Softube VST User Manual
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Softube VST User Manual

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Supporting VST/VST3/AU/RTAS/AAX Native and AAX DSP. Rev. Nov 27, 2013

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  • Page 1 User Manual User Manual Supporting VST/VST3/AU/RTAS/AAX Native and AAX DSP. Rev. Nov 27, 2013...
  • Page 2 Softube User Manual © 2007-2013. Amp Room is a registered trademark of Softube AB, Sweden. Softube is a registered trademark of Softube AB, Sweden. All visual and aural references to the Valley People Dyna-mite, Trident A-Range, Tonelux and Tilt are trademarks being made with written permission from PMI Audio. The Tonelux and Tilt logo, the Valley People, Dyna-mite and associated logos, and the Trident, A-Range and Triangle logo are trademarks of PMI Audio Group, used under license.
  • Page 3 SOFTUBE USER’S GUIDE | Contents Installation and Authorization Step 1. License Registration ... 7 Step 2. Transfer License to iLok ... . . 7 Step 3.

  • Page 4: Table Of Contents

    iv | Table of Contents Metal Amp Room User Interface ....25 Knobs ..... . . 26 Introduction .
  • Page 5 SOFTUBE USER’S GUIDE | Credits ..... . . 84 Tube-Tech CL 1B Compressor Foreword by John G. Petersen ... . 119 Tonelux Tilt About the CL 1B.
  • Page 6 vi | Table of Contents Bypassing Amps or Cabs ....157 Buying Recommendations ....157 Credits .
  • Page 7 4. Download the latest version of Softube Plug-ins Control from http://www.softube.com/download The installer includes all Softube’s plug-ins and will let you easily install any plug-ins you have bought a license for.
  • Page 8 3. When the installer is finished, it will start the Softube Plug-Ins Control application, in which you can choose which plug-ins you want to show up in your host software. You can always go back and start the Softube Plug-Ins Control application again! It is located in the Applications folder. Softube Plug-Ins Control...
  • Page 9 3. Before the final step it will start the Softube Plug-Ins Control application, in which you can choose which plug-ins you want to install. You can always go back and start the Softube Plug-Ins Control application again! It is located in the Applications folder. Softube Plug-Ins Control...
  • Page 10 You can also access the Softube Plug-Ins Control from the If you would like to remove a plug-in after an expired “About” box in the plug-ins. See “About Box” on page 16 for demo license, just start the Softube Plug-Ins Control and more information.
  • Page 11 SOFTUBE USER’S GUIDE | Products A list of all Softube products. Clicking on a bundle will activate all plug-ins in that bundle. If you want to activate all plug-ins except one or two, it is Active Plug-Ins A list of plug-ins that will be faster to click on the “All Products”...
  • Page 12 • installer and register licenses. Please, make sure that you always use the latest iLok Li- cense Manager. It is not included in the Softube installer, but can be downloaded from www.ilok.com. All Softube plug-ins support both 32- and 64-bit hosts and operating systems.
  • Page 13 SOFTUBE USER’S GUIDE | AAX DSP Supported Sample Rates The following sample rates are currently supported for the AAX DSP format. 44.1/48 kHz 88.2/96 kHz 176.4/192 kHz √ √ √ (mono) Active Equalizer √ (mono) √ (mono) √ (mono) Acoustic Feedback Acoustic Feedback Deluxe √...
  • Page 14 Plug-In Latencies This table shows the plug-in latency in samples. These numbers are also reported to the DAW. 44.1/48 kHz 88.2/96 kHz 176.4/192 kHz 8 samples 0 (no latency) 0 (no latency) Active Equalizer Acoustic Feedback Acoustic Feedback Deluxe Bass Amp Room FET Compressor Focusing Equalizer Metal Amp Room...
  • Page 15 | User Interface Softube plug-ins are “what you see is what you get” products. You should be able to intuitively learn About Box Open the “About” Box with the products within minutes, so that you can work version info, check for updates fast and efficient with them.
  • Page 16 16 | USER INTERFACE About Box Newsletter Opens the web browser and Clicking on the Softube logo opens the “About” lets you sign up for our news- box, with information about the current version, letter, so that you will be the trademarks and legal yada-yada.
  • Page 17 SOFTUBE USER’S GUIDE | Setup If you messed something up and manually need to set these options, you’ll find them in text format in In the Setup window you can change settings that the following locations: will affect all instances of that particular plug-in. If...
  • Page 18 18 | USER INTERFACE Key Commands Plug-In Specific Key Commands In many plug-ins, you can shift-click on a knob or All numbers and labels in the plug-in are clickable. a switch to get some extra functionality This allows you to easy select a setting by clicking on the wanted value.
  • Page 19 | Abbey Road Studios Brilliance Pack Foreword by Peter Cobbin “Welcome to a little Abbey Road brilliance. Throughout the ‘60s there were a number of small boxes dotted around Abbey Road Studios, which were simply known as ‘Brilliance’ or ‘Presence’ boxes. In this era, engi- neers were looking for ways of adding presence to their recordings, especially in popular music.
  • Page 20 20 | ABBEY ROAD STUDIOS BRILLIANCE PACK In recent years, while working on various Beatles through an EMI interfacing transformer. The trans- and John Lennon-related mix projects, Lester intro- former “effect” exaggerated the EQ curves. duced me to these little boxes. My assistants Mirek And so, in the spirit of the ‘60s, we have included Stiles and Sam O’Kell had observed that, in various this “not so precise”...
  • Page 21 SOFTUBE USER’S GUIDE | Introduction Frequency (kc/s) This control sets the centre The Brilliance Pack brings these classic EQs to frequency at which the plug-in modern audio workstations, providing authentic will boost or cut in kilocy- emulations of the hardware units. cles per second - (kHz). The available settings are 2.7, 3.5...
  • Page 22 22 | ABBEY ROAD STUDIOS BRILLIANCE PACK RS127 Box effect has been replicated in the RS127 Box plug-in. The actual centre frequencies are The ‘RS127 Box’ plug-in recreates the standalone 2.9 kHz, 4.2 kHz and 11.5 RS127 unit along with effects caused by interaction kHz.
  • Page 23 SOFTUBE USER’S GUIDE | RS135 Credits The RS135 plug-in provides an accurate model Abbey Road Studios – product development and of the EMI 8 kHz boxes. It has a single control, documentation, Niklas Odelholm – modeling, which sets the amount of boost, and provides the Oscar Öberg –...

  • Page 25: User Interface

    | Active Equalizer The Active Equalizer is modeled from a For more info about this product, please see the Swiss console equalizer, a Filtek Labo mk.5, with chapter about the Focusing Equalizer. three adjustable bands, a low cut, and a high cut. User Interface It is a very solid construction and is very different from the Passive Equalizer.

  • Page 26: Knobs

    26 | ACTIVE EQUALIZER Knobs The three bands are equal, apart from their frequency ranges, and they all contain a gain control (labeled “+ dB –“), a frequency control (labeled “Hz” for the Low and Mid band, and “kHz” for the High band), and a width and bypass control (the switch beneath the knobs).

