TesslaPRO mkII – transient aware signal saturator released

Already announced in April this year and with several delays, the TesslaPRO mkII version is finally available! Based on stateful saturation algorithms, it features an internal expandable ‘color model’ architecture and right from the start five different models are already included being three different ‘console style’ models plus one generic ‘tube stage’ and a ‘tape warmth’ saturation model.

It also introduces advanced DSP processing which is designed to have it applied across the entire mixing stage by featuring zero latency processing and further optimized assembler coding yielding a ~40% lower CPU footprint compared to its predecessor. Its very unique transient control appears further improved, vibrant 2nd order harmonic generation was added and better support for gainstaging is included now.

More and detailed information is included in the manual addendum.

TesslaPRO mkII  is a Windows x32 freeware release for VST compatible applications and you can grab your copy via the download page.

If you like, join me on Facebook and please vote for me during the KVR Developer Challenge 2012!


  1. The Eagle, has landed………………….

  2. Download Download Download! Can’t wait to tryyy 😀

  3. Thank you very much for Tessla 🙂

  4. Nothing to say …. Great. And again, and again, and again, and again, and again, Thanks
    Please say, will you build be an MKIII Version of BootEQ?



  6. Nothing to say..u and your plugins are simply amazing!!!

  7. simply awesome! I cannot get the same quality from several payware plugins. Tessla is so natural! I cannot even believe it is free! thank you so much!

  8. Wow. Your “Stateful saturation” system really comes to live with this one. I love the different colours, and it’s nice to push it into heavy saturation too. Up until now, I’ve used and enjoyed Waves NLS a lot, but this will get used just as much.

    We can’t thank you enough for bringing us such lovely sounding tools for free.

    Respect and good vibes from Germany.

  9. yes , this is what i’m lookinf for !

  10. Billy Marsh says:

    Added this to a guitar bus with tape warmth set for color and drive set @ 60%. Added Density MKII w/ 2bus glue preset (with a few minor tweaks) before Tessla and getting really good results here! Thanks for the excellent plug-ins, Bootsy!

  11. I used the MKII across the whole mix! I put it as the first plug insert on every channel as tape saturation. Then I go back and put it on every channel again! The second time I put it on every channel as the last plugin on british console. I then go back and tweak a little. Oh yeah then I put it on the Master Fader as British console as the first insert. I can’t believe how good it sounds. Most plugs would smother the mix if I used them like I use the Mk II teslsa pro. This thing is awesome! Can’t believe it’s not around $200.00

  12. wow …
    huge thanks to variety of sound dream team for these christmas gifts !!!
    you clearly have my vote for K.V.R challenge…

  13. Nekro Dean says:

    You pair of dark horses! Didn’t expect another gem this year. Really is appreciated

    Best to all as always, Dean.

  14. sounds extremely harsh/brite on electronic keys/plucked simple sounds.. I know that because of poor harmonic content and high transient they are the more susceptible source material, but even with american console (that seems the darkest/less bright one) and full transient treatment, it’s really harsh. maybe it could be a good source to caliber and tweak further the transient sensibility of the algorithm, or add a sweet lopass filter for the saturated signal…(or just use xtc and set it only on bass-mids, you’d say…well…)
    other than that, it seems to be really musical, and the transient treatment now seems to be a depth complexity parameter, or a bass exciter, when the bass knob is activated. any other hints?
    oh, by the way i couldn’t try it on complex mixes, but it seems it does a really good job.
    thanx again,
    p.s. got my vote

  15. Extremely subtle and musical on sustained sounds, but can be driven to audible distortion (on very hot peaks), so useful. Excellent work AGAIN Herb, I don’t know how you do it.

    My only criticisms are; gain structure, the absolute hottest mastered mix only drives the plugin to -6/7 without boost, (and the manual does still say to get the needle towards the red for best results) so even the boost has to be used on full scale material, I think boost should only be reserved for quiet program material that needs boosting! .anyone recording/mixing at sensible levels should be peaking nearer -12 on average with much higher crest factors so it is hard to drive this plugin without adding level before hand , which then makes it unfair when A/B-ing.
    Also btw, the manual still mentions the old red transient vu needle, was this now ditched on purpose? I did like it but I don’t actually mind either way just thought I’d point out the anomaly, as I have said before I am massively grateful for the any documentation at all! (and some paid software has much worse docs!)
    Sorry the criticism section is larger than the praise but I was just trying to be as constructive as possible, I am a mix engineer for a living so hope this is useful.
    Best wishes

    • Agreed, I find mysef need to hit the +12 boost + some gain to even reach into the red area on my stereo material/final mixes. Dosn’t seem quite right?

    • use an oscilloscope, u will see that even @0db setting, playing with the drive on highly dynamic material will flat everything out of it. very naturally though. use with caution. and with ears….

  16. Humbendinck says:

    So my understanding is that one have to drive and boost it until the red area is hit, correct?

    So, if I don’t want to totally change the “volume” of my signal, only saturate it a bit and play with the transients, I will have to turn the output down eventually, so that the loudness (pre/post tesla pro) will match???

    I know that my explaination is technically not 100% correct, but I guess you understand my concern?

  17. i’m in love p.s. cant understand anyone complaining about having to use boost ,and, or, output volume, as with any plugin its a pleasure when there is sufficient control to be able to get the drive and output you require without needing to use other facilities,the point is that it sounds superb, the transient treatment ,to my ears, outshines all competition (what competition?!..) and the versatility of several very usable flavours make it a sure winner .absolute magic.

