DIY Audio Project #1 | Tube Saturator with Baxandall EQ (Part 3): Design and Order PCB Circuit

Hello, I’m Jooyoung Kim — an audio engineer and music producer.

Lately, I’ve been so tied up with outside commitments that I feel like I’ve neglected my own music projects. After visiting the exhibition by artists Chungha Ester Lim and Inguen Nam last time, I found myself reflecting quite a bit. Today, I went back again to see the works and reset my mindset.

I’m juggling a lot of different things, so time is always tight—but even if I have to carve it out little by little, I need to make it happen. The same goes for this blog.

Anyway, today’s post continues from the previous one and focuses on the PCB fabrication process.

Once the schematic design is complete, the next step is translating it into a PCB layout. At its most basic, a PCB consists of two layers: the first layer carries the signal traces, and the second layer serves as ground. However, in audio equipment with a high component count, two layers may not be sufficient. In my case, I had to distribute multiple DC voltage rails throughout the circuit, and several chips had many pins that required careful routing. As a result, I designed the main board as a four-layer PCB, while the power supply board remained a two-layer design.

The issue—if I didn’t mention this in the previous post—is that even if everything looks perfect in the schematic, it doesn’t automatically translate cleanly onto the PCB.

If you look at the top-right area of the schematic, you’ll see link indicators for the op-amps and IC chips. Clicking one of those opens a window where you have to manually assign the correct physical package for each component. This is called a footprint.

To assign the correct footprint, you need to carefully cross-check each part against its datasheet and match the exact specifications. Honestly, that process nearly drove me crazy. After soldering everything together, I discovered about three problematic spots. I managed to fix them with some creative rework, but since I also had to revise the EQ bypass section anyway, I ended up redesigning the PCB and placing a new order. The thought of desoldering everything and starting over again is… thrilling, to say the least.

And even after that, you’re still not done. Once everything is set up, clicking the PCB editor icon opens the layout window.

From there, you import all the assigned footprints. When they first load, they appear scattered randomly across the board.

I had around 150 components on the main board alone, so seeing them all clumped together at once was a bit overwhelming.

From that point on, it’s a lot of manual routing. For the ground plane, there’s no need to manually connect traces—filling the ground layer with copper automatically connects everything. For the power supply board, however, I kept it to two layers to reduce costs, so I cleared certain copper areas and routed the power traces manually. In the main board, I also removed copper around the high-voltage tube section to help minimize potential noise issues.

Once the layout is complete, you run a final design rule check. You’ll see a list of errors and warnings. If certain warnings are triggered by intentional design decisions, you can ignore them—but everything else should be reviewed carefully. In my case, I found a few unconnected traces that I had missed.

After that, you define the board outline using the Edge.Cuts layer. Then you go to File → Plot, select all the required layers, and generate the fabrication files. Since the plotted files don’t include drill data, you also need to export a separate drill file.

I ordered my PCBs from JLCPCB. After compressing all the generated files into a single ZIP archive and uploading it, you can preview the board before placing the order. There’s also a DFM (Design for Manufacturability) check that identifies potential production issues or design mistakes. It seems the manufacturer performs an additional review after you place the order as well.

Once the boards arrive, all that’s left is soldering. For distributing multiple voltage rails, I had a custom toroidal transformer made. Since the design includes vacuum tubes, higher voltages are required—far beyond what a simple adapter can provide. Toroidal transformers also tend to be more resistant to ground-related noise.

In the next post, I’ll talk about the case fabrication and the final assembly process. I’ve already sent out the enclosure drawings, and since the PCB has been revised, the final installment may take a bit longer to publish. In the meantime, I’ll think about what topic to cover next.

See you in the next post!

DIY Audio Project #1 | Tube Saturator with Baxandall EQ (Part 1): Concept and Implementation in Digital

Hi! This is Jooyoung Kim, a mixing engineer and music producer. In the previous post, ‘Wrapping Up 2025‘, I mentioned that I was developing circuits for my personal audio hardware.

Now that the circuit design and simulation are finished and the components and PCBs have been ordered, I am writing this post to record the process—including the failures and successes along the way. To be honest, since the build isn’t finished yet, I can’t guarantee it will be a 100% success.

