TesslaPRO mkIV released

all the analog goodness in subtle doses

Designed for mixing and mastering engineers navigating the digital realm, TesslaPRO strikes a balance between analogue character and modern precision. By reintroducing subtle artefacts from the analogue world into the digital domain, it delicately colours sound, refines transients, and weaves depth and dimension into the stereo field to achieve the coveted cohesive sound that defines professional mixes.

Version 4 introduces a new transformer model, integrating hysteresis effects for enhanced realism. It brings simplified gain staging to ensure consistent performance across a broad range of input levels and automatic output volume compensation allowing engineers to maintain control and predictability in their audio processing workflows. The plugin has been engineered for efficiency, further enhancing the workflow without compromising system resources.

Available for Windows VST and VST3 as freeware. Download your copy here.

epicCLOUDS reverb demo

Youtuber Elektronick Musick shared a great demo of the epicCLOUDS reverb. The example shows very nicely how already a mono source gets enveloped by the reverb and never seems detached, even with longer reverb tails. This was a major criteria for the design of the reverb.

epicCLOUDS released

epicCLOUDS – creating beautiful ambient clouds and textures

The ambient reverb is specifically designed to emulate the reverberation characteristics of large, open spaces or natural environments. It aims to create a sense of immersion and a feeling of being in a larger acoustic environment, such as a concert hall, cathedral, or outdoor setting. It typically has a longer decay time compared to other types of reverb and provides a very lush and expansive sound.

By using ambient reverb in audio production or mixing, you can enhance the sense of space, depth, and realism in your recordings, making them sound more natural and immersive. It is commonly used in various genres of music, film soundtracks as well as sound design to create a desired atmospheric or spatial effect. It is one of the go-to effects in the ambient music production.

The epicCLOUDS reverb works internally with very high density settings right from the start and thus delivers very soft and even ambient textures. Nevertheless, it guarantees a high degree of clarity at all settings and avoids unwanted side-effects such as source signal masking. Special attention was paid to the perceived envelopment of the source material by implementing an end-to-end true stereo reverb design.

The plugin is available for Windows in VST and VST3 format as freeware.
Download your copy here.

epicPLATE mkII released

epicPLATE mkII – next level plate reverberation

epicPLATE delivers a modern recreation of classic plate reverberation. It covers the fast and consistent reverb build up as well as that distinct tonality the plate reverb is known for and still so much beloved today. Its unique reverb diffusion makes it a perfect companion for all kinds of delay effects and a perfect fit not only for vocals and drums.

The mkII version introduces a slick new user experience, VST3 support as well as higher quality processing.

The update is available for Windows in VST and VST3 format as freeware.
Download your copy here.

NastyDLA mkIII released

NastyDLA mkIII – classic chorus echo with tape-delay simulation

The mkIII version fulfils some of the most wanted improvements, especially adding oversampling and VST3 support. In addition, many details under the lid have been polished or upgraded to state-of-the-art signal processing, further improving compression, gain staging and cross feedback delay modes. This release fixes also several bugs and all details can be found in the included release notes or in the revised manual.

The mkIII update is available for Windows in VST and VST3 format as freeware. Download your copy here.

TesslaPRO mkIII released

the magic is where the transient happens

The Tessla audio plugin series once started as a reminiscence to classic transformer based circuit designs of the 50s and 60s but without just being a clone stuck in the past. The PRO version has been made for mixing and mastering engineers working in the digital domain but always missing that extra vibe delivered by some highend analog devices.

TesslaPRO brings back the subtle artifacts from the analog right into the digital domain. It sligthly colors the sound, polishes transients and creates depth and dimension in the stereo field to get that cohesive sound we’re after. All the analog goodness in subtle doses: It’s a mixing effect intended to be used here and there, wherever the mix demands it.

The mkIII version is a technical redesign, further refined to capture all those sonic details while reducing audible distortions at the same time. It further blurs the line between compression and saturation and also takes aural perception based effects into account.

Available for Windows VST in 32 and 64bit as freeware. Download your copy here.