  • Page 27: Buying Recommendations

    All product names used are trademarks of their respective owners, and in no way constitutes an association or af- filiation with Softube. Filtek and Labo trademarks are solely used to identify the products whose sound was studied during the sound modeling development of the Passive-Active Pack.

  • Page 29: Acoustic Feedback And Acoustic Feedback Deluxe

    | Acoustic Feedback and Acoustic Feedback Deluxe Introduction Real acoustic feedback appears when the sound waves from the cabinet hit the strings with enough energy (accomplished by playing loud enough) and with the right phase (accomplished by positioning the guitar at the correct distance from the cabinet). The difficult part with acoustic feedback on mod- erate volumes is therefore to get feedback on the desired notes—it is easy to get feedback, but if you...

  • Page 30: Getting Started

    30 | ACOUSTIC FEEDBACK AND ACOUSTIC FEEDBACK DELUXE Getting Started Playing Techniques 1. Make sure that you have a good guitar signal The basic techniques in order to get the most natu- in to your audio interface. Use a line box or DI ral sound from the Acoustic Feedback simulator are: with a high impedance input (more than 500 Don’t push it.

  • Page 31: User Interface

    SOFTUBE USER’S GUIDE | Tolerance & Feedback Tolerance Indicator User Interface The mix between the dry (original) and wet (feedback) guitar sound. Feedback Adjusts how aggressive the feedback is Tolerance Adjusts how easy it is to achieve feedback (and how tolerant it is with sloppy playing.
  • Page 32 32 | ACOUSTIC FEEDBACK AND ACOUSTIC FEEDBACK DELUXE This corresponds in the real world to a combination of the distance between the speaker and guitar, but Controls the balance between the feedback and the also the volume of the amp. When set at the lowest setting, it will only feedback on stable notes, and original signal.

  • Page 33: Using Midi

    SOFTUBE USER’S GUIDE | Using MIDI Harmonic Selector (Deluxe only) Although the Acoustic Feedback doesn’t have any built- in MIDI support, it supports automation, and is therefore easy to control via MIDI in a number of hosts. The most effective (and fun) way to control the Acoustic Feedback is by using an expression control pedal.

  • Page 34: Faq

    34 | ACOUSTIC FEEDBACK AND ACOUSTIC FEEDBACK DELUXE lower the Feedback control. MIDI Automation and Touch-Ups I don’t get any feedback? What am I doing wrong? It could depend on a lot of things, but you can start To really get the sound you want without control- by setting the all controls fully clockwise;...

  • Page 35: Credits

    SOFTUBE USER’S GUIDE | Credits you change notes. Hammer- ons or pull -offs are not always enough to abort the feedback effect. Ulf Kilberg – mathematical modeling and research. The feedback ends in mysterious ways... Niklas Odelholm – modeling and sound design.

  • Page 37: Bass Amp Room

    | Bass Amp Room Introduction full control over the sound without ever losing it’s authenticity. WHEN WE DESIGNED BASS AMP ROOM we had The second user is one who, just like the previous two goals in mind. The first goal was to give the user user, wants the best possible amp modeling, but rec- the best possible sound quality and state- of- the- art ognizes the fact that he/she cannot spend too much...

  • Page 38: User Interface

    38 | BASS AMP ROOM User Interface Clicking on the background while holding the Shift- key toggles through the cabs without any sliding animations. Apart from a good sound, work flow is a crucial element of our design – the amps and mics should Mix Panel (Bottom Area) work just as they do in a real studio.

  • Page 39: The Amplifier

    SOFTUBE USER’S GUIDE | High/Low Normal Volume Bass Middle Treble Master Volume The Amplifier the amount of distortion you want. The amplifier that we chose to model is actually a guitar amplifier, but because of its very characteristic Bass, Middle, Treble These knobs are the tone con- “non- fizzy”...

  • Page 40: The Cabinets

    40 | BASS AMP ROOM The Cabinets Positioning the Mic By changing the mic position, you can get lots of Click and drag left/right on the background to different sounds from a single cabinet. How the change cabinets. sound changes depends on the cabinet and the room, but there are some common features for all the cabs in Bass Amp Room: Close Off Axis: The position with most bass and...

  • Page 41: The Mix Panel

    SOFTUBE USER’S GUIDE | Low Cut Tone Limiter DI/Amp Balance High Cut Output Volume Solo Amp Solo DI Phase Invert (Amp) The Mix Panel lose the low end, stop and go back a couple of millimeters (yes, we are metric). SO, WHAT ELSE DO YOU NEED EXCEPT a good sounding amp? Since a lot of engineers and produc- ers prefer to work with both the raw D.I.

  • Page 42: Bypassing Amps Or Cabs

    42 | BASS AMP ROOM used to limit the peaks of the makes a big difference to the D.I. signal, and would then sound. be set somewhere around 12 o’ c lock, depending on the level Phase invert! If you have the balance fader somewhere of the input signal.

  • Page 43: Block Diagram

    SOFTUBE USER’S GUIDE | Block Diagram The bass signal (Main Input) is split up into two identical signals, one that goes to the amp (top sec- tion) and one to the D.I. (bottom section). The two signals are mixed with the D.I./Amp Balance fader.

  • Page 44: Buying Recommendations

    44 | BASS AMP ROOM Buying Recommendations Credits If you like the sound from Bass Amp Room and Niklas Odelholm – modeling and sound design. would like to get that sound using the real deal (let’s Oscar Öberg – compressor modeling, framework face it, a real amp is always sexier than a plug -in), programming.

  • Page 45: Fet Compressor

    | FET Compressor Introduction THE FET COMPRESSOR IS BASED ON the most famous hardware FET compressor, and very much effort has been spent modeling the real hardware to make sure that this one sounds exactly the same. If you only use the big knobs and the six fixed ratios you’ll get exactly the same analog sound and functionality as the real deal.

  • Page 46: User Interface

    46 | FET COMPRESSOR Output Volume Input Volume Input VU Gain Reduction VU Parallel Inject Output Peak Meter Ratio Attack Time Release Time External Low Cut High Cut Lookahead Sidechain Volume User Interface input VU meter (which is fun to drive into the reds all the time) and a stereo output peak meter make sure that you always know what is going on with THE CONTROLS OF the FET Compressor are...
  • Page 47 SOFTUBE USER’S GUIDE | Attack and Release hitting the reds you will also add more distortion to the signal. If you want lots of distortion we recom- mend you to also set the Ratio knob on ALL. Use the Attack and Release controls to change...
  • Page 48 48 | FET COMPRESSOR If the Ratio knob is set at ALL, the Gain Reduc- status LED will light up when ever they are active. tion meter won’t show the same results as the original hardware. Instead it will display the actual Don’t be afraid to keep these controls in the OFF position.
  • Page 49 SOFTUBE USER’S GUIDE | you might want to keep the boominess of the bass is to slow down the attack and release times but drum, but compress the cymbals and snare. Set the now you have another tool to use. By adding a little...

  • Page 50: Tweaking Tips

    Transient presets. will always be lit in hosts that use the Audio Unit (AU) format. In VST, it will light up if the host ac- It makes crackling sounds on the transients cepts side chain inputs, but this doesn’t work for all This is because of the extremely fast attack time.