However, I thought it would be a great opportunity to share what is actually needed for the design process, starting from scratch. I want to explain things in a way that anyone, even those with zero prior knowledge, can easily follow along.

Let’s start!


Concepts

I really love the analog “tube” sounds. However, I don’t have any stereo tube saturator hardware. Also, I don’t have an EQ that can be used for mastering either.

Therefore, I decided to make a stereo tube saturator with Baxandall EQ!

I used KiCad for this project. I highly recommend it because it allows you to seamlessly transition from circuit design to simulation, and finally to PCB layout. But that also means… once you’re done with the circuit, you still have two massive tasks waiting for you (hahaha…). I honestly had no idea what I was getting into until I finished the initial design!


Tube Parts

I already have two tubes (JJ Electronics’ ECC83) that were replaced from my Stam Audio SA-2A, so I wanted to use them for this project. Since I intend to use this gear in the mastering process, I decided to use just a single tube to drive the gain after the input stage.

I also designed the tube stage with adjustable ‘ASYMMETRY’ and ‘DENSITY’ parameters.

ASYMMETRY (Bias Adjustment) parameter controls the grid bias (+/-1V spans in my circuit)) of the vacuum tube. By shifting the bias point, it allows the waveform to clip asymmetrically, which generates even-order harmonics.

DENSITY (Saturation & Body) parameter adjusts the amount of feedback at the cathode stage. By controlling the effectiveness of the bypass capacitor, it pushes the tube to hit its saturation point harder or softer.

To develop this parts, I utilized Gemini (the free version) and referenced the manual of the Wave Arts Tube Saturator Vintage plugin for inspiration. Even though I majored in physics, it’s a field of pure science focused on fundamental principles, so I didn’t really cover practical applications like circuit design. As I mentioned, I actually had very little in-depth knowledge of electronic circuits starting out. But those tools were a huge help! Seriously, use AI tools—they can bridge the gap!


Baxandall EQ Parts

The EQ design is straightforward, consisting of two sections: Low and High. While the gain is continuously adjustable, I made the frequency switchable using rotary switches, allowing for precise and repeatable settings.

Baxandall EQ circuits are quite simple and well-documented, so you can easily find various schematics online to use as a reference.


Input & Output Parts

The input stage was simple enough, but the output stage was a total ambush. I wanted to include a Mix knob, a Mix Bypass switch, a Total Bypass switch, and an Output Gain knob. Trying to integrate all these features into the signal path turned into a bit of a mess!

After completing the overall design, I realized a crucial detail: every single stage had to be in the same phase! If the phases didn’t match, the Mix knob would be useless. So, I had to go back and triple-check the phase of every section after all the work was seemingly ‘done.’ I’ll talk more about this in my next post about the simulation process.


Power Parts

To ensure this hardware works in various environments, I included an adjustable voltage switch(220V-110V) in the power circuit. Since the design requires multiple voltage rails—250V, ±15V, +80V, +12.6V, and ±1V—I had to use a complex, custom-spec toroidal transformer. Managing all these different power requirements in one unit was quite a challenge!

Heat dissipation was a major concern for this build. I basically tortured Gemini with endless questions, forcing it to crunch the numbers until I was sure every component could handle the thermal load.

I’d like to dive deeper into the phase issues and buffers that need to be considered in the simulation, but it would make this post way too long. So, I’ll cover those in the next one.

See you then!

iZotope Ozone 12 Release and Upgrade Sale (Until October 6)

Below is a natural, precise, and professional English translation of your blog post, tailored for an English-speaking audience. It maintains the conversational yet technically accurate tone of the original, avoiding any awkward phrasing or overly casual language that could undermine its credibility. The [Link] placeholders are included as requested, and the table is preserved in a clear, readable format. The translation is crafted to feel engaging and authentic for an international audio engineering audience.


iZotope Ozone 12 Release and Upgrade Sale (Until October 6)

Hello! I’m Jooyoung Kim, an engineer and music producer.