I just had to have this

• Hardcover book with almost 300 pages
• Covering most nerdy vintage studio classics from AKG, AMS, Dynacord, EMT, Lexicon, MXR, Quantec, Roland, ….
• Phaser, delays, reverbs, pitch shifter, vocoder, exciter, multi fx – 68 devices presented in total

• Great pictures (color and b&w) as well as insightful stories and statements from artists and manufacturers
• Very fun to read or just to browse – inspirational in all regards
• Available at Thomann for 69 smackers

epicPLATE released

epicPLATE delivers an authentic recreation of classic plate reverberation. It covers the fast and consistent reverb build up as well as that distinct tonality the plate reverb is known for and still so much beloved today. Its unique reverb diffusion makes it a perfect companion for all kinds of delay effects and a perfect fit not only for vocals and drums.

delivering that unique plate reverb sound

• Authentic recreation of classic plate reverberation.
• True stereo reverb processing.
• Dedicated amplifier stage to glue dry/wet blends together.
• Lightweight state-of-the-art digital signal processing.
  

Available for Windows VST in 32 and 64bit as freeware. Download your copy here.

The former epicVerb audio plugin is discontinued.

FlavourMTC “Mixbus Tone Control” released

FlavourMTC follows classic “passive” equalizer designs where the EQ circuits itself are not able to amplify signals but a dedicated amplifier stage takes care of it. Those EQ designs are well known for allowing very transparent frequency changes while their amplifier designs do add some icing on the cake quite often.

mixbus tone control – closest to analog

FlavourMTC implements this by utilizing 1^st order shelving filter designs avoiding unwanted resonances and takes advantage of “zero delay” implementations for most accurate higher order filtering and w/o introducing curve warping near Nyquist frequency. The output amplifier stage of the plugin can be calibrated according specific mixing levels, provides a distinct “box tone” and glues everything together. Parts of the plugin are oversampled internally for maximum transparency and sound quality.

Available for Windows VST in 32 and 64bit as freeware. Download your copy here.

interview series (11) – Andreas Eschenwecker

Andy, your Vertigo VSC compressor has already become a modern classic. What has been driven you to create such a device?

I really like VCA compressors. VCA technology gives you a lot of freedom in design and development and the user gets a very flexible tool at the end. I was very unhappy with all VCA compressors on the market around 2000. Those were not very flexible for different applications. These units were working good in one certain setting only. Changing threshold or other parameters was fiddley and so on. But the main point starting the VSC project was the new IC VCA based compressors sounded one dimensional and boxy.

Does this mean your design goal was to have a more transparent sounding device or does the VSC also adds a certain sound but just in a different/better way?

Transparency without sounding clean and artificial. The discrete Vertigo VCAs deliver up to 0,6% THD. Distortion can deliver depth without sounding muddy.

Does this design favour certain harmonics or – the other way around – supresses some unwanted distortions?

The VSC adds a different distortion spectrum depending when increasing input level or adding make-up. The most interesting fact is that most of the distortion and artifacts are created in the release phase of the compressor. The distortion is not created on signal peaks. It’s becoming obvious when the compressor sets back from gainreduction to zero gainreduction. Similar to a reverb swoosh… after the peak that was leveled.

Where does your inspiration comes from for such technical designs?

With my former company I repaired and did measurements on many common classic and sometimes ultra-rare compressors. Some sounded pretty good but were unreliable – some were very intuitive in a studio situation, some not…
At this time I slowly developed an idea what kind of compressor I would like to use in daily use.

From your point of view: To which extend did the compressor design principles changed over the years?

The designs changed a lot. Less discrete parts, less opto compressors (because a lot of essential parts are no longer produced), tube compressors suffer from poor new tube manufacturing and some designers nowadays go more for RMS detection and feed forward topology. With modern components there was no need for a feedback SC arrangement anymore. I think RMS is very common now because of its easy use at the first glance. For most applications I prefer Peak detection.

Having also a VSC software version available: Was it difficult to transfer all that analog experience into the digital domain? What was the challenge?

In my opinion the challenge is to sort out where to focus on. What influence has the input transformer or the output stage? Yes some of course. Indeed most of the work was going into emulating the detection circuit.

Which advantages did you experienced with the digital implementation or do you consider analog to be superior in general?

I am more an analog guy. So I still prefer the hardware. What I like about the digital emulations is that some functions are easy to implement in digital and would cost a fortune in production of the analog unit.

Any plans for the future you might want to share?

At the moment I struggle with component delays. 2021/22 is not the right time for new analog developments. I guess some new digital products come first.

Related Links

• Vertigo Sound