  • Page 51: Block Diagram

    SOFTUBE USER’S GUIDE | 1. Fat Bass Drum: Apply heavy compression on depicts the functionality of the plug in – the inner your drum bus. Increase the Low Cut knob un- workings are quite different. The experienced reader til the bass drum doesn’t trigger the compressor will for example notice that some parts, like the (at about 200- 300 Hz).

  • Page 53: Focusing Equalizer

    | Focusing Equalizer There are many equalizers out there. Some are extremely advanced with built-in spec- trum analyzers and intelligent super modes. Others are simple and nothing more than your average digital equalizer. While some claim to possess super powers, the differences are usually just in the user interfaces, and not always in the sound.
  • Page 54 54 | FOCUSING EQUALIZER The Trio (“Passive-Active Pack”) borrow it for a while!” We fell instantly in love with the sound, and when we put it inside the Focus- The Focusing Equalizer is a part of a trio ing Equalizer we immediately got what we had been looking for.

  • Page 55: Work Flow

    SOFTUBE USER’S GUIDE | Work Flow at a Glance 1. Set the frequency range with High and Low Cut. This will automatically change the frequencies of the Low, Mid and High bands). 2. Choose Equalizer Type (tip: start with Active) 3. Adjust the equalization (Low, Mid, and High Gain) 4.

  • Page 56: Knobs

    56 | FOCUSING EQUALIZER Saturation Low and High Cut Output Volume Saturation Type Low Gain Mid Gain High Gain Equalizer Type Knobs Saturation Sets the amount of saturation. The saturation circuit is completely bypassed if the knob is set in the minimum position. Saturation Type With keep low you will be able to distort the track without getting a farty bass sound.

  • Page 57: Meters

    SOFTUBE USER’S GUIDE | Meters The Focusing Equalizers have the following meters and status indicators. Saturation Meter This meter lights up whenever the saturation circuit is active and is adding saturation to the signal. Use this more as a visual indication than an absolute measurement of the amount of saturation.

  • Page 58: Differences Between Passive And Active

    But we don’t do that at Softube, easy to put in a table like this. because we believe that you can hear the difference.

  • Page 59: Metal Amp Room

    Introduction METAL AMP ROOM IS JUST WHAT IT SAYS IT IS. It’s an amp room, just like the other Softube plug - ins Vintage and Bass Amp Room, but it’s designed for Metal. It consists of three parts, of which the first part is the amp itself.

  • Page 60: User Interface

    60 | METAL AMP ROOM User Interface Product Philosophy Everything about this product is authentic. The SIMPLICITY WAS THE GOAL when we developed raw and dynamic sound is an absolute replica of this product–the amps and mics should work just as what you would get if you had this amp and these they do in the real studio.
  • Page 61 SOFTUBE USER’S GUIDE | Amp Panel (Top Area) Linked Mics If you press and hold Shift while moving a mic, In the amp panel you can alter the settings of the the other mic will also move to the same position amp by clicking the knob and dragging the mouse respectively.

  • Page 62: The Amplifier

    62 | METAL AMP ROOM Lead/Rhythm Deep Bass Scoop Mids Gate Channel Select Gain Bass Middle Treble Depth Presence The Amplifier Gain This knob controls the amount THE AMPLIFIER SIMULATED IN THIS PLUG-IN of distortion. When you have is actually a hybrid between two different amps, selected the RHYTHM channel, where the LEAD channel (Lead = ON) represents the Gain knob can be used to...

  • Page 63: The Cabinets

    SOFTUBE USER’S GUIDE | The Cabinets Bass, Middle, and Treble These knobs are the tone The Metal Cabinet controls of the amplifier. This The left cabinet is called circuit is located after the the Metal Cabinet preamp distortion and is used since it has a stylish metal...

  • Page 64: The Microphones

    64 | METAL AMP ROOM Mic Balance Stereo Width Phase Invert The Microphones as possible to tailor the sound from the two micro- phones. The main ideas are: Mic One 1. It should be ridiculously easy to use without having to worry about anything but the sound Mic One (to the left in both cabinet views) is a you want to get.

  • Page 65: Mono And Stereo Operation

    SOFTUBE USER’S GUIDE | Mono and Stereo Operation Example Settings Metal Amp Room is designed to be a MONO-TO- One Mic STEREO plug-in. One guitar input, two mic outputs. Mic Balance=0 (LEFT) Stereo Width=anything For best results, and if possible, insert the plug-in as mono-to-stereo or a stereo.

  • Page 66: Bypassing Amps Or Cabs

    Bass Amp Room (with bypassed The noise gate and balancing preamp was developed amplifier) on the track after Metal Amp Room (with a by Softube, and has not yet had the chance to be bypassed cabinet). embodied in a real piece of gear.

  • Page 67: Passive Equalizer

    | Passive Equalizer Knobs For more info about this product, please see the chapter about the Focusing Equalizer. The Passive Equalizer, modeled from a Neumann Low Cut/Boost This knob will either cut or PEV 930 console equalizer, has a very wide sound boost the low frequencies.

  • Page 68: Buying Recommendations

    Presence (Frequency way constitutes an association or affili- Selector) Set the center frequency of the ation with Softube. The Neumann and PEV presence circuit (0.7, 1, 1.4, 2, trademarks are solely used to identify 2.8, 4 and 5.6 kHz). The center...

  • Page 69: Spring Reverb

    | Spring Reverb Introduction As with all our products, Spring Reverb is the result of exhaustive research. It was developed after nearly a year’s analysis of the mathematics and mechanics The spring reverb was an essential part of of spring reverbs. New simulation techniques had almost all albums produced before the age of digital to be developed in order to simulate the springy processing.

  • Page 70: User Interface

    70 | SPRING REVERB Mix (Dry/Wet) Bass Treble Springs Tension Shake! User Interface The Spring Reverb has the following controls: Mix, Springs, Tension, Shake, Bass, and Treble. The fol- lowing pages will give you a brief description of all the controls. Controls the balance between the reverb and the direct signal.

  • Page 71: Tweaking Tips

    SOFTUBE USER’S GUIDE | ing the Tension parameter will change the sound of the Shake BOOOM! Since we don’t want strings from slow and smooth you to smack your computer to (left) to quick and harsh get that thunderous springs - (right). The idea behind this...

  • Page 72: Credits

    72 | SPRING REVERB When used as a send effect, the Mix knob should ally need to lower the Mix knob and use a bit less be set to 100%, but the send/return volumes of your Treble than if you place it after the plug in. This DAW should be kept low.

  • Page 73: Summit Audio Grand Channel

    | Summit Audio Grand Channel The Tone Sculpter We knew from the outset of our develop- ment of the TLA-100A compressor that we wanted to create a beautiful looking, extremely versatile and gorgeous sounding channel strip plug-in which would combine the TLA and the EQ beast known as the EQF-100.

  • Page 74: User Interface

    74 | SUMMIT AUDIO GRAND CHANNEL The distortion of the EQF- 100 has a totally different character. Boost the EQ, or crank up the output volume EQF-100 and you’ll get a warm and fat Full Range Equalizer type of distortion, due to its strong 2nd order harmonic, that is very well suited for vocals, bass or brass.

