a single zener diode, and contributes the sharpest knee character. It also
introduces another different tonal and compression character.

It is important to note here that in the original hardware, the attack and release were tuned by ear
to be musical, and NOT configured using math and ratios. So the numerical settings on the Nebula
version are approximates based on the hardware, they are NOT faithful numerical representations
of milliseconds!
Again, I strongly urge you to look up and download the manual and even the “brochure” they offer.
In those you will find much very interesting and useful information that will help you enjoy this
library more and understand the depth of it's usage.

TRICK: to emulate the original sound closely, you should set the AHEAD to 5.4ms.
28.3 - Preset list:

Chandly Ltd Germanium library includes 72 different programs:

HQ presets with 5 kernels and LE presets with 1 kernel displayed into sub-menu “CLG”

CLG R Flat: Compressor with Resistance (soft) knee and HPF on internal sidechain. Flat tone.
CLG R Flat esc : Compressor with Resistance (soft) knee and external sidechain. Flat tone.
CLG R Smooth : Compressor with Resistance (soft) knee and HPF on internal sidechain. Smooth
tone.
CLG R Smooth esc : Compressor with Resistance (soft) knee and external sidechain. Smooth tone.
CLG R Driven : Compressor with Resistance (soft) knee and HPF on internal sidechain. Driven tone.
CLG R Driven esc : Compressor with Resistance (soft) knee and external sidechain. Driven tone.
CLG GS Flat: Compressor with Germanium Soft knee and HPF on internal sidechain. Flat tone.
CLG GS Flat esc : Compressor with Germanium Soft knee and external sidechain. Flat tone.
CLG GS Smooth : Compressor with Germanium Soft knee and HPF on internal sidechain. Smooth
tone.
CLG GS Smooth esc : Compressor with Germanium Soft knee and external sidechain. Smooth tone.
CLG GS Driven : Compressor with Germanium Soft knee and HPF on internal sidechain. Driven
tone.
CLG GS Driven esc : Compressor with Germanium Soft knee and external sidechain. Driven tone.
CLG GM Flat: Compressor with Germanium Medium knee and HPF on internal sidechain. Flat tone.
CLG GM Flat esc : Compressor with Germanium Medium knee and external sidechain. Flat tone.
CLG GM Smooth : Compressor with Germanium Medium knee and HPF on internal sidechain.
Smooth tone.

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CLG GM Smooth esc : Compressor with Germanium Medium knee and external sidechain. Smooth
tone.
CLG GM Driven : Compressor with Germanium Medium knee and HPF on internal sidechain. Driven
tone.
CLG GM Driven esc : Compressor with Germanium Medium knee and external sidechain. Driven
tone.
CLG SM Driven esc : Compressor with Silicon Medium knee and external sidechain. Driven tone.
CLG SM Flat esc : Compressor with Silicon Medium knee and external sidechain. Flat tone.
CLG SM Smooth : Compressor with Silicon Medium knee and HPF on internal sidechain. Smooth
tone.
CLG SM Smooth esc : Compressor with Silicon Medium knee and external sidechain. Smooth tone.
CLG SM Driven : Compressor with Silicon Medium knee and HPF on internal sidechain. Driven tone.
CLG SM Driven esc : Compressor with Silicon Medium knee and external sidechain. Driven tone.
CLG SH Driven esc : Compressor with Silicon Hard knee and external sidechain. Driven tone.
CLG SH Flat esc : Compressor with Silicon Hard knee and external sidechain. Flat tone.
CLG SH Smooth : Compressor with Silicon Hard knee and HPF on internal sidechain. Smooth tone.
CLG SH Smooth esc : Compressor with Silicon Hard knee and external sidechain. Smooth tone.
CLG SH Driven : Compressor with Silicon Hard knee and HPF on internal sidechain. Driven tone.
CLG SH Driven esc : Compressor with Silicon Hard knee and external sidechain. Driven tone.
CLG ZH Driven esc : Compressor with Zener Hard knee and external sidechain. Driven tone.
CLG ZH Flat esc : Compressor with Zener Hard knee and external sidechain. Flat tone.
CLG ZH Smooth : Compressor with Zener Hard knee and HPF on internal sidechain. Smooth tone.
CLG ZH Smooth esc : Compressor with Zener Hard knee and external sidechain. Smooth tone.
CLG ZH Driven : Compressor with Zener Hard knee and HPF on internal sidechain. Driven tone.
CLG ZH Driven esc : Compressor with Zener Hard knee and external sidechain. Driven tone.

TRICK: using the presets in conjunction with the DRIVE control you can create hundreds of
different tones. It's highly recommended to download and read the manual of the original
sampled hardware.

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28.4 – Controls

Chandly Ltd Germanium has only a few but intuitive and effective controls which are detailed
below.

Attack Control
ATT The “ATT” control defines the attack time of the compressor. Attack time is the
duration between the input signal reaching the threshold and processing being
applied.
The range is variable from 3ms to 120ms

Release Control
REL The “REL” control sets the amount of time it takes for processing to cease once
the input signal drops below the threshold level.
The available range is 100ms to 1,2s

Threshold Control
THR The “THR” control defines the input level at which limiting or compression begins.
Signals that exceed this level are processed. Signals below the threshold are
unaffected.
The range is variable from 0dB to -48,1dB

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 Ratio Control
RAT The “RAT” defines the amount of gain reduction to be processed by the module.
The range is variable from 1,5:1 to 10:1

Ahead Control
AHEAD The “AHEAD” control sets the look-ahead to control the fast transients.
The range is variable from 0ms to 6ms

Drive Control
DRIVE The “DRIVE” control affects the harmonic contents in an unnatural way, but
suitable if you look for an effect.
The available range is ±24 dB
Gain Control
GAIN The “GAIN” control sets the output level of gain makeup.
The range is variable from 0dB to 25dB

HPF Control
HPF The “HPF” control sets the cut-off point of a high-pass filter on the internal
sidechain.
The range is variable from 0Hz to 500Hz
NOTE: clicking on the controls while pressing “ctrl” on computer keyboard, the control returns to
zero.

© 2010-2022 136 AlexB Programs Manual

29. Vinylizer

29.1 - About the original hardware

This is a little collection of the best vinyl players: from a '40 gramophone, an old '50 player, two
vintage '70 players with tube and solid state, two modern players with tube and solid state, and a
vintage '60 Jukebox. The entire signal path was sampled, from the pickup to final amp stage. We
even included samples with some with dust, scratch, hum, motor and noise. The Vinylizer easily
meets and exceeds he quality, performance, and reliability requirements of the demanding
professionals.

With its broad bandwidth the Vinylizer has been engineered to deliver recordings at the best
conceivable quality onto any format at any sample rate, maintaining all the energy and
atmosphere of the original performance as perfectly as possible.

© 2010-2022 137 AlexB Programs Manual

29.2 - Session Setup

Vinylizer reproduces the characteristic sound of vinyl players. To faithfully reproduce this analog
sound in the DAW, we recommend using the Vinylizer in all tracks where you need to add this kind
of sound.

On single track : Vinylizer is inserted on the audio tracks as insert in the position at your
taste. It works great on all instruments and voices.

On master track : Vinylizer is inserted on the group bus, as last insert giving at the whole
submix his classic sound.

Mastering : Vinylizer is inserted on the audio track as last insert, before the brickwall limiter.

TRICK: to emulate the non linearity between the tracks, you can set the DRIVE control slightly
different on every instance into a range of +/-5dB.

© 2010-2022 138 AlexB Programs Manual

29.3 - Preset list:

The Vinylizer library includes 14 different programs:

HQ presets with 7 kernels and LE presets with 3 kernel displayed into sub-menu “VNL”

VNL2 Gramophone: 1940's British Gramophone

VNL2 JukeBox: 1960's German JukeBox
VNL2 Modern Solid State: 2010's American solid state player
VNL2 Modern Tube State: 2010's American tube state player
VNL2 Old: 1950's American player
VNL2 Vintage Solid State: 1970's Japanese solid state player
VNL2 Vintage Tube State: 1970's French tube state player
Samples at 44,1kHz/24bit and 96kHz/24bit

Noise_lift
Noise_motor
Noise_motor_gramophone
Noise_motor_old
Noise_motor_vintage
Noise1
Noise2
Noise3
Noise4
Noise5

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Noise6

TRICK: You can use the samples to add a new dimension and effect to your digital music. When
properly set up, these noises will interfere with your songs less than you might expect. To make it
sounds realistic, set the levels so that sample becomes just audible in the quietest passages of
your songs.

29.4 – Controls

Vinylizer has only a few but intuitive and effective controls which are detailed below.

Drive Control
DRIVE The “DRIVE” control affects the harmonic contents in an unnatural way, but
suitable if you look for an effect.
The available range is ±30 dB.

GDrive Control
GDRV The “GDRV” control is a unique feature not found in similar products from others
brands that comes from Acustica Audio VVKT proprietary technology and
sampling aproach.
It allows you to control the amount of harmonic distortion that is coming from the
analog hardware. The “Input” control acts as the analog signal chain of the device,
where reducing the volume also reduces the harmonic distortion in accordance.
The “GDrive” function allows independent control of this harmonic content, so
that the input level can be left alone while making adjustments to the harmonics.
Reducing the harmonics leads to a cleaner signal with an already clean device.
Increasing the harmonics should be done with moderation.
This type of effect is not truly representative of a real console, but it can be useful
when you want more of the console’s nonlinear “vibe” without altering the

© 2010-2022 140 AlexB Programs Manual

 channel’s levels. The available range is ±12 dB.. Note that increasing the input
signal the internal headroom will be reduced.

NOTE: clicking on the controls while pressing “ctrl” on computer keyboard, the control returns to
zero.
NOTE2: do not adjust the ATTCK and RELS controls, leave them at stock value (center 12
o'clock).

30. Massive Mix eQualizer

30.1 - About the original hardware

The Massive Mix eQualizer makes everything sound better. You can expect the best strengths of
Pultec-style equalizers as well as choice console, parametric, and graphic Eqs. All the radical
shaping you'll need for the most demanding of sessions as well as the delicate, subtle shadings
needed for vocals and mastering.
Massive Mix eQualizer manages to sound clean without being weak and characterless. There is
little apparent colouration, just a maturity of tone.

With its broad bandwidth the Massive Mix eQualizer has been engineered to deliver recordings at
the best conceivable quality onto any format at any sample rate, maintaining all the energy and
atmosphere of the original performance as perfectly as possible.

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30.2 - Session Setup

Massive Mix eQualizer reproduces the characteristic sound of Modern Passive Tube eQualizer, this
kind of equalizers are used in countless records in the world. To faithfully reproduce this analog
sound in the DAW, we recommend using the MMeQ in all tracks where you need to shape the
sound.

– On single track : Massive Mix eQualizer is inserted on the audio tracks as insert in the
position at your taste. It works great on all instruments and voices.
– On master track : Massive Mix eQualizer is inserted on the mixbus, or group bus, as last
insert giving at the whole mix his classic sound.

To emulate the original unit sound you should use both presets LE and HQ by mixing them in this
way:

– When a single equalization band only is required you should use the HQ preset.
– When you need more than one band of equalization you should use the LE presets and as
last band the HQ. This interaction gives the right color and harmonic contents.

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NOTE: use the band/s you need only. Stacking unnecessary bands is the wrong way to emulate the
sampled hardware, the same by using more than one HQ preset.
Remember: every digital processing introduces quantizzation errors/noise which degrade the
sound, a smart use of the digital processing keeps the sound alive.

TRICK: to emulate the non linearity between the tracks, you can set the DRIVE control slightly
different on every instance into a range of +/-5dB.

30.3 - Preset list:

The Massive Mix eQualizer library includes 24 different programs:

HQ presets with 3 kernels and LE presets with 1 kernel displayed into sub-menu “MMQ”

MMeQ HPF : High Pass Filter -18dB/oct from 0 to 220Hz

MMeQ LPF : Low Pass Filter -18dB/oct from 6k to 18kHz
MMeQ B 22-180Hz: Bell variable from 22 to 180Hz +/- 20dB variable Q from 1,5 to 3
MFeQ LS 22-150Hz: Low Shelf variable from 22 to 150Hz +/- 20dB variable overshoot/undershoot
MMeQ B 180-820Hz: Bell variable from 180 to 820Hz +/- 20dB variable Q from 1,5 to 3
MMeQ LS 150-560Hz: Low Shelf variable from 150 to 560Hz +/- 20dB variable overshoot/undershoot
MMeQ B 820-3900Hz: Bell variable from 820 to 3900Hz +/- 20dB variable Q from 1,5 to 3
MMeQ LS 560-3900Hz: Low Shelf variable from 560 to 3900Hz +/- 20dB variable
overshoot/undershoot
MMeQ B 3.9-27kHz: Bell variable from 3.9k to 27kHz +/- 20dB variable Q from 1,5 to 3
MMeQ HS 220-1200Hz: High Shelf variable from 220 to 1200Hz +/- 20dB variable
overshoot/undershoot
MMeQ HS 1.2-4.7kHz: High Shelf variable from 1.2k to 4.7kHz +/- 20dB variable
overshoot/undershoot
MMeQ HS 4.7-27kHz: High Shelf variable from 4.7k to 27kHz +/- 20dB variable
overshoot/undershoot

© 2010-2022 143 AlexB Programs Manual

30.4 – Controls

The Massive Mix eQualizer has only a few but intuitive and effective controls which are detailed
below.

Cut Off Control

CUTOF The “CUTOF” control affects the filter's frequency cut.

Frequency Control
FREQ The “FREQ” control sets the frequency to be boosted or attenuated.

Gain Control
GAIN The “GAIN” control sets the amount by which the frequency setting is boosted or
attenuated.
The available range is ±20 dB.

Q Control
Q The “Q” control sets the amplitude of the filter selected by FREQ control.

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 Drive Control
DRIVE The “DRIVE” control affects the harmonic contents in an unnatural way, but
suitable if you look for an effect.
The available range is ±30 dB.

NOTE: clicking on the controls while pressing “ctrl” on computer keyboard, the control returns to
zero.

31. 4K Console

31.1 - About the original hardware

It's the world's most successful studio production console. Its reputation is built upon excellence of
design, advanced electronic engineering and a sound quality that has produced hundreds of best-
selling recordings. A key element in the sound of many of these recordings is the punch and drive
of the mixes created by this classic '80 console.
This unit has been serviced and upgraded to give serious punch and animal power with
unbelievable cleanness.

With its analog punchy sound the 4K Console has been engineered to deliver recordings at the
best conceivable quality onto any format at any sample rate, capturing all the energy and
atmosphere of the original performance as perfectly as possible.

© 2010-2022 145 AlexB Programs Manual

31.2 - Session Setup

4K Console reproduces the sound of Classic Logic Console by using a library programs consisting of
channels input, group bus and mixbus. To faithfully reproduce into the DAW the analog console
signal chain and workflow, we recommend using the 4K Console in one of two following session
setup configurations.

As a virtual summing box : Input Channel is inserted on the last insert of the DAW audio
tracks, like a direct out routed to a summing box. The MixBus is placed on the first insert of
the master track, just as the stereo return would be routed from the analog console back to
the DAW.

To simulate a console : Input Channel is inserted on the first insert of the DAW audio tracks,
the MixBus is placed on the last insert of the master track. If you group channels in your
DAW, i.e. drums elements, you can insert the GroupBus as last insert in the submix group
bus to achieve the classic bus coloration.

You should set the Pan Law in the DAW at -4,5dB. You might like to use the analog panner
(included in the library) on some stereo tracks and group bus instead of the DAW panner, the 4KC
Panner should be the last insert into DAW's track or group bus leaving the Pan Law in the DAW to
0dB.

© 2010-2022 146 AlexB Programs Manual

TRICK: to emulate the non linearity between the channels of the console, you can set the GDRV
control slightly different on every track into a range of +/-3dB.

31.3 - Preset list:

The 4K Console library includes 27 different programs:

HQ presets with 10 kernels and LE presets with 3 and 5 kernels displayed into sub-menu “4KC”
4KC Line in : line input channel
4KC MIC Pre : microphone preamplifier
4KC G.Bus Clean : Group Bus clean signal
4KC G.Bus Acoustic : Group Bus with equalizer patched useful for acoustic instruments
4KC G.Bus AmbFX : Group Bus with equalizer patched useful for ambient & FX
4KC G.Bus BG Vox : Group Bus with equalizer patched useful for backing vocals
4KC G.Bus Drum : Group Bus with equalizer patched useful for drums
4KC G.Bus GTR : Group Bus with equalizer patched useful for guitars
4KC G.Bus Percussions : Group Bus with equalizer patched useful for percussions
4KC G.Bus SynthPad : Group Bus with equalizer patched useful for synthesizers and pads
4KC M.Bus Clean : MixBus clean tone
4KC M.Bus Vintage : MixBus original vintage tone
4KC M.Bus Modern : MixBus with equalizer patched useful for modern and polished sound
4KC Panner : Panner -4,5dB pan law

4KC Line in
The 4K Console Line in is the first stage of the console, normally it works as line amplifier and you
should insert it in every track.

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4KC MIC in
The 4K Console microphone preamplifier has more coloration than Line in and you can use it when
more character is needed.

4KC G.Bus Clean

If you send some tracks to a submix bus group in your DAW and you like to have the real sound by
Bus Group of the console, you can insert the G.Bus Clean preset as last insert into DAW's submix
bus group.

4KC G.Bus Acoustic

When acoustic instruments are grouped into a submix in your DAW, you might want to have the
G.BUS Acoustic preset as last insert into DAW's submix bus group to give a cohesive colored glue.

4KC G.Bus Amb&FX

When ambients, reverb, echo and other effects are used into an aux-send/return in your DAW, you
may like to have the G.BUS Amb&FX preset as last insert into these DAW's channels to give more
spatial dimension.

4KC G.Bus BG Vox

When backing vocals tracks are grouped into a submix in your DAW, try inserting the G.BUS BG
Vox preset as last insert into DAW's submix bus group to push a little in the backward the sound by
achieving air and transparency.

4KC G.Bus Drum

When drum instruments are grouped into a submix in your DAW, you may want to have the G.BUS
Drum preset as last insert into DAW's submix bus group to give a cohesive punching glue.

4KC G.Bus GTR

When guitars are grouped into a submix in your DAW, try using the G.BUS GTR preset as last insert
into DAW's submix bus group to give a cohesive brilliant glue.

4KC G.Bus Percussions

When percussions are grouped into a submix in your DAW, you might like to have the G.BUS
Percussions preset as last insert into DAW's submix bus group to give a cohesive snapping glue.

4KC G.Bus SynthPad

When synthesizers and Pads are grouped into a submix in your DAW, maybe try the G.BUS
SynthPad preset as last insert into DAW's submix bus group to give a cohesive focused glue.

4KC M.Bus Clean

4K Console Mix Bus is the final stage of the console, it must be inserted in the mixbus of the DAW.
The M.BUS Clean gives a clean glue.

4KC M.Bus Vintage

When the original vintage tone is needed, use the M.BUS Vintage preset as last insert into DAW's
mixbus.

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4KC M.Bus Modern
When a polished glued mix is needed, with a lot of air and punch, try the M.BUS Modern preset as
last insert into DAW's mixbus.

31.4 - Controls

The 4K Console has only a few but intuitive and effective controls which are detailed below.

GDrive Control
GDRV The “GDRV” control is a unique feature not found in similar products from others
brands that comes from Acustica Audio VVKT proprietary technology and
sampling aproach.
It allows you to control the amount of harmonic distortion that is coming from the
analog hardware. The “Input” control acts as the analog signal chain of the device,
where reducing the volume also reduces the harmonic distortion in accordance.
The “GDrive” function allows independent control of this harmonic content, so
that the input level can be left alone while making adjustments to the harmonics.
Reducing the harmonics leads to a cleaner signal with an already clean device.
Increasing the harmonics should be done with moderation.
This type of effect is not truly representative of a real console, but it can be useful
when you want more of the console’s nonlinear “vibe” without altering the
channel’s levels. The available range is ±12 dB.
Note that increasing the input signal the internal headroom will be reduced.

© 2010-2022 149 AlexB Programs Manual

 Drive Control
DRIVE The “DRIVE” control affects the harmonic contents in an unnatural way, but
suitable if you look for an effect.
The available range is ±30 dB.

NOTE: clicking on the controls while pressing “ctrl” on computer keyboard, the control returns to
zero.
NOTE2: do not adjust the ATTCK and RELS controls, leave them at stock value (center 12 o'clock).

32. 4KeQ Brown

32.1 - About the original hardware

The legendary sonic signature of an early 80 s classic: the Brown 02 which was featured on
countless 1980 s recordings. This punchy EQ has a unique character which sculpts the sound
perfectly to fit in the mix.
4KeQ Brown manages to sound clean without being weak and characterless. There is little
apparent colouration, just a maturity of tone.

With its gritty punchy sound, the 4KeQ Brown has been engineered to deliver recordings at the
best conceivable quality onto any format at any sample rate, maintaining all the energy and
atmosphere of the original performance as perfectly as possible.

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32.2 - Session Setup

4KeQ Brown reproduces the characteristic sound of Clasic Logic eQualizer, this kind of equalizers
are used in countless records in the world. To faithfully reproduce this analog sound in the DAW,
we recommend using the 4KeQ Brown in all tracks where you need to shape the sound.

– On single track : 4KeQ Brown is inserted on the audio tracks as insert in the position at your
taste. It works great on all instruments and voices.
– On master track : 4KeQ Brown is inserted on the mixbus, or group bus, as last insert giving
at the whole mix his classic sound.

To emulate the original unit sound you should use both presets LE and HQ by mixing them in this
way:

– When a single equalization band only is required you should use the HQ preset.
– When you need more than one band of equalization you should use the LE presets and as
last band the HQ. This interaction gives the right color and harmonic contents.

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NOTE: use the band/s you need only. Stacking unnecessary bands is the wrong way to emulate the
sampled hardware, the same by using more than one HQ preset.
Remember: every digital processing introduces quantizzation errors/noise which degrade the
sound, a smart use of the digital processing keeps the sound alive.

TRICK: to emulate the non linearity between the tracks, you can set the DRIVE control slightly
different on every instance into a range of +/-5dB.

32.3 - Preset list:

The 4KeQ Brown library includes 18 different programs:

HQ presets with 3 kernels and LE presets with 1 kernel displayed into sub-menu “4KQ”
BRN HPF : High Pass Filter -18dB/oct from 20 to 350Hz
BRN LPF : Low Pass Filter -12dB/oct from 3k to 20kHz
BRN Low Shelf: Shelf variable from 30 to 450Hz +/- 15dB variable
BRN Low Bell: Bell variable variable from 30 to 450Hz +/- 15dB variable, fixed Q 0,8
BRN 200-600Hz: Bell variable from 200Hz to 600Hz +/-15dB variable, variable Q from 0.5 to 2,5
BRN 600-3200Hz: Bell variable from 600Hz to 3200Hz +/-15dB variable, variable Q from 0.5 to 2,5
BRN 3200-7000Hz: Bell variable from 3200Hz to 7000Hz +/-15dB variable, variable Q from 0.5 to 2,5
BRN High Bell: Bell variable variable from 1.5k to 16kHz +/- 15dB variable, fixed Q 0,8
BRN High Shelf: Shelf variable variable from 1.5k to 16kHz +/- 15dB variable

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32.4 – Controls

The 4KeQ Brown has only a few but intuitive and effective controls which are detailed below.

Cut Off Control

CUTOF The “CUTOF” control affects the filter's frequency cut.

Frequency Control
FREQ The “FREQ” control sets the frequency to be boosted or attenuated.

Gain Control
GAIN The “GAIN” control sets the amount by which the frequency setting is boosted or
attenuated.

Q Control
Q The “Q” control sets the amplitude of the filter selected by FREQ control.

Drive Control

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 DRIVE The “DRIVE” control affects the harmonic contents in an unnatural way, but
suitable if you look for an effect.
The available range is ±30 dB.

NOTE: clicking on the controls while pressing “ctrl” on computer keyboard, the control returns to
zero.

33. 4KeQ Black

33.1 - About the original hardware

Famous and rare equalizer from the early eighteen classic console. Cleaner and punchier than the
Brown and also with taller bell curves, it was featured on countless recordings.
4KeQ Black manages to sound clean without being weak and characterless. There is little apparent
colouration, just a maturity of tone.

With its clean punchy sound the 4KeQ Black has been engineered to deliver recordings at the best
conceivable quality onto any format and at any sample rate, maintaining all the energy and
atmosphere of the original performance as perfectly as possible.

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33.2 - Session Setup

4KeQ Black reproduces the characteristic sound of Clasic Logic eQualizer, this kind of equalizers
are used in countless records in the world. To faithfully reproduce this analog sound in the DAW,
we recommend using the 4KeQ Black in all tracks where you need to shape the sound.

