PSP╩MixSaturator is a specialised processor whose aim is to produce a saturated sound, typical for such analog devices as tape recorders and valve circuits. In the interests of ensuring a wide range of sound possibilities and high sound quality, three algorithms have been used in this plug-in:
* the analog saturation simulation algorithm, which enables the user to choose one of the seven curves of non-linearity characteristic of valve devices, analog tape and digital clipping,
* the bass frequencies processing algorithm, whose aim is to add warmth to the sound within the bass frequencies range, through adding harmonics and increasing the bass in a recording,
* the treble frequencies processing algorithm, which gives the user the possibility of simulating tape saturation within the treble frequencies range, without increasing the level of distortion and aliasing.
Features
* the simulation of saturated sound characteristic of valve devices and tape recorders,
* a wide range of possible sounds,
* special circuits to shape the sound of bass and treble frequencies,
* a library of 24 presets.
Applications
* the enriching of sound with harmonics and increasing the mean level while recording, mixing and mastering,
* the processing of mixes and single tracks.
Compatibility
PSP╩MixSaturator is compatible with applications which operate the standard VST plug-ins. The product has been tested in the following applications:
* Steinberg Cubase VST 4.x i 5.x
* Emagic Logic Audio 4.1
* Prosoniq sonicWORX 2.x
System requirements
* Mac OS 8.5 or higher
* 64 MB RAM
* G3 200 MHz or faster
* S-VGA display adapter with color depth no less than 16 bit (High Color) and resolution of 1024x768
Demo version restrictions
* this plug-in is not optimized, the full version is almost twice faster,
* after every few seconds the sound processing will be muted.
Specifications
Plug-in type: Plug-in VST, Mac version
Internal signal processing: 32-bit, floating-point
Processing speed: about 10% of the computation power of the G3 300MHz processor with all algorithms set on
Construction and operation of the PSP MixSaturator
The analog saturation simulation algorithm
The analog saturation simulation algorithm is used for the treatment of a processed signal as a whole. It enables the user to use one of the seven nonlinearity curves.
There are six curves available, representing the nonlinearity of analog valve processing (Valve1, Valve2, Valve3) and tape saturation (Tape1, Tape2, Tape3), as well as a digital clipping curve.
Each nonlinearity curve gives a different sound for the material processed, as they differ in the arrangement and content of harmonics, as well as the threshold above which distortion becomes audible. The 'drive' slider enables the user to place the input signal on the nonlinearity curve with precision.
Below are descriptions of particular nonlinearity curves.
The first three characteristics of the nonlinearity curve represent the way in which valve devices operate at different levels of saturation.
"Valve 1" is a characteristic which introduces very delicate distortion and enables the user to raise the recording level minimally. Its operation leads to an increased clarity in the processed sound and the depth of the sound recording. Thanks to these properties, it is possible to give single tracks, such as vocals or single instruments, or the whole recording, the sound quality of a high-class valve preamp.
"Valve 2" enables the user to achieve a greater amplification than "Valve 1" with the introduction of audible distortion. For this reason it is primarily intended for use in the processing of tracks with marked transients and high peak levels, characteristic of percussion instruments, drums and loops.
"Valve 3" has been designed to produce the sound of overdriven valve circuits. The use of this kind of sound is dependent on the processed material.
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The next three characteristics of the nonlinearity curve are similar to the phenomena produced during the registration and playback of sound signals when using magnetic analog tape. They can be successfully used both for the simulation of slightly saturated sound and the simulation of strongly overdriven tape. Because of the shape of the curves, all three characteristics can raise the recording level by a similar degree. If the overdrive of the algorithm exceeds the maximum level (0db on the indicators and +14db on the meter) the level of the signal will be held or reduced according to further increases in the input signal.
"Tape 1" introduces gentle, barely audible distortion to high input level values. A distinct increase in the distortion content is noticeable in the -6 to 0dB range. The effect of the distortion is concentrated mainly on the third harmonic, which is why "Tape 1" is very good for processing signals with lesser harmonic values, as well as whole mixes.
The action of "Tape 2" is more aggressive. Audible distortion is introduced over a greater dynamic range. The effect of the distortion is gently spread over all of the harmonics. A high input-signal level of 3h above 0dB is characteristic of "Tape 2" and this is why it is perfect for processing percussion and drum sound, by significantly brightening the transients.
"Tape 3" is characterised by the introduction of distortion only as third and fifth harmonics up to the input level of 0dB. The signal is cut off above this value, due to the increase of all odd harmonics.