  • Page 75: Signal Routing

    SOFTUBE USER’S GUIDE | Signal Routing bypassed. Left position: engaged. The signal routing is very straight forward, except for the VU meters on the EQF-100, which are EQ Before Compressor always placed at the master input and the master Compressor Before EQ Selects if the equalizer should output.

  • Page 76: Credits

    76 | SUMMIT AUDIO GRAND CHANNEL VU Meter Calibration Just like the stand-alone TLA-100A plug-in, the Grand Channel’s VU meters are calibrated so that a -9dB signal reads 0 VU. Sidechain and the Equalizer No, the equalizer does not affect the external sidechain of the compressor. Credits Oscar Öberg –...

  • Page 77: Summit Audio Eqf-100 Full Range Equalizer

    | Summit Audio EQF-100 Full Range Equalizer Introduction decided to add two beautiful VU meters to the unit. We also added the Output Volume, so that you easily can level match the equalizer. It ’s always difficult to describe how an equalizer sounds, but everyone we’ve asked has A Note on Distortion described the EQF-100 in the almost the same way, As usual we have included all the distortion that the...
  • Page 78 78 | SUMMIT AUDIO EQF-100 FULL RANGE EQUALIZER User Interface The user interface consists of four separate bands of equalization (low, low mid, high mid, and high), two cut filters (high and low), the meter section and the Output Volume. VU Meter and Output Volume Low Band High Mid Band Low Mid Band...

  • Page 79: Applications

    SOFTUBE USER’S GUIDE | Frequency Bands Low and High Cut Each of the four frequency bands consists of seven Each cut filters consists of three set frequencies and fixed frequencies with fully adjustable bandwidth bypass. (Q) and gain. All bands can be bypassed separately.

  • Page 80: Mono And Stereo Operation

    80 | SUMMIT AUDIO EQF-100 FULL RANGE EQUALIZER stereo) are selected depends on your host software. Boosting a frequency Select which frequency you want to boost, put the Credits Boost/Cut/Bypass switch to plus and increase the gain. Use the bandwidth control to affect more or Arvid Rosén –...

  • Page 81: Summit Audio Tla-100A Compressor

    | Summit Audio TLA-100A Compressor More Than a TLA-100A THis SUMMIT COMPRESSOR IS A CLASSIC, but we felt that there are a couple of features that could really bring this unit into the 21st century. So we decided to add an extra panel below the unit. If you don’t care about fancy features, just disregard that panel and the TLA-100A will work just as the original unit.

  • Page 82: User Interface

    82 | SUMMIT AUDIO TLA-100A COMPRESSOR User Interface The user interface consists of two panels, the upper panel, containting the original TLA-100A knobs and switches, and the lower panel that offers extra functionality. Attack Gain (Output volume) Reduction/Output Gain Reduction Sidechain Release Meter Meter Select Upper Panel Attack...
  • Page 83 SOFTUBE USER’S GUIDE | Sidechain If you have an external sidechain present, switch to ext to use the external sidechain as target signal for the compressor. Use when you want a signal to duck under the external signal (for instance ducking strings under a bass drum, or music under a voice over).

  • Page 84: Mono And Stereo Operation

    84 | SUMMIT AUDIO TLA-100A COMPRESSOR Parallel Inject Output GAIN RED. Input Low Cut Saturation Gain DETECTOR External Sidechain Input Sidechain Attack, Release, Gain Reduction Block Diagram Credits The drawing above illustrates the functionality of Oscar Öberg – modeling, Niklas Odelholm – extra the plug-in.

  • Page 85: Tonelux Tilt

    Softube and Tonelux thought that to prevent feedback in wedges and side fills, having a few extra options would really fill so Softube came up with a unique “BOOST out the module. CEILING” control, where you can set the...

  • Page 86: Introduction

    Tonelux designer Paul Wolff fast and easy. The interface is made up of three and Softube, bringing the famous Tonelux sound sections which will give you flexible and powerful to the digital world. The innovative Tilt design control of your sound.
  • Page 87 SOFTUBE USER’S GUIDE | Tilt Section Loudness Equalization By pressing the Shape button, making it unlit, the The Tilt section consists of Tilt Eq In, which function of the Tilt knob is changed from Tilt to engages the Tilt/Loud equalizer, the Shape switch, Loud.

  • Page 88: Tilt Live

    88 | TONELUX TILT Filter Section changing the actual volume of the mix. The filter section with its two filters will further shape the sound or help you get rid of problematic frequencies in a track. The Low Pass filter cut-off frequency goes from 16 Hz to 1 kHz and will at- tenuate the signal 6dB per octave.

  • Page 89: Buying Recommendations

    SOFTUBE USER’S GUIDE | dio level will never be amplified. The filters will have the same shape but will always be below 0 dB. When the Boost Ceiling is set to its maximum it will work as the ordinary TILT. When set between, there will be some boosting of frequencies, but never more than you dialed in.

  • Page 91: Trident A-Range

    Toft remains active to this day, developing console products under the Trident name. Torquay, Devon, England The A-Range plug-in from Softube is the first and December 17, 2009 only native plug-in that has been fully endorsed by Toft and Trident Audio.

  • Page 92: User Interface

    92 | TRIDENT A-RANGE About the Trident A-Range just put it in the OFF position and all saturation circuits will be de-activated. The plug-in version of the A-Range is modeled The A-Range console was actually designed to have after a channel on one of the original 13 Trident very little distortion, but it was nevertheless pos- A-Range consoles.
  • Page 93 SOFTUBE USER’S GUIDE | Output High Freq. High Gain Low Mid Freq. Low Mid Gain Phase Invert Volume Low Pass High Mid Gain Low Freq. Low Gain High Pass Saturation LED Saturation High Mid Freq. The four equalizer bands have two controls each – a The bell filters interacts with each other in a rather funny “frequency selector”...
  • Page 94 94 | TRIDENT A-RANGE unit distort more and a weaker signal will make it distort less. Low Pass and High Pass Filters The Low Pass and High Pass To be able to handle signals filters are controlled by three of different volumes and to buttons respectively, which make up for equalizer band sets the cut-off frequency for...

  • Page 95: Buying Recommendations

    SOFTUBE USER’S GUIDE | VENUE Stereo Operation Credits VENUE stereo is not supported due to DSP limit Niklas Odelholm – modeling, Oscar Öberg – constraints. You will need to use the MULTI-MONO DSP programming and modeling. Torsten Gatu mode instead of STEREO mode. Normal STEREO –...

  • Page 97: Tsar-1 Reverb And Tsar-1R Reverb

    | TSAR-1 Reverb and TSAR-1R Reverb FOR A LONG TIME WE HAD A DREAM about cre- meaningful, parameters. But don’t be fooled by its ating the perfect reverb. The most obvious require- simplicity, it’s one of the most powerful reverbs ever ment was of course that it should sound extremely released.

