You have been addressed to the latest and most innovative operative technology, the Acustica Aquamarine Mastering Compressor Plugin,
originally developed by an industrial military contractor, then entrusted to a group of raw civilians with no military rank used to
spend most of their time eating pizza and playing mandolin. The military technology, which can be described as a crossroad between
rocket technology and the teleprinters used during the World War II, has been replaced by a software up to the challenge. Originally
there was an “electro-luminescent optical attenuator” and a “discrete voltage controlled amplifier”, we tried to put them into the
computer but without success, due to their size and weight. So we had to make do with the software, without any loss of functionality.
Our compiler is provided with all the most powerful features, among which a DEBUG shortcut, STACK TRACE analysis and an elegant code
indentation. Compared to the original model, we added a big-bulky-knob called “Mix”, which is useful for the compression dosage; when
set to 100%, both compression stages are mixed with the original signal. Instead, the preamp cannot be disabled or mixed, and it is
placed at the start of the audio chain, like a real transformer. We also included a bypass switch, in order to limit harmonic distortion
for a cleaner result. We improved the speed of the discrete section by reaching attack times close to zero, and we implemented appropriate
gain staging. We also modified the shape of attack and release curves so as to minimize harmonic distortion and aliasing, keeping in
mind that we are working on software (not in a hardware context). On top of all this, we tried to keep the original times of rise and
fall and the general attack/release curves shape, although in a smoother way. Sadly here we had to differentiate from the original model:
keeping the correct shape and having a low aliasing is beyond the boundaries of computational physics, software is by definition a compromise.
It has to be stressed that our compressor must operate with an input signal of -18dB RMS; otherwise the signal will be highly compressed and
sometimes damaged even with minimum threshold values. This also occurs in the hardware world, in fact our first compression test results
in a reduction of 70dB with a threshold values around -20dB. Unless you want an extreme compression and more importantly, if you want
to use this software correctly, just keep this rule in mind.



Preamplifier section:
The first processing stage is the preamp section, switchable with the PRE switch. Possible preamps are: Bronze: the most coloured setting
Silver: more coloured than gold but quite clean Gold: with low distortion and flat low frequency response. Opto section The second stage
is the Opto Compressor, that emulates an optical attenuator. The controls for the Opto Compressor are Opto Threshold and OptoGain. The
Opto Threshold knob controls level above which the compressor considers the signal too loud engaging compression, Aquamarine starts with
a-1dB threshold. The Opto Gain knob controls the amount of makeup gain, which is used to restore the compressed signal to the desired
amplitude. The Opto section is engaged by Opto Bypass In/Out switch.

Discrete section:
The third stage is the Discrete Compressor, that emulates a VCA. The controls are similar to the optical section with some additional
knobs: discrete ratio, discrete attack and discrete recover. The discrete ratio knob has six positions and determine the ratio of the
compressed signal. The first position corresponds to a ratio of 1.2:1, so one additional decibel above the threshold produced. Available
values are 1.2:1, 2:1, 3:1, 4:1,6:1 and FLOOD with 20:1 ratio. The Discrete attack knob varies how fast or slow the compressor engages
once the compression threshold has been reached. The Discrete recover knob determines how long it takes the signal to return to the
uncompressed level after the signal level falls below the set threshold. The Discrete section is engaged by Discrete Bypass In/Out switch.

Side-chain switch:
The side-chain filter engages a filter in the side-chain of both the opto and discrete sections, which cuts off frequencies below 90Hz
that will not trigger anymore the onset of compression. Depending on the currently active program on METER TYPE switch, meters may vary
their output information. OPTO - DISCRETE led on: meters display the reduction levels of opto (left meter) and discrete (right meter)
compressors. INPUT - OUTPUT: meters display the input (left meter) and output (right meter) levels of the plug-in.

Mix Knob:
The MIX knob weighs the original signal percentage in the final mix. With 0% the input signal is completely processed, while with 100%
it is completely clean.

Input - Output Knob:
These knobs set the input and output levels from -24dB to +24dB. At the first execution of the plug-in, input and output are set to -18dB and +18dB
respectively to ensure that you feed an appropriate level from the first stage of your signal path to the final one. The initial gain reduction is
compensated by the +18dB gain in the final stage.



This compressor is inspired to a hardware device provided with a range of military techniques to evade enemy capture. It has to be stressed
that this product is not the result of an endorsement; it differentiates from the original model, especially in the price. We have worked hard
to produce a result that would live up to expectations, but for other reasons we consider the hardware a sheer, unapproachable masterpiece.
Our compressor can reach faster attack times and emulate the envelope followers’ curves, but the currently available technology still needs
some improvements to achieve a perfect emulation. Anyway, the product has been captured by the enemy. Evasive maneuvers were only partially
useful to escape the disaster. VU meters were destroyed in time; we tried to copy them imagining the extremely smooth and hypnotic way they
worked. The peak detector was also partially destroyed. We used chains of envelope followers in order to emulate the original smooth algorithms
and limit distortion, which is typical of the software world.



