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 Transient Designer Other common controls of dynamic processing, such as ratio or parameters for time-constants, are automated and optimized adaptively in a musical manner. After all, only two controls allow to completely reshape the attack and sustain characteristics of a sound. Attack can be amplified or attenuated by up to 15dB while sustain can be amplified or attenuated by up to 24 dB. The plugin is very simple to use, but the possibilities for studio and live application are seemingly endless. more info
TwinTube Harmonics processing can be applied to four different fundamental tone frequency bands to improve presence and clarity without raising signal levels significantly. The saturation control can be compared to the sound effects of tape saturation to add warmth and achieve more density with virtually any kind of sound source. In the original analog design, the saturation effects are generated through the tube being pushed to and beyond its normal operating limits. In contrast to semiconductors, a tube thus pushed to such levels does not clip from a certain level, approaching more gradually its level limits and thereby producing its typical tonal result, which in audio signal processing can have such often profitable aural effects. On one hand (and depending on the amount applied), from subtle to extensive harmonic distortion and on the other hand, a compaction of the sonic event, that is, a limiting effect that exhibits a pleasant, rounded or soft sound. Acoustically and also in its range of applications this can be compared very well with tape saturation effects. Harmonic distortion and limiting are the generally known, “classic” tube effects, which are today cornerstones of sound processing. But other less known and potentially important effects are a tube’s ability for improving presence and spatial qualities through its processing of specific regions of the overtone series. In the analog original of the TwinTube Processor, a special circuit comes into play for overtone/harmonic processing that involves coil filtering working in conjunction with the tube. The control reacts dynamically to the audio signal and a resultant tonal quality is the alignment of level relationships in the overtone spectrum. Such overtone “enrichment” does not operate on the generator principle of exciters (wherein distortion is added to the original signal). The TwinTube harmonics control effects rather a more equalized overtone structure resulting in a sound which in effect appears much more in the foreground, but without doing so through extreme level changes. Thus, for example, a voice appears immediate apart from the overall mixture, “sitting” clearly outlined in the mix’s foreground. more info
EQ Rangers Vol. 1 Musically it is only consistent to specifically design modules for typical instrument or vocal ranges. In contrast to static graphical EQs with always the same center frequencies in repeating octave distances, the Ranger EQ modules are much better suited to work with specific instruments and their peculiarities and only different frequency ranges do allow to effectively separate instruments in a mix. The EQ offers eight bands, offering flexible access to a large scale of frequency control without the need for additional bandwidth controls. This facilitates operation considerably. The "Settings" feature allows to store four different sets of adjustments. Much faster than with the usual save and recall presets dialogs, the settings can be stored and recalled by just one click. The Settings A, B, C, D can be included into the automation of host applications to apply different sets of parameters to different parts of a song. With the SPL Analog Code plug-ins SPL has transferred the features and performance of their analog processors into the digital domain using the latest, most powerful methods available for high-precision modeling of analog circuit designs. This is especially apparent with the Rangers set of EQ plug-ins, transferring the amazing sound of classic passive EQ filtering into the digital domain. more info |