– On single track : 4KeQ Black is inserted on the audio tracks as insert in the position at your
taste. It works great on all instruments and voices.
– On master track : 4KeQ Black is inserted on the mixbus, or group bus, as last insert giving at
the whole mix his classic sound.

To emulate the original unit sound you should use both presets LE and HQ by mixing them in this
way:

– When a single equalization band only is required you should use the HQ preset.
– When you need more than one band of equalization you should use the LE presets and as
last band the HQ. This interaction gives the right color and harmonic contents.

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NOTE: use the band/s you need only. Stacking unnecessary bands is the wrong way to emulate the
sampled hardware, the same by using more than one HQ preset.
Remember: every digital processing introduces quantizzation errors/noise which degrade the
sound, a smart use of the digital processing keeps the sound alive.

TRICK: to emulate the non linearity between the tracks, you can set the DRIVE control slightly
different on every instance into a range of +/-5dB.

33.3 - Preset list:

The 4KeQ Black library includes 18 different programs:

HQ presets with 3 kernels and LE presets with 1 kernel displayed into sub-menu “4KQ”
BLK HPF : High Pass Filter -18dB/oct from 20 to 350Hz
BLK LPF : Low Pass Filter -12dB/oct from 3k to 20kHz
BLK Low Shelf: Shelf variable from 30 to 450Hz +/- 18dB variable
BLK Low Bell: Bell variable variable from 30 to 450Hz +/- 18dB variable, fixed Q 1.3
BLK 220-680Hz: Bell variable from 220Hz to 680Hz +/-18dB variable, variable Q from 0.5 to 4
BLK 680-2200Hz: Bell variable from 680Hz to 2200Hz +/-18dB variable, variable Q from 0.5 to 4
BLK 2200-7000Hz: Bell variable from 2200Hz to 7000Hz +/-18dB variable, variable Q from 0.5 to 4
BLK High Bell: Bell variable variable from 1.5k to 16kHz +/- 18dB variable, fixed Q 1.3
BLK High Shelf: Shelf variable variable from 1.5k to 16kHz +/- 18dB variable

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33.4 – Controls

The 4KeQ Black has only a few but intuitive and effective controls which are detailed below.

Cut Off Control

CUTOF The “CUTOF” control affects the filter's frequency cut.

Frequency Control
FREQ The “FREQ” control sets the frequency to be boosted or attenuated.

Gain Control
GAIN The “GAIN” control sets the amount by which the frequency setting is boosted or
attenuated.

Q Control
Q The “Q” control sets the amplitude of the filter selected by FREQ control.

Drive Control

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 DRIVE The “DRIVE” control affects the harmonic contents in an unnatural way, but
suitable if you look for an effect.
The available range is ±30 dB.

NOTE: clicking on the controls while pressing “ctrl” on computer keyboard, the control returns to
zero.

34. 4K Channel Dynamics

34.1 - About the original hardware

Channel Dynamics from the world's most successful studio production console which was the first
one to incorporate dynamics processing with channel, and a master compressor in the console
centre section. It's the first choice of world's best audio engineers to give punch, drive and to glue
the mix together, maintaining control of the dynamics of single tracks.
4K Channel Dynamics manages to sound clean but with character, never weak and harsh. There is
little apparent colouration, just a maturity of tone.

With its punching vintage tone, the 4K Channel Dynamics has been engineered to deliver
recordings at the best conceivable quality onto any format at any sample rate, maintaining all the
energy, atmosphere and life of the original performance as perfectly as possible.

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34.2 - Session Setup

4K Channel Dynamics reproduces the characteristic sound of Classic Logic Console Compressor,
this kind of compressor are used in top records in the world. To faithfully reproduce this analog
sound in the DAW, we recommend using the 4K CH in all tracks where you need to control
dynamically the sound.

On single track : 4K Channel Dynamics is inserted on the audio tracks as insert in the
position at your taste. It works great on all instruments and voices.

On master track : 4K Channel Dynamics is inserted on the group bus, as last insert giving at
the whole submix his classic sound.

NOTE: please set the parameters as described into cap.2.1

TRICK: to emulate the original sound closely, you should set the controls DRIVE to +3dB and
AHEAD to 5.4ms.

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34.3 - Preset list:

The 4K Channel Dynamics library includes 8 different programs:

HQ presets with 5 kernels and LE presets with 1 kernel displayed into sub-menu “4KD”

4KD CH Comp : Compressor with variable controls and HPF on internal sidechain
4KD CH Comp esc : Compressor with variable controls and external sidechain
4KD LMC : Listen Mic Compressor with fixed attack and release, HPF on internal sidechain
4KD LMC esc : Listen Mic Compressor with fixed attack and release, external sidechain

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34.4 – Controls

The 4K Channel Dynamics has only a few but intuitive and effective controls which are detailed
below.

Attack Control
ATT The “ATT” control defines the attack time of the compressor. Attack time is the
duration between the input signal reaching the threshold and processing being
applied.
The range is variable from 3ms to 30ms

Release Control
REL The “REL” control sets the amount of time it takes for processing to cease once
the input signal drops below the threshold level.
The available range is 100ms to 4s

Threshold Control
THR The “THR” control defines the input level at which limiting or compression begins.
Signals that exceed this level are processed. Signals below the threshold are

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 unaffected.
The range is variable from 0dB to -48,1dB

Ratio Control
RAT The “RAT” defines the amount of gain reduction to be processed by the module.
When the control is at maximum (10), the ratio is effectively infinity to one,
yielding the limiting effect.
The range is variable from 1,5:1 to 40:1

Ahead Control
AHEAD The “AHEAD” control sets the look-ahead to control the fast transients.
The range is variable from 0ms to 6ms

Drive Control
DRIVE The “DRIVE” control affects the harmonic contents in an unnatural way, but
suitable if you look for an effect.
The available range is ±24 dB

Gain Control
GAIN The “GAIN” control sets the output level of gain makeup.
The range is variable from 0dB to 25dB

HPF Control
HPF The “HPF” control sets the cut-off point of a high-pass filter on the internal
sidechain.
The range is variable from 0Hz to 500Hz

NOTE: clicking on the controls while pressing “ctrl” on computer keyboard, the control returns to
zero.

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35. 4K G.Comp

35.1 - About the original hardware

Stereo Bus Compressor from the world's most successful studio production console which was the
first to incorporate dynamics processing with every channel, and a master compressor in the
console centre section. It's the first choice of world's best audio engineers to give punch, drive and
to glue the mix together, maintaining control of the dynamics of single tracks.
4K G.Comp manages to sound clean but with character without being weak and harsh. There is
little apparent colouration, just a maturity of tone.

With its characteristic punching glue, the 4K G.Comp has been engineered to deliver recordings at
the best conceivable quality onto any format at any sample rate, maintaining all the energy,
atmosphere and life of the original performance as perfectly as possible.

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35.2 - Session Setup

4K G.Comp reproduces the characteristic sound of Classic Logic Console Stereo Bus Compressor,
this kind of compressor are used in top records in the world. To faithfully reproduce this analog
sound in the DAW, we recommend using the 4K G.Comp in all tracks where you need to control
dynamically the sound.

On single track : 4K G.Comp is inserted on the audio tracks as insert in the position at your
taste. It works great on some instruments like piano and pads.

On master track : 4K G.Comp is inserted on the group bus and/or stereo mixbus, as last
insert giving at the whole submix his classic sound.

TRICK: to emulate the original sound closely, you should set the controls DRIVE to +3dB and
AHEAD to 5.4ms.

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35.3 - Preset list:

The 4K G.Comp library includes 8 different programs:

HQ presets with 5 kernels and LE presets with 1 kernel displayed into sub-menu “4KD”

4K G.Comp : Compressor with variable controls and HPF on internal sidechain

4K G.Comp esc : Compressor with variable controls and external sidechain
4K G.Comp A : Compressor with variable controls, auto release and HPF on internal sidechain
4K G.Comp A esc : Compressor with variable controls, auto relese and external sidechain

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35.4 – Controls

The 4K G.Comp has only a few but intuitive and effective controls which are detailed below.

Attack Control
ATT The “ATT” control defines the attack time of the compressor. Attack time is the
duration between the input signal reaching the threshold and processing being
applied.
The range is variable from 0.1ms to 30ms

Release Control
REL The “REL” control sets the amount of time it takes for processing to cease once
the input signal drops below the threshold level.
The available range is 100ms to 1.2s

Threshold Control
THR The “THR” control defines the input level at which limiting or compression begins.
Signals that exceed this level are processed. Signals below the threshold are
unaffected.

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 The range is variable from 0dB to -48,1dB

Ratio Control
RAT The “RAT” defines the amount of gain reduction to be processed by the module.
When the control is at maximum (10), the ratio is effectively infinity to one,
yielding the limiting effect.
The range is variable from 2:1 to 10:1

Ahead Control
AHEAD The “AHEAD” control sets the look-ahead to control the fast transients.
The range is variable from 0ms to 6ms

Drive Control
DRIVE The “DRIVE” control affects the harmonic contents in an unnatural way, but
suitable if you look for an effect.
The available range is ±24 dB

Gain Control
GAIN The “GAIN” control sets the output level of gain makeup.
The range is variable from 0dB to 25dB

HPF Control
HPF The “HPF” control sets the cut-off point of a high-pass filter on the internal
sidechain.
The range is variable from 0Hz to 500Hz

NOTE: clicking on the controls while pressing “ctrl” on computer keyboard, the control returns to
zero.

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36. Fenix Compressors

36.1 - About the original hardware

Anyone who has ever wanted the ultimate tube compressor that can bring a vocal forward, add a
little air, hold the dynamics in place and add a size and dimension to the audio without that audio
getting cloudy can now realize their wildest dreams!!! This Vari-Mu compressor embodies all that is
good and right with tube compressors that actually use the tube in the gain reduction circuit.
Two units sampled: the Balck Mix Compressor with stock Siemens and NOS Amperex Bugle Boy
tubes, and the Red Mastering Limited Edition compressor with NOS Mullard and NOS Telefunken
tubes.

With its analog warm sound, the Fenix has been engineered to deliver recordings at the best
conceivable quality onto any format at any sample rate, capturing all the energy and atmosphere
of the original performance as perfectly as possible.

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36.2 - Session Setup

Fenix reproduces the characteristic sound of Vari-Mu Compressor, this kind of compressor are used
in top records in the world. To faithfully reproduce this analog sound in the DAW, we recommend
using the FNX in all tracks where you need to control dynamically the sound.

On single track : the FNX is inserted on the audio tracks as insert in the position at your
taste. It works great on all instruments and voices.

On master track : FNX is inserted on the group bus, as last insert giving at the whole submix
his classic sound.

NOTE: please set the parameters as described into cap.2.1

TRICK: to emulate the original sound closely, you should set the AHEAD to 5.4ms.

© 2010-2022 169 AlexB Programs Manual

36.3 - Preset list:

The Fenix library includes 16 different programs:

HQ presets with 5 kernels and LE presets with 1 kernel displayed into sub-menu “FNX”

Fenix Black AMP : Mix Compressor with variable controls and HPF on internal sidechain. Amperex
Tubes.
Fenix Black AMP esc : Mix Compressor with variable controls and external sidechain. Amperex
Tubes.
Fenix Black SMN : Mix Compressor with variable controls and HPF on internal sidechain. Siemens
Tubes.
Fenix Black SMN esc : Mix Compressor with variable controls and external sidechain. Siemens
Tubes.
Fenix Red MRD : Mastering Compressor with variable controls and HPF on internal sidechain.
Mullard Tubes.
Fenix Red MRD esc : Mastering Compressor with variable controls and external sidechain. Mullard
Tubes.
Fenix Red TFK : Mastering Compressor with variable controls and HPF on internal sidechain.
Telefunken Tubes.
Fenix Red TFK esc : Mastering Compressor with variable controls and external sidechain.
Telefunken Tubes.

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36.4 – Controls

The Fenix Compressor has only a few but intuitive and effective controls which are detailed below.
Attack Control
ATT The “ATT” control defines the attack time of the compressor. Attack time is the
duration between the input signal reaching the threshold and processing being
applied.
The range is variable from 4ms to 120ms

Release Control
REL The “REL” control sets the amount of time it takes for processing to cease once
the input signal drops below the threshold level.
The available range is from 40ms to 2,4s

Threshold Control
THR The “THR” control defines the input level at which limiting or compression begins.
Signals that exceed this level are processed. Signals below the threshold are
unaffected.
The range is variable from 0dB to -48,1dB

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 Ahead Control
AHEAD The “AHEAD” control sets the look-ahead to control the fast transients.
The range is variable from 0ms to 6ms

Drive Control
DRIVE The “DRIVE” control affects the harmonic contents in an unnatural way, but
suitable if you look for an effect.
The available range is ±24 dB

Gain Control
GAIN The “GAIN” control sets the output level of gain makeup.
The range is variable from 0dB to 25dB

HPF Control
HPF The “HPF” control sets the cut-off point of a high-pass filter on the internal
sidechain.
The range is variable from 0Hz to 500Hz

NOTE: clicking on the controls while pressing “ctrl” on computer keyboard, the control returns to
zero.

37. Ely X Qualizer

37.1 - About the original hardware

Class A, solid state stereo equalizer which can be considered a “secret weapon” due to the
similarity with the legendary Pultec in the lower band controls. EXeQ sounds very transparent and
clean, with crisp transients and a solid bottom end. The passive coil filter is subtle but surprisingly
effective, and it will definitely appeal to digital phobics, the top end sheen it bestows can be quite
addictive. The unit has been modified to improve the audio quality without changing the original
character.

With its musical sound, the EXeQ has been engineered to deliver recordings at the best
conceivable quality onto any format at any sample rate, maintaining all the energy and
atmosphere of the original performance as perfectly as possible.

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37.2 - Session Setup

Ely X Qualizer reproduces the characteristic sound of Modern Program eQualizer, this kind of
equalizer are used in countless records in the world. To faithfully reproduce this analog sound in
the DAW, we recommend using the EXeQ in all tracks where you need to shape the sound.

– On single track : Ely X Qualizer is inserted on the audio tracks as insert in the position at your
taste. It works great on all instruments and voices.
– On master track : Ely X Qualizer is inserted on the mixbus, or group bus, as last insert giving
at the whole mix his classic sound.

To emulate the original unit sound you should use both presets LE and HQ by mixing them in this
way:

– When a single equalization band only is required you should use the HQ preset.
– When you need more than one band of equalization you should use the LE presets and as
last band the HQ. This interaction gives the right color and harmonic contents.

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NOTE: use the band/s you need only. Stacking unnecessary bands is the wrong way to emulate the
sampled hardware, the same by using more than one HQ preset.
Remember: every digital processing introduces quantizzation errors/noise which degrade the
sound, a smart use of the digital processing keeps the sound alive.

TRICK: to emulate the non linearity between the tracks, you can set the DRIVE control slightly
different on every instance into a range of +/-5dB.

37.3 - Preset list:

The Ely X Qualizer library includes 14 different programs:

HQ presets with 3 kernels and LE presets with 1 kernel displayed into sub-menu “EXQ”

EXeQ HPF : High Pass Filter -12dB/oct from 30 to 900Hz with resonance control
EXeQ LPF : Low Pass Filter -12dB/oct from 700Hz to 28kHz with resonance control
EXeQ Low Shelf : Low Shelf variable from 20 to 900Hz +/- 16dB
EXeQ 45-1000Hz : Bell Filter variable from 45 to 1000Hz +/- 13dB variable Q from 0.5 to 1.0
EXeQ 1-16kHz : Bell Filter variable from 1 to 16kHz +/- 13dB variable Q from 0.5 to 1.0
EXeQ High Shelf : High Shelf variable from 700Hz to 28kHz +/- 16dB
ExeQ Passive Filter: Passive Coil Filter with slight resonance peak at 12kHz and starts to fall of at
17kHz.

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37.4 – Controls

The Ely X Qualizer has only a few but intuitive and effective controls which are detailed below.

Cut Off Control

CUTOF The “CUTOF” control affects the filter's frequency cut.

Resonance Control
RESON The resonance filter puts an accent on a selected frequency without boosting the
complete spectrum.

Frequency Control
FREQ The “FREQ” control sets the frequency to be boosted or attenuated.

Gain Control
GAIN The “GAIN” control sets the amount by which the frequency setting is boosted or
attenuated.

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 Q Control
Q The “Q” control sets the amplitude of the filter selected by FREQ control.

Drive Control
DRIVE The “DRIVE” control affects the harmonic contents in an unnatural way, but
suitable if you look for an effect.The available range is ±30 dB.

NOTE: clicking on the controls while pressing “ctrl” on computer keyboard, the control returns to
zero.

38. Fa-Tzu

38.1 - About the original hardware

Fa-Tzu is one of the most popular "sweetening" processors today for adding analog tape vibe to
warm up digital tracks. The Harmonic Generation and Soft Clipper modes use a Class A circuit to
gently round-off the peaks of your audio, just like saturated tubes or tape would. The Transformer
and Tape Head Emulation simulates the effect of input and output transformers of vintage gear
and sounds fantastic on just about anything you run through it. The Fa-Tzu compressor modes give
you smooth dynamics and undeniable character that you'll want to use on every track. Also, a new
ratio “Eleven”, which emulates a favorite classic compressor setting,
Whether you're tracking drums, creating electronic music, or finalizing a full mix, you'll soon be
addicted to adding smooth analog saturation and compression to your tracks with the Fa-Tzu.

With its analog warm sound, the Fa-Tzu has been engineered to deliver recordings at the best
conceivable quality onto any format at any sample rate, capturing all the energy and atmosphere
of the original performance as perfectly as possible.

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38.2 - Session Setup

Fa-Tzu reproduces the characteristic sound of the Full Analog Tape simulator-Optimizer, this kind
of gear is used in top records in the world. To faithfully reproduce this analog sound in the DAW, we
recommend using the FTZ in all tracks where you need to control dynamically the sound.

On single track : Fa-Tzu is inserted on the audio tracks as insert in the position at your taste.
It works great on all instruments and voices.

On master track : Fa-Tzu is inserted on the group bus, as last insert giving at the whole
submix his classic sound.

TRICK: to emulate the non linearity between the tracks, you can set the DRIVE control slightly
different on every instance into a range of +/-5dB.

© 2010-2022 177 AlexB Programs Manual

38.3 - Preset list:

The Fa-Tzu library includes 18 different programs:

HQ presets with 5 and 6 kernels, LE presets with 3 and 1 kernel displayed into sub-menu “FTZ”

FA-Tzu: complete tape head emulation with Warmth and Tranny continuous controls
Fa-Tzu Eleven : 20:1 slow attack and fast release compressor with Warmth control
Fa-Tzu Eleven Tr : 20:1 slow attack and fast release compressor with Tranny and Warmth control
Fa-Tzu Buss : 2:1 slow attack and fast release gentle compressor with Warmth control
Fa-Tzu Buss Tr : 2:1 slow attack and fast release gentle compressor with Tranny and Warmth control
Fa-Tzu Spank : famous talkback limiter compressor with Warmth control
Fa-Tzu Spank Tr : famous talkback limiter compressor with Tranny and Warmth control
Fa-Tzu Tracking : Distress type compressor with Warmth control
Fa-Tzu Tracking Tr : Distress type compressor with Tranny and Warmth control

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38.4 – Controls

The Fa-Tzu has only a few but intuitive and effective controls which are detailed below.

Warmth Control
W Warmth simulates the softening of the high frequencies that occurs with analog
tape saturation
The available range is 0.0-7.0 numerical.

Tranny Control
T The Tranny circuit adds frequency rounding by emulating a transformer.
The available range is 0.0-1.0 numerical.

Threshold Control
THR The “THR” control defines the input level at which limiting or compression begins.
Signals that exceed this level are processed. Signals below the threshold are
unaffected.
The range is variable from 0dB to -48,1dB

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 Ahead Control
AHEAD The “AHEAD” control sets the look-ahead to control the fast transients.
The range is variable from 0ms to 6ms

Drive Control
DRIVE The “DRIVE” control affects the harmonic contents in an unnatural way, but
suitable if you look for an effect.
The available range is ±24 dB
GAIN Gain Control
The “GAIN” control sets the output level of gain makeup.
The range is variable from 0dB to 25dB

HPF Control
HPF The “HPF” control sets the cut-off point of a high-pass filter on the internal
sidechain.
The range is variable from 0Hz to 500Hz

NOTE: clicking on the controls while pressing “ctrl” on computer keyboard, the control returns to
zero.

39. Feel-Tek MK3

39.1 - About the original hardware

Originally designed in the 1970´s the MK3 was first built and distributed only by the Swiss based
company. Later the design was copied and licensed as an eq design for Danner Cassettes.
All circuitry for the MK3 is high quality and built according to the standards of the IRT (Institute für
Rundfunktechnik). MK3 follows a long tradition of fine vintage broadcast modules. In the beginning
these modules were built for radio stations exclusively due to their high factory price. Years later
they found their way into recording studios around the world as used and now affordable gear. The
MK3 equalizers are fully transformer-balanced.

With its musical sound, the EXeQ has been engineered to deliver recordings at the best
conceivable quality onto any format at any sample rate, maintaining all the energy and
atmosphere of the original performance as perfectly as possible.

Note:
Two units has been sampled in pair for real stereo use, every unit has been sampled two times.

© 2010-2022 180 AlexB Programs Manual

The first sampling is of the unit is in it’s original aged conditions. This status gives a degraded
sound (aged) with less frequency response, less dynamics response, less harmonic contents, less
stereo depth and stereo image. This sound is erroneously considered “vintage”, when in reality it's
"aged" due to the degradation of the electronic components. This degradation happens after 15-20
years of life.

The second sampling is of the unit completely refurbished and returned to the original as new
conditions. This technical intervention restores the unit to the original sound and it can then
rightfully be called “vintage”. It's the same sound you can listen on thousands old hit records.
The most critical, and most difficult task is to refurbish the unit without making changes to the
original character and sound. This is achieved by the thoughtful choice of the right electronic
components, and expert skills and experience in electronic engineering.

The aged sound can be a very useful fix to some badly recorded, harsh and digital tracks, but a
nice recording will shine with the vintage sound. It is, however, possible to effectively and
creatively use the aged version on nicely recorded tracks to impart some specific color if desired
(art is subjective, after all).

39.2 - Session Setup

Feel-Tek MK3 reproduces the characteristic sound of Vintage Parametric eQualizer, this kind of
equalizer are used in countless records in the world. To faithfully reproduce this analog sound in
the DAW, we recommend using the Feel-Tek MK3 in all tracks where you need to shape the sound.

– On single track : Feel-Tek MK3 is inserted on the audio tracks as insert in the position at your
taste. It works great on all instruments and voices.
– On master track : Feel-Tek MK3 is inserted on the mixbus, or group bus, as last insert giving
at the whole mix his classic sound.

To emulate the original unit sound you should use both presets LE and HQ by mixing them in this
way:

– When a single equalization band only is required you should use the HQ preset.
– When you need more than one band of equalization you should use the LE presets and as
last band the HQ. This interaction gives the right color and harmonic contents.

© 2010-2022 181 AlexB Programs Manual

NOTE: use the band/s you need only. Stacking unnecessary bands is the wrong way to emulate the
sampled hardware, the same by using more than one HQ preset.
Remember: every digital processing introduces quantizzation errors/noise which degrade the
sound, a smart use of the digital processing keeps the sound alive.

TRICK: to emulate the non linearity between the tracks, you can set the DRIVE control slightly
different on every instance into a range of +/-5dB.

39.3 - Preset list:

The Feel-Tek MK3 library includes 16 different programs:

HQ presets with 3 kernels and LE presets with 1 kernel displayed into sub-menu “FTK”

MK3S Filters: High and Low Pass Combo Filters -18dB/oct from 80 to 500Hz and 5 to 15kHz stock
unit
MK3S 50-400Hz : Bell Filter stepped from 50 to 400Hz +/-16dB variable Q from 1 to 3 stock unit
MK3S 400-2200Hz : Bell Filter stepped from 400 to 2200Hz +/-16dB variable Q from 1 to 3 stock unit
MK3S 2,2-18kHz : Bell Filter stepped from 2,2 to 18kHz +/-16dB variable Q from 1 to 3 stock unit
MK3R Filters: High and Low Pass Combo Filters -18dB/oct from 80 to 500Hz and 5 to 15kHz
refurbished unit
MK3R 50-400Hz : Bell Filter stepped from 50 to 400Hz +/-16dB variable Q from 1 to 3 refurbished
unit
MK3R 400-2200Hz : Bell Filter stepped from 400 to 2200Hz +/-16dB variable Q from 1 to 3
refurbished unit
MK3R 2,2-18kHz : Bell Filter stepped from 2,2 to 18kHz +/-16dB variable Q from 1 to 3 refurbished unit

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39.4 – Controls

The Feel-Tek MK3 has only a few but intuitive and effective controls which are detailed below.