You cannot use a screwdriver to open Aquamarine, but if you could, you would not find transformers or valves inside, but the finest
software algorithms in the market. Starting from the source, we have a preamp stage, based on Acustica’s well-known algorithm VVKT: the
dynamic harmonic response is modeled, and this is the secret of the way our products sound. We model the frequency and phase dynamic balance
as the dynamics changes, and this is what we do for all harmonics. This is one of the most stunning valve distortions that you could have in
the software world. Then an optical compressor stage comes, based on a three-stage RMS detector for a smoothed and aliasing–free processing.
Attack and release curves are program-dependent. During the developing of the shape-matching, we used a new sampling process, which is still
subject to further improvement. The side-chain is based on a filter at 90Hz with a -6 dB/ octave cut-off. The attack curve was corrected with
a short look-ahead value. Finally we have a discrete compressor stage based on a three-stage peak detector for a smoothed processing; the same
considerations for the optical compressor apply. We tried to improve the attack curve, by implementing a look-ahead value that could lead to
instantaneous compression. Half of the attack knob’s first position differs from the original model. A side-chain filter is also present. The
Mix control operates on both opto and discrete compressor, whereas the preamp stage is excluded. Using this control may limit the effect on the
different stages’ compression, it is a part of the design we planned. The VU meters are calibrated to work with a signal at-18dB, because the
initial compressor threshold has also been calibrated at -18dB. We implemented a rather clear overshoot and literally plunged them into the oil
to have the same smooth behavior as the original machine. One last note: both compression stages may exceed 24dB if the input signal does not
comply with the operating limits, up to reaching and even exceeding 50dB. The software is not designed to be used on these levels, but its
creative use is not a priori excluded. If it sounds good, then it is good. However, we advise you against using it in mastering situations with
inopportunely calibrated input signal levels.


http://www.youtube.com/watch?v=6lqDwJbjtm8

Aquamarine is almost ready for release!

Buy it now for a special price before the final release!
€159.00 Pre-Sale Price
€199.00 Regular Price
You Save: €40.00

Estimated release date: not before the 31-Jan-2015

NOW AVAILABLE!
- see new post below for additional details and sound clips -



INFO: Acustica | Aquamarine

 

Looks so sexy!

 

Holy crap they want to kill people. Knowing their quality I know there will be soon Nebula addicted people selling a kidney to buy these aqua plugs.
For who's wondering:
Shadow Hills Mastering Comp

Heard it in a studio once, a fuckin' 7K$ monster. *yes*

 

@ Copylefter,

And that's the main reason why most of the true Professional Compressors have a 'Knee' Option *yes* ...because even if you sell one of your 'Kidneys' (or even both !!! ), you'll always keep at least the 'Knees' !!!

 

i'm just modestly wondering: is nebula really that good? does it capture sound beyond impulse-responses? what makes it so fanstastic many people rave about? what can it do an x64 architecture cant do. I've had more than one pci(e) dsp cards and they were worse than cpu based rendering. Sorry for that dumb question: is nebula really worth it and why?

 

This dude is a trip...

http://www.youtube.com/watch?v=sAcCFi4_TX4

 

The Shadow Of The Hills

 

now thats a monster ...i saw they prepare an FET 1176 soon ...im impressed

 

This beast has been officially released.

Voice - Original:
http://soundcloud.com/acustica-audio/voice-original-1
Voice - Compressed:
http://soundcloud.com/acustica-audio/voice-compressed
Voice - Extreme Compression:
http://soundcloud.com/acustica-audio/voice-extreme-compression



Electric Bass - Original:
http://soundcloud.com/acustica-audio/electricbass-original
Electric Bass - Massively Compressed:
http://soundcloud.com/acustica-audio/electricbass-massively-1
Electric Bass - Massively Compressed - Long Release:
http://soundcloud.com/acustica-audio/electricbass-massively
Electric Bass - Glue & Harmonics:
http://soundcloud.com/acustica-audio/electricbass-glue-and


User Video:
http://www.youtube.com/watch?v=e9LKs7w8CKs

Aquamarine is available now for €199, as a VST in PC, and AU and VST Mac format - 32 and 64bit.

If you would like to try Aquamarine in the absence of a demo - please contact the sales team -
[email protected] - You can buy with the option of a refund.

INFO: Acustica | Aquamarine