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"Digital" is a typical example of digital clipping, which appears, for example, during the overdrive of analog-digital converters (ADC) or a signal recorded on digital media. No distortion is introduced up to the 0dB level, but above this level the distortion increases rapidly and spreads across all of the odd harmonics. The "digital" curve, in distinction from those previously mentioned, does not retain the possibility of increasing the signal level.
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The correct adjustment of the algorithm parameters (settings of the shape and drive sliders) to the processed material makes it possible to obtain a full, clear sound and to modify the signal peaks which are short or too high, similar to the way in which high-quality analog equipment works. It is also possible to obtain purposefully audible distortion thanks to a wide range of settings.
Inappropriate use of the analog saturation simulation algorithm may lead to an undesired and audible reduction of transients and the loss of definition, due to a considerable increase in the level of distortion.
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The bass frequencies processing algorithm
The aim of this algorithm is to add warmth to the sound within the bass frequencies range through adding harmonics and increasing the bass in a recording. The way in which this algorithm affects the sound resembles the action of analog tape, which introduces additional distortion to both even and odd bass frequencies. A wide range of settings makes it possible to obtain a considerably greater range of 'colour'. Technically, this algorithm is a combination of processing with the use of a nonlinearity curve similar to "Valve 2" (which, however, works at higher drive levels) with a special circuit which turns the signal's energy into even harmonic distortion. Below are diagrams which describe the operation of this circuit.
In the diagram on the right, the signal levels are marked with colours in the following way: green - input signal; turquoise - basic compound signal; magenta - second harmonics; red - third harmonics; blue - fourth harmonics; yellow - fifth harmonics.
The measurement of the harmonics content has been made at the signal level of 0dBFS and the setting of the warmth knob at 100%.
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The treble frequencies processing algorithm
The processing of treble frequencies in the PSP MixSaturator is based on soft-knee compression. The shape of the compression curve is similar to the shape of nonlinearity curve "Valve 1", however, a very high drive level is possible here, due to a high degree of attenuation, which may even exceed 12dB.
Temporary characteristics are automatically selected, based on the set cut-off frequency of the treble frequencies filter. Due to this approach to the processing of treble frequencies, it is possible to simulate the saturation of the tape within this range, without increasing the level of distortion and aliasing.
Description of the functions of particular controls╩
1. [process] activates processing within the plug-in
2. [oo/o] the stereo/mono switch
3. [input] regulates the input level
4. [output] regulates the output level
5. [drive] the drive control of the main saturation algorithm
6. [shape] for choosing the shape of the nonlinearity curve
7. [bass] activates the processing of bass frequencies
8. bass [freq] regulates the low frequencies filter cut-off
9. ╩bass [warmrh] regulates the bass content with its warm harmonics
10. bass [adjust] regulates the bass level
11. [treble] activates the processing of treble frequencies
12. treble [freq] regulates the treble frequencies filter cut-off
13. treble [compress] regulates the depth of compression of the treble frequencies
14. treble [adjust] regulates the treble level
15. meters peak and VU meters with 'over' indication
16. [pre/post] meters mode switch
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The operation of PSP╩MixBass plug-in parameter settings has been integrated with other VST system elements.
* The controller's set up can be changed by a click or click and drag.
* A click on the knob or slider together with the "Alt" key depressed restores the default set up.
* A click on the slider together with the "Shift" key depressed allows a discreet change of value.
* By clicking on the plug-in's name the "about" box shall displayed.
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General controls
[process] button
Turns the processing in the plug-in on and off. It does not affect the "input" knob.
[oo/o] button
Stereo/mono switch, which is set automatically during the initialisation of the plug-in. It can also be set manually if necessary.
[input] knob
Regulates the input signal level. It is active independent of the "process" button
[output] knob
Regulates the output signal level. It is active only when the process button is lit up.
The analog saturation simulation algorithm
Every signal, which after initial processing with bass and treble frequencies algorithms and before employing the "drive" slider has a value of 0dBFS, will have the same value on exiting the algorithm. This is why, in most cases, if high values for the processing parameters of bass frequencies have not been set, the output signal should not exceed the maximum level. If the changes caused by the work of the bass algorithm are significant enough that there is a need to change the output level, the "output" button should be used. Any signal exceeding 0dBFS on exiting the algorithm is indicated by an LED diode in the "post" setting of the meter.
[drive] slider
The "drive" control of the main analog saturation simulation algorithm. The operation of this slider depends on the selected nonlinearity characteristics.