Frequency Control
FREQ The “FREQ” control sets the frequency to be boosted or attenuated.

Gain Control
GAIN The “GAIN” control sets the amount by which the frequency setting is boosted or
attenuated.

Q Control
Q The “Q” control sets the amplitude of the filter selected by FREQ control.

Drive Control
DRIVE The “DRIVE” control affects the harmonic contents in an unnatural way, but
suitable if you look for an effect.
The available range is ±30 dB.

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NOTE: clicking on the controls while pressing “ctrl” on computer keyboard, the control returns to
zero.

40. SP79 German Mastering Console – Golden Edition

40.1 - About the original hardware

The legendary sound of the 1980’s era was mastered with this German console which makes
program audio sound better just by passing through it's circuits. When you shape your sound with
this console the results will be fantastic, regardless of musical style.
The unit has been completely refurbished and returned to the original as new conditions. This
technical intervention restores the unit to the original sound and it can then rightfully be called
“vintage”. It's the same sound you can listen on thousands old hit records.
The most critical, and most difficult task is to refurbish the unit without making changes to the
original character and sound. This is achieved by the thoughtful choice of the right electronic
components, and expert skills and experience in electronic engineering.

With its amazing sound the SP79GE German Mastering Console has been engineered to deliver
recordings at the best conceivable quality onto any format at any sample rate, capturing all the
energy and atmosphere of the original performance as perfectly as possible.

© 2010-2022 184 AlexB Programs Manual

40.2 - Session Setup

SP79GE Console reproduces the sound of Vintage German Mastering Console by using a library
programs consisting of channels input, group bus and mixbus. To faithfully reproduce into the
DAW the analog console signal chain and workflow, we recommend using the SP79GE Console in
one of two following session setup configurations.

As a virtual summing box : Input Channel is inserted on the last insert of the DAW audio
tracks, like a direct out routed to a summing box. The MixBus is placed on the first insert of
the master track, just as the stereo return would be routed from the analog console back to
the DAW.

To simulate a console : Input Channel is inserted on the first insert of the DAW audio tracks,
the MixBus is placed on the last insert of the master track. If you group channels in your
DAW, i.e. drums elements, you can insert the GroupBus as last insert in the submix group
bus to achieve the classic bus coloration.

TRICK: to emulate the non linearity between the channels of the console, you can set the GDRV
control slightly different on every track into a range of +/-3dB.

© 2010-2022 185 AlexB Programs Manual

40.3 - Preset list:

The SP79GE Console library includes 18 different programs:

HQ presets with 10 kernels and LE presets with 3 and 5 kernels displayed into sub-menu “P79”

SP79GE Filters: High and Low Pass stepped combo Filters – 20, 30, 40Hz / 16, 18, 20kHz 18dB/Oct.
SP79GE Input Clean : input channel modern clean tone
SP79GE Input Vintage : input channel aged tone
SP79GE M.Bus Clean : MixBus modern clean tone
SP79GE M.Bus Chocolate : MixBus warmth tone
SP79GE M.Bus Creamy : MixBus glue tone
SP79GE M.Bus Vintage : MixBus aged tone
SP79GE M.Bus Vanilla : MixBus natural clean tone
SP79GE M.Bus Air : MixBus with patched the famous “Swiss” Linear Phase eQ

SP79GE Filters
Stepped Combo Filters, HPF and LPF

SP79GE Input Clean

The Input Clean is the first stage of the console, normally it works as line amplifier and you should
insert it in every track. Input and output transformers are present in the audio path.

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SP79GE Input Vintage
The Input Vintage it's the “aged” line input and has more coloration than Input Clean, you can use it
when more character is needed. Input and output transformers are present in the audio path.

NOTE: don't use any Input preset if you need a clean and neutral sound.

SP79GE M.Bus Clean

SP79 Console Mix Bus is the final stage of the console, it must be inserted in the mixbus of the
DAW. The M.BUS Clean gives a modern clean finished sound.

SP79GE M.Bus Chocolate

When the warm tone is needed, use the M.BUS Chocolate preset as last insert into DAW's mixbus.

SP79GE M.Bus Creamy

When a polished glued mix is needed try the M.BUS Creamy preset as last insert into DAW's
mixbus.

SP79GE M.Bus Vintage

When the classic “aged” tone is needed, use the M.BUS Vintage preset as last insert into DAW's
mixbus.

SP79GE M.Bus Vanilla

When the natural and clean tone is needed, use the M.BUS Vanilla preset as last insert into DAW's
mixbus.

SP79GE M.Bus Air

When the clean and airy tone is needed, use the M.BUS Air preset as last insert into DAW's
mixbus.

© 2010-2022 187 AlexB Programs Manual

40.4 - Controls

The SP79GE Console has only a few but intuitive and effective controls which are detailed below.

GDrive Control
GDRV The “GDRV” control is a unique feature not found in similar products from others
brands that comes from Acustica Audio VVKT proprietary technology and
sampling aproach. It allows you to control the amount of harmonic distortion that
is coming from the analog hardware. The “Input” control acts as the analog signal
chain of the device, where reducing the volume also reduces the harmonic
distortion in accordance. The “GDrive” function allows independent control of this
harmonic content, so that the input level can be left alone while making
adjustments to the harmonics. Reducing the harmonics leads to a cleaner signal
with an already clean device. Increasing the harmonics should be done with
moderation. This type of effect is not truly representative of a real console, but it
can be useful when you want more of the console’s nonlinear “vibe” without
altering the channel’s levels. The available range is ±12 dB.
Note that increasing the input signal the internal headroom will be reduced.

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 THD Control
THD The “THD” control affects the harmonic contents in an unnatural way, but suitable
if you look for an effect. Increasing the value for a fat and saturated sound,
lowering the value for a thin and detailed sound.

NOTE: clicking on the controls while pressing “ctrl” on computer keyboard, the control returns to
zero.
NOTE2: do not adjust the ATTCK and RELS controls, leave them at stock value (center 12 o'clock).

41. W95S German Mastering eQualizer

41.1 - About the original hardware

The iconic sound of "The Dark Side of the Moon" by Pink Floyd was mastered with this German eQ,
as was 90% of all vinyl discs made between the 1970´s and 1990. The unit has been completely
refurbished and returned to the original as new conditions. This technical intervention restores the
unit to the original sound and it can then rightfully be called “vintage”. It's the same sound you can
listen on thousands old hit records.
The most critical, and most difficult task is to refurbish the unit without making changes to the
original character and sound. This is achieved by the thoughtful choice of the right electronic
components, and expert skills and experience in electronic engineering.

With its broad bandwidth the German Mastering eQualizer has been engineered to deliver
recordings at the best conceivable quality onto any format at any sample rate, maintaining all the
energy and atmosphere of the original performance as perfectly as possible.

© 2010-2022 189 AlexB Programs Manual

41.2 - Session Setup

W95S reproduces the characteristic sound of German Mastering eQualizer, this kind of equalizers
are used in countless records in the world. To faithfully reproduce this analog sound in the DAW,
we recommend using the W95S in all tracks where you need to shape the sound.

– On single track : W95S is inserted on the audio tracks as insert in the position at your taste. It
works great on all instruments and voices.
– On master track : W95S is inserted on the mixbus, or group bus, as last insert giving at the
whole mix his classic sound.
– Mastering : W95S is inserted on the audio track as insert in the position at your taste.

To emulate the original unit sound you should use both presets LE and HQ by mixing them in this
way:

– When a single equalization band only is required you should use the HQ preset.
– When you need more than one band of equalization you should use the LE presets and as
last band the HQ. This interaction gives the right color and harmonic contents.

© 2010-2022 190 AlexB Programs Manual

NOTE: use the band/s you need only. Stacking unnecessary bands is the wrong way to emulate the
sampled hardware, the same by using more than one HQ preset.
Remember: every digital processing introduces quantizzation errors/noise which degrade the
sound, a smart use of the digital processing keeps the sound alive.

TRICK: to emulate the non linearity between the tracks, you can set the DRIVE control slightly
different on every instance into a range of +/-5dB.

41.3 - Preset list:

The German Mastering eQualizer library includes 8 different programs:

HQ presets with 7 kernels and LE presets with 1 kernel displayed into sub-menu “W95”

W95S LFs: Low Shelf fixed 40, 60 100Hz +/- 15dB

W95S Low Mid: Bell Filter stepped from 175 to 1000Hz +/-10dB variable Q from 0,25 to 1
W95S High Mid: Bell Filter stepped from 1 to 5,6kHz +/-10dB variable Q from 0,25 to 1
W95S HFs: High Shelf fixed 7, 10 14kHz +/- 15dB

41.4 – Controls

The W95S has only a few but intuitive and effective controls which are detailed below.

Frequency Control
FREQ The “FREQ” control sets the frequency to be boosted or attenuated.

Gain Control
GAIN The “GAIN” control sets the amount by which the frequency setting is boosted or
attenuated.

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 The MF bell has broad curve when boosted and narrow curve when it is cut.
The available range is ±10dB or ±15dB continuous.

Q Q Control
The “Q” control sets the amplitude of the filter selected by FREQ control.

Drive Control
DRIVE The “DRIVE” control affects the harmonic contents in an unnatural way, but
suitable if you look for an effect.
The available range is ±30 dB.

NOTE: clicking on the controls while pressing “ctrl” on computer keyboard, the control returns to
zero

42. W95B German Mixing eQualizer

42.1 - About the original hardware

This is the mono version of the W95S equalizer, sampled in dual-mono. With different circuits and
input/output transformers, the sound is more colored and thick making this eQ useful in mixing.
The unit has been completely refurbished and returned to the original as new conditions. This
technical intervention restores the unit to the original sound and it can then rightfully be called
“vintage”. It's the same sound you can listen on thousands old hit records.
The most critical, and most difficult task is to refurbish the unit without making changes to the
original character and sound. This is achieved by the thoughtful choice of the right electronic
components, and expert skills and experience in electronic engineering.

With its broad bandwidth the German Mixing eQualizer has been engineered to deliver recordings
at the best conceivable quality onto any format at any sample rate, maintaining all the energy and
atmosphere of the original performance as perfectly as possible.

© 2010-2022 192 AlexB Programs Manual

42.2 - Session Setup

W95B reproduces the characteristic sound of German Mixing eQualizer, this kind of equalizers are
used in countless records in the world. To faithfully reproduce this analog sound in the DAW, we
recommend using the W95B in all tracks where you need to shape the sound.

– On single track : W95B is inserted on the audio tracks as insert in the position at your taste.
It works great on all instruments and voices.
– On master track : W95B is inserted on the mixbus, or group bus, as last insert giving at the
whole mix his classic sound.

To emulate the original unit sound you should use both presets LE and HQ by mixing them in this
way:

– When a single equalization band only is required you should use the HQ preset.
– When you need more than one band of equalization you should use the LE presets and as
last band the HQ. This interaction gives the right color and harmonic contents.

NOTE: use the band/s you need only. Stacking unnecessary bands is the wrong way to emulate the
sampled hardware, the same by using more than one HQ preset.

© 2010-2022 193 AlexB Programs Manual

Remember: every digital processing introduces quantizzation errors/noise which degrade the
sound, a smart use of the digital processing keeps the sound alive.

TRICK: to emulate the non linearity between the tracks, you can set the DRIVE control slightly
different on every instance into a range of +/-5dB.

42.3 - Preset list:

The German Mixing eQualizer library includes 8 different programs:

HQ presets with 7 kernels and LE presets with 1 kernel displayed into sub-menu “W95”

W95B LFs: Low Shelf fixed 40, 60 100Hz +/- 15dB

W95B Mid: Bell Filter stepped from 175Hz to 5,6kHz +/-10dB variable Q from 0,25 to 1
W95B HFs: High Shelf fixed 7, 10 14kHz +/- 15dB

42.4 – Controls

The W95S has only a few but intuitive and effective controls which are detailed below.

Frequency Control
FREQ The “FREQ” control sets the frequency to be boosted or attenuated.

Gain Control
GAIN The “GAIN” control sets the amount by which the frequency setting is boosted or
attenuated.
The MF bell has broad curve when boosted and narrow curve when it is cut.
The available range is ±10dB or ±15dB continuous.

© 2010-2022 194 AlexB Programs Manual

 Q Q Control
The “Q” control sets the amplitude of the filter selected by FREQ control.

Drive Control
DRIVE The “DRIVE” control affects the harmonic contents in an unnatural way, but
suitable if you look for an effect.
The available range is ±30 dB.

NOTE: clicking on the controls while pressing “ctrl” on computer keyboard, the control returns to
zero

43. U73 German Mastering Compressor

43.1 - About the original hardware

This was the main VCA compressor/limiter for disc cutting in the vinyl era and from the late 1970´s
to 1990 it was used on 90% of all record in that time.
The unit has been completely refurbished and returned to the original as new conditions. This
technical intervention restores the unit to the original sound and it can then rightfully be called
“vintage”. It's the same sound you can listen on thousands old hit records.
The most critical, and most difficult task is to refurbish the unit without making changes to the
original character and sound. This is achieved by the thoughtful choice of the right electronic
components, and expert skills and experience in electronic engineering.
U73 manages to sound clean but with character without being weak and harsh. There is little
apparent colouration, just a maturity of tone.

With its characteristic glue, the U73 has been engineered to deliver recordings at the best
conceivable quality onto any format at any sample rate, maintaining all the energy, atmosphere
and life of the original performance as perfectly as possible.

© 2010-2022 195 AlexB Programs Manual

43.2 - Session Setup

U73 reproduces the characteristic sound of German Mastering Console Stereo Bus Compressor,
this kind of compressor are used in top records in the world. To faithfully reproduce this analog
sound in the DAW, we recommend using the U73 in all tracks where you need to control
dynamically the sound.

On single track : U73 is inserted on the audio tracks as insert in the position at your taste. It
works great on all instruments and voices.

On master track : U73 is inserted on the group bus and/or stereo mixbus, as last insert giving
at the whole submix his classic sound.

TRICK: to emulate the original sound closely, you should set the controls DRIVE to +3dB and
AHEAD to 5.4ms.

© 2010-2022 196 AlexB Programs Manual

43.3 - Preset list:

The U73 library includes 6 different programs:

HQ presets with 5 kernels and LE presets with 1 kernel displayed into sub-menu “U73”

U73 Comp : Compressor with variable controls and HPF on internal sidechain
U73.Comp esc : Compressor with variable controls and external sidechain
U73 Comp AR : Compressor with variable controls, auto release and HPF on internal sidechain
U73 Comp AR esc : Compressor with variable controls, auto relese and external sidechain

© 2010-2022 197 AlexB Programs Manual

43.4 – Controls

The U73 has only a few but intuitive and effective controls which are detailed below.

Attack Control
ATT The “ATT” control defines the attack time of the compressor. Attack time is the
duration between the input signal reaching the threshold and processing being
applied.
The range is variable from 0.25ms to 25ms

Release Control
REL The “REL” control sets the amount of time it takes for processing to cease once
the input signal drops below the threshold level.
The available range is 100ms to 1.2s

Threshold Control
THR The “THR” control defines the input level at which limiting or compression begins.
Signals that exceed this level are processed. Signals below the threshold are
unaffected.
The range is variable from 0dB to -48,1dB

© 2010-2022 198 AlexB Programs Manual

 Ratio Control
RAT The “RAT” defines the amount of gain reduction to be processed by the module.
When the control is at maximum (10), the ratio is effectively infinity to one,
yielding the limiting effect.
The range is variable from 1,1:1 to 10:1

Ahead Control
AHEAD The “AHEAD” control sets the look-ahead to control the fast transients.
The range is variable from 0ms to 6ms

Drive Control
DRIVE The “DRIVE” control affects the harmonic contents in an unnatural way, but
suitable if you look for an effect.
The available range is ±24 dB

Gain Control
GAIN The “GAIN” control sets the output level of gain makeup.
The range is variable from 0dB to 25dB

HPF Control
HPF The “HPF” control sets the cut-off point of a high-pass filter on the internal
sidechain.
The range is variable from 0Hz to 500Hz

NOTE: clicking on the controls while pressing “ctrl” on computer keyboard, the control returns to
zero.

© 2010-2022 199 AlexB Programs Manual

44. Vintage PoolTeQ

44.1 - About the original hardware

Designed in 1951 by Eugene Shenk, this program equalizer is still revered today for its performance
and quality. Totally passive with push-pull tube stage amplifiers. Two units, previously refurbished,
have been sampled. This equalizer is renowned for its unique ability to boost and cut the same
frequencies simultaneously, thereby creating a resonant shelf. The wide range of equalization
curves provided makes it possible to boost the very low or very high frequency notes without
“muddying up" the middle register instruments, this made the unit useful for mixing and
mastering use. It has also always been famous for making audio program sound better just by
passing through it even in "bypass" mode.

With its broad bandwidth the Vintage PoolTeQ has been engineered to deliver recordings at the
best conceivable quality onto any format at any sample rate, maintaining all the energy and
atmosphere of the original performance as perfectly as possible.

© 2010-2022 200 AlexB Programs Manual

44.2 - Session Setup

Vintage PoolTeQ reproduces the characteristic sound of Vintage Tube Program eQualizer, this kind
of equalizers are used in countless records in the world. To faithfully reproduce this analog sound in
the DAW, we recommend using the PTeQ in all tracks where you need to shape the sound.

– On single track : Vintage PoolTeQ is inserted on the audio tracks as insert in the position at
your taste. It works great on all instruments and voices.
– On master track : Vintage PoolTeQ is inserted on the mixbus, or group bus, as last insert
giving at the whole mix his classic sound.
– Mastering : Vintage PoolTeQ is inserted on the audio track as insert in the position at your
taste.

To emulate the original unit sound you should use both presets LE and HQ by mixing them in this
way:

– When a single equalization band only is required you should use the HQ preset.
– When you need more than one band of equalization you should use the LE presets and as
last band the HQ. This interaction gives the right color and harmonic contents.

© 2010-2022 201 AlexB Programs Manual

NOTE: use the band/s you need only. Stacking unnecessary bands is the wrong way to emulate the
sampled hardware, the same by using more than one HQ preset.
Remember: every digital processing introduces quantizzation errors/noise which degrade the
sound, a smart use of the digital processing keeps the sound alive.

TRICK: to emulate the non linearity between the tracks, you can set the DRIVE control slightly
different on every instance into a range of +/-5dB.

44.3 - Preset list:

The Vintage PoolTeQ library includes 18 different programs:

HQ presets with 7 kernels and LE presets with 1 kernel displayed into sub-menu “PTQ”

PoolTeQ 20Hz Combo: Low Shelf combo at 20Hz with two controls: +10dB and -10dB
PoolTeQ 30Hz Combo: Low Shelf combo at 30Hz with two controls: +10dB and -10dB
PoolTeQ60Hz Combo: Low Shelf combo at 60Hz with two controls: +10dB and -10dB
PoolTeQ 100Hz Combo: Low Shelf combo at 100Hz with two controls: +10dB and -10dB
PoolTeQ LF : Low Shelf from 20 to 100Hz +/- 10dB
PoolTeQ MF : Mid Bell from 3 to 16kHz +10dB with variable bandwidth
PoolTeQ HF : High Shelf fixed 5k, 10k, 20kHz -10dB
PoolTeQ BP TFK : Line Driver in Bypass mode with Vintage Telefunken tubes
PoolTeQ BP TSL : Line Driver in Bypass mode with Vintage Tesla tubes

© 2010-2022 202 AlexB Programs Manual

44.4 – Controls

The Vintage PoolTeQ has only a few but intuitive and effective controls which are detailed below.

KPS Frequency Control

CPS The “KPS” and “CPS” controls set the frequency to be boosted or attenuated.

Attenuation Control
ATTEN The “Atten” control sets the amount by which the frequency setting is attenuated.
The available range is -10 dB.

Gain Control
GAIN The “GAIN” control sets the amount by which the frequency setting is boosted or
attenuated.
The available range is ±10 dB.

BANDW Bandwidth Control

The “BANDW” control sets the amplitude of the filter selected by CPS control.

GDrive Control
GDRV The “GDRV” control is a unique feature not found in similar products from others

© 2010-2022 203 AlexB Programs Manual

 brands that comes from Acustica Audio VVKT proprietary technology and
sampling aproach.
It allows you to control the amount of harmonic distortion that is coming from the
analog hardware. The “Input” control acts as the analog signal chain of the device,
where reducing the volume also reduces the harmonic distortion in accordance.
The “GDrive” function allows independent control of this harmonic content, so
that the input level can be left alone while making adjustments to the harmonics.
Reducing the harmonics leads to a cleaner signal with an already clean device.
Increasing the harmonics should be done with moderation.
This type of effect is not truly representative of a real console, but it can be useful
when you want more of the console’s nonlinear “vibe” without altering the
channel’s levels. The available range is ±12 dB.
Note that increasing the input signal the internal headroom will be reduced.

Drive Control
DRIVE The “DRIVE” control affects the harmonic contents in an unnatural way, but
suitable if you look for an effect.
The available range is ±30 dB.

NOTE: clicking on the controls while pressing “ctrl” on computer keyboard, the control returns to
zero

45. Ely X Comp

45.1 - About the original hardware

Pristine sound without compromise in signal quality, this flexible machine covers all the standards
with his discrete class-A audio path design which combines a clear and open sound with a good
amount of punch. It shines in many different applications, thanks to Warm mode which puts the
compressor into transparency or saturation mode.
This stereo rack unit has been hardly modified to improve the DC and Audio path by improving
dynamics, details and multi-dimensional sound.
EXComp manages to sound clean but with character without being weak and harsh. There is little
apparent colouration, just a maturity of tone.

With its characteristic glue, the EXComp has been engineered to deliver recordings at the best
conceivable quality onto any format at any sample rate, maintaining all the energy, atmosphere
and life of the original performance as perfectly as possible.

© 2010-2022 204 AlexB Programs Manual

45.2 - Session Setup

EXComp reproduces the characteristic sound of German Stereo Bus Compressor, this kind of
compressor are used in top records in the world. To faithfully reproduce this analog sound in the
DAW, we recommend using the EXComp in all tracks where you need to control dynamically the
sound.

On single track : EXComp is inserted on the audio tracks as insert in the position at your
taste. It works great on all instruments and voices.

On master track : EXComp is inserted on the group bus and/or stereo mixbus, as last insert
giving at the whole submix his classic sound.

TRICK: to emulate the original sound closely, you should set the AHEAD control to 5.4ms.

© 2010-2022 205 AlexB Programs Manual

45.3 - Preset list:

The EXComp library includes 8 different programs:

HQ presets with 5 kernels and LE presets with 1 kernel displayed into sub-menu “EXC”

EXComp Norm : Compressor with variable controls and HPF on internal sidechain
EXComp Norm esc : Compressor with variable controls and external sidechain
EXComp Warm : Compressor with Warm mode ON, variable controls and HPF on internal
sidechain
EXComp Warm esc : Compressor with Warm mode ON, variable controls and external sidechain

© 2010-2022 206 AlexB Programs Manual

45.4 - Controls

The XComp has only a few but intuitive and effective controls which are detailed below.

Attack Control
ATT The “ATT” control defines the attack time of the compressor. Attack time is the
duration between the input signal reaching the threshold and processing being
applied.
The range is variable from 3ms to 120ms

Release Control
REL The “REL” control sets the amount of time it takes for processing to cease once
the input signal drops below the threshold level.
The available range is 50ms to 1.3s

Threshold Control
THR The “THR” control defines the input level at which limiting or compression begins.
Signals that exceed this level are processed. Signals below the threshold are
unaffected.
The range is variable from 0dB to -48,1dB

Ratio Control

© 2010-2022 207 AlexB Programs Manual

 RAT The “RAT” defines the amount of gain reduction to be processed by the module.
When the control is at maximum (10), the ratio is effectively infinity to one,
yielding the limiting effect.
The range is variable from 1,1:1 to 40:1

Ahead Control
AHEAD The “AHEAD” control sets the look-ahead to control the fast transients.
The range is variable from 0ms to 6ms

Drive Control
DRIVE The “DRIVE” control affects the harmonic contents in an unnatural way, but
suitable if you look for an effect.
The available range is ±24 dB

Gain Control
GAIN The “GAIN” control sets the output level of gain makeup.
The range is variable from 0dB to 25dB

HPF Control
HPF The “HPF” control sets the cut-off point of a high-pass filter on the internal
sidechain.
The range is variable from 0Hz to 500Hz

NOTE: clicking on the controls while pressing “ctrl” on computer keyboard, the control returns to
zero.