  • Page 98: Introduction

    98 | TSAR-1 REVERB AND TSAR-1R REVERB Introduction Anatomy of a Reverb TSAR-1 STANDS FOR True Stereo Algorithmic Re- Every Reverb Designer has her own way of verb Model 1, and that’s just what it is. But TSAR implementing the user adjustable parameters, is easier to remember than, well, what ever it stands but many parameters are the same in most reverb for...

  • Page 99: User Interface At A Glance

    SOFTUBE USER’S GUIDE | User Interface at a Glance Early Reflections Type The early reflections give the user a sense of the room dimensions. Early Reflections Mix The mix between the early reflec- tions and reverb tail. Diffusion High diffusion gives a smoother sound, but also a sound that takes more space in the mix.

  • Page 100: Reverb Parameters

    100 | TSAR-1 REVERB AND TSAR-1R REVERB Reverb Parameters Predelay Sets the time between the dry signal and the reverb tail. The early reflections (gray in the illustration) are not affected by the Predelay setting. For a natural sound, there should not be a distinct gap between the initial echos (either from early reflec- tions or from the dry signal) and the Predelay.
  • Page 101 SOFTUBE USER’S GUIDE | 101 Reverb Time 0 ms 50 ms 200 ms Predelay Sets the decay time of the reverb tail. A longer reverb time gives the impression of a room with more reflective surfaces. If a long Reverb Time is used together with a low Density, you will get the sound of a large hall. If you on the other hand have a short Reverb Time and high Density, you will get the sound of a small, tight, studio.
  • Page 102 Short Medium Long Reverb Time 102 | TSAR-1 REVERB AND TSAR-1R REVERB Density Sets the density, “thickness”, or “smoothness” of the reverb tail. A low Density is similar to the sound of a large space, while a high Density corresponds to a small space. Sparse High Density Low Density Reverbs...
  • Page 103 SOFTUBE USER’S GUIDE | 103 Reverb Tone Earlies Mix: 75% Earlies Mix: 25% Use the Tone control to adjust which frequencies that have the longest reverb times. With a BRIGHT set- Earlies Mix: 75% Earlies Mix: 25% ting, the high frequencies will decay more slowly, and vice versa with the the DARK setting.
  • Page 104 104 | TSAR-1 REVERB AND TSAR-1R REVERB Low Diffusion High Diffusion 0 ms 50 ms 200 ms Predelay Early Reflections The early reflections give the listener a per- ception of the geometry and space. Set the type of geometry with the ER Type switch and the blend between late and early reflec- tions with the ER Mix.
  • Page 105 SOFTUBE USER’S GUIDE | 105 Modulation Parameter Display Select between three different types of modulation: The display shows the name of the parameter, the value of the parameter, as well as the previous value. RANDOM: Designed to give a lush and uncolored reverb, without any “pitchy”...

  • Page 106: Presets

    106 | TSAR-1 REVERB AND TSAR-1R REVERB Presets Modern Presets The modern presets have been designed with a -6 dB The presets are divided into two sections, the reference level, ie., with all faders set at 0 dB the send modern and the vintage section. The modern presets levels are set at -6 dB.
  • Page 107 SOFTUBE USER’S GUIDE | 107 Hall Large Synth Club This is the place for large orchestral works. The hall Short and full of sizzle. Use this when you want to is large enough to really let the low end unroll but highlight the source or excite the top end.
  • Page 108 108 | TSAR-1 REVERB AND TSAR-1R REVERB Vintage Presets from the early 1980s. Great for snare and toms. EMT Hall In this set of presets we have tried to mimic the sound Similar to the EMT 250 digital reverb, great on from old vintage units. We chose to keep the brand anything.

  • Page 109: Tsar-1R Reverb

    SOFTUBE USER’S GUIDE | 109 TSAR-1R Reverb THE TSAR-1R REVERB USES THE SAME algorithm as its big brother, but is controlled by just three reverb parameters. Predelay The Predelay has the same function as the TSAR-1 Reverb, but is limited to 200 ms maxi- mum delay time (which is more than enough for natural sounding reverbs).

  • Page 110: Automation

    110 | TSAR-1 REVERB AND TSAR-1R REVERB Automation The TSAR-1 and TSAR-1R plug-ins fully support automation. But parts of the reverb becomes muted when parameters change in order to suppress noise artifacts (“zipper noise”). Do not use automation to modulate or gradually change parameters. A constantly moving parameter can lead to the reverb being muted.

  • Page 111: Tube Delay

    Tube Delay, one in the direct signal section, one in the delay feedback loop and one after the feedback loop. The tube sections are created with Softube’s patented modeling technology and gives a faithfully recreated sound of a “real” tube preamp.

  • Page 112: User Interface

    112 | TUBE DELAY Delay Time Feedback Dry/Wet Mix Treble Direct (Dry) Drive Bass Delay (Wet) Drive Tempo Sync User Interface preamp, you can use the dry signal path to color or distort audio passing through it like you might use a “real” tube Controls the balance between preamp.
  • Page 113 SOFTUBE USER’S GUIDE | 113 Delay Time and Tempo Sync Controls the length of the de- 1/16 lay in milliseconds or syncs to host tempo. The total length of 1/12 delay after the original signal in Tube Delay is one second. In millisecond mode (Tempo...

  • Page 114: Block Diagram

    114 | TUBE DELAY Block Diagram Credits Block diagram of the Tube Delay effect. As you can Torsten Gatu – sound design and framework pro- see, the dry signal (direct signal) isn’t very dry, it is gramming. Oscar Öberg – modeling and frame- affected by both the tone stack and the tube circuits work programming.

  • Page 115: Tube-Tech Classic Channel

    | 115 Tube-Tech Classic Channel The Tube-Tech Classic Channel contains Both the peak filters on the ME 1B are labeled as three different Tube-Tech products, the opto- com- “High Frequency” and “Low Frequency”, while they pressor CL 1B and two Pultec clones; the PE 1C are referred to in the manual as “High Mid Frequen- program equalizer (the “classic”...
  • Page 116 116 | TUBE-TECH CLASSIC CHANNEL PE 1C “Pultec” program equalizer Primary use: Tame the top and low PE 1C “Pultec” Equalizer end. Sculpt the overall character of the sound. Use as a high frequency boost. ME 1B mid-range equalizer ME 1B Midrange Equalizer Primary use: More exact sound sculpting than the PE 1C.

  • Page 117: Gain Staging

    SOFTUBE USER’S GUIDE | 117 Gain Staging You might get confused by the three different gain controls on the units (PE 1C: Output Gain, ME 1B: Output Gain and CL 1B: Gain). All these volume controls are controlling the output volume of each unit.

  • Page 119: Tube-Tech Cl 1B Compressor

    November 2006, as a co operation between Lydkraft, Softube and TC Electronic. Hear- ing the result, we found that Softube was able to reach the difficult goal of making a plug in of the CL 1B which came extremely close to...