[shape] slider
The shape slider is for choosing the shape of the nonlinearity curve of the analog saturation simulation algorithm.
There are six available characteristics for analog devices, as well as a curve typical for digital clipping (slider up) and a setting which skips the main analog saturation simulation algorithm (slider down). In order to find details on these characteristics, go to the description of the curves on the "structure" page.
The bass frequencies processing algorithm
[bass] button
Turns on the processing of bass frequencies. It activates the knobs below this button which have an influence on the processed signal.
[freq] knob
Regulates the bass frequencies filter cut-off.
[warmth] knob
Regulates the bass content with its warm harmonics.
[adjust] knob
Regulates the bass frequencies level.
The treble frequencies processing algorithm
[treble] button
Turns on the processing of bass frequencies. It activates the knobs below this button which have an influence on the processed signal.
[freq] knob
Regulates the treble frequencies filter cut-off.
[compress] knob
Regulates the depth of compression of the treble frequencies.
[adjust] knob
Regulates the treble level.
Peak and VU meters with 'overdrive' indicators
The PSP MixSaturator meters are complex measuring devices, which are used to establish the work-levels of the algorithms in the plug-in, the levels of the output signal and the dynamic accuracy of the processed signal.
The meters have been given a logarithmic scale. The difference between the peak value and VU for typical music signals is 14dB, hence the maximum value on the scale is +14 which is equal to 0dbBFS, with the value 0 being equal to the VU level of a correctly made recording.
red indicator
This indicator shows the peak level of signals, which is measured with an accuracy to one sample. The maximum level is held for one second.
black indicator
This indicator shows the middle-level VU of the signal. The integration time is 300ms. The indicator shows a level equal to the peak signal for the established sinusoidal signal.
overdrive indicators LED diodes light up on reaching or exceeding +14 on the scale (0dBFS).
[pre/post] switch
Sets the meters indications mode:
* pre - the meters show levels after the level of the input signal has been set ('input' knob) but before it has undergone any further processing
* post - the meters show levels of the output of the plug-in, after the output level has been set ('output' knob)
* if neither "pre" nor "post" is lit up, the meters show the drive levels of the saturation algorithm
The sound achieved using the PSP╩MixSaturator is dependent on the type of phonic material being processed. There is, therefore, no universal recipe for obtaining the desired effects. The presets are merely initial proposals for further experimentation.
The main task of the PSP╩MixSaturator is to improve the quality of digital recordings through increasing the middle level and adding harmonics in a similar way to that which happens in high quality analog devices, such as valve processors and analog tape recorders.
Thanks to the additional algorithms, designed with the processing of bass and treble frequencies in mind, a wide range of possibilities is available for adding 'colour' to recordings.
When using the PSP╩MixSaturator in mastering, it is advisable to use the settings for delicately correcting the sound of the recording (the 'mastering' group of presets) and very careful monitoring of the output signal on the best available monitoring equipment.
If this plug-in is used as an output effect while mixing, the 'mix' or 'mastering' presets should be used so that, if required, the sound of the mix can be slightly saturated or corrected. Like in mastering, the employment of the effect requires moderation and careful monitoring, although a lot depends on the kind of material processed.
Working with single tracks provides the greatest opportunities for using the PSP╩MixSaturator for correction. For example, when working with the typical sound of vocals and acoustic instruments, slight 'colouring' introduced through using the 'preamp' programs might be sufficient; however, the sounds of electric and electronic instruments, as well as drums, might require greater saturation (the 'hot valve' and 'hot tape' group) or overdrive and correction (the 'big bass' or 'loop' group).
The PSP╩MixSaturator contains a set of 24 presets, whose task is to simplify the process of choosing the best settings for specific material. These settings can be divided into eight groups:
Group Application
preamp individual tracks, vocals, whole mix
mix for getting punchy and wide mix
mastering mastering process
contour the exposition of bass and treble frequencies
PLEASE READ THIS SOFTWARE LICENSE AGREEMENT CAREFULLY!
PREFACE: This End-User License Agreement ("EULA") is a legal agreement between you and Projekt-CDO (the exclusive owner of all copyrights to PSP MixSaturator) for one license to use PSP MixSaturator. PSP MixSaturator includes computer software and electronic documentation ("SOFTWARE"). By installing, copying, or using the SOFTWARE, you agree to be bound by the terms of this EULA. If you do not agree to the terms of this EULA, please remove this and related software from your computer system immediately. The SOFTWARE is protected by copyright laws and international copyright treaties, as well as other intellectual property laws and treaties. The SOFTWARE is licensed, not sold.
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