I’ve been meaning to continue my synthesizer explanation series, but I’ve been swamped with studying English lately… time is slipping away! ^^;;

Instead… well, not quite “instead,” but iZotope recently released Ozone 12, and to celebrate, Plugin Boutique is holding a sale. So, I thought I’d dive in and review it.

I received Ozone 12 as an NFR (Not for Resale) copy for this review. If you purchase through the links in this post, I’ll earn a small commission, which helps keep the lights on!

Let’s take a closer look, shall we?

Plugin/Module Overview

Plugin/Module NameDescriptionElementsStandardAdvanced
Stem EQIndependently EQ vocals, bass, drums, or instruments in a stereo file
Bass ControlAdjusts low frequencies
UnlimiterRestores overly compressed transients (powered by machine learning)
ClarityCreates smooth masters (seems like high-frequency enhancement)
MaximizerLimiter
EqualizerTraditional EQ
ImpactFine-tunes dynamics
StabilizerAdaptive mastering EQ
ImagerStereo imager (free to use!)
Match EQMatches frequency characteristics to a reference track
Master RebalanceAdjusts stem volumes at the mastering stage
Low End FocusLow-frequency specialized processor
Spectral ShaperFrequency-specific shaper
Dynamic EQDynamic EQ
ExciterExciter (think saturator, with 7 types)
DynamicsCompressor/limiter
Vintage TapeTape emulation
Vintage CompressorVintage-inspired compressor
Vintage LimiterVintage-inspired limiter
Vintage EQVintage-inspired EQ
Other Features
Master Assistant: Custom FlowCreates a customized mastering chain
Master Assistant ViewVisualizes the mastering process in Ozone 12
Stem FocusPrecise stem separation
Track ReferencingManages reference tracks
Transient/Sustain ModesEmphasizes transients or sustain
Assistive Vocal BalanceAdjusts vocal clarity and balance
DitherDithering
Codec PreviewTests compressed formats like MP3/AAC
Additional Plugins
AudiolensAudio analysis and reference tool
iZotope RelayLightweight channel strip for communication between iZotope plugins
Tonal Balance Control 2Frequency balance analyzer

Wow, that’s a lot, isn’t it? 🙂

The Elements version doesn’t include individual plugins and is limited to a streamlined version of the integrated plugin (number 5 in the list). Since there’s so much to cover, I’ll focus on the key plugins and the new additions in Ozone 12.

1) Stem EQ

I’ve never been a huge fan of stem separation tools in the past, but the technology has come a long way.

It’s not perfect, but it doesn’t sound unnaturally detached either. The way EQ is applied to stems feels impressively natural.

Compared to the older Master Rebalance, Stem EQ is much more precise. The sound is noticeably different, suggesting they’ve updated the algorithm.

This isn’t just for mastering engineers—it’s versatile enough to significantly alter the feel of the source material, making it a useful tool for many users.

2) Bass Control

This one’s a winner! iZotope plugins are known for their intuitive interfaces, clearly showing what you’re adjusting. Bass Control is no exception, displaying only the low-frequency waveform to give you a clear sense of whether the sound feels light, heavy, or punchy.

3) Unlimiter

Think of Unlimiter as an attack shaper. It doesn’t fully restore the original transients, but it does a great job of naturally enhancing them.

4) Impact

This is a fun one. Impact lets you emphasize or reduce transients on a per-frequency basis. It’s another reminder of how critical transients are in both mixing and mastering!

Applying it lightly to the low end can group the kick and bass together, creating a cohesive, groovy feel. Pretty cool!

5) Ozone

This is the core of it all, right? One-click mastering!

Personally, I’m not a huge fan of one-click solutions, and after testing it on a few projects, it feels like there’s still room for improvement.

That said, unlike older versions that relied solely on one-click mastering, you can now pick and choose effects to create a custom chain. Starting with suggestions for EQ, limiter, and imager can be a great jumping-off point! 😊

The other plugins are fairly well-known, so I’ll skip the deep dive there.

Both iZotope and Acon Digital have made it possible to perform stem mixing at the mastering stage using just a stereo track. It’s wild how far we’ve come!