  • Page 120: User Interface

    120 | TUBE-TECH CL 1B COMPRESSOR Gain Ratio Threshold Meter Select VU Meter Attack Time Release Time Attack/Release Sidechain Select Bus Select User Interface Gain The Gain control is used to “make up” for the gain loss, which takes place when the unit is compressing. It is placed after the gain reduction circuit and therefore has no influence on the threshold setting.
  • Page 121 SOFTUBE USER’S GUIDE | 121 Attack Time The Attack control chooses how fast/slow the compressor responds to an increase in the input signal. It is continuously variable from 0.5 to 300 milliseconds. Release Time The Release control sets how fast/slow the compressor responds to a decrease in the input signal.

  • Page 122: Suggested Applications

    122 | TUBE-TECH CL 1B COMPRESSOR manual, and are of course just as valid for the plug-in as for the real unit. Sidechain Bus Select This knob has two settings: Overall Compression (Final Mix) INTERNAL: Normal mode. The compres- Compression needed: 3- 4 dB sion depends on the same ma- Attack/Release Select: FIX./MAN.

  • Page 123: Credits

    SOFTUBE USER’S GUIDE | 123 Credits Arvid Rosén – modeling. Oscar Öberg – modeling and DSP programming. Torsten Gatu – framework and DSP programming. Niklas Odelholm – GUI and framework programming. Ulf Ekelöf – 3D rendering. Original hardware was designed by John G.

  • Page 125: Tube-Tech Me 1B Midrange Equalizer

    | 125 Tube-Tech ME 1B Midrange Equalizer Introduction “Why do I need another eq?” Well... That is certainly not a new ques- tion. But for some reason the Pultec design of equalizers have managed to survive through the decades. The original Pultecs were built in the fif- ties and Tube-Tech has been making their Pultec clones since the mid eighties.

  • Page 126: User Interface

    126 | TUBE-TECH ME 1B MIDRANGE EQUALIZER User Interface The user interface of the ME 1B is pretty straight forward. You have three different sections, the Low Frequency Peak, Mid Frequency Dip and the High Frequency Peak. The only confusing thing is that the mid section never boosts, but always attenuate the selected frequency.
  • Page 127 SOFTUBE USER’S GUIDE | 127 Mid Frequency Sets the center frequency of the dip filter. The frequency settings are 200, 300, 500, 700, 1000 Hz (overlaps the low frequency section), 1.5, 2, 3, 4, 5 kHz (overlaps the high frequency section) and finally 7 kHz.

  • Page 128: Filter Graphs

    128 | TUBE-TECH ME 1B MIDRANGE EQUALIZER Filter Graphs High Frequency Boost (1.5 kHz) Here are some examples of the filter curves for dif- ferent gain settings. It is worth to note that the exact shape of these curves depend on three things: 1. What other knobs are set at (they depend on −2 each other).

  • Page 129: Tube-Tech Pe 1C "Pultec" Equalizer

    PE 1C in the digital domain and im- combined to attenuate and boost at the same time. pressed once again by the skills of Softube. Yours sincerely, John G. Petersen...

  • Page 130: User Interface

    130 | TUBE-TECH PE 1C “PULTEC” EQUALIZER User Interface Atten The Atten knob will attenuate The user interface of the PE 1C, or of a Pultec for the signal 0 to -18 dB using a that matter, can be confusing if you haven’t used low shelf filter.
  • Page 131 SOFTUBE USER’S GUIDE | 131 Low Frequency Section High Frequency Section High Frequency Attenuation Atten Select Boost Atten Boost Atten Frequency Low Frequency Bandwidth High Frequency Output Gain High Frequency Sets the cut-off frequency for the high frequency Boost control. The frequency set- tings are 1 kHz, 1.5 kHz, 2 kHz, 3 kHz, 4 kHz, 5 kHz, 8 kHz, 10 kHz, 12 kHz and...

  • Page 132: Buying Recommendations

    132 | TUBE-TECH PE 1C “PULTEC” EQUALIZER Buying Recommendations Credits The best way to get as close as possible to the origi- Arvid Rosén – modeling, Oscar Öberg – DSP nal Pultec sound in hardware is to get the PE 1C programming. Torsten Gatu – framework pro- from Tube-Tech.

  • Page 133: Valley People Dyna-Mite

    “User Interface”. It’s just three pages. Lis- mode that works best in the exp mode. ten to the sound examples on the Softube web site. With the Det Source switch you select if you want 2. Pride. You have learned what the controls do.
  • Page 134 134 | VALLEY PEOPLE DYNA-MITE Detector Detector Threshold Mode Range Output Release Source Type Clip LED Modes Display Gain Reduction Meter User Interface Overview Range Sets maximum amount of gain reduction. Advanced. Leave at Threshold Adjusts the level at which the 60 dB as a start. Dyna-mite starts to expand or limit.

  • Page 135: Basic Limiting

    SOFTUBE USER’S GUIDE | 135 Basic Limiting Limiting is a hard Inf:1 ratio compression that can be used to increase the apparent volume, or to even out dynamic differences in a track. It works by reducing the gain for passages that are louder than the selected threshold. The limiting mode on the Dyna-mite is often used to squash drum tracks.

  • Page 136: Basic Expanding

    136 | VALLEY PEOPLE DYNA-MITE Basic Expanding Expanding is when you let the Dyna-mite reduce the gain for passages that are below the select threshold. You can use it as a soft noise gate, use it more aggressively as a hard guitar/drum gate, or you can use to expand the total dynamics of a track.

  • Page 137: Switches

    SOFTUBE USER’S GUIDE | 137 Switches All three switches work independently of each other, so don’t be alarmed. Once you know what each switch does, the Dyna-mite will be easy to operate. Detector Source (INT, DS-FM, EXT) Determines the source of the detector.
  • Page 138 138 | VALLEY PEOPLE DYNA-MITE Detector Type (GATE, PEAK, AVG) This switch determines the ratio and attack times of the detector. GATE Fast and aggressive attack. This is the most extreme mode. Fast attack time (about 50 μs). In LIMIT mode, the ratio is negative (1:–20), which means that for every dB above threshold, the output signal will be reduced by 20 dB! In EXP mode, you’ll have a hard noise gate with a 1:20 ratio.

  • Page 139: Knobs

    SOFTUBE USER’S GUIDE | 139 Knobs Range This innovative control limits the maximum gain Threshold reduction. It varies from 0 dB (no gain reduction) to 60 dB possible gain reduction. Classic threshold control. Determines the signal This control is very useful when expanding, gating level above which Limiting, or below which Ex- or keying.
  • Page 140 140 | VALLEY PEOPLE DYNA-MITE Since the peaks in the third zone would cause a gain Threshold control) without disturbing the balance reduction above the limit of 25 dB, and the Range of the mix. is set at 25 dB, no further gain reduction will occur. Clip Indicator The effect is that you have a very effective limiting in zone 2, but with the transients of zone 3 being let...