  18. this is just amazing!
    without reaching for eq or compression too much, i am able to shape the sound of different instruments in the right direction. the different models help a lot for different sources.
    it is really a “tone-machine” , great, i love it !
    many thanks for tools like this, not available anywhere else.
    all the best, enjoy the winterholidays,

  19. Got some problems,if you could tell me what’s wrog… The Drive knob and the Transient knob dont’t work 😦 The VU meter does when I turn these knobs but the sound does’t changes at all. It happens working with other your fantastic plugs (not all) that some of the functions do not modify the sound at all. Win 7 64 bit Cubase 5.

    • are you using jbridge or the Cubase own bridge?

      • Yes,I do.JBridge for plugins. But I don’t JBridge Cubase.I asked you some months ago if I should to jbridge the host either but you replied not to. The problem that the plugins like TesslaPRO (Drive and Transient Knobs) or BootEQmkII (The Drive Knob) and ThrillseekerXTC (Drive/Mojo) do not change anything but the VU Meter came even when I installed Windows from scratch then the sound card drivers then Cubase and then these plugins first. It does’n matter if I go through JBridge or not. Most of you plugs work fantastic and I love to use them.I love TesslaSE but it seems to me that TesslaPROmkII will push me down on my knees 🙂 So please,help Dear Bootsy 🙂 All the best to you.

        • weird …

          • Have you tried a null test? Those parameters you describe are quite subtle, could it simply be the case that your monitors/monitoring environment are masking the subtle harmonic distortions with their own?

        • I used to have similar issues in Cubase with some of the vos plugs when I used them on mono channels. When I changed the channels to stereo everything was o.k.

          • Thanx for suggestions.

            • Still got the problem… I installed a fresh Win and all the stuff. The brand new thing is: there is no Transient Indicator Meter in the VU 🙂 God…what’s wrong with me 🙂

              • Did you try the null test? my theory still stands if not.
                ( ps, the transient needle doesn’t appear to be in this version no.)

              • Sorry,I’m not sure if I get you right.What’s the null test? And how to proceed?

              • It’s a way of telling if they are actually working. Do this;
                start a blank new project and import some audio onto a track. Now copy the track and reverse the polarity on the copy. (most daws have a polarity reverse, sometimes called phase reverse). Now when you play back, you should have silence a the 2 tracks cancel each other out.
                Now place thrillseeker xtc on one of the tks. You may now hear something on play back as it may already be making a difference without turning anything, but play with the mojo and see if you can hear it change. What you will be hearing to is difference between the tracks, ie none of the original audio, just the effect.
                Let me know what you hear.

  20. i really enjoy the subtlety of sound of this effect – i am using it on a pad with a lot of sparkly/crunchy high end, and it does a beautiful job of smoothing/thickening it … just right. well almost just right! i am using it in sonar 6, and the transient knob has what appears to be a glitch just around 12 o clock. the rest of the knob turns smoothly, but right around 12 o clock, instead of moving smoothly to 11:55 and 12:05 (for example), it turns the whole way to 11 or 1 o clock. I am wondering if this is sonar 6 related (since it is an old version), and also if that is only a lack of smoothness on the GUI rather than a lack of smoothness on the internal settings it controls. it seems like it might be affecting the internal settings, because to my ears the transient lock-down gets rather more intense as you turn it from 12 directly to 11.

    thank you for this beautiful and free effect!!!


    • update: after re-reading the manual (ahem) i noticed that there was a shift click option for fine tuning – which smoothly moves through the area in question. so that will help me to get to those otherwise inaccessible values!

  21. Hey Bootsy My friend, I am gathering some freeware together to begin a blog, review and tutorial channel on music production with freeware. Naturally 99% of your plugs will be featuring! However I was playing with Telsa II today in some depth, I have a fully professionally calibrated and floating control room and have been training my ears for over 15 years, I was struggling to hear anything happening upon playing with the transient dial, then upon doing a null test, found it wasn’t doing anything at all! the Manual still mentions the red needle, but I don’t see that anymore either so My eyes weren’t fooled! please couldn’t you have a look?
    Thankyou so much
    (if there is a more preferable way to alert you to bugs please let me know, I am an engineer for a living and use your products proudly every day. I’d gladly beta test for you also if you need any help let me know)
    tested in cubase 5.2/6.5/7.5 Live 8.1/9.05

    • The red needle is indeed gone in the latest mkII version so thats ok. If its still mentioned in the manual then thats an error. Does the grey/black needle moves? Can you throw a sine wave through it and have at the look at the output spectrum? Maybe its just a gain-staging issue, that the gain is too low …

      • the black needle is there, I was using mastered program material (it was registering around -5 on the needle . I eventually found it to work by after the drive. I take it the saturation circuit is fed by an envelope follower? So it Does work,just at the top end of the gain stage. I think thats a shame as any drum material coming in at a sensible -30 to -15 probably wouldn’t benefit from the process. or is not a simple threshold? how would I test transient behavior with a sine? by triggering it on and off? could you suggest any software I could map a before and after plot on, I only have voxengo span for spectrum analysis.
        thanks for your time.


  1. […] XTC, hoy vuelve a hacer de las suyas con la nueva versión del clásico Tessla Pro MKII.En apariencia es casi idéntico a su predecesor pero a pesar de que tiene la misma carroceria el […]

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  7. […] compression. It means that in a DAW you would send your tracks to a separate AUX track with a distortion plug-in, or go into an outboard unit. Another method is to use the built-in wet/dry control of he plug-in […]

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