© 2010-2022 208 AlexB Programs Manual

46. Neo Console

46.1 - About the original hardware

The Series One was the first major console endeavour from Neo-Technology, and we saw their
design come into being in Chicago in the late 70's. The Series One preamps and line input are quiet
and life-like and excel on anything needing a warm and natural feel. You can run your tracks and
samples through these to give them an added boost or do a bit of filtering also. The simple, very
clean signal path contributes to the overall elegance of how the sound is handled.
This console has been only slightly modified to improve the DC and Audio path by improving
dynamics, details and multi-dimensional sound.

With its analog punchy sound the 4K Console has been engineered to deliver recordings at the
best conceivable quality onto any format at any sample rate, capturing all the energy and
atmosphere of the original performance as perfectly as possible.

© 2010-2022 209 AlexB Programs Manual

46.2 - Session Setup

Neo Console reproduces the sound of Vintage Neo-Technology Console by using a library
programs consisting of channels input, group bus and mixbus. To faithfully reproduce into the
DAW the analog console signal chain and workflow, we recommend using the Neo Console in one
of two following session setup configurations.

As a virtual summing box : Input Channel is inserted on the last insert of the DAW audio
tracks, like a direct out routed to a summing box. The MixBus is placed on the first insert of
the master track, just as the stereo return would be routed from the analog console back to
the DAW.

To simulate a console : Input Channel is inserted on the first insert of the DAW audio tracks,
the MixBus is placed on the last insert of the master track. If you group channels in your
DAW, i.e. drums elements, you can insert the GroupBus as last insert in the submix group
bus to achieve the classic bus coloration.

TRICK: to emulate the non linearity between the channels of the console, you can set the GDRV
control slightly different on every track into a range of +/-3dB.

© 2010-2022 210 AlexB Programs Manual

46.3 - Preset list:

The Neo Console library includes 24 different programs:

HQ presets with 10 kernels and LE presets with 3 and 5 kernels displayed into sub-menu “NEO”

NEO Line in : line input channel

NEO MIC Pre : microphone preamplifier
NEO G.Bus Clean : Group Bus clean signal
NEO G.Bus Acoustic : Group Bus with equalizer patched useful for acoustic instruments
NEO G.Bus AmbFX : Group Bus with equalizer patched useful for ambient & FX
NEO G.Bus BG Vox : Group Bus with equalizer patched useful for backing vocals
NEO G.Bus Drum : Group Bus with equalizer patched useful for drums
NEO G.Bus GTR : Group Bus with equalizer patched useful for guitars
NEO G.Bus Percussions : Group Bus with equalizer patched useful for percussions
NEO G.Bus SynthPad : Group Bus with equalizer patched useful for synthesizers and pads
NEO M.Bus Clean : MixBus clean original tone
NEO M.Bus Modern : MixBus with equalizer patched useful for modern and polished sound

NEO Line in
The NEO Console Line in is the first stage of the console, normally it works as line amplifier and you
should insert it in every track.

NEO MIC in

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The NEO Console microphone preamplifier has more coloration than Line in and you can use it
when more character is needed.

NEO G.Bus Clean

If you send some tracks to a submix bus group in your DAW and you like to have the real sound by
Bus Group of the console, you can insert the G.Bus Clean preset as last insert into DAW's submix
bus group.

NEO G.Bus Acoustic

When acoustic instruments are grouped into a submix in your DAW, you might want to have the
G.BUS Acoustic preset as last insert into DAW's submix bus group to give a cohesive colored glue.

NEO G.Bus Amb&FX

When ambients, reverb, echo and other effects are used into an aux-send/return in your DAW, you
may like to have the G.BUS Amb&FX preset as last insert into these DAW's channels to give more
spatial dimension.

NEO G.Bus BG Vox

When backing vocals tracks are grouped into a submix in your DAW, try inserting the G.BUS BG
Vox preset as last insert into DAW's submix bus group to push a little in the backward the sound by
achieving air and transparency.

NEO G.Bus Drum

When drum instruments are grouped into a submix in your DAW, you may want to have the G.BUS
Drum preset as last insert into DAW's submix bus group to give a cohesive punching glue.
NEO G.Bus GTR
When guitars are grouped into a submix in your DAW, try using the G.BUS GTR preset as last insert
into DAW's submix bus group to give a cohesive brilliant glue.

NEO G.Bus Percussions

When percussions are grouped into a submix in your DAW, you might like to have the G.BUS
Percussions preset as last insert into DAW's submix bus group to give a cohesive snapping glue.

NEO G.Bus SynthPad

When synthesizers and Pads are grouped into a submix in your DAW, maybe try the G.BUS
SynthPad preset as last insert into DAW's submix bus group to give a cohesive focused glue.

NEO M.Bus Clean

NEO Console Mix Bus is the final stage of the console, it must be inserted in the mixbus of the
DAW.
The M.BUS Clean gives a clean glue.

NEO M.Bus Modern

When a polished glued mix is needed, with a lot of air and punch, try the M.BUS Modern preset as
last insert into DAW's mixbus.

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46.4 - Controls

The NEO Console has only a few but intuitive and effective controls which are detailed below.

GDrive Control
GDRV The “GDRV” control is a unique feature not found in similar products from others
brands that comes from Acustica Audio VVKT proprietary technology and
sampling aproach.
It allows you to control the amount of harmonic distortion that is coming from the
analog hardware. The “Input” control acts as the analog signal chain of the device,
where reducing the volume also reduces the harmonic distortion in accordance.
The “GDrive” function allows independent control of this harmonic content, so
that the input level can be left alone while making adjustments to the harmonics.
Reducing the harmonics leads to a cleaner signal with an already clean device.
Increasing the harmonics should be done with moderation.
This type of effect is not truly representative of a real console, but it can be useful
when you want more of the console’s nonlinear “vibe” without altering the
channel’s levels. The available range is ±12 dB.
Note that increasing the input signal the internal headroom will be reduced.

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 Drive Control
DRIVE The “DRIVE” control affects the harmonic contents in an unnatural way, but
suitable if you look for an effect. The available range is ±30 dB.

NOTE: clicking on the controls while pressing “ctrl” on computer keyboard, the control returns to
zero.

NOTE2: do not adjust the ATTCK and RELS controls, leave them at stock value (center 12 o'clock).

47. Trinit-eQ

47.1 - About the original hardware

The sweet musicality of the Trinit-eQ gives plenty of control and is pleasing to the ears. This
equalizer section comes from the solid state Interface Console built in the early 1990 and gives at
the sound a nice punch and tridimensional sound-stage yielding tight bass and crispy highs.
The sampled unit has been only slightly modified to improve the DC and Audio path by improving
dynamics, details and multi-dimensional sound.

With its broad bandwidth the Trinit-eQ has been engineered to deliver recordings at the best
conceivable quality onto any format at any sample rate, maintaining all the energy and
atmosphere of the original performance as perfectly as possible.

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47.2 - Session Setup

Trinit-eQ reproduces the characteristic sound of Interface Console eQualizer, this kind of equalizers
are used in countless records in the world. To faithfully reproduce this analog sound in the DAW,
we recommend using the Trinit-eQ in all tracks where you need to shape the sound.

– On single track : Trinit-eQ is inserted on the audio tracks as insert in the position at your
taste. It works great on all instruments and voices.
– On master track : Trinit-eQ is inserted on the mixbus, or group bus, as last insert giving at
the whole mix his classic sound.

To emulate the original unit sound you should use both presets LE and HQ by mixing them in this
way:

– When a single equalization band only is required you should use the HQ preset.
– When you need more than one band of equalization you should use the LE presets and as
last band the HQ. This interaction gives the right color and harmonic contents.

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NOTE: use the band/s you need only. Stacking unnecessary bands is the wrong way to emulate the
sampled hardware, the same by using more than one HQ preset.
Remember: every digital processing introduces quantizzation errors/noise which degrade the
sound, a smart use of the digital processing keeps the sound alive.

TRICK: to emulate the non linearity between the tracks, you can set the DRIVE control slightly
different on every instance into a range of +/-5dB.

47.3 - Preset list:

The Trinit-eQ library includes 10 different programs:

HQ presets with 3 kernels and LE presets with 1 kernel displayed into sub-menu “TRQ”
Trinit-eQ HPF: High Pass Filter 70Hz fixed
Trinit-eQ Low Shelf : Low Shelf fixed at 80Hz +/- 15dB
Trinit-eQ Low Mid : Low Mid Bell from 10 to 2000Hz +/-15dB
Trinit-eQ high Mid : High Mid Bell from 2000 to 8000Hz +/-15dB
Trinit-eQ High Shelf : High Shelf fixed at 12kHz +/-15dB

47.4 – Controls

The Trinit-eQ has only a few but intuitive and effective controls which are detailed below.

Frequ Frequency Control

The “Frequ” control sets the frequency to be boosted or attenuated.

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 Gain Control
GAIN The “GAIN” control sets the amount by which the frequency setting is boosted or
attenuated.
The available range is ±15 dB.

Drive Control
DRIVE The “DRIVE” control affects the harmonic contents in an unnatural way, but
suitable if you look for an effect.
The available range is ±30 dB.

NOTE: clicking on the controls while pressing “ctrl” on computer keyboard, the control returns to
zero

48. Morpheus

48.1 - About the original hardware

Morpheus is an AlexB Custom Shop hand made compressor for tracking, mixing and mastering
use. The pure class A design, fixed ratio (3:1) and the hybrid gain-makeup circuit allow to control
and shape the sound in a creative way with a touch of elegance and exclusivity.
The gain-makeup hybrid circuit gives you tube and solid-state sonics and everything in-between,
by the “Morph” continuous control, offering a practically infinite range of unique tones.

With its broad bandwidth the Morpheus has been engineered to deliver recordings at the best
conceivable quality onto any format at any sample rate, maintaining all the energy, atmosphere
and life of the original performance as perfectly as possible.

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48.2 - Session Setup

Morpheus reproduces the characteristic sound of AlexB Custom Shop Compressor. To faithfully
reproduce this analog sound in the DAW, we recommend using the Morpheus in all tracks where
you need to control dynamically the sound.

On single track : Morpheus is inserted on the audio tracks as insert in the position at your
taste. It works great on all instruments and voices.

On master track : Morpheus is inserted on the group bus, as last insert giving at the whole
submix his classic sound.

TRICK: to emulate the original sound closely, you should set the controls DRIVE to +3dB and
AHEAD to 5.4ms.

© 2010-2022 218 AlexB Programs Manual

48.3 - Preset list:

Morpheus library includes 4 different programs:

HQ presets with 5 kernels and LE presets with 1 kernel displayed into sub-menu “MRF”

Morpheus : Compressor with variable controls and HPF on internal sidechain. Fixed ratio 3:1.
Morpheus esc : Compressor with variable controls and external sidechain. Fixed ratio 3:1.

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48.4 – Controls

The Morpheus has only a few but intuitive and effective controls which are detailed below.

Attack Control
ATT The “ATT” control defines the attack time of the compressor. Attack time is the
duration between the input signal reaching the threshold and processing being
applied.
The range is variable from 3ms to 80ms

Release Control
REL The “REL” control sets the amount of time it takes for processing to cease once
the input signal drops below the threshold level.
The available range is 100ms to 1,2s.

Threshold Control
THR The “THR” control defines the input level at which limiting or compression begins.
Signals that exceed this level are processed. Signals below the threshold are
unaffected.
The range is variable from 0dB to -48,1dB

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 Morph Control
MORPH The “MORPH” control sets the output gain-makeup circuit from solid-state (10) to
tube (100) and everything in-between by the continuous control, offering a
practically infinite range of unique tones.

Ahead Control
AHEAD The “AHEAD” control sets the look-ahead to control the fast transients.
The range is variable from 0ms to 6ms

Drive Control
DRIVE The “DRIVE” control affects the harmonic contents in an unnatural way, but
suitable if you look for an effect.
The available range is ±24 dB
Gain Control
GAIN The “GAIN” control sets the output level of gain makeup.
The range is variable from 0dB to 25dB

HPF Control
HPF The “HPF” control sets the cut-off point of a high-pass filter on the internal
sidechain.
The range is variable from 0Hz to 500Hz
NOTE: clicking on the controls while pressing “ctrl” on computer keyboard, the control returns to
zero.

© 2010-2022 221 AlexB Programs Manual

49. Rupert 88 Console

49.1 - About the original hardware

This excellent console has the most sweet, modern and musical sound. The circuit topology is
unprecedented: custom transformers, high voltage, discrete op-amp cards that have been
developed to offer extended headroom, dynamic range, and frequency response. Some circuits of
the sampled unit have been slighty modified by enhancing in the DC and audio path with top
grade audio components by improving dynamics, details and multi-dimensional sound. The
resulting sound is breathtaking!

With its broad bandwidth the Rupert 88 Console has been engineered to deliver recordings at the
best conceivable quality onto any format at any sample rate, capturing all the energy and
atmosphere of the original performance as perfectly as possible.

© 2010-2022 222 AlexB Programs Manual

49.2 - Session Setup

Rupert 88 Console reproduces the sound of Modern British Recording Console by using a library
programs consisting of channels input, group bus and mixbus. To faithfully reproduce into the
DAW the analog console signal chain and workflow, we recommend using the Rupert 88 Console
in one of two following session setup configurations.

As a virtual summing box : Input Channel is inserted on the last insert of the DAW audio
tracks, like a direct out routed to a summing box. The MixBus is placed on the first insert of
the master track, just as the stereo return would be routed from the analog console back to
the DAW.

To simulate a console : Input Channel is inserted on the first insert of the DAW audio tracks,
the MixBus is placed on the last insert of the master track. If you group channels in your
DAW, i.e. drums elements, you can insert the GroupBus as last insert in the submix group
bus to achieve the classic bus coloration.

You should set the Pan Law in the DAW at -3dB. You might like to use the analog panner (included
in the library) on some stereo tracks and group bus instead of the DAW panner, the R88 Panner
should be the last insert into DAW's track or group bus leaving the Pan Law in the DAW to 0dB.

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TRICK: to emulate the non linearity between the channels of the console, you can set the GDRV
control slightly different on every track into a range of +/-3dB.

49.3 - Preset list:

The Rupert 88 Console library includes 27 different programs:

HQ presets with 10 kernels and LE presets with 3 and 5 kernels displayed into sub-menu “R88”

R88 Line in : line input channel

R88 MIC Pre : microphone preamplifier
R88 MIC Pre Silk : microphone preamplifier with silky sound
R88 G.Bus Clean : Group Bus clean signal
R88 G.Bus Acoustic : Group Bus with equalizer patched useful for acoustic instruments
R88 G.Bus AmbFX : Group Bus with equalizer patched useful for ambient & FX
R88 G.Bus BG Vox : Group Bus with equalizer patched useful for backing vocals
R88 G.Bus Drum : Group Bus with equalizer patched useful for drums
R88 G.Bus GTR : Group Bus with equalizer patched useful for guitars
R88 G.Bus Percussions : Group Bus with equalizer patched useful for percussions
R88 G.Bus SynthPad : Group Bus with equalizer patched useful for synthesizers and pads
R88 M.Bus Clean : MixBus clean
R88 M.Bus Modern : MixBus with R33 equalizer patched, useful for modern and polished sound
R88 Panner : Panner -3dB pan law

R88 Line in

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The Rupert 88 Console Line in is the first stage of the console, normally it works as line amplifier
and you should insert it in every track.

R88 MIC Pre

The Rupert 88 Console microphone preamplifier has more coloration than Line in and you can use
it when more character is needed.

R88 MIC Silk

The Rupert 88 Console microphone preamplifier has more coloration and harmonics than Mic Pre
and you can use it when more character by silky sound is needed.

R88 G.Bus Clean

If you send some tracks to a submix bus group in your DAW and you like to have the real sound by
Bus Group of the console, you can insert the G.Bus Clean preset as last insert into DAW's submix
bus group.

R88 G.Bus Acoustic

When acoustic instruments are grouped into a submix in your DAW, you might want to have the
G.BUS Acoustic preset as last insert into DAW's submix bus group to give a cohesive colored glue.

R88 G.Bus Amb&FX

When ambients, reverb, echo and other effects are used into an aux-send/return in your DAW, you
may like to have the G.BUS Amb&FX preset as last insert into these DAW's channels to give more
spatial dimension.

R88 G.Bus BG Vox

When backing vocals tracks are grouped into a submix in your DAW, try inserting the G.BUS BG
Vox preset as last insert into DAW's submix bus group to push a little in the backward the sound by
achieving air and transparency.

R88 G.Bus Drum

When drum instruments are grouped into a submix in your DAW, you may want to have the G.BUS
Drum preset as last insert into DAW's submix bus group to give a cohesive punching glue.

R88 G.Bus GTR

When guitars are grouped into a submix in your DAW, try using the G.BUS GTR preset as last insert
into DAW's submix bus group to give a cohesive brilliant glue.

R88 G.Bus Percussions

When percussions are grouped into a submix in your DAW, you might like to have the G.BUS
Percussions preset as last insert into DAW's submix bus group to give a cohesive snapping glue.

R88 G.Bus SynthPad

When synthesizers and Pads are grouped into a submix in your DAW, maybe try the G.BUS
SynthPad preset as last insert into DAW's submix bus group to give a cohesive focused glue.

R88 M.Bus Clean

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Modern Flagship Console Mix Bus is the final stage of the console, it must be inserted in the mixbus
of the DAW.
The M.BUS Clean gives the original clean glue.

R88 M.Bus Modern

When a polished glued mix is needed, with some of air and punch, try the M.BUS Modern preset as
last insert into DAW's mixbus.

49.4 - Controls

The Rupert 88 Console has only a few but intuitive and effective controls which are detailed below.

GDrive Control
GDRV The “GDRV” control is a unique feature not found in similar products from others
brands that comes from Acustica Audio VVKT proprietary technology and
sampling aproach.
It allows you to control the amount of harmonic distortion that is coming from the
analog hardware. The “Input” control acts as the analog signal chain of the device,
where reducing the volume also reduces the harmonic distortion in accordance.
The “GDrive” function allows independent control of this harmonic content, so
that the input level can be left alone while making adjustments to the harmonics.
Reducing the harmonics leads to a cleaner signal with an already clean device.
Increasing the harmonics should be done with moderation.
This type of effect is not truly representative of a real console, but it can be useful
when you want more of the console’s nonlinear “vibe” without altering the
channel’s levels. The available range is ±12 dB.
Note that increasing the input signal the internal headroom will be reduced.

© 2010-2022 226 AlexB Programs Manual

 Drive Control
DRIVE The “DRIVE” control affects the harmonic contents in an unnatural way, but
suitable if you look for an effect.
The available range is ±30 dB.

NOTE: clicking on the controls while pressing “ctrl” on computer keyboard, the control returns to
zero.
NOTE2: do not adjust the ATTCK and RELS controls, leave them at stock value (center 12 o'clock).

50. Rupert 33 eQualizer

50.1 - About the original hardware

Uses input and output custom designed R.N. transformers, which are so much of the heart of the
sound of Mr N’s classics. We're not sure what magic is inside of this eQ, but everything we send
through it immediately sounds good... The sampled unit has been modified by enhancing in the
DC and audio path with top grade audio components. This is a fantastic eQ !!!

With its broad bandwidth the Rupert 33 eQualizer has been engineered to deliver recordings at the
best conceivable quality onto any format at any sample rate, maintaining all the energy and
atmosphere of the original performance as perfectly as possible.

© 2010-2022 227 AlexB Programs Manual

50.2 - Session Setup

Rupert 33 eQualizer reproduces the characteristic sound of Modern British Console eQualizer, this
kind of equalizers are used in countless records in the world. To faithfully reproduce this analog
sound in the DAW, we recommend using the R33eQ in all tracks where you need to shape the
sound.

– On single track : Rupert 33 eQualizer is inserted on the audio tracks as insert in the position
at your taste. It works great on all instruments and voices.
– On master track : Rupert 33 eQualizer is inserted on the mixbus, or group bus, as last insert
giving at the whole mix his classic sound.

To emulate the original unit sound you should use both presets LE and HQ by mixing them in this
way:

– When a single equalization band only is required you should use the HQ preset.
– When you need more than one band of equalization you should use the LE presets and as
last band the HQ. This interaction gives the right color and harmonic contents.

© 2010-2022 228 AlexB Programs Manual

NOTE: use the band/s you need only. Stacking unnecessary bands is the wrong way to emulate the
sampled hardware, the same by using more than one HQ preset.
Remember: every digital processing introduces quantizzation errors/noise which degrade the
sound, a smart use of the digital processing keeps the sound alive.

TRICK: to emulate the non linearity between the tracks, you can set the DRIVE control slightly
different on every instance into a range of +/-5dB.

50.3 - Preset list:

The Rupert 33 eQualizer library includes 14 different programs:

HQ presets with 3 kernels and LE presets with 1 kernel displayed into sub-menu “R33”
R33 HPF : High Pass Filter variable from 0 to 250Hz 12dB/Oct
R33 Low Shelf : Low Shelf variable from 30 to 3000Hz +/- 12dB
R33 50-290Hz : Bell Filter variable from 50 to 290Hz +/- 12dB variable Q from 0.7 to 5.0
R33 290-850Hz : Bell Filter variable from 290 to 850Hz +/- 12dB variable Q from 0.7 to 5.0
R33 850-6000Hz : Bell Filter variable from 850 to 6000Hz +/- 12dB variable Q from 0.7 to 5.0
R33 6000-16000Hz : Bell Filter variable from 6000 to 16000Hz +/- 12dB variable Q from 0.7 to 5.0
R33 High Shelf : High Shelf variable from 2.5k to 25kHz +/- 12dB

50.4 – Controls

The Rupert 33 eQualizer has only a few but intuitive and effective controls which are detailed
below.

Cut Off Control

CUTOF The “CUTOF” control affects the filter's frequency cut.

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 Frequency Control
FREQ The “FREQ” control sets the frequency to be boosted or attenuated.

Gain Control
GAIN The “GAIN” control sets the amount by which the frequency setting is boosted or
attenuated.
The available range is ±12 dB.

Q Control
Q The “Q” control sets the amplitude of the filter selected by FREQ control.

Drive Control
DRIVE The “DRIVE” control affects the harmonic contents in an unnatural way, but
suitable if you look for an effect.
The available range is ±30 dB.

NOTE: clicking on the controls while pressing “ctrl” on computer keyboard, the control returns to
zero.

51. Rupert 43 Compressor

51.1 - About the original hardware

New and powerful approach to dynamic processing! This widely-acclaimed dual

compressor/limiter embodies feed-forward (modern) and feed-back (vintage) mode, both with that
legendary, classic and elegantly silky sound. The sampled unit has been improved with NOS
Signetics ICs, Rubycon audio caps, and DC path revised. Compared to the original unit, the sound is
more detailed, deeper, warmer, and with a better stereo image.

With its broad bandwidth the Rupert 43 Compressor has been engineered to deliver recordings at
the best conceivable quality onto any format at any sample rate, maintaining all the energy,
atmosphere and life of the original performance as perfectly as possible.

© 2010-2022 230 AlexB Programs Manual

51.2 - Session Setup

Rupert 43 Compressor reproduces the characteristic sound of Modern British Console Compressor,
this kind of compressor are used in top records in the world. To faithfully reproduce this analog
sound in the DAW, we recommend using the R43 in all tracks where you need to control
dynamically the sound.

On single track : Rupert 43 Compressor is inserted on the audio tracks as insert in the
position at your taste. It works great on all instruments and voices.

On master track : Rupert 43 Compressor is inserted on the group bus, as last insert giving at
the whole submix his classic sound.

TRICK: to emulate the original sound closely, you should set the controls DRIVE to +3dB and
AHEAD to 5.4ms.

© 2010-2022 231 AlexB Programs Manual

51.3 - Preset list:

The Rupert 43 Compressor library includes 8 different programs:

HQ presets with 5 kernels and LE presets with 1 kernel displayed into sub-menu “R43”

R43 FB : Feed-Back compressor with variable controls and HPF on internal sidechain
R43 FB esc : Feed-Back compressor with variable controls and external sidechain
R43 FF : Feed-Forward compressor with variable controls and HPF on internal sidechain
R43 FF esc : Feed-Forward compressor with variable controls and external sidechain

© 2010-2022 232 AlexB Programs Manual

51.4 – Controls

The Modern Flagship Dynamics has only a few but intuitive and effective controls which are
detailed below.