  • Page 141: Limiting Modes

    SOFTUBE USER’S GUIDE | 141 Limiting Modes Classic Limiting Mode: limit There are two basic limiting modes: the AVG and Detector Type: AVG/PEAK PEAK detection. On top of this, you can use the Detector Source: INT built-in pre-emphasis high frequency filter (Detec-...
  • Page 142 142 | VALLEY PEOPLE DYNA-MITE De-Essing and Classic Limiting With De-essing (DS-FM, LIMIT, AVG) Limiting High Frequency Sounds (DS-FM, LIMIT, PEAK) Pre-Emphasis Filtering Ratio = Inf:1. Automatic make-up gain during lim- iting. High frequency EQ inserted in detector path. Mode: limit Range control forced to 60 dB on hardware unit. Detector Type: AVG/PEAK Detector Source: ds-fm AVG mode: Good for vocal de-essing.
  • Page 143 SOFTUBE USER’S GUIDE | 143 Side-Chain Limiting/Ducking Mode: limit Detector Type: avg/peak/gate AVG/PEAK MODE: Inverse Envelope Follower (EXT, Detector Source: EXT LIMIT, AVG/PEAK) Threshold: Setup the threshold level according to Signal gain is determined by the level of the side your side chain source level.

  • Page 144: Expanding Modes

    144 | VALLEY PEOPLE DYNA-MITE Expanding Modes The expansion modes is operated in a very similar way to the limiting modes, with the big exception that it is, well, expanding rather than limiting. Another exception is that the gate mode actually gates the signal in the exp mode, while it in the limit mode acts like a negative ratio limiter.
  • Page 145 SOFTUBE USER’S GUIDE | 145 and is pretty efficient to use on drums or heavy met- If the attack of the instrument is moderate to fast, al guitar if you want a more aggressive sound, but such as with drums or certain types of guitar, it is it should be regarded more as a creative tool rather better to use this peak mode.
  • Page 146 146 | VALLEY PEOPLE DYNA-MITE Keying Modes Mode: Exp Detector Type: avg/peak/gate Detector Source: EXT PEAK MODE: Envelope Following Soft Keying with Faster Attack (EXT, EXP, PEAK) While most people are accustomed to ducking, Signal gain is determined by level of the side chain a.k.a side chain compression—for example ducking signal.

  • Page 147: Mono And Stereo Operation

    SOFTUBE USER’S GUIDE | 147 Mono and Stereo Operation Credits Inserting the Dyna-mite in Stereo mode makes Oscar Öberg – modeling, Niklas Odelholm – it behave just as the real unit in “Stereo Couple” graphics programming. Torsten Gatu – framework mode. programming. Arvid Rosén – modeling and frame- work programming.

  • Page 149: Vintage Amp Room

    | 149 Vintage Amp Room Introduction Product Philosophy Everything about this product is authentic. Straightforward and simple, Vintage Amp The raw and dynamic sound is an absolute replica Room emulates three great guitar amps in a com- of what you would get if you had these amps set plete studio set up with speaker cabinets and fully up in a real studio.

  • Page 150: User Interface

    150 | VINTAGE AMP ROOM The sound of the amps has not been tampered with, real studio. Unfortunately, moving a mouse cursor because we don’t give you a pre produced, ultimate on a 17” LCD screen isn’t exactly like grabbing the guitar sound. We simply provide you with the tools: real mic stand in a cozy studio.
  • Page 151 SOFTUBE USER’S GUIDE | 151 Amp Panel (Top Area) In the Amp Panel you can alter the settings of the amp by clicking the knob and dragging the mouse up and down. Switches will be switched either by clicking on them, or by click -and-dragging the mouse up and down.

  • Page 152: White Amp

    152 | VINTAGE AMP ROOM White Amp White is based on an all round great amp, a classic that set the industry standard for classic, distorted rock’n’roll sounds. The genius is its simplicity. It’s stripped down to the bare essentials – all tubes, only one channel, and no reverb or any other built-in effects.

  • Page 153: Brown Amp

    SOFTUBE USER’S GUIDE | 153 Bass, Middle, and Treble These knobs are the tone control of the amplifier. This circuit is located after the preamp distortion and is used to shape the sound of the preamp distortion. Master Volume This knob controls the amount of power amplifier distortion. The power amp distor- tion is usually a little bit dirtier than the preamp distortion and gives a crunchier sound that sounds amazing for chords.
  • Page 154 154 | VINTAGE AMP ROOM Vibrato Vibrato Vibrato On/Off Speed Intensity Bright Volume Treble Middle Bass Knobs The functionality of the knobs on the front panel of the plug in corresponds to the front panel of the real amplifier, except the spring reverb, which hasn’t been included in this plug in. We have also added a “Vibra- to”...

  • Page 155: Green Amp

    SOFTUBE USER’S GUIDE | 155 Green Amp amp was so kind as to carve out “HI” and “LO” in the metal panel so that he would remember this. We have of course included this feature in Amp Green is packed with character and produces a Room.
  • Page 156 156 | VINTAGE AMP ROOM Knobs The functionality of the knobs on the front panel of the plug in corresponds exactly to the front panel of the real amplifier, except that we have added the foot switch as a “Vib-Trem Off-On” switch. Vib-Trem Off-On Turn on the vibrato or tremolo effect by moving this switch clock wise.

  • Page 157: Bypassing Amps Or Cabs

    Just tell them to set things up just as Room with an external speaker (or speaker plug in) they did for the guys from Softube, and you’ll be or if you just want to add a cabinet simulation to a fine from there...

  • Page 159: Other Platforms

    ProChannel is an intramix interface for VST plug-ins, with easy accessible knobs directly in the mixer. ProChannel compatibility is included in the normal VST/AU license, and no separate installer is needed. The ProChannel versions of the FET Compressor and Focusing Equalizer do not include all param-...

  • Page 160: Uad Powered Plug-Ins

    160 | OTHER PLATFORMS eters, but the full VST versions are installed at the same time as the ProChannel modules, and you can easily access them from the inserts menu. Products Currently Available The products included in the Mix Bundle: TSAR-...

  • Page 161: Control Surfaces

    | 161 Control Surfaces Introduction These sections outline the Avid ICON control sur- face mappings for the center sections. Some buttons on the ICON is not included in this overview, such as the “Link” and “Sidechain” buttons, but can have controls mapped to them anyway.

  • Page 162: Active Equalizer

    162 | CONTROL SURFACES Active Equalizer D-Command EQ Center Section Page 1 D-Command EQ Center Section Page 2 LF/HPF LMF/MF HMF/Lvl HF/LPF LF/HPF LMF/MF HMF/Lvl HF/LPF Low Width Mid Width High Width Q/In Q/In Low Frequency Mid Freq. High Freq Low Cut Output Volume High Cut Frequency...

  • Page 163: Fet Compressor

    SOFTUBE USER’S GUIDE | 163 FET Compressor D-Command Compressor/Gate Center Section Page 1 Page 2 Parallel Attack Output External SC Lookahead Input Inject Knee/Hyst Attack Gain/Hold Ratio Release Input Low Cut High Cut Output Ratio/Range Release Thres Freq Freq D-Control Compressor/Gate Center Section...

  • Page 164: Focusing Equalizer

    164 | CONTROL SURFACES Focusing Equalizer D-Command EQ Center Section Page 1 D-Command EQ Center Section Page 2 LF/HPF LMF/MF HMF/Lvl HF/LPF LF/HPF LMF/MF HMF/Lvl HF/LPF Saturation Q/In Q/In Saturation Type Equalizer Type Low Cut High Cut Output Volume Frequency Frequency Frequency/Out Frequency Frequency...