Oh, and among the Advanced version’s additional plugins, I highly recommend Tonal Balance Control 2. When my ears feel off (like when I’m under the weather), this plugin always reveals something’s slightly amiss.

It’s also fantastic for studying other tracks and establishing your own reference point. Definitely give it a try!

Ozone comes in three versions: Elements, Standard, and Advanced. The table above details which plugins are included in each, so check it out to find the one that suits your needs.

Personally, I love Low End Focus, Stem EQ, Bass Control, and Impact, so I’d recommend Advanced. Standard is a solid choice too, but Elements might feel a bit limiting.

You can try the demo to see for yourself. I hope you find it useful!

Until next time! 😊


Brainworx May Sale (1) – Amek Mastering Compressor, Mäag Magnum-K, Millennia TCL-2 (Until May 31)

Hello! I’m Jooyoung Kim, a mixing engineer and music producer.

Plugin Alliance has started charging taxes for Korean buyers, making Plugin Boutique a more cost-effective choice. With Plugin Boutique, you can often get free plugins or collect points, even for the same products.

This month, Plugin Boutique is holding a big sale on several Brainworx plugins from Plugin Alliance, so I’m here to highlight a few.

In a previous post, I focused on Saturation and Bettermaker plugins. This time, I’ll dive into compressors: Amek Mastering Compressor, Mäag Magnum-K, and Millennia TCL-2.

Let’s get started!
(I numbered this post as (1) in case I cover more plugins later, but no promises… 😅)

AMEK Mastering Compressor

This compressor is inspired by the Amek 9098 console and compressor… or so they say. It’s probably best to think of it as Brainworx’s unique take on an Amek-based compressor.

Its standout features are:

  1. Multiple detector settings (Fast, Peak)
  2. Timing and Release Hysteresis parameters instead of traditional Attack and Release

These can be a bit confusing, so let’s break them down.

The Peak parameter enhances detection of transient peaks, while the Fast parameter makes the attack respond more quickly.

Timing directly adjusts the speed of Attack and Release, while Release Hysteresis links the Fast detector to the signal’s volume, reacting faster to loud sounds and slower to quiet ones.

A bit tricky, right? 😄

Also, this compressor has automatic Make-Up Gain, so you’ll need to slightly reduce the Output Gain to balance the sound.

In terms of frequency response, it slightly boosts the low end, and when compression kicks in, the high end gets a subtle lift. True to its “Mastering Compressor” name, it’s very clean with minimal harmonic distortion.

Millennia TCL-2

The Millennia TCL-2 is a plugin emulation of Millennia’s opto compressor, often compared to the Avalon AD2044 as a top-tier stereo opto compressor.

It’s exceptionally clean, producing very little harmonic distortion even under compression. You won’t notice significant changes in the frequency response either.

The parameters are fairly standard, so there’s not much to dive into here.

From my experience, it’s ideal when you want a smooth opto compressor without expecting high-frequency saturation.

Mäag Audio Magnum-K

The Mäag Audio Magnum-K is a compressor that incorporates Mäag Audio’s signature Air Band EQ.

This one’s a bit complex to use. It’s easiest to think of it as three sections: Magnum Compressor, K Compressor, and EQ2.

The Magnum section should feel familiar, but the FB/FF (Feedback/Feedforward) setting on the far right is unique. Feedback mode offers smooth compression, while Feedforward mode is more aggressive.

The K Compressor is a one-band compressor centered at 3kHz, essentially functioning as a de-esser to tame vocal sibilance.

The EQ2 section operates in parallel with the original signal, blending with the Magnum and K Compressor signals before soft clipping kicks in.

It adds some coloration, and when compression engages, the midrange feels fuller. The left and right channels can slightly differ, creating a richer effect. If you don’t like this, you can use M/S mode or Digital Mode for uniform channel processing.

Until the end of this month, these compressors and other Brainworx plugins are on sale at Plugin Boutique, so it’s worth checking them out.

Plus, if you buy any plugin from Plugin Boutique this month, you’ll get Bitwig Studio 8-Track DAW for free, so don’t miss out!

See you in the next post! 😊