Attack Control
ATT The “ATT” control defines the attack time of the compressor. Attack time is the
duration between the input signal reaching the threshold and processing being
applied.
The range is variable from 20ms to 75ms

Release Control
REL The “REL” control sets the amount of time it takes for processing to cease once
the input signal drops below the threshold level.
The available range is 100ms to 2,5s

Threshold Control
THR The “THR” control defines the input level at which limiting or compression begins.
Signals that exceed this level are processed. Signals below the threshold are
unaffected.
The range is variable from 0dB to -48,1dB

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 Ratio Control
RAT The “RAT” defines the amount of gain reduction to be processed by the module.
When the control is at maximum (10), the ratio is effectively infinity to one,
yielding the limiting effect.
The range is variable from 1,1:1 to 40:1

Ahead Control
AHEAD The “AHEAD” control sets the look-ahead to control the fast transients.
The range is variable from 0ms to 6ms

Drive Control
DRIVE The “DRIVE” control affects the harmonic contents in an unnatural way, but
suitable if you look for an effect.
The available range is ±24 dB

Gain Control
GAIN The “GAIN” control sets the output level of gain makeup.
The range is variable from 0dB to 25dB

HPF Control
HPF The “HPF” control sets the cut-off point of a high-pass filter on the internal
sidechain.
The range is variable from 0Hz to 500Hz

NOTE: clicking on the controls while pressing “ctrl” on computer keyboard, the control returns to
zero.

© 2010-2022 234 AlexB Programs Manual

52. Rupert 42 Tape FX

52.1 - About the original hardware

The R42 provides a extraordinary simulation of true tape sound through the inclusion of genuine
tape drive circuitry. This emulation circuit provides the nostalgic tone rounding and compression
usually only achieved by the use of actual tape. This typically offsets the harshness often found in
digital recordings. The unit has been modified by enhancing in the DC and audio path with top
grade audio components.

With its analog warm sound, the Rupert 42 Tape FX has been engineered to deliver recordings at
the best conceivable quality onto any format at any sample rate, capturing all the energy and
atmosphere of the original performance as perfectly as possible.

© 2010-2022 235 AlexB Programs Manual

52.2 - Session Setup

Rupert 42 reproduces the characteristic sound of the Full Analog Tape simulator-saturator, this
kind of gear is used in top records in the world. To faithfully reproduce this analog sound in the
DAW, we recommend using the R42 in all tracks where you need to saturate the sound.
Use the “Tape FX” preset if you need a light CPU load, this combo instance gives the full sound of
the hardware but without the dynamics behavior.
To emulate the full characteristics of the hardware you must use two instance: “Magnetic Head” +
“Line Amp”.

On single track : R42 is inserted on the audio tracks as insert in the position at your taste. It
works great on all instruments and voices.

On master track : R42 is inserted on the group bus, as last insert giving at the whole submix
his classic sound.

TRICK: to emulate the non linearity between the tracks, you can set the DRIVE control slightly
different on every instance into a range of +/-5dB.

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NOTE: Tape control is continuous from 7,5 to 15ips. This allows you to express all your creativity.

52.3 - Preset list:

The Rupert 42 library includes 5 different programs:

HQ presets with 5 and 6 kernels, LE presets with 3 and 1 kernel displayed into sub-menu “R42”

R42 Tape FX: complete tape+head emulation with Saturation and Tape speed continuous controls
R42 Magnetic Head : Magnetic Head stage only with Saturation and Tape speed control
R42 Line Amp Stock: stock circuit of line amplifier with Gdrive and Drive control
R42 Line Amp Classic: modified circuit of line amplifier with Gdrive and Drive control
R42 Line Amp Vintage: modified circuit of line amplifier with Gdrive and Drive control

© 2010-2022 237 AlexB Programs Manual

52.4 – Controls

The Rupert 42 only a few but intuitive and effective controls which are detailed below.

Saturation Control
SAT Saturation controls the harmonics that occurs with analog tape saturation
The available range is 0.0 - 5.0 numerical.

Tape Control
TAPE The Tape Control sets the speed of the tape. The available range is 7,5 ~ 15 ips

GDrive Control
GDRV The “GDRV” control is a unique feature not found in similar products from others
brands that comes from Acustica Audio VVKT proprietary technology and
sampling aproach. It allows you to control the amount of harmonic distortion that
is coming from the analog hardware. The “Input” control acts as the analog signal
chain of the device, where reducing the volume also reduces the harmonic
distortion in accordance. The “GDrive” function allows independent control of this
harmonic content, so that the input level can be left alone while making
adjustments to the harmonics. Reducing the harmonics leads to a cleaner signal
with an already clean device. Increasing the harmonics should be done with

© 2010-2022 238 AlexB Programs Manual

 moderation. This type of effect is not truly representative of a real console, but it
can be useful when you want more of the console’s nonlinear “vibe” without
altering the channel’s levels. The available range is ±12 dB.
Note that increasing the input signal the internal headroom will be reduced.

Drive Control
DRIVE The “DRIVE” control affects the harmonic contents in an unnatural way, but
suitable if you look for an effect. The available range is ±30 dB

NOTE: clicking on the controls while pressing “ctrl” on computer keyboard, the control returns to
zero.

53. 9K Console

53.1 - About the original hardware

This new release brings audio performance to an astounding level, Audio purity was a major design
goal, and the XL Series incorporates touches such as DC coupling, short signal paths, no electrolytic
capacitors in the audio pathways, OFC internal wiring, fully balanced mix buses, angelically pure
mic preamp, exceptionally low THD, noise floor & crosstalk levels keep your audio absolutely
pristine, while the legendary headroom carries every nuance of your audio and allows engineers to
mix ‘hotter’ without distortion with a devilish punch.

With its analog punchy sound the 9K Console has been engineered to deliver recordings at the
best conceivable quality onto any format at any sample rate, capturing all the energy and
atmosphere of the original performance as perfectly as possible.

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53.2 - Session Setup

9K Console reproduces the sound of Modern Logic XL Console by using a library programs
consisting of channels input, group bus and mixbus. To faithfully reproduce into the DAW the
analog console signal chain and workflow, we recommend using the 9K Console in one of two
following session setup configurations.

As a virtual summing box : Input Channel is inserted on the last insert of the DAW audio
tracks, like a direct out routed to a summing box. The MixBus is placed on the first insert of
the master track, just as the stereo return would be routed from the analog console back to
the DAW.

To simulate a console : Input Channel is inserted on the first insert of the DAW audio tracks,
the MixBus is placed on the last insert of the master track. If you group channels in your
DAW, i.e. drums elements, you can insert the GroupBus as last insert in the submix group
bus to achieve the classic bus coloration.

You should set the Pan Law in the DAW at -4,5dB. You might like to use the analog panner
(included in the library) on some stereo tracks and group bus instead of the DAW panner, the 9KC
Panner should be the last insert into DAW's track or group bus leaving the Pan Law in the DAW to
0dB.

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TRICK: to emulate the non linearity between the channels of the console, you can set the GDRV
control slightly different on every track into a range of +/-3dB.

53.3 - Preset list:

The 9K Console library includes 31 different programs:

HQ presets with 10 kernels and LE presets with 3 and 5 kernels displayed into sub-menu “9KC”
9KC Line in : line input channel
9KC MIC Pre : microphone preamplifier
9KC G.Bus Clean : Group Bus clean signal
9KC G.Bus Acoustic : Group Bus with equalizer patched useful for acoustic instruments
9KC G.Bus AmbFX : Group Bus with equalizer patched useful for ambient & FX
9KC G.Bus BG Vox : Group Bus with equalizer patched useful for backing vocals
9KC G.Bus Drum : Group Bus with equalizer patched useful for drums
9KC G.Bus GTR : Group Bus with equalizer patched useful for guitars
9KC G.Bus Percussions : Group Bus with equalizer patched useful for percussions
9KC G.Bus SynthPad : Group Bus with equalizer patched useful for synthesizers and pads
9KC LFE Channel : Channel for low frequency effects as explosions and deep bass
9KC M.Bus Clean : MixBus clean natural tone
9KC M.Bus Punch : MixBus for punching music
9KC M.Bus Modern : MixBus with equalizer patched useful for modern and polished sound
9KC M.Bus Warm : MixBus with warm tone and harmonic contents
9KC Panner : Panner -4,5dB pan law

9KC Line in

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The 9K Console Line in is the first stage of the console, normally it works as line amplifier and you
should insert it in every track.

9KC MIC in
The 9K Console microphone preamplifier has more coloration than Line in and you can use it when
more character is needed.

9KC G.Bus Clean

If you send some tracks to a submix bus group in your DAW and you like to have the real sound by
Bus Group of the console, you can insert the G.Bus Clean preset as last insert into DAW's submix
bus group.

9KC G.Bus Acoustic

When acoustic instruments are grouped into a submix in your DAW, you might want to have the
G.BUS Acoustic preset as last insert into DAW's submix bus group to give a cohesive colored glue.

9KC G.Bus Amb&FX

When ambients, reverb, echo and other effects are used into an aux-send/return in your DAW, you
may like to have the G.BUS Amb&FX preset as last insert into these DAW's channels to give more
spatial dimension.

9KC G.Bus BG Vox

When backing vocals tracks are grouped into a submix in your DAW, try inserting the G.BUS BG
Vox preset as last insert into DAW's submix bus group to push a little in the backward the sound by
achieving air and transparency.
9KC G.Bus Drum
When drum instruments are grouped into a submix in your DAW, you may want to have the G.BUS
Drum preset as last insert into DAW's submix bus group to give a cohesive punching glue.

9KC G.Bus GTR

When guitars are grouped into a submix in your DAW, try using the G.BUS GTR preset as last insert
into DAW's submix bus group to give a cohesive brilliant glue.
9KC G.Bus Percussions
When percussions are grouped into a submix in your DAW, you might like to have the G.BUS
Percussions preset as last insert into DAW's submix bus group to give a cohesive snapping glue.

9KC G.Bus SynthPad

When synthesizers and Pads are grouped into a submix in your DAW, maybe try the G.BUS
SynthPad preset as last insert into DAW's submix bus group to give a cohesive focused glue.

9KC LFE Channel

The Low Frequency Effect Channel is a special channel used for sub frequency effects like
explosions, deep bass, etc. It should be used in parallel with a normal channel since LFE has a low
pass filter at 120Hz.

9KC M.Bus Clean

9K Console Mix Bus is the final stage of the console, it must be inserted in the mixbus of the DAW.
The M.BUS Clean gives a clean glue.

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9KC M.Bus Punch
When a mix with great impact is needed, use the M.BUS Punch preset as last insert into DAW's
mixbus.

9KC M.Bus Modern

When a polished glued mix is needed, with a lot of air and punch, try the M.BUS Modern preset as
last insert into DAW's mixbus.

9KC M.Bus Warm

When a warm mix is needed, use the M.BUS Warm preset as last insert into DAW's mixbus to add
warm and harmonics.

53.4 - Controls

The 9K Console has only a few but intuitive and effective controls which are detailed below.

GDrive Control
GDRV The “GDRV” control is a unique feature not found in similar products from others
brands that comes from Acustica Audio VVKT proprietary technology and
sampling aproach.
It allows you to control the amount of harmonic distortion that is coming from the
analog hardware. The “Input” control acts as the analog signal chain of the device,
where reducing the volume also reduces the harmonic distortion in accordance.
The “GDrive” function allows independent control of this harmonic content, so
that the input level can be left alone while making adjustments to the harmonics.
Reducing the harmonics leads to a cleaner signal with an already clean device.
Increasing the harmonics should be done with moderation.
This type of effect is not truly representative of a real console, but it can be useful
when you want more of the console’s nonlinear “vibe” without altering the
channel’s levels. The available range is ±12 dB.
Note that increasing the input signal the internal headroom will be reduced.

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 Drive Control
DRIVE The “DRIVE” control affects the harmonic contents in an unnatural way, but
suitable if you look for an effect.
The available range is ±30 dB.

NOTE: clicking on the controls while pressing “ctrl” on computer keyboard, the control returns to
zero.
NOTE2: do not adjust the ATTCK and RELS controls, leave them at stock value (center 12 o'clock).

54. 9KeQ

54.1 - About the original hardware

The modern parametric equalizer with High and Low Pass Filters and pure analog audio path for
transparent and musical sound from the XL series Console, accuracy for surgical problem solving,
smoother broader sound shaping or a little more aggressive character.

With its clean punchy sound, the 9KeQ has been engineered to deliver recordings at the best
conceivable quality onto any format at any sample rate, maintaining all the energy and
atmosphere of the original performance as perfectly as possible.

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54.2 - Session Setup

9KeQ reproduces the characteristic sound of Modern Logic XL eQualizer, this kind of equalizers are
used in countless records in the world. To faithfully reproduce this analog sound in the DAW, we
recommend using the 9KeQ in all tracks where you need to shape the sound.

– On single track : 9KeQ is inserted on the audio tracks as insert in the position at your taste. It
works great on all instruments and voices.
– On master track : 9KeQ is inserted on the mixbus, or group bus, as last insert giving at the
whole mix his classic sound.

To emulate the original unit sound you should use both presets LE and HQ by mixing them in this
way:

– When a single equalization band only is required you should use the HQ preset.
– When you need more than one band of equalization you should use the LE presets and as
last band the HQ. This interaction gives the right color and harmonic contents.

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NOTE: use the band/s you need only. Stacking unnecessary bands is the wrong way to emulate the
sampled hardware, the same by using more than one HQ preset.
Remember: every digital processing introduces quantizzation errors/noise which degrade the
sound, a smart use of the digital processing keeps the sound alive.

TRICK: to emulate the non linearity between the tracks, you can set the DRIVE control slightly
different on every instance into a range of +/-5dB.

54.3 - Preset list:

The 9KeQ library includes 18 different programs:

HQ presets with 3 kernels and LE presets with 1 kernel displayed into sub-menu “9KQ”

9KeQ HPF: High Pass Filter -18dB/oct from 20 to 450Hz

9KeQ LPF: Low Pass Filter -12dB/oct from 3k to 35kHz
9KeQ Low Shelf: Shelf variable from 40 to 600Hz +/- 16dB variable
9KeQ Low Bell: Bell variable variable from 40 to 600Hz +/- 15dB variable, fixed Q 2,5
9KeQ 200-600Hz: Bell variable from 200Hz to 600Hz +/-20dB variable, variable Q from 0.7 to 2,5
9KeQ 600-3200Hz: Bell variable from 600Hz to 3200Hz +/-20dB variable, variable Q from 0.7 to 2,5
9KeQ 3200-7000Hz: Bell variable from 3200Hz to 7000Hz +/-20dB variable, variable Q from 0.7 to 2,5
9KeQ High Bell: Bell variable variable from 1.5k to 22kHz +/- 20dB variable, fixed Q 2,5
9KeQ High Shelf: Shelf variable variable from 1.5k to 22kHz +/- 20dB variable

54.4 – Controls

The 9KeQ has only a few but intuitive and effective controls which are detailed below.

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 Cut Off Control
CUTOF The “CUTOF” control affects the filter's frequency cut.

Frequency Control
FREQ The “FREQ” control sets the frequency to be boosted or attenuated.

Gain Control
GAIN The “GAIN” control sets the amount by which the frequency setting is boosted or
attenuated.

Q Control
Q The “Q” control sets the amplitude of the filter selected by FREQ control.

Drive Control
DRIVE The “DRIVE” control affects the harmonic contents in an unnatural way, but
suitable if you look for an effect.
The available range is ±30 dB.

NOTE: clicking on the controls while pressing “ctrl” on computer keyboard, the control returns to
zero.

55. 9K Channel Dynamics

55.1 - About the original hardware

Channel dynamics from the XL Series Console, pure analog audio path technology that provides
exceptional audio quality and punch, delivering the classic analog warmth and grit normally
reserved for older mixing consoles.
9K Channel Dynamics manages to sound clean but with punch and character, never weak and
harsh. There isn't apparent colouration, just a maturity of tone.

With its punching clean tone, the 9K Channel Dynamics has been engineered to deliver recordings
at the best conceivable quality onto any format at any sample rate, maintaining all the energy,
atmosphere and life of the original performance as perfectly as possible.

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55.2 - Session Setup

9K Channel Dynamics reproduces the characteristic sound of Modern Logic XL Console

Compressor, this kind of compressor are used in top records in the world. To faithfully reproduce
this analog sound in the DAW, we recommend using the 9K CH in all tracks where you need to
control dynamically the sound.

On single track : 9K Channel Dynamics is inserted on the audio tracks as insert in the
position at your taste. It works great on all instruments and voices.

On master track : 9K Channel Dynamics is inserted on the group bus, as last insert giving at
the whole submix his classic sound.

TRICK: to emulate the original sound closely, you should set the controls DRIVE to +3dB and
AHEAD to 5.4ms.

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55.3 - Preset list:

The 9K Channel Dynamics library includes 8 different programs:

HQ presets with 5 kernels and LE presets with 1 kernel displayed into sub-menu “9KD”

9KD CH Comp : Compressor with variable controls and HPF on internal sidechain
9KD CH Comp esc : Compressor with variable controls and external sidechain
9KD LMC : Listen Mic Compressor with fixed attack and release, HPF on internal sidechain
9KD LMC esc : Listen Mic Compressor with fixed attack and release, external sidechain

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55.4 – Controls

The 4K Channel Dynamics has only a few but intuitive and effective controls which are detailed
below.

Attack Control
ATT The “ATT” control defines the attack time of the compressor. Attack time is the
duration between the input signal reaching the threshold and processing being
applied.
The range is variable from 3ms to 30ms

Release Control
REL The “REL” control sets the amount of time it takes for processing to cease once
the input signal drops below the threshold level.
The available range is 100ms to 4s

Threshold Control
THR The “THR” control defines the input level at which limiting or compression begins.
Signals that exceed this level are processed. Signals below the threshold are
unaffected.

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 The range is variable from 0dB to -48,1dB

Ratio Control
RAT The “RAT” defines the amount of gain reduction to be processed by the module.
When the control is at maximum (10), the ratio is effectively infinity to one,
yielding the limiting effect.
The range is variable from 1,5:1 to 100:1

Ahead Control
AHEAD The “AHEAD” control sets the look-ahead to control the fast transients.
The range is variable from 0ms to 6ms

Drive Control
DRIVE The “DRIVE” control affects the harmonic contents in an unnatural way, but
suitable if you look for an effect.
The available range is ±24 dB

Gain Control
GAIN The “GAIN” control sets the output level of gain makeup.
The range is variable from 0dB to 25dB

HPF Control
HPF The “HPF” control sets the cut-off point of a high-pass filter on the internal
sidechain.
The range is variable from 0Hz to 500Hz

NOTE: clicking on the controls while pressing “ctrl” on computer keyboard, the control returns to
zero.

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56. 9K G.Comp

56.1 - About the original hardware

Stereo Bus Compressor from the XL series Console. It makes complete mixes sound bigger with it’s
pure analog audio path, with more power, punch and drive. It brings cohesion and strength to your
mix without compromising clarity. The 9KG Comp brings this classic ‘audio glue’ to you with
spectacular audio performance.
9K G.Comp manages to sound clean but with character without being weak and harsh. There isn't
apparent colouration, just a maturity of tone.

With its characteristic punching glue, the 9K G.Comp has been engineered to deliver recordings at
the best conceivable quality onto any format at any sample rate, maintaining all the energy,
atmosphere and life of the original performance as perfectly as possible.

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56.2 - Session Setup

9K G.Comp reproduces the characteristic sound of Modern Logic XL Console Stereo Bus
Compressor, this kind of compressor are used in top records in the world. To faithfully reproduce
this analog sound in the DAW, we recommend using the 9K G.Comp in all tracks where you need
to control dynamically the sound.

On single track : 9K G.Comp is inserted on the audio tracks as insert in the position at your
taste. It works great on some instruments like piano and pads.

On master track : 9K G.Comp is inserted on the group bus and/or stereo mixbus, as last
insert giving at the whole submix his classic sound.

TRICK: to emulate the original sound closely, you should set the controls DRIVE to +3dB and
AHEAD to 5.4ms.

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56.3 - Preset list:

The 9K G.Comp library includes 8 different programs:

HQ presets with 5 kernels and LE presets with 1 kernel displayed into sub-menu “9KD”

9K G.Comp : Compressor with variable controls and HPF on internal sidechain

9K G.Comp esc : Compressor with variable controls and external sidechain
9K G.Comp A : Compressor with variable controls, auto release and HPF on internal sidechain
9K G.Comp A esc : Compressor with variable controls, auto relese and external sidechain

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56.4 – Controls

The 9K G.Comp has only a few but intuitive and effective controls which are detailed below.

Attack Control
ATT The “ATT” control defines the attack time of the compressor. Attack time is the
duration between the input signal reaching the threshold and processing being
applied.
The range is variable from 0.1ms to 30ms

Release Control
REL The “REL” control sets the amount of time it takes for processing to cease once
the input signal drops below the threshold level.
The available range is 100ms to 1.2s

Threshold Control
THR The “THR” control defines the input level at which limiting or compression begins.
Signals that exceed this level are processed. Signals below the threshold are
unaffected.
The range is variable from 0dB to -48,1dB

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 Ratio Control
RAT The “RAT” defines the amount of gain reduction to be processed by the module.
When the control is at maximum (10), the ratio is effectively infinity to one,
yielding the limiting effect.
The range is variable from 2:1 to 20:1

Ahead Control
AHEAD The “AHEAD” control sets the look-ahead to control the fast transients.
The range is variable from 0ms to 6ms

Drive Control
DRIVE The “DRIVE” control affects the harmonic contents in an unnatural way, but
suitable if you look for an effect.
The available range is ±24 dB

Gain Control
GAIN The “GAIN” control sets the output level of gain makeup.
The range is variable from 0dB to 25dB

HPF Control
HPF The “HPF” control sets the cut-off point of a high-pass filter on the internal
sidechain.
The range is variable from 0Hz to 500Hz

NOTE: clicking on the controls while pressing “ctrl” on computer keyboard, the control returns to
zero.

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57. Harry 32

57.1 - About the original hardware

A gorgeous sounding channel strip that literally came from the legendary console that has made
music history:
It doesn’t cost much money money money and you just can’t beat it in the digital realm.
You will heal the world with the amazing sounds that go on and on.
Two channels has been repaired and refurbished and then sampled to capture all the nuances of
their fantastic sound: the line input, mic preamp, equalizer and the renowned filters.

With its vintage sound, the H32 has been engineered to deliver recordings at the best conceivable
quality onto any format at any sample rate, maintaining all the energy and atmosphere of the
original performance as perfectly as possible.

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57.2 - Session Setup

H32 reproduces the characteristic sound of the vintage 32 series channel strip, this kind of sound is
used in countless hit records in the world. To faithfully reproduce into the DAW the H32 channel
strip and workflow, we recommend using the Harry 32 in the following setup configurations:

– Channel Strip : Line input or Mic Preamp is inserted on the first insert of the DAW audio
tracks, then the equalizer band can be inserted if the track demand equalization.
– Equalizer only : equalizer preset is inserted on the audio tracks as insert in the position at
your taste. It works great on all instruments and voices.

To emulate the original unit sound you should use both presets LE and HQ by mixing them in this
way:

– When a single equalization band only is required you should use the HQ preset.
– When you need more than one band of equalization you should use the LE presets and as
last band the HQ. This interaction gives the right color and harmonic contents.

NOTE: use the band/s you need only. Stacking unnecessary bands is the wrong way to emulate the
sampled hardware, the same by using more than one HQ preset.

© 2010-2022 258 AlexB Programs Manual

Remember: every digital processing introduces quantizzation errors/noise which degrade the
sound, a smart use of the digital processing keeps the sound alive.

TRICK: to emulate the non linearity between the tracks, you can set the DRIVE control slightly
different on every instance into a range of +/-5dB.

57.3 - Preset list:

The H32 library includes 16 different programs:

HQ presets with 10 and 3 kernels, LE presets with 3 and 1 kernel displayed into sub-menu “H32”

H32C Line in: line input channel

H32C Mic Pre: microphone preamplifier
H32eQ HPF : High Pass Filter -12dB/oct from 25 to 3150Hz
H32eQ LPF : Low Pass Filter -12dB/oct from 160Hz to 20kHz
H32eQ Low Shelf: Shelf variable from 40 to 600Hz +/- 12dB variable
H32eQ 40-1000Hz: Bell variable from 40 to 1000Hz +/- 12dB variable, fixed Q 2
H32eQ 1-13kHz: Bell variable from 1 to 13kHz +/-12dB variable, fixed Q 2
H32eQ High Shelf: Shelf variable from 900Hk to 13kHz +/- 12dB variable

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57.4 – Controls

The H32 has only a few but intuitive and effective controls which are detailed below.

Cut Off Control

CUTOF The “CUTOF” control affects the filter's frequency cut.

Frequency Control
FREQ The “FREQ” control sets the frequency to be boosted or attenuated.

Gain Control
GAIN The “GAIN” control sets the amount by which the frequency setting is boosted or
attenuated.

GDRV GDrive Control

The “GDRV” control is a unique feature not found in similar products from others
brands that comes from Acustica Audio VVKT proprietary technology and
sampling aproach.
It allows you to control the amount of harmonic distortion that is coming from the
analog hardware. The “Input” control acts as the analog signal chain of the device,
where reducing the volume also reduces the harmonic distortion in accordance.