  • Page 165: Passive Equalizer

    SOFTUBE USER’S GUIDE | 165 Passive Equalizer D-Command EQ Center Section Page 1 D-Command EQ Center Section Page 2 LF/HPF LMF/MF HMF/Lvl HF/LPF LF/HPF LMF/MF HMF/Lvl HF/LPF Q/In Q/In Mid Freq. Output Volume Frequency Frequency Frequency/Out Frequency Frequency Frequency Frequency/Out Frequency Low Gain...

  • Page 166: Summit Audio Grand Channel Eq Section

    166 | CONTROL SURFACES Summit Audio Grand Channel EQ Section Link button controls Compressor Before EQ D-Command EQ Center Section Page 1 D-Command EQ Center Section Page 2 LF/HPF LMF/MF HMF/Lvl HF/LPF LF/HPF LMF/MF HMF/Lvl HF/LPF Low Mid High Mid High Bandwidth Bandwidth Bandwidth...

  • Page 167: Summit Audio Grand Channel Compressor Section

    SOFTUBE USER’S GUIDE | 167 Summit Audio Grand Channel Compressor Section Link button controls Compressor Before EQ D-Command Compressor/Gate Center Section Page 1 Page 2 Compressor Compressor Parallel Saturation Attack Gain Bypass Before EQ Inject Knee/Hyst Attack Gain/Hold Gain Low Cut Release...

  • Page 168: Summit Audio Eqf-100 Full Range Equalizer

    168 | CONTROL SURFACES Summit Audio EQF-100 Full Range Equalizer The “Type” switch is inverted. Bell type filter is on and shelving type is off. D-Command EQ Center Section Page 1 D-Command EQ Center Section Page 2 LF/HPF LMF/MF HMF/Lvl HF/LPF LF/HPF LMF/MF HMF/Lvl...

  • Page 169: Summit Audio Tla-100 Tube Leveling Amplifier

    SOFTUBE USER’S GUIDE | 169 Summit Audio TLA-100 Tube Leveling Amplifier D-Command Compressor/Gate Center Section Page 1 Page 2 Parallel Saturation Attack Gain Inject Knee/Hyst Attack Gain/Hold Gain Low Cut Release Gain Reduction Frequency Ratio/Range Release Thres Freq Freq D-Control Compressor/Gate Center Section...

  • Page 170: Tonelux Tilt And Tilt Live

    170 | CONTROL SURFACES Tonelux Tilt and Tilt Live D-Command EQ Center Section Page 1 D-Command EQ Center Section Page 2 LF/HPF LMF/MF HMF/Lvl HF/LPF LF/HPF LMF/MF HMF/Lvl HF/LPF Shape Q/In Q/In 12 dB/oct HP Freq. Gain/Boost LP Freq Frequency Frequency Frequency/Out Frequency Frequency...

  • Page 171: Trident A-Range Equalizer

    SOFTUBE USER’S GUIDE | 171 Trident A-Range Equalizer D-Command EQ Center Section Page 1 D-Command EQ Center Section Page 2 LF/HPF LMF/MF HMF/Lvl HF/LPF LF/HPF LMF/MF HMF/Lvl HF/LPF Saturation Q/In Q/In Phase Inv. Low Freq. Lo Mid Freq. Hi Mid Freq. High Freq...

  • Page 172: Tube-Tech Classic Channel Eq Section

    172 | CONTROL SURFACES Tube-Tech Classic Channel EQ Section Tube-Tech PE 1C controls are colored red, ME 1B controls in blue. Compressor Before EQ switch is linked to the “Link” switch on the D-Control. D-Command EQ Center Section Page 1 D-Command EQ Center Section Page 2 LF/HPF LMF/MF HMF/Lvl...

  • Page 173: Tube-Tech Classic Channel Compressor Section

    SOFTUBE USER’S GUIDE | 173 Tube-Tech Classic Channel Compressor Section D-Command Compressor/Gate Center Section Page 1 Page 2 Select Attack Gain Meter Attack/Rel. Knee/Hyst Attack Gain/Hold Ratio Release Threshold Ratio/Range Release Thres Freq Freq D-Control Compressor/Gate Center Section Low Filter Hi Filter...

  • Page 174: Tube-Tech Cl 1B Compressor

    174 | CONTROL SURFACES Tube-Tech CL 1B Compressor D-Command Compressor/Gate Center Section Page 1 Page 2 Select Attack Gain Meter Attack/Rel. Knee/Hyst Attack Gain/Hold Ratio Release Threshold Ratio/Range Release Thres Freq Freq D-Control Compressor/Gate Center Section Low Filter Hi Filter Levels Select Attack Gain...

  • Page 175: Tube-Tech Me 1B Mid Range Equalizer

    SOFTUBE USER’S GUIDE | 175 Tube-Tech ME 1B Mid Range Equalizer D-Command EQ Center Section Page 1 D-Command EQ Center Section Page 2 LF/HPF LMF/MF HMF/Lvl HF/LPF LF/HPF LMF/MF HMF/Lvl HF/LPF Q/In Q/In Low Frequency Mid Freq. High Freq Output Gain Frequency...

  • Page 176: Tube-Tech Pe 1C "Pultec" Equalizer

    176 | CONTROL SURFACES Tube-Tech PE 1C “Pultec” Equalizer D-Command EQ Center Section Page 1 D-Command EQ Center Section Page 2 LF/HPF LMF/MF HMF/Lvl HF/LPF LF/HPF LMF/MF HMF/Lvl HF/LPF Bandwidth Q/In Q/In Low Frequency High Freq Atten Sel Output Gain Frequency Frequency Frequency/Out Frequency...

  • Page 177: Valley People Dyna-Mite

    SOFTUBE USER’S GUIDE | 177 Valley People Dyna-mite D-Command Compressor/Gate Center Section Page 1 Page 2 Detector Mode Output Type Knee/Hyst Attack Gain/Hold Range Release Threshold Ratio/Range Release Thres Freq Freq D-Control Compressor/Gate Center Section Low Filter Hi Filter Levels Detector Mode...

  • Page 179: End User License Agreement

    Softube AB ("Licensor"), a Swedish corporation semble the Software or any part of the Software, incor- regarding use of the accompanying software ("Software").
  • Page 180 clxxx | END USER LICENSE AGREEMENT MERCHANTABILITY, FITNESS FOR A PAR- TICULAR PURPOSE OR NON-INFRINGEMENT, ARE HEREBY EXCLUDED. LICENSOR DOES NOT WARRANT THAT THE FUNCTIONS CONTAINED IN THE SOFTWARE WILL MEET YOUR REQUIREMENTS, OR THAT THE OPERA- TION OF THE SOFTWARE WILL BE INTER- RUPTED OR ERROR-FREE, OR THAT DEFECTS IN THE SOFTWARE WILL BE CORRECTED.
  • Page 181 SOFTUBE USER’S GUIDE | C Lxxxi...
  • Page 182 Softube AB, S:t Larsgatan 10c, 582 24 Linköping, Sweden. www.softube.com...

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