© 2010-2022 260 AlexB Programs Manual

 The “GDrive” function allows independent control of this harmonic content, so
that the input level can be left alone while making adjustments to the harmonics.
Reducing the harmonics leads to a cleaner signal with an already clean device.
Increasing the harmonics should be done with moderation.
This type of effect is not truly representative of a real console, but it can be useful
when you want more of the console’s nonlinear “vibe” without altering the
channel’s levels. The available range is ±12 dB.
Note that increasing the input signal the internal headroom will be reduced.
Drive Control
DRIVE The “DRIVE” control affects the harmonic contents in an unnatural way, but
suitable if you look for an effect.
The available range is ±30 dB.

NOTE: clicking on the controls while pressing “ctrl” on computer keyboard, the control returns to
zero.

NOTE2: do not adjust the ATTCK and RELS controls, leave them at stock value (center 12 o'clock).

58. Tube Magnetic Saturator – Golden Edition

58.1 - About the original hardware

Tube Magnetic Saturator is a homemade hardware piece that I built some years ago. DTE is the
first library come from that unit. The last evolution includes a discrete input stage, a vintage
magnetic-tape head circuit followed by a modern class A tube preamp with 6 valves working at
high voltage: 300V. The magnetic-head is digitally controlled to emulate, in analog domain,
different speeds and tape printing, while a discrete solid state preamp drives the signal to saturate
it.

With its analog warm sound, the TMS has been engineered to deliver recordings at the best
conceivable quality onto any format at any sample rate, capturing all the energy and atmosphere
of the original performance as perfectly as possible.

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58.2 - Session Setup

Tube Magnetic Saturator reproduces the characteristic sound of the Analog Tube Tape simulator-
saturator, this kind of gear is used in top records in the world. To faithfully reproduce this analog
sound in the DAW, we recommend using the TMS in all tracks where you need to saturate the
sound.
To emulate the full characteristics of the hardware you must use two instance: “Magnetic Head” +
“Line Amp”.

On single track : TMS is inserted on the audio tracks as insert in the position at your taste. It
works great on all instruments and voices.

On Bus : TMS is inserted on the group bus and/or stereo out bus, as last insert giving at the
whole submix/mix his classic sound.

TRICK: to emulate the non linearity between the tracks, you can set the THD control slightly
different on every instance into a range of +/-5dB.

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58.3 - Preset list:

The Tube Magnetic Saturator library includes 2 different programs displayed into sub-menu “TMS”

TMSGE magnetic Head : Magnetic Tape Head stage with Saturation, Tape speed and Tape on/off
control
TMSGE Line Amp: Tube circuit of line amplifier with HF, Gdrive and THD control

58.4 – Controls

The Tube Magnetic Saturator only a few but intuitive and effective controls which are detailed
below.
Speed Control
SPEED The Speed Control sets the speed of the tape. The available steps are 7,5, 15, 30 ips

Saturation Control
SAT Saturation controls the harmonics that occurs with analog tape saturation
The available range is 0.0 - 5.0 numerical.

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 TAPE Tape Control
Tape control engages print to tape OFF/ON
OFF: no tape, only the input stage and magnetic head in the audio path
ON: the audio is printed on the tape by magnetic head as in a classic tape
machine

HF HF Control
HF controls the high shelf filter 0/+5dB

GDrive Control
GDRV The “GDRV” control is a unique feature not found in similar products from others
brands that comes from Acustica Audio VVKT proprietary technology and
sampling aproach. It allows you to control the amount of harmonic distortion that
is coming from the analog hardware. The “Input” control acts as the analog signal
chain of the device, where reducing the volume also reduces the harmonic
distortion in accordance. The “GDrive” function allows independent control of this
harmonic content, so that the input level can be left alone while making
adjustments to the harmonics. Reducing the harmonics leads to a cleaner signal
with an already clean device. Increasing the harmonics should be done with
moderation. This type of effect is not truly representative of a real console, but it
can be useful when you want more of the console’s nonlinear “vibe” without
altering the channel’s levels. The available range is ±12 dB.
Note that increasing the input signal the internal headroom will be reduced.

THD Control
THD The “THD” control affects the harmonic contents in an unnatural way, but suitable
if you look for an effect. The available range is ±12 dB

NOTE: clicking on the controls while pressing “ctrl” on computer keyboard, the control returns to
zero.

© 2010-2022 264 AlexB Programs Manual

59. Analog Tape Emulator – Golden Edition

59.1 - About the original hardware

The Analog Tape Emulator is the first product that uses the analog process for modelling complex
analog circuitry entirely in the analog domain unlike digital plug-ins or processor-based outboard
gear. The result is a faithful recreation of the original response, without using the original analog
hardware. The circuit has been improved and a custom line-amp stage has been added, one with
tubes, one solid state with transformer and one with custom vintage Jfet.

With its analog warm sound, the ATE GE has been engineered to deliver recordings at the best
conceivable quality onto any format at any sample rate, capturing all the energy and atmosphere
of the original performance as perfectly as possible.

© 2010-2022 265 AlexB Programs Manual

59.2 - Session Setup

Analog Tape Emulator reproduces the characteristic sound of the Analog Tape simulator-saturator,
this kind of gear is used in top records in the world. To faithfully reproduce this analog sound in the
DAW, we recommend using the ATE GE in all tracks where you need to saturate the sound.
To emulate the full characteristics of the hardware you must use two instance: “Magnetic Head” +
“Line Amp”.

On single track : ATE GE is inserted on the audio tracks as insert in the position at your taste.
It works great on all instruments and voices.

On Bus : ATE GE is inserted on the group bus and/or stereo out bus, as last insert giving at
the whole submix/mix his classic sound.

TRICK: to emulate the non linearity between the tracks, you can set the DRIVE control slightly
different on every instance into a range of +/-5dB.

NOTE: Tape control is continuous from 7,5 to 30ips. This allows you to express all your creativity.

© 2010-2022 266 AlexB Programs Manual

59.3 - Preset list:

The Analog Tape Emulator library includes 16 different programs:

presets with 5 and 3 kernels displayed into sub-menu “ATE”

ATEGE 102 Magnetic Head : Magnetic Tape Head stage only with Speed, Gain and Tape controls
ATEGE M79 Magnetic Head : Magnetic Tape Head stage only with Speed, Gain and Tape controls
ATEGE 351 Magnetic Head : Magnetic Tape Head stage only with Speed, Gain and Tape controls
ATEGE A8C Magnetic Head : Magnetic Tape Head stage only with Speed, Gain and Tape controls
ATEGE TapeX Magnetic Head : Magnetic Tape Head stage only with Speed, Gain and Tape controls
ATEGE Line Amp Clean: original circuit of line amplifier with Gdrive and Drive control
ATEGE Line Amp Transformer: vintage transformer discrete line amplifier circuit
ATEGE Line Amp Tube: vintage tube and transformer line amplifier circuit
ATEGE Line Amp JFET: vintage JFet line amplifier circuit

© 2010-2022 267 AlexB Programs Manual

59.4 – Controls

The Analog Tape Emulator has only a few but intuitive and effective controls which are detailed
below.

Speed Control
SPEED It sets the speed of the tape.
The available range is 7,5 - 15 - 30 ips.

Gain Control
GAIN The Gain Control sets the input gain of the Magnetic Head.
The available range is -15/+15 dB.

Tape Control
TAPE The Tape Control sets one of three available tape simulations
1: A456
2: GP9
3: S111

Drive Control
DRIVE The “DRIVE” control affects the harmonic contents in an unnatural way, but

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 suitable if you look for an effect. Increasing the value for a fat and saturated
sound, lowering the value for a thin and detailed sound.

GDRV GDrive Control

The “GDRV” control is a unique feature not found in similar products from others
brands that comes from Acustica Audio VVKT proprietary technology and
sampling aproach.
It allows you to control the amount of harmonic distortion that is coming from the
analog hardware. The “Input” control acts as the analog signal chain of the device,
where reducing the volume also reduces the harmonic distortion in accordance.
The “GDrive” function allows independent control of this harmonic content, so
that the input level can be left alone while making adjustments to the harmonics.
Reducing the harmonics leads to a cleaner signal with an already clean device.
Increasing the harmonics should be done with moderation.
This type of effect is not truly representative of a real console, but it can be useful
when you want more of the console’s nonlinear “vibe” without altering the
channel’s levels. The available range is ±12 dB.
Note that increasing the input signal the internal headroom will be reduced.
NOTE: clicking on the controls while pressing “ctrl” on computer keyboard, the control returns to
zero.

NOTE2: do not adjust the ATTCK and RELS controls, leave them at stock value (center 12 o'clock).

60. T65 Program eQualizer – Golden Edition

60.1 - About the original hardware

This vintage module is a glorious "sound shaping" active resonance equalizer and paints in bold
strokes with heaps of character. It's a well known unit for huge low end with amazing 60Hz control,
great on almost any kind of bass. Stunning mid range boost which can help lift up an electric
guitar, vocals and instruments. The 10kHz band is extremely useful for adding air.

With its musical sound, the T65 has been engineered to deliver recordings at the best conceivable
quality onto any format at any sample rate, maintaining all the energy and atmosphere of the
original performance as perfectly as possible.

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60.2 - Session Setup

T65 Program eQualizer reproduces the characteristic sound of Vintage TFK Program eQualizer, this
kind of equalizers are used in countless records in the world. To faithfully reproduce this analog
sound in the DAW, we recommend using the T65 in all tracks where you need to shape the sound.

– On single track : T65 Program eQualizer is inserted on the audio tracks as insert in the
position at your taste. It works great on all instruments and voices.
– On master track : T65 Program eQualizer is inserted on the mixbus, or group bus, as last
insert giving at the whole mix his classic sound.
– Mastering : T65 Program eQualizer is inserted on the audio track as insert in the position at
your taste.

To emulate the original unit sound you should use both presets 1K and 3K by mixing them in this
way:

– When a single equalization band only is required you should use the 3K preset.
– When you need more than one band of equalization you should use the 1K presets and as
last band the HQ. This interaction gives the right color and harmonic contents.

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NOTE: use the band/s you need only. Stacking unnecessary bands is the wrong way to emulate the
sampled hardware, the same by using more than one 3K preset.
Remember: every digital processing introduces quantizzation errors/noise which degrade the
sound, a smart use of the digital processing keeps the sound alive.

TRICK: to emulate the non linearity between the tracks, you can set the THD control slightly
different on every instance into a range of +/-5dB.

60.3 - Preset list:

The T65 Program eQualizer library includes 8 different programs:

3K presets with 3 kernels and 1K presets with 1 kernel displayed into sub-menu “T65”

T65GE Low High: Low and High Shelf at 60Hz and 10kHz +/- 15dB
T65GE Mid : Mid bell fixed 700, 1k, 2k, 3k, 4kHz + 8dB

60.4 – Controls

The T65 Program eQualizer has only a few but intuitive and effective controls which are detailed
below.

LOW Low Control

Low Control Sets the boost or attenuation of 60Hz shelf filter

HIGH High Control

High Control Sets the boost or attenuation of 10kHz shelf filter

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 FREQ Frequency Control
The “FREQ” control sets the frequency to be boosted or attenuated.

Gain Control
GAIN The “GAIN” control sets the amount by which the frequency setting is boosted or
attenuated.
The MF bell has broad curve when boosted and narrow curve when it is cut.

Drive Control
DRIVE The “DRIVE” control affects the harmonic contents in an unnatural way, but
suitable if you look for an effect.
The available range is ±30 dB.

NOTE: clicking on the controls while pressing “ctrl” on computer keyboard, the control returns to
zero

61. Stooder 9 Console – Golden Edition

61.1 - About the original hardware

This incredibly clean and sweet console was built in 1982 by a renovated Swiss Company that was
the largest console manufacturer in the world in that era. The S9C sounds smooth and clean but
still has amazing punch and stunning details that make music sound more alive.
This console has been refurbished and then sampled to capture all the nuances of his fantastic
sound: the line input, mic preamp, group bus, mix bus, equalizer and the renowned filters.

With its musical sound, the S9C has been engineered to deliver recordings at the best conceivable
quality onto any format at any sample rate, maintaining all the energy and atmosphere of the
original performance as perfectly as possible.

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61.2 - Session Setup

Stooder 9 Console reproduces the sound of Vintage Swiss Recording Console by using a library
programs consisting of channels input, group bus and mixbus. To faithfully reproduce into the
DAW the analog console signal chain and workflow, I recommend using the Stooder 9 Console in
these session setup configurations:

Recording Console Emulation

– Insert the Line Input preset on the first insert of the DAW audio tracks
– Insert the Mix Bus preset on the first insert of the DAW master bus
– If you group channels in you DAW, i.e. drums elements, you can insert the Group Bus preset
as first insert in the submix group bus.
– Start your mix !

Mixing Console Emulation

– Insert the Line Input preset on the last insert of the DAW audio tracks
– Insert the Mix Bus preset on the last insert of the DAW master bus
– If you group channels in you DAW, i.e. drums elements, you can insert the Group Bus preset
as last insert in the submix group bus.
– Start your mix !

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You should set the Pan Law in the DAW at -3dB.

TRICK: to emulate the non linearity between the channels of the console, you can set the GDRV
control slightly different on every track into a range of +/-3dB.

TIP: Which configuration to use ?

If you have recorded your tracks with a console or with colored preamps – by hardware or by
processing the audio files with, for example, the Preamp Colors & Saturation library – then the
Mixing Console Emulation is the right choice.
If you have tracking with clean and sterile preamps or your song has a lot of VST-instruments,
the Recording Console Emulation may to work better.
Experimenting and choosing by personal taste is the best way.

61.3 - Preset list:

The Stooder 9 Console GE library includes the following programs displayed into menu “S9C” and
subgrouped into 44.1kHz, 48kHz, 88.2kHz and 96kHz.

S9CGE Input Line

S9CGE MIC Preamp
S9CGE G.Bus
S9CGE M.Bus
S9CGE M.Bus Add-Ons

S9CGE Input Line

Input Line is the first stage of the console, normally it works as line amplifier and you should insert
it in every track as first or as last insert.

S9CGE MIC Preamp

Microphone Preamplifier has more coloration than Input Line and you can use it when more
character is needed. You can use it instead-or-with the Input Line, at your taste.

S9CGE G.Bus
If you send some tracks to a submix bus group in your DAW and you like to have the real sound by
Bus Group of the console, you can use the G.Bus preset as insert into DAW's submix bus group.
G.Bus has new concept in the Golden Edition: instead to have more presets with different colors,
there is one only with the control labeled G.BUS which allows to choose different colors:

1 : Clean = Original Clean G.Bus, the sound from the console

2 : Drum = Original Clean G.Bus with 88RS channel eQ patched

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3 : Percussions = Original Clean G.Bus with vintage Pultec patched
4 : Acoustic = Original Clean G.Bus with GML8200 patched
5 : Guitars = Original Clean G.Bus with vintage API 550A patched
6 : Synthpad = Original Clean G.Bus with vintage Moog PEQ patched
7 : BGVocals = Original Clean G.Bus with custom handmade AlexB Parametric EQ patched
8 : Ambient = Original Clean G.Bus with vintage Filtek PB1 parched

S9CGE M.Bus
M.Bus is the final stage of the console, it must be the first or last insert in the mixbus of the DAW.
The M.BUS gives the original clean glue of the console.

S9CGE M.Bus Add-Ons

M.Bus has new concept in the Golden Edition: instead to have more presets with different colors,
there is a preset called M.Bus ADD-Ons which could be used to give different colors. The TONE
control switchs between the sound of some top notch hardware with light equalization setup:

1 : Vintage = Vintage TG Mastering eQ

2 : Classic = Vintage Sontec 432
3 : Modern = SPL PQ
ADD-Ons preset must be placed after M.Bus preset for the right interaction with it.
Use the ADD-Ons only if you need it, of course.

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61.4 - Controls

Over the common and the above described controls, S9CGE has also:

– GDRV: GDrive Control

The “GDRV” control is a unique feature not found in similar products from others brands
that comes from Acustica Audio VVKT proprietary technology and sampling aproach.
It allows you to control the amount of harmonic distortion that is coming from the analog
hardware. The “Input” control acts as the analog signal chain of the device, where reducing
the volume also reduces the harmonic distortion in accordance. The “GDrive” function
allows independent control of this harmonic content, so that the input level can be left
alone while making adjustments to the harmonics. Reducing the harmonics leads to a
cleaner signal with an already clean device. Increasing the harmonics should be done with
moderation.
This type of effect is not truly representative of a real console, but it can be useful when you
want more of the console’s nonlinear “vibe” without altering the channel’s levels. The
available range is ±12 dB.
Note that increasing the input signal the internal headroom will be reduced.

– THD: Drive Control

The “THD” control affects the harmonic contents in an unnatural way, but suitable if you
look for an effect. It rises ALL the harmonics at the same time.
The available range is ±12 dB.

NOTE: clicking on the controls while pressing “ctrl” on computer keyboard, the control returns to
zero.

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62. Stooder 9 eQualizer – Golden Edition

62.1 - About the original hardware

Rock solid low end, slightly aggressive mids and an absolutely gorgeous air band, it is easy use
extreme settings with this eQ without sounding 'phasey'. Truly a musical all purpose parametric
equalizer which comes from the amazing vintage S9 Console.

With its massive sound, the S9eQGE has been engineered to produce recordings at the best
conceivable quality onto any format at any sample rate, maintaining all the energy and
atmosphere of the original performance as perfectly as possible.

© 2010-2022 277 AlexB Programs Manual

62.2 - Session Setup

S9eQGE reproduces the characteristic sound of Vintage Stooder 9 eQualizer, this kind of equalizers
are used in countless records in the world. To faithfully reproduce this analog sound in the DAW,
we recommend using the S9eQGE in all tracks where you need to shape the sound.

– On single track the Stooder 9 eQualizer works great on all instruments and voices.
– On master track the Stooder 9 eQualizer gives at the whole mix his classic clean, natural and
musical sound.

To emulate the original unit sound you should use both presets 1k and 3k by mixing them in this
way:

– When a single equalization band only is required you should use the 3k preset.
– When you need more than one band of equalization you should use the 1k presets and as
last band the 3k. This interaction gives the right color and harmonic contents.

NOTE: use the band/s you need only. Stacking unnecessary bands is the wrong way to emulate the
sampled hardware, the same by using more than one 3k preset.
Remember: every digital processing introduces quantizzation errors/noise which degrade the
sound, a smart use of the digital processing keeps the sound alive.

TRICK: to emulate the non linearity between the tracks, you can set the THD control slightly
different on every instance into a range of +/-2dB.

© 2010-2022 278 AlexB Programs Manual

62.3 - Preset list:

The Stooder 9 eQualizer GE library includes the following programs displayed into menu “S9Q” and
subgrouped into 44.1kHz, 48kHz, 88.2kHz and 96kHz, every subgroup has 1k and 3k subgroup.

S9eQGE HPF
S9eQGE Low Shelf / Bell
S9eQGE 120 – 680Hz
S9eQGE 680-3300kHz
S9eQGE 3.3 – 7Khz
S9eQGEHigh Shelf / Bell
S9eQGE LPF

S9eQGE HPF
High Pass Filter -12dB/oct from 30Hz to 330Hz.

S9eQGE Low Shelf / Bell

Low Band from 30Hz to 600Hz +/- 15dB switchable from shelf to bell.

S9eQGE 120 – 680Hz

Low-Mid Band from 120Hz to 680Hz +/- 15dB with variable Q from 1.1 to 3.

S9eQGE 680 - 3300Hz

High Mid Band from 680Hz to 3300Hz +/- 15dB with variable Q from 1.1 to 3.

S9eQGE 3.3 - 7kHz

High Mid Band from 3.3kHz to 7kHz +/- 15dB with variable Q from 1.1 to 3.

S9eQGE High Shelf / Bell

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High Band from 0.7kHz to 18kHz +/- 15dB switchable from shelf to bell.

S9eQGE LPF
Low Pass Filter -12dB/oct from 0.7k to 20kHz.

62.4 – Controls

Over the common and the above described controls, S9eQGE has also:

– CUTOF: Cut Off Control

The “CUTOF” control affects the filter's frequency cut.

– S/B : Shelf / Bell Control

This control switchs between shelf, bell with Q 0.7 and Bell with Q 0.2.

– FREQ: Frequency Control

The “FREQ” control sets the frequency to be boosted or attenuated.

– GAIN: Gain Control

The “GAIN” control sets the amount by which the frequency setting is boosted or
attenuated.

– Q: Q Control
The “Q” control sets the amplitude of the filter selected by FREQ control.

– THD: THD Control

The “THD” control affects the harmonic contents in an unnatural way, but suitable if you
look for an effect. It rises ALL the harmonics at the same time.
The available range is ±12 dB.

NOTE: clicking on the controls while pressing “ctrl” on computer keyboard, the control returns to
zero.

© 2010-2022 280 AlexB Programs Manual

63. WSW eQ – Golden Edition SK

63.1 - About the original hardware

As beautiful looking as it sounds, this was exclusively hand-built in small numbers in the early to
mid 60's for Austrian broadcast by WSW. Built using components of the highest quality available at
the time along with as much iron, transformers and inductors as you can dream of, and still fitted
with coveted germanium transistors! This oldest built WSW eQ has a sound character with
addictive qualities, it adds a lovely richness and contour/body to anything you put through it with a
sweet “airy” top end and powerful, huge low end. The mid frequency band does little miracles,
especially to lead vocals or instruments. Additionally, there's a passive (LCR) low-cut filter included
to clear out the mud whenever there is just too much going on.

With its musical sound, the WSWGE has been engineered to deliver recordings at the best
conceivable quality onto any format at any sample rate, maintaining all the energy and
atmosphere of the original performance as perfectly as possible.

© 2010-2022 281 AlexB Programs Manual

63.2 - Session Setup

WSWGE reproduces the characteristic sound of Vintage Broadcast Germanium eQualizer, this kind
of equalizers are used in countless records in the world. To faithfully reproduce this analog sound in
the DAW, we recommend using the WSWGE in all tracks where you need to shape the sound.

– On Bus Group : WSWGE is inserted on the audio tracks as insert in the position at your taste.
It works great on all instruments and voices.
– On master track : WSWGE is inserted on the mixbus, or group bus, as last insert giving at the
whole mix his classic sound.

To emulate the original unit sound you should use both presets 1k and 3k by mixing them in this
way:

– When a single equalization band only is required you should use the 3K preset.
– When you need more than one band of equalization you should use the 1K presets and as
last band the 3K. This interaction gives the right color and harmonic contents.

NOTE: use the band/s you need only. Stacking unnecessary bands is the wrong way to emulate the
sampled hardware, the same by using more than one 3K preset.
Remember: every digital processing introduces quantizzation errors/noise which degrade the
sound, a smart use of the digital processing keeps the sound alive.

TRICK: to emulate the non linearity between the tracks, you can set the DRIVE control slightly
different on every instance into a range of +/-5dB.

© 2010-2022 282 AlexB Programs Manual

63.3 - Preset list:

The WSWGE library includes 6 different programs:

3K presets with 3 kernels and 1K presets with 1 kernel displayed into sub-menu “WSW”

WSWGE HPF: Resonant High Pass Filter -12dB/oct at 60 and 120Hz

WSWGE Low High : Combo Low and High Shelf at 60Hz and 12kHz +/- 15dB
WSWGE Mid : Mid bell fixed 1k, 1.4k, 2k, 2.8k, 4k, 5.6kHz + 9dB

63.4 – Controls

The WSWGE has only a few but intuitive and effective controls which are detailed below.

Cut Off Control

CUTOF The “CUTOF” control affects the filter's frequency cut.

Frequency Control
FREQ The “FREQ” control sets the frequency to be boosted or attenuated.

Gain Control
GAIN The “GAIN” control sets the amount by which the frequency setting is boosted or
attenuated.

THD Control
THD The “THD” control affects the harmonic contents in an unnatural way, but suitable
if you look for an effect.
The available range is ±12 dB.

© 2010-2022 283 AlexB Programs Manual

NOTE: clicking on the controls while pressing “ctrl” on computer keyboard, the control returns to
zero.

64. BP1

64.1 - About the original hardware

High Quality Vintage German Broadcast Equipment, the BP1 is a LP and HP filter with either 12dB
18dB or 24db per octave. It is perfect for filtering duties during mixing to cut unwanted frequencies
in precisely the low or high ranges. Thanks to the varied filter gradients and overlapping frequency
ranges, it is possible to work very surgically in the frequency spectrum. It sounds fantastic on
Reverb and Delay giving depth and 3D ambience. It’s a perfect addition in mastering for external
sidechaining a compressor to allow the compressor to respond only to a specific frequency range.
But real Magic happens when you use it in the M/S technique* by use it flat for the mid - it just cut
at 18Hz with natural 6dB slope - and at taste on the side: your mix will sound more finished and
tridimensional with more punch and definition.

With its musical sound thanks to Haufe in/out transformers, the BP1 has been engineered to deliver
recordings at the best conceivable quality onto any format at any sample rate, maintaining all the
energy and atmosphere of the original performance as perfectly as possible.

* the library is not implemented with M/S features, you can use any plugin to do it as the good free
MSED by Voxengo.

© 2010-2022 284 AlexB Programs Manual

64.2 - Session Setup

BP1 reproduces the characteristic sound of Vintage Broadcast Germanium Filter, this kind of
equalizers are used in countless records in the world. To faithfully reproduce this analog sound in
the DAW, we recommend using the BP1 in all tracks where you need to shape the sound.

– On single track : BP1 is inserted on the audio tracks as insert in the position at your taste. It
works great on all instruments and voices.
– On master track : BP1 is inserted on the mixbus, or group bus, as last insert giving at the
whole mix his classic sound.

To emulate the original unit sound you should use both presets LE and HQ by mixing them in this
way:

– When a single equalization band only is required you should use the HQ preset.
– When you need more than one band of equalization you should use the LE presets and as
last band the HQ. This interaction gives the right color and harmonic contents.

NOTE: use the band/s you need only. Stacking unnecessary bands is the wrong way to emulate the
sampled hardware, the same by using more than one HQ preset.
Remember: every digital processing introduces quantizzation errors/noise which degrade the
sound, a smart use of the digital processing keeps the sound alive.

TRICK: to emulate the non linearity between the tracks, you can set the DRIVE control slightly
different on every instance into a range of +/-5dB.

© 2010-2022 285 AlexB Programs Manual

64.3 - Preset list:

The BP1 library includes 4 different programs:

HQ presets with 3 kernels and LE presets with 1 kernel displayed into sub-menu “BP1”

BP1 HPF: High Pass Filter 30 40 58 80 112 160 225 320 450 640 900 1300Hz 12/18/24dB oct
BP1 LPF: Low Pass Filter 0.7 1 1.4 2 2.8 4 5.4 8 10 14 18 kHz 12/18/24dB oct.

64.4 – Controls

The BP1 has only a few but intuitive and effective controls which are detailed below.

Frequency Control
FREQ The “FREQ” control sets the frequency to be boosted or attenuated.

Slope Control
SLOPE The “SLOPE” control sets the steepness of the filter's attenuation.

Drive Control
DRIVE The “DRIVE” control affects the harmonic contents in an unnatural way, but
suitable if you look for an effect.
The available range is ±30 dB.

NOTE: clicking on the controls while pressing “ctrl” on computer keyboard, the control returns to
zero.

© 2010-2022 286 AlexB Programs Manual

65. W295A eQualizer – Golden Edition SK

65.1 - About the original hardware

The W295A equalizer is a real vintage classic. Developed in the 1960´s it is the direct successor of
the older passive W95C eQ. This eQ was the first transitorized module in the vintage german
broadcast era, transformer-balanced, fully discrete 3-band in class-A quality. The 10kHz Hi-band and
the 60Hz Low-band can be cut or boosted by ±15dB. The Mid band is a special tilt-eq. Today it is rare
and very hard to find.

With its musical sound, the W295AGE has been engineered to deliver recordings at the best
conceivable quality onto any format at any sample rate, maintaining all the energy and
atmosphere of the original performance as perfectly as possible.

© 2010-2022 287 AlexB Programs Manual

65.2 - Session Setup

W295AGE reproduces the characteristic sound of Vintage Broadcast eQualizer, this kind of
equalizers are used in countless records in the world. To faithfully reproduce this analog sound in
the DAW, we recommend using the W295AGE in all tracks where you need to shape the sound.

– On Bus Group : W295AGE is inserted on the audio tracks as insert in the position at your
taste. It works great on all instruments and voices.
– On master track : W295AGE is inserted on the mixbus, or group bus, as last insert giving at
the whole mix his classic sound.

TRICK: to emulate the non linearity between the tracks, you can set the DRIVE control slightly
different on every instance into a range of +/-5dB.

© 2010-2022 288 AlexB Programs Manual

65.3 - Preset list:

The W295AGE library includes 1 program (the full equalizer in one preset):
3K presets with 3 kernels displayed into sub-menu “295”

W295AGE: Low and High Shelf at 60Hz and 10kHz +/- 15dB and TilT Mid eQ

65.4 – Controls

The W295AGE Program eQualizer has only a few but intuitive and effective controls which are
detailed below.

Gain Control
GAIN The “GAIN” control sets the amount by which the frequency setting is boosted or
attenuated.
The MF bell has broad curve when boosted and narrow curve when it is cut.

TilT Control
TILT The “TILT” control increases and cuts proportionately both High and Low bands.
Turn up (+4dB) and the low-end gets increased while the high-end gets reduced
automatically; turn down (-4dB) and the the high-end gets increased and the low-
end is attenuated at the same time.

THD Control
THD The “THD” control affects the harmonic contents in an unnatural way, but suitable
if you look for an effect.
The available range is ±12 dB.

NOTE: clicking on the controls while pressing “ctrl” on computer keyboard, the control returns to

© 2010-2022 289 AlexB Programs Manual

zero

66. W295B eQualizer – Golden Edition SK

66.1 - About the original hardware

The W295B is a transformer-balanced, fully discrete 3-band eQ in class-A quality. It is the first
successor of the earlier W95C which were used in conjunction with the tube preamp modules in
the 1950´s desks. The W295A was the first transistorized cassettes in the vintage german broadcast
era. The 10kHz Hi-band and the 60Hz Low-band can be cut or boosted by ±15dB. The Mid-band
offers six bands to choose from, which can be cut or boosted by a max. of ±8dB. Today it's hard to
find and very rare.

With its musical sound, the W295BGE has been engineered to deliver recordings at the best
conceivable quality onto any format at any sample rate, maintaining all the energy and
atmosphere of the original performance as perfectly as possible.

© 2010-2022 290 AlexB Programs Manual

66.2 - Session Setup

W295BGE reproduces the characteristic sound of Vintage Broadcast eQualizer, this kind of
equalizers are used in countless records in the world. To faithfully reproduce this analog sound in
the DAW, we recommend using the W295BGE in all tracks where you need to shape the sound.

– On Bus Group : W295BGE is inserted on the audio tracks as insert in the position at your
taste. It works great on all instruments and voices.
– On master track : W295BGE is inserted on the mixbus, or group bus, as last insert giving at
the whole mix his classic sound.

To emulate the original unit sound you should use both presets 1K and 3K by mixing them in this
way:

– When a single equalization band only is required you should use the 3K preset.
– When you need more than one band of equalization you should use the 1K presets and as
last band the 3K. This interaction gives the right color and harmonic contents.

NOTE: use the band/s you need only. Stacking unnecessary bands is the wrong way to emulate the
sampled hardware, the same by using more than one 3K preset.
Remember: every digital processing introduces quantizzation errors/noise which degrade the
sound, a smart use of the digital processing keeps the sound alive.

TRICK: to emulate the non linearity between the tracks, you can set the DRIVE control slightly
different on every instance into a range of +/-5dB.

© 2010-2022 291 AlexB Programs Manual

66.3 - Preset list:

The W295BGE library includes 4 different programs:

3K presets with 3 kernels and 1K presets with 1 kernel displayed into sub-menu “295”

W295BGE H-L Shelf: Low and High Shelf at 60Hz and 10kHz +/- 15dB
W295BGE Mid : Mid bell fixed 700, 1k, 1,5k, 2,3k, 3,5k, 5,6kHz +/- 8dB

66.4 – Controls

The W295BGE has only a few but intuitive and effective controls which are detailed below.

Frequency Control
FREQ The “FREQ” control sets the frequency to be boosted or attenuated.

Gain Control
GAIN The “GAIN” control sets the amount by which the frequency setting is boosted or
attenuated.
The MF bell has broad curve when boosted and narrow curve when it is cut.

THD Control
THD The “THD” control affects the harmonic contents in an unnatural way, but suitable
if you look for an effect.
The available range is ±30 dB.

NOTE: clicking on the controls while pressing “ctrl” on computer keyboard, the control returns to
zero

© 2010-2022 292 AlexB Programs Manual

67. SoundTec 432 Vintage Parametric Disk Master eQualizer – Golden Edition

67.1 - About the original hardware

It has been an honor for me to work on this Vintage Parametric Disk Master eQualizer, a wonderful
and classic creation by Mr.Burgess Macneal. I have totally refurbished the unit, restoring it to it’s
original and beautiful sound, along with two mods done at request by the owner to make it more
suitable for Mastering. The original Gain step has been changed from +/-12dB to +/-6dB and an
additional High Shelf Filter at the Air Frequency of 16kHz has been added. Now this Holy Grail of
equalizers fully expresses sweetness and musicality. It's not colored or necessarily “warm”, but it is
subtle, focused, detailed, fast, immediate and extremely natural. The more you listen it, you begin
to notice a little something “special” imparted across the audio signal... Simply Beautiful.

At the end the owner has allowed me to sample the unit, so with a lot of care to not damage the
delicate circuits. It's not only a matter of banal 0VU = 0,775v but an accurate matching in signal, i/o
impedance, filtered power supply, invisible converters and more. Now I'm glad to offer you the
sound of this rare marvel for your music production, thanking you for the support that will allow me
to keep on developing these programs.

With its musical sound, the S432GE has been engineered to deliver recordings at the best
conceivable quality onto any format at any sample rate, maintaining all the energy and
atmosphere of the original performance as perfectly as possible.

© 2010-2022 293 AlexB Programs Manual

67.2 - Session Setup

S432GE eQualizer reproduces the characteristic sound of Vintage Parametric Disk Master
eQualizer, this kind of equalizers are used in countless records in the world. To faithfully reproduce
this analog sound in the DAW, we recommend using the S432GE in all tracks where you need to
shape the sound.

– On single track : S432GE eQualizer is inserted on the audio tracks as insert in the position at
your taste. It works great on all instruments and voices.
– On master track : S432GE eQualizer is inserted on the mixbus, or group bus, as last insert
giving at the whole mix his classic sound.
– Mastering: S432GE eQualizer is inserted on the audio track as insert in the position at your
taste.

To emulate the original unit sound you should use both presets 1K and 5K by mixing them in this
way:

– on a single track when a single equalization band only is required you should use the 5K
preset
– when you need more than one band of equalization you should use the 1K presets and as
last band the 5K. This interaction gives the right color and harmonic contents. However if
you want more or less color and saturation you can use the THD control.

NOTE: use the band/s you need only. Stacking unnecessary bands is the wrong way to emulate the
sampled hardware, the same by using more than one 5k preset.
Remember: every digital processing introduces quantizzation errors/noise which degrade the
sound, a smart use of the digital processing keeps the sound alive.

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67.3 - Preset list:

The S432GE Vintage Parametric Disk Master eQualizer library includes 12 different programs:
5K presets and 1K presets into sub-menu “432”

S432GE Shelf Low-High : Low and High Shelf combo at 50Hz/100Hz and 10kHz +/- 6dB
S432GE Shelf Low-Air : Low and High Shelf combo at 50Hz/100Hz and 16kHz +/- 6dB
S432GE B 11-150Hz : Bell Filter from 11Hz to 150Hz +/- 6dB, slope from 5 to 15 dB/oct
S432GE B 150-1000Hz : Bell Filter from 150Hz to 1000Hz +/- 6dB, slope from 5 to 15 dB/oct
S432GE B 1-5.7kHz : Bell Filter from 1kHz to 5.7kHz +/- 6dB, slope from 5 to 15 dB/oct
S432GE B 5.7-25kHz : Bell Filter from 5.7kHz to 25kHz +/- 6dB, slope from 5 to 15 dB/oct

67.4 – Controls

The S432GE eQualizer has only a few but intuitive and effective controls which are detailed below.

Frequency Control
FREQ The “FREQ” control sets the frequency to be boosted or attenuated.

Gain Control
GAIN The “GAIN” control sets the amount by which the frequency setting is boosted or
attenuated.
The MF bell has broad curve when boosted and narrow curve when it is cut.

Slope Slope Control

The “Slope” control sets the steepness of the filter selected by FREQ control.
The available range is from 5 to 15 dB/oct. (Note2)

THD Control
THD The “DRIVE” control affects the harmonic contents in an unnatural way, but
suitable if you look for an effect. Increasing the value for a fat and saturated
sound, lowering the value for a thin and detailed sound.

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NOTE: clicking on the controls while pressing “ctrl” on computer keyboard, the control returns to
zero

68. W91A German eQualizer

68.1 - About the original hardware

The W91A equalizer is one of the later developed. It was designed in the early 1990´s when
customers requested for more channels with full features. All circuitry for the W91A’s is high quality
and build after the standards of the IRT (Institut für Rundfunk Technik).
The idea behind the W91A equalizer was to build a balanced eq module in a small, half fader (B1)
cassette. The W91A is quit flexible and a good alrounder featuring with selectable frequencies and a
q-factor. You can use the the W91A for mixing and mastering.
The W91A is a flexible eq with a relatively clean yet slightly aggressive character. It´s ability to go
from subtle filtering to extreme EQ-ing effects, makes the W91A a very powerful tool. The sound is
much more “in the face” and you can still add loads of high frequencies without getting any
harshness. Punchy!

With its musical sound, the W91A has been engineered to deliver recordings at the best
conceivable quality onto any format at any sample rate, maintaining all the energy and
atmosphere of the original performance as perfectly as possible.

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68.2 - Session Setup

W91A eQualizer reproduces the characteristic sound of Vintage Broadcast eQualizer, this kind of
equalizers are used in countless records in the world. To faithfully reproduce this analog sound in
the DAW, we recommend using the W91A in all tracks where you need to shape the sound.

– On single track : W91A eQualizer is inserted on the audio tracks as insert in the position at
your taste. It works great on all instruments and voices.
– On master track : W91A eQualizer is inserted on the mixbus, or group bus, as last insert
giving at the whole mix his classic sound.
– Mastering; W91A eQualizer is inserted on the audio track as insert in the position at your
taste.

To emulate the original unit sound you should use both presets LE and HQ by mixing them in this
way:

– When a single equalization band only is required you should use the HQ preset.
– When you need more than one band of equalization you should use the LE presets and as
last band the HQ. This interaction gives the right color and harmonic contents.

NOTE: use the band/s you need only. Stacking unnecessary bands is the wrong way to emulate the
sampled hardware, the same by using more than one HQ preset.
Remember: every digital processing introduces quantizzation errors/noise which degrade the
sound, a smart use of the digital processing keeps the sound alive.

TRICK: to emulate the non linearity between the tracks, you can set the DRIVE control slightly
different on every instance into a range of +/-5dB.

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68.3 - Preset list:

The W91A eQualizer library includes 6 different programs:

HQ presets with 3 kernels and LE presets with 1 kernel displayed into sub-menu “W91”

W91A 45-300Hz: Low Bell 45Hz to 300Hz +/- 15dB 1 to 3 Q

W91A 300-1500Hz: Mid Bell 300Hz to 1500Hz +/- 15dB 1 to 3 Q
W91A 1.5-15kHz: High Bell 1.5kHz to 15kHz +/- 15dB 1 to 3 Q

68.4 – Controls

The W91A eQualizer has only a few but intuitive and effective controls which are detailed below.

Frequency Control
FREQ The “FREQ” control sets the frequency to be boosted or attenuated.

Gain Control
GAIN The “GAIN” control sets the amount by which the frequency setting is boosted or
attenuated.

Q Control
Q The “Q” control sets the amplitude of the filter selected by FREQ control.

Drive Control
DRIVE The “DRIVE” control affects the harmonic contents in an unnatural way, but
suitable if you look for an effect.
The available range is ±30 dB.

NOTE: clicking on the controls while pressing “ctrl” on computer keyboard, the control returns to
zero

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69. W92 German eQualizer

69.1 - About the original hardware

TThe W92 equalizer is one of the classic '80 era. All circuitry for the W92’s is high quality and build
after the standards of the IRT (Institut für Rundfunk Technik).
The W92 is a flexible and a good alrounder featuring with HPF, selectable frequencies and each
band can be switched in/out. You can use the the W92 for mixing and mastering.
The W92 is a flexible eq with a relatively clean character. It´s ability to go from subtle filtering to
extreme EQ-ing effects, makes the W92 a very powerful tool in mastering. The sound is much open
and deep and you can still add loads of high frequencies without getting any harshness. Sweet!

With its musical sound, the W92 has been engineered to deliver recordings at the best conceivable
quality onto any format at any sample rate, maintaining all the energy and atmosphere of the
original performance as perfectly as possible.

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69.2 - Session Setup

W92 eQualizer reproduces the characteristic sound of Vintage Broadcast eQualizer, this kind of
equalizers are used in countless records in the world. To faithfully reproduce this analog sound in
the DAW, we recommend using the W92 in all tracks where you need to shape the sound.

– On single track : W92 eQualizer is inserted on the audio tracks as insert in the position at
your taste. It works great on all instruments and voices.
– On master track : W92 eQualizer is inserted on the mixbus, or group bus, as last insert giving
at the whole mix his classic sound.
– Mastering: W92 eQualizer is inserted on the audio track as insert in the position at your
taste.
Mastering :

To emulate the original unit sound you should use both presets LE and HQ by mixing them in this
way:

– When a single equalization band only is required you should use the HQ preset.
– When you need more than one band of equalization you should use the LE presets and as
last band the HQ. This interaction gives the right color and harmonic contents.

NOTE: use the band/s you need only. Stacking unnecessary bands is the wrong way to emulate the
sampled hardware, the same by using more than one HQ preset.
Remember: every digital processing introduces quantizzation errors/noise which degrade the
sound, a smart use of the digital processing keeps the sound alive.

TRICK: to emulate the non linearity between the tracks, you can set the DRIVE control slightly
different on every instance into a range of +/-5dB.

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69.3 - Preset list:

The W92eQualizer library includes 10 different programs:

HQ presets with 3 kernels and LE presets with 1 kernel displayed into sub-menu “W92”

W92 HPF: High Pass Filter 20. 80, 140Hz 18dB/oct

W92 Low Shelf: Low Shelf 50Hz to 400Hz +/- 15dB
W92 60-1000Hz: Low Mid Bell 60Hz to 1000Hz +/- 15dB
W92 1-16kHz: High Mid Bell 1kHz to 16kHz +/- 15dB
W92 High Shelf: High Shelf 3kHz to 10kHz +/- 15dB

69.4 – Controls

The W92 eQualizer has only a few but intuitive and effective controls which are detailed below.

Frequency Control
FREQ The “FREQ” control sets the frequency to be boosted or attenuated.

Gain Control
GAIN The “GAIN” control sets the amount by which the frequency setting is boosted or
attenuated.

CUTOF Cut Off Control

The “CUTOF” control affects the filter's frequency cut.

Drive Control
DRIVE The “DRIVE” control affects the harmonic contents in an unnatural way, but
suitable if you look for an effect.
The available range is ±30 dB.

NOTE: clicking on the controls while pressing “ctrl” on computer keyboard, the control returns to
zero

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70. Flexmix Console - Golden Edition SK

70.1 - About the original hardware

This Classic 1979’s funky compact desk was originally developed as a live console for Queen. Oodles
of character to vibe up your recordings and mixes. The console has been carefully refurbished and
modified in the AlexB Laboratory before the sampling process to improve the audio quality without
to compromise the original British character.
These console are becoming extremely sought after!

With its large bandwidth the Flexmix Console has been engineered to deliver recordings at the
best conceivable quality onto any format at any sample rate, capturing all the energy and
atmosphere of the original performance as perfectly as possible.

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70.2 - Session Setup

Flexmix Console reproduces the sound of Vintage British Live Console using a library programs
consisting of channels input, equalizer and mixbus. To faithfully reproduce into the DAW the
analog console signal chain and workflow, we recommend using the Flexmix Console in one of two
following session setup configurations.

Recording Console Emulation

– Insert the Line Input preset on the first insert of the DAW audio tracks
– Insert the Mix Bus preset on the first insert of the DAW master bus
– If you group channels in you DAW, i.e. drums elements, you can insert the Group Bus preset
as first insert in the submix group bus.
– Start your mix !

Mixing Console Emulation

– Insert the Line Input preset on the last insert of the DAW audio tracks
– Insert the Mix Bus preset on the last insert of the DAW master bus
– If you group channels in you DAW, i.e. drums elements, you can insert the Group Bus preset
as last insert in the submix group bus.
– Start your mix !

You should set the Pan Law in the DAW at -3dB.

TRICK: to emulate the non linearity between the channels of the console, you can set the GDRV
control slightly different on every track into a range of +/-3dB.

TIP: Which configuration to use ?

If you have recorded your tracks with a console or with colored preamps – by hardware or by
processing the audio files with, for example, the Preamp Colors & Saturation library – then the
Mixing Console Emulation is the right choice.
If you have tracking with clean and sterile preamps or your song has a lot of VST-instruments,
the Recording Console Emulation may to work better.
Experimenting and choosing by personal taste is the best way.

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70.3 - Preset list:

The Flexmix Console library includes 11 different programs:

3K presets with 3 kernels and 1K presets with 1 kernels displayed into sub-menu “FLX”

FLEXMIX Line Input

FLEXMIX MIC Pre
FLEXMIX CH Add-Ons
FLEXMIX M.Bus Clean
FLEXMIX M.Bus Add-Ons
FLEXI Low Shelf : shelf filter 60 to 150Hz +/-15dB*
FLEXI 0,3-10kHZ : bell filter 0,3 to 10KHz +/-15dB*, very broad Q
FLEXI High Shelf : shelf filter 8 to 12kHz +/-15dB*

* The values showed on the GUI are numerical with the original imperfection related to the real
value in dB.

FLEXMIX Input Line

The Flexmix Console Input Line is the first stage of the console, normally it works as line amplifier
and you should insert it in every track.

FLEXMIX Mic Pre

The Flexmix Console microphone preamplifier has more coloration than Line in and you can use it
when more character is needed.

FLEXMIX CH Add-Ons
This add-ons can be inserted after the Line input, or Mic Pre, to set the track as channel srtip with
four (4) different flavors you can set with the switchable Tone control:
1 – Freddy: tuned for Male Voice tracks.
2 – John: tuned for Bass track.
3 – May: tuned for Guitar track.
4 – Roger: tuned for Drums track.
You can use the CH Add-Ons as first insert for bus group also.

FLEXMIX M.Bus Clean

The Flexmix Console M.Bus Clean is the final stage of the console, it must be inserted in the mixbus
of the DAW to give the clean glue.

FLEXMIX M.Bus Add-Ons

M.Bus has new concept in the Golden Edition: instead to have more presets with different colors,
there is a preset called M.Bus ADD-Ons which could be used to give different colors. The TONE
control switchs between the sound of some top notch hardware with light equalization setup:

1 : Vintage = Vintage TG Mastering eQ

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2 : Queen = Vintage British eQ
3 : Modern = SPL PQ
ADD-Ons preset must be placed after M.Bus preset for the right interaction with it.
Use the ADD-Ons only if you need it, of course.

70.4 - Controls

The Flexmix Console has only a few but intuitive and effective controls which are detailed below.

GDrive Control
GDRV The “GDRV” control is a unique feature not found in similar products from others
brands that comes from Acustica Audio VVKT proprietary technology and
sampling aproach.
It allows you to control the amount of harmonic distortion that is coming from the
analog hardware. The “Input” control acts as the analog signal chain of the device,
where reducing the volume also reduces the harmonic distortion in accordance.
The “GDrive” function allows independent control of this harmonic content, so
that the input level can be left alone while making adjustments to the harmonics.
Reducing the harmonics leads to a cleaner signal with an already clean device.
Increasing the harmonics should be done with moderation.
This type of effect is not truly representative of a real console, but it can be useful
when you want more of the console’s nonlinear “vibe” without altering the
channel’s levels. The available range is ±12 dB.. Note that increasing the input
signal the internal headroom will be reduced.

THD THD Control

The “THD” control affects the harmonic contents in an unnatural way, but suitable
if you look for an effect.
The available range is ±12 dB.

Frequency Control
FREQ The switchable “FREQ” control sets the frequency to be boosted or attenuated.

Gain Control
GAIN The “GAIN” control sets the amount by which the frequency setting is boosted or
attenuated.
The available range is ±15 dB.

NOTE: clicking on the controls while pressing “ctrl” on computer keyboard, the control returns to
zero.
NOTE2: do not adjust the ATTCK and RELS controls, leave them at stock value (center 12 o'clock).

© 2010-2022 305 AlexB Programs Manual

71. GM9 Mastering eQualizer – Golden Edition

71.1 - About the original hardware

The GM9GE Mastering eQ is a powerful and comprehensive workhorse for Mastering Engineers
around the world. It is regarded as being one of the highest-quality EQs available and renowned for
its incredible detail, precision, resolution and clarity, making it ideal for very precise and surgical-
style EQ work for high quality audio.

The unit has been refurbished to retain the original sound and modified by installing an
(switchable on/off) output custom made audio transformer to achieve improvement in the audio
performance.

With its musical sound, the GM9GE has been engineered to deliver recordings at the best
conceivable quality onto any format at any sample rate, maintaining all the energy and
atmosphere of the original performance as perfectly as possible.

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71.2 - Session Setup

GM9GE Mastering eQualizer reproduces the characteristic sound of the famous Parametric
Mastering eQualizer, this kind of equalizers are used in countless records in the world. To faithfully
reproduce this analog sound in the DAW, we recommend using the GM9GE in all tracks where you
need to shape the sound.

– On single track : GM9GE Mastering eQualizer is inserted on the audio tracks as insert in the
position at your taste. It works great on all instruments and voices.
– On master track : GM9GE Mastering eQualizer is inserted on the mixbus, or group bus, as
last insert giving at the whole mix his classic sound.
– Mastering: GM9GE Mastering eQualizer is inserted on the audio track as insert in the
position at your taste.

To emulate the original unit sound you should use both presets 1K and 5K by mixing them in this
way:

– When a single equalization band only is required you should use the 5K preset.
– When you need more than one band of equalization you should use the 1K presets and as
last band the 5K. This interaction gives the right color and harmonic contents.

NOTE: use the band/s you need only. Stacking unnecessary bands is the wrong way to emulate the
sampled hardware, the same by using more than one HQ preset.
Remember: every digital processing introduces quantizzation errors/noise which degrade the
sound, a smart use of the digital processing keeps the sound alive.

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71.3 - Preset list:

The GM9GE Mastering eQualizer library includes 20 different programs:

presets with 5 kernels and presets with 1 kernel displayed into sub-menu “GM9”

GM9GE Low Shelf : Low Shelf from 13Hz to 800Hz +/- 6dB
GM9GE B 13-320Hz : Bell Filter from 13Hz to 320Hz +/- 6dB, Q from 0.4 to 4
GM9GE B 320-3000Hz : Bell Filter from 320Hz to 3000Hz +/- 6dB, Q from 0.4 to 4
GM9GE B 3-26kHz : Bell Filter from 3kHz to 26kHz +/- 6dB, Q from 0.4 to 4
GM9GE High Shelf : High Shelf from 420Hz to 26kHz +/- 6dB

GM9TGE Low Shelf : Low Shelf from 13Hz to 800Hz +/- 6dB with transformer
GM9TGE B 13-320Hz : Bell Filter from 13Hz to 320Hz +/- 6dB, Q from 0.4 to 4 with transformer
GM9TGE B 320-3000Hz : Bell Filter from 320Hz to 3000Hz +/- 6dB, Q from 0.4 to 4 with transformer
GM9TGE B 3-26kHz : Bell Filter from 3kHz to 26kHz +/- 6dB, Q from 0.4 to 4 with transformer
GM9TGE High Shelf : High Shelf from 420Hz to 26kHz +/- 6dB with transformer

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71.4 – Controls

The GM9GE Mastering eQualizer has only a few but intuitive and effective controls which are
detailed below.

Frequency Control
FREQ The “FREQ” control sets the frequency to be boosted or attenuated.

Gain Control
GAIN The “GAIN” control sets the amount by which the frequency setting is boosted or
attenuated.

Q Q Control
The “Q” control sets the steepness of the filter selected by FREQ control.
The available range is from 0,4 to 4

THD Control
THD The “DRIVE” control affects the harmonic contents in an unnatural way, but
suitable if you look for an effect. Increasing the value for a fat and saturated
sound, lowering the value for a thin and detailed sound.

NOTE: clicking on the controls while pressing “ctrl” on computer keyboard, the control returns to
zero

© 2010-2022 309 AlexB Programs Manual

72. VC1 Vintage Voice Channel

72.1 - About the original hardware

A gorgeous sounding vintage british channel strip into a small green box, midrangey preamp, line
amp, two opto compressors with different character and one harmonic enhancer. Only 55 units has
been built !
Additionally there is another vintage green ½ U rack equalizer with three bands.
You will be amazed by the sound from these units to process your voice and instrumental tracks.
The two green boxes has been repaired and refurbished and then sampled to capture all the
nuances of their fantastic sound: the line input, mic preamp, enhancer, compressors and the
equalizer.

With its vintage sound, the VC1 has been engineered to deliver recordings at the best conceivable
quality onto any format at any sample rate, maintaining all the energy and atmosphere of the
original performance as perfectly as possible.

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72.2 - Session Setup

VC1 reproduces the characteristic sound of the vintage britishchannel strip, this kind of sound is
used in countless hit records in the world. To faithfully reproduce into the DAW the VC1 channel
strip and workflow, we recommend using the VC1 in the following setup configurations:

Line input or Mic Preamp is inserted on the first insert of the DAW audio tracks, then the
equalizer, compressor, enhancer can be inserted if the track demand them.

TRICK: to emulate the non linearity between the tracks, you can set the DRIVE control slightly
different on every instance into a range of +/-5dB.

© 2010-2022 311 AlexB Programs Manual

72.3 - Preset list:

The VC1 library includes 9 different programs:

HQ presets with 10 and 3 kernels, LE presets with 3 and 1 kernel displayed into sub-menu “H32”

VC1 Line in: line input channel

VC1 Mic Pre: microphone preamplifier
VC1 Enhancer : Harmonic Enhancer
VC1 Compressor : Opto Compressor with two character and in-between
Joe eQ : combo equalizer with Low, Mid and High bands ±16 dB

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72.4 – Controls

The VC1 has only a few but intuitive and effective controls which are detailed below.

Low/Mid/High Control (eQ)

Low/Mid/High These control set the amount by which the frequency setting is boosted or
attenuated.
The available range is ±16 dB.

GDRV GDrive Control (Line input – Mic Pre)

The “GDRV” control is a unique feature not found in similar products from others
brands that comes from Acustica Audio VVKT proprietary technology and
sampling aproach.
It allows you to control the amount of harmonic distortion that is coming from the
analog hardware. The “Input” control acts as the analog signal chain of the device,
where reducing the volume also reduces the harmonic distortion in accordance.
The “GDrive” function allows independent control of this harmonic content, so
that the input level can be left alone while making adjustments to the harmonics.
Reducing the harmonics leads to a cleaner signal with an already clean device.
Increasing the harmonics should be done with moderation.
This type of effect is not truly representative of a real console, but it can be useful
when you want more of the console’s nonlinear “vibe” without altering the
channel’s levels. The available range is ±12 dB.
Note that increasing the input signal the internal headroom will be reduced.
Drive Control (Line input – Mic Pre)
DRIVE The “DRIVE” control affects the harmonic contents in an unnatural way, but
suitable if you look for an effect.
The available range is ±30 dB.

Attack Control (Compressor)

ATT The “ATT” control defines the attack time of the compressor. Attack time is the
duration between the input signal reaching the threshold and processing being
applied.
The range is variable from 3ms to 20ms

Release Control (Compressor)

REL The “REL” control sets the amount of time it takes for processing to cease once
the input signal drops below the threshold level.
The available range is 100ms to 1,2s

Threshold Control (Compressor)

THR The “THR” control defines the input level at which limiting or compression begins.
Signals that exceed this level are processed. Signals below the threshold are
unaffected.

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 The range is variable from 0dB to -48,1dB

Type Control (Compressor)

Type The “Type” control sets the output gain-makeup circuit from compressor type1 (1)
to compressor type2 (2) and everything in-between by the continuous control,
offering a practically infinite range of unique tones.

Ahead Control (Compressor)

AHEAD The “AHEAD” control sets the look-ahead to control the fast transients.
The range is variable from 0ms to 6ms

Drive Control (Compressor)

DRIVE The “DRIVE” control affects the harmonic contents in an unnatural way, but
suitable if you look for an effect.
The available range is ±24 dB.

Drive Control (enhancer)

DRIVE The “DRIVE” control determines the depth and tone of the enhancement.
The range is variable from 0 to 10.

Reson Control (enhancer)

Reson The “Reson” control determines the amount of the high-frequency harmonic.
The range is variable from 0 to 10.

NOTE: clicking on the controls while pressing “ctrl” on computer keyboard, the control returns to
zero.

NOTE2: do not adjust the ATTCK and RELS controls into Line Amp and Mic Pre presets, leave
them at stock value (center 12 o'clock).

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73. Neev 09 - Golden Edition

73.1 - About the original hardware

The original often called "Metal Knob” N09GE was a rack mounted adaptation of the Class A/B
compressor/limiter console modules, which were a later incarnation of the fully Class A N54. All use
what's called a "diode-bridge" topology to achieve gain reduction. It is a stereo compressor with an
independent limiter section, this is the most desirable version with the original transformers which
sounds incredibly musical.
N09GE manages to sound clean but with character without being weak and harsh. There is little
apparent colouration, just a maturity of tone.

The N09GE has been engineered to deliver recordings at the best conceivable quality onto any
format at any sample rate, maintaining all the energy, atmosphere and life of the original
performance as perfectly as possible.

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73.2 - Session Setup

N09GE reproduces the characteristic sound of vintage bus Conmpressor; this kind of unit are used
in countless records in the world. To faithfully reproduce this analog sound in the DAW, I
recommend using the N09 in group bus and stereo mixbus where you need to control dynamically
the sound.
On single track the N09GE works great on acoustic instruments and voices.

To emulate the original unit sound you should use the presets in this way:

– When you need to control the dynamic Insert the Comp preset followed by the Line Out
preset.
– If some limiting is needed, you should insert the Limit preset followed by the Line Out
preset. The limiter is not a brick-wall and it should be used to limit the peak of the music
between -0,1dB to -1dB of Gain Reduction for to keep transparency.
– Where a complete set of compression and limiting is demanded you should insert the
Comp preset then the Limit preset and finally the Line Out preset.

Compressor loves to be pushed hot, input peak signal between -2dBfs to -6dBfs are good for that
typical softness transient sound of this unit. Input levels above -8dBfs allows more glue and
musicality. Anyway: use your ears and enjoy ! :)

External SideChain
The Sc presets are useful to control the dynamic module of the Compressor via external sidechain
for ducking, pumping or other effect. To use sidechaining correctly please refer at the manual of
your DAW.
This function works on Nebula4 only.

NOTE: use the presets you need only. Stacking unnecessary presets is the wrong way to emulate
the sampled hardware. i.e. don't stack Comp + Limit + Line Out if you need the Comp or Limit only.
Remember: every digital processing introduces quantizzation errors/noise which degrade the
sound, a smart use of the digital processing keeps the sound alive.

73.3 - Preset list:

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The N09GE library includes the following programs displayed into menu “N09” and subgrouped
into 44.1kHz, 48kHz, 88.2kHz.

N09GE Comp
N09GE Comp Sc
N09GE Limit
N09GE Line Out

N09GE Comp
Compressor with fixed attack (4ms), release, threshold, ratio, HPF, gain makeup and wet/dry
controls.

N09GE Comp Sc
The same as the Comp preset but with external sidechain input and without HPF.

N09GE Limit
Limiter with attack, release, threshold, HPF, gain makeup and wet/dry controls.

N09GE Line Out

Line Out stage with Gdrive and THD controls.

73.4 - Controls

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Over the common and the above described controls, N09GE has also:

Compressor

– REL: Release Control

The “REL” control sets the amount of time it takes for processing to cease once the input
signal drops below the threshold level.
The switchable values are 100ms, 400ms, 800ms, 1,5s.
Two AUTO program dependent releases based on audio levels are available, they are labeled
4.1 and 4.2. In the original unit the auto program dependent releases A1 and A2 are based on
transient speed.

– THR: Threshold Control

The “THR” control defines the input level at which limiting or compression begins. Signals
that exceed this level are processed. Signals below the threshold are unaffected.
The range is variable from 0 to -64.

– RATIO: Ratio Control

The “RATIO” defines the amount of gain reduction to be processed by the module.
The switchable values are 1.5:1 – 2:1 – 3:1 – 4:1 – 6:1.

– HPF: High Pass Filter Control

The “HPF” control sets the cut-off point of a high-pass filter on the internal sidechain.
The range is variable from 0Hz to 200Hz.

– MAKP: Gain Makeup Control

The “MAKP” control sets the output level of gain makeup.
The range is variable from 0dB to 25dB.

– WET: Dry/Wet Control

This control lets you balance between processed (Wet) and original signal (Dry) allowing you
to do parallel compression without routing to buses/aux.
The range is variable from 0% (Dry) to 100% (Wet).

Limiter

– ATT: Attack Control

The “ATT” control defines the attack time of the Limiter.
The switchable values are 2ms and 4ms.

– REL: Release Control

The “REL” control sets the amount of time it takes for processing to cease once the input
signal drops below the threshold level.
The switchable values are 50ms, 100ms, 200ms, 800ms.

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 – THR: Threshold Control
The “THR” control defines the input level at which limiting or compression begins. Signals
that exceed this level are processed. Signals below the threshold are unaffected.
The range is variable from 0 to -27.2.

– HPF: High Pass Filter Control

The “HPF” control sets the cut-off point of a high-pass filter on the internal sidechain.
The range is variable from 0Hz to 200Hz.

– MAKP: Gain Makeup Control

The “MAKP” control sets the output level of gain makeup.
The range is variable from 0dB to 25dB.

– WET: Dry/Wet Control

This control lets you balance between processed (Wet) and original signal (Dry) allowing you
to do parallel processing without routing to buses/aux.
The range is variable from 0% (Dry) to 100% (Wet).

Line Out

– GDRV: GDrive Control

The “GDRV” control is a unique feature not found in similar products from others brands
that comes from Acustica Audio VVKT proprietary technology and sampling aproach.
It allows you to control the amount of harmonic distortion that is coming from the analog
hardware. The “Input” control acts as the analog signal chain of the device, where reducing
the volume also reduces the harmonic distortion in accordance. The “GDrive” function
allows independent control of this harmonic content, so that the input level can be left
alone while making adjustments to the harmonics. Reducing the harmonics leads to a
cleaner signal with an already clean device. Increasing the harmonics should be done with
moderation.
This type of effect is not truly representative of a real console, but it can be useful when you
want more of the console’s nonlinear “vibe” without altering the channel’s levels. The
available range is ±12 dB.
Note that increasing the input signal the internal headroom will be reduced.

– THD: Drive Control

The “THD” control affects the harmonic contents in an unnatural way, but suitable if you
look for an effect. It rises ALL the harmonics at the same time.
The available range is ±12 dB.
NOTE: clicking on the controls while pressing “ctrl” on computer keyboard, the control returns to
zero.

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74. Vintage Mastering Limiter – Golden Edition SK

74.1 - About the original hardware

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Originally designed for broadcast material, tthe dual 179-400 has been refurbished and modified,
then racked into a 1U with custom made high quality power supply. It's a totally unique analog
mix/mastering VCA limiter with a character all of its own. It's a versatile and capable addition to any
studio looking for that elusive magic touch. As a mastering limiter, the VMLGE allows the gentle
shaping of transients giving better overall balance, hitting the digital brickwall limiter in a more
detailed and pleasant way, often giving 0.5 to 1.5dB more punch previously unobtainable out of an
already well-balanced track. Less work is required from the brickwall limiter giving a cleaner, more
open sounding mix with the addition of detail, rather than the over-compressed destruction of
transients and fatiguing boxiness that come from too much gain reduction processed in one stage.

The VMLGE has been engineered to deliver recordings at the best conceivable quality onto any
format at any sample rate, maintaining all the energy, atmosphere and life of the original
performance as perfectly as possible.

74.2 - Session Setup

VMLGE reproduces the characteristic sound of vintage Broadcast Limiter; this kind of unit are used
in countless records in the world. To faithfully reproduce this analog sound in the DAW, I
recommend using the VMLGE in group bus and stereo mixbus where you need to control
dynamically the sound.

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On single track the VLMGE works great on acoustic instruments and voices.

To emulate the original unit sound you should use the presets in this way:

– If some limiting is needed, you should insert the Limit preset followed by the Line Out
preset. The limiter is not a brick-wall and it should be used to limit the peak of the music
between -0,1dB to -1dB of Gain Reduction for to keep transparency.
– If you need to control the peaks only, sometimes the soft-clipper works better alone
followed by the Line Out preset.
– Where a complete set of limiting and soft-clipping is demanded you should insert the Limit
preset then the Soft-Clipper preset and finally the Line Out preset.

NOTE: use the presets you need only. Stacking unnecessary presets is the wrong way to emulate
the sampled hardware. i.e. don't stack Comp + Limit + Line Out if you need the Comp or Limit only.
Remember: every digital processing introduces quantizzation errors/noise which degrade the
sound, a smart use of the digital processing keeps the sound alive.

3.3 - Preset list:

The VMLGE library includes the following programs displayed into menu “VML” and subgrouped
into 44.1kHz, 48kHz, 88.2kHz.

VLMGE Limiter Stock

VLMGE Limiter

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VLMGE Soft Clipper
VLMGE Line Out
VLMGE Line Out FX

VLMGE Limiter Stock

Stock Limiter unit with fixed attack (1.5ms), auto release (100ms to 20s), threshold, pre-emphasis,
HPF, gain makeup and wet/dry controls.

VLMGE Limiter
Modified Limiter unit with fixed attack (1.5ms), continuous variable release from 100ms to 24s,
threshold, pre-emphasis, HPF, gain makeup and wet/dry controls.

VLMGE Soft Clipper

Soft-Clipper with fixed attack (1ms), continuous variable release from 100ms to 24s, threshold, pre-
emphasis, HPF and gain makeup controls.

VLMGELine Out
Line Out stage with Gdrive and THD controls.

VLMGELine Out FX
Modified Line Out stage with Gdrive and THD controls. It acts like a transients-inflator by entering
with hot signal and/or tuning the GDRIVE control.

3.4 - Controls

Over the common and the above described controls, VMLGE has also:

Limiter and Soft Clipper

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 – REL: Release Control
The “REL” control sets the amount of time it takes for processing to cease once the input
signal drops below the threshold level.
The control varies from 100ms to 24s.

– THR: Threshold Control

The “THR” control defines the input level at which limiting or compression begins. Signals
that exceed this level are processed. Signals below the threshold are unaffected.
The range is variable from 0 to -27,2.

– PMPH: Pre-Emphasis Control

The pre-emphasis is like a soft knee applied on threshold, which let engage it a little bit
before.
The switchable values are 0 and 50us.

– HPF: High Pass Filter Control

The “HPF” control sets the cut-off point of a high-pass filter on the internal sidechain.
The range is variable from 0Hz to 200Hz.

– MAKP: Gain Makeup Control

The “MAKP” control sets the output level of gain makeup.
The range is variable from 0dB to 25dB.

– WET: Dry/Wet Control

This control lets you balance between processed (Wet) and original signal (Dry) allowing you
to do parallel compression without routing to buses/aux.
The range is variable from 0% (Dry) to 100% (Wet).

Line Out and Line Out FX

– GDRV: GDrive Control

The “GDRV” control is a unique feature not found in similar products from others brands
that comes from Acustica Audio VVKT proprietary technology and sampling aproach.
It allows you to control the amount of harmonic distortion that is coming from the analog
hardware. The “Input” control acts as the analog signal chain of the device, where reducing
the volume also reduces the harmonic distortion in accordance. The “GDrive” function
allows independent control of this harmonic content, so that the input level can be left
alone while making adjustments to the harmonics. Reducing the harmonics leads to a
cleaner signal with an already clean device. Increasing the harmonics should be done with
moderation.
This type of effect is not truly representative of a real console, but it can be useful when you
want more of the console’s nonlinear “vibe” without altering the channel’s levels. The
available range is ±12 dB.
Note that increasing the input signal the internal headroom will be reduced.

– THD: Drive Control

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 The “THD” control affects the harmonic contents in an unnatural way, but suitable if you
look for an effect. It rises ALL the harmonics at the same time.
The available range is ±12 dB.

NOTE: clicking on the controls while pressing “ctrl” on computer keyboard, the control returns to
zero.

75. SPQ Supreme Mastering eQualizer – Golden Edition SK

75.1 - About the original hardware

The SPQ Mastering eQ GE is a powerful and colorful state-of-the-art device for Mastering Engineers
around the world. This unique equalizer can be switched between constant Q and proportional Q,
which functionally provides ten fully parametric bands.

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It is regarded as being one of the highest-quality EQs available and renowned for its incredible
detail, precision, and resolution, as well as it’s stunning looks! It’s ideal for both very precise,
surgical-style EQ duties, and painting broad strokes of character and tonal color into the audio.

The unit sampled has been refurbished to retain the original sound, and slightly enhanced by
replacing the original Panasonic FC electrolytics caps to remove some harshness.

With its musical and toneful sound, the SPQGE has been engineered to deliver recordings at the
best conceivable quality onto any format at any sample rate, improving, if needed, the energy and
atmosphere of the original performance.

75.2 - Session Setup

SPQGE Mastering eQualizer reproduces the characteristic sound of the famous Parametric
Mastering eQualizer, this kind of equalizers are used in countless records in the world. To faithfully
reproduce this analog sound in the DAW, we recommend using the SPQGE in all tracks where you
need to shape the sound.

– On single track : SPQGE Mastering eQualizer is inserted on the audio tracks as insert in the
position at your taste. It works great on all instruments and voices.

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 – On master track : SPQGE Mastering eQualizer is inserted on the mixbus, or group bus, as last
insert giving at the whole mix his classic sound.
– Mastering: APQGE Mastering eQualizer is inserted on the audio track as insert in the
position at your taste.

TRICK: each band has a slightly different color and sound, even with the same frequencies. This is
also true for the same constant Q and parametric Q.
Take some time to learn how to use this fantastic equalizer by experimenting with the same
frequency and different combination of bands and Q to explore the many timbral nuances.

NOTE: use the band/s you need only. Stacking unnecessary bands is the wrong way to emulate the
sampled hardware.
Remember: every digital processing introduces quantizzation errors/noise which degrade the
sound, a smart use of the digital processing keeps the sound alive.

75.3 - Preset list:

The SPQGE Supreme Mastering eQualizer library includes 10 different programs displayed into
sub-menu “SPQ”

SPQGE C 10-330: Bell Filter from 33Hz to 330Hz +/- 7dB, constant Q from 15 to 0,6
SPQGE C 33-1000Hz : Bell Filter from 33Hz to 1000Hz +/- 7dB, constant Q from 15 to 0,6
SPQGE C 128-4100Hz : Bell Filter from 128Hz to 4100Hz +/- 7dB, constant Q from 15 to 0,6
SPQGE C 0,31-10,2kHz : Bell Filter from 0,31kHz to 10,2kHz +/- 7dB, constant Q from 15 to 0,6
SPQGE C 0,76-24kHz : Bell Filter from 0,76kHz to 24kHz +/- 7dB, constant Q from 15 to 0,6

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SPQGE P 10-330: Bell Filter from 33Hz to 330Hz +/- 7dB, proportional Q from 5,8 to 0,08
SPQGE P 33-1000Hz : Bell Filter from 33Hz to 1000Hz +/- 7dB, proportional Q from 5,8 to 0,08
SPQGE P 128-4100Hz : Bell Filter from 128Hz to 4100Hz +/- 7dB, proportional Q from 5,8 to 0,08
SPQGE P 0,31-10,2kHz : Bell Filter from 0,31kHz to 10,2kHz +/- 7dB, proportional Q from 5,8 to 0,08
SPQGE P 0,76-24kHz : Bell Filter from 0,76kHz to 24kHz +/- 7dB, proportional Q from 5,8 to 0,08

NOTE: in constant Q mode, the amplitude is constant regardless of the selected bandwidth. This is
ideal for eliminating interfering frequencies.

In proportional Q mode, the amplitude is proportional to the bandwidth. It decreases with

increasing bandwidth and vice versa. At the smallest bandwidth setting, the maximum amplitude
value is +/- 7,6 dB, while the maximum amplitude decreases to +/- 1,6 dB at the largest bandwidth
setting. This control behavior simplifies sensitive, creative processing and is musically very useful,
since high amplitudes become increasingly unusable with increasing bandwidth.

75.4 – Controls

The SPQGE Supreme Mastering eQualizer has only a few but intuitive and effective controls which
are detailed below.

Frequency Control
FREQ The “FREQ” control sets the frequency to be boosted or attenuated.

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 Gain Control
GAIN The “GAIN” control sets the amount by which the frequency setting is boosted or
attenuated.

Q Q Control
The “Q” control sets the steepness of the filter selected by FREQ control.

THD Control
THD The “DRIVE” control affects the harmonic contents in an unnatural way, but
suitable if you look for an effect. Increasing the value for a fat and saturated
sound, lowering the value for a thin and detailed sound.

NOTE: clicking on the controls while pressing “ctrl” on computer keyboard, the control returns to
zero

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 END

© 2010-2022 330 AlexB Programs Manual