Tag: Saturation

Brainworx Saturators Overview & Sale (SPL Machine Head, SPL Vitalizer MK2-T, Elysia Karacter)

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

Recently, Brainworx released a plugin emulation of the SPL Machine Head, a classic saturation device. Since it’s currently on sale, I thought it would be a great opportunity to introduce not only this plugin but also two other renowned Brainworx saturators: SPL Vitalizer MK2-T and Elysia Karacter.

Purchase SPL Machine Head at Plugin Boutique

I received an NFR (Not for Resale) copy of this plugin from Plugin Boutique for review. If you purchase through the links in this blog, I receive a small commission, which helps me continue my work. Your support is greatly appreciated!

SPL Machine Head

The SPL Machine Head was originally released in 1997 as a tape machine saturation simulator. Unlike traditional analog tape machines, this hardware version was fully digital, eliminating wow, flutter, and noise while allowing precise control over the saturation process.

Brainworx has faithfully recreated this in plugin form, bringing its unique sonic characteristics to the digital domain.

Controls Overview:

  • The Original version has 4 knobs, while the Ultimate version has 5.
  • Besides Input and Output levels, the main controls include Drive, High Frequency, and Low Frequency.
Left one is original, right one is ultimate

In the default state, it slightly boosts the high frequencies and enhances third-order harmonics.

Left one is original, right one is ultimate

When increasing the Tape Speed, an actual tape machine would typically alter the frequency response by rolling off both low and high frequencies. However, in this plugin, it seems to achieve a similar effect by adjusting volume and high-frequency slope.

Key Takeaways:

  • Functions as an EQ (HF knob boosts/cuts highs, LF knob boosts/cuts lows)
  • Adds third-order harmonics for natural saturation
  • Slight compression effect at higher input levels

Compared to other saturators I’ve used, the effect is subtle and very natural. I find it particularly useful for enhancing high frequencies, similar to the Maag EQ4 or Baxandall EQ.

Purchase SPL Machine Head at Plugin Boutique

🔹 On Sale Until April 22 🔹

Plugin Alliance plugins typically see deeper discounts about a year after release, so if you’re not in a rush, you can wait for an even better deal.

🔹 Recommended Master Bus Settings: 🔹

  1. Ultimate mode
  2. Drive at 0.5
  3. High Tape Speed On (30 IPS)

SPL Vitalizer MK2-T

The SPL Vitalizer MK2-T is a tube-based saturator with versatile tone-shaping capabilities.

I once debated whether to buy this hardware unit or another compressor. I went with the compressor, but the Vitalizer remains an incredibly flexible tool.

The SPL Vitalizer offers four main processing areas:

  1. Drive
  2. Bass & High-Frequency Control
  3. LC (Inductor-Capacitor) Filter-based High Shelf EQ
  4. Stereo Expander

Control Breakdown:

  • Drive: Determines how much effect is applied, not just input gain.
  • Bass (Soft <0> Tight):
    • Soft: Boosts overall bass
    • Tight: Slightly reduces overall levels while enhancing only the bass region.
  • Compression: Works only on the bass frequencies, with automatic Threshold, Attack, and Release settings. The Compression knob adjusts the ratio.
  • Mid-Hi Tune: A shelving EQ for the mid-to-high range.
  • Process: Controls the overall amount of bass, compression, and mid-high tuning applied.
  • LC-EQ: A high-shelf EQ using LC circuits.
  • Stereo Expander: A stereo enhancement tool.

Initially, the controls may feel unfamiliar, but once you get used to them, you’ll find many creative applications.

Purchase SPL Vitalizer MK2-T at Plugin Boutique

This plugin goes on sale frequently, so check out the demo before purchasing!

Elysia Karacter

The Elysia Karacter is a highly regarded hardware saturator, now available as a plugin.

It features automatic oversampling:

  • 4x oversampling for sample rates below 50kHz
  • 2x oversampling for sample rates below 100kHz
  • No oversampling for rates 100kHz and above

It also includes MS mode, Turbo Boost mode, and FET Shred mode.

On the left, we have the default settings, while the right shows the FET mode, which emulates the classic “Smile EQ” curve.

⚠️ Caution:

  • If driven too hard, it automatically compresses the signal.
  • This isn’t standard compression but rather an emulation of analog clipping.

Increasing the Drive lowers the compression Threshold, so careful gain staging is crucial.

Color Knob:

  • Turn left: Boosts ultra-low frequencies (5–50Hz)
  • Turn right: Boosts overall low frequencies (below 100Hz)

I love the saturation in FET mode, but due to its aggressive nature, I recommend placing gain plugins before and after it to control input and output levels.

Purchase Elysia Karacter at Plugin Boutique

This plugin also goes on sale frequently, so keep an eye out!

Plugin Alliance vs. Plugin Boutique Pricing

Recently, Plugin Alliance started adding a 10% tax at checkout. Because of this, Plugin Boutique often offers a better deal, especially considering their loyalty points and free plugins.

That’s it for today’s review! Hope this helps you decide which saturator fits your needs.

See you in the next post!

Basics of Mixing – 9.5 Why Use Gear with Saturation?

Hello, everyone! I’m Jooyoung Kim, an audio engineer and music producer.
Today, we’ll dive into saturation and its role in mixing.

This post is based on my book, Basics of Mixing, written for a Korean audience.

https://product.kyobobook.co.kr/detail/S000214306169

Let’s get started!

In previous posts, we explored why certain hardware adds color to the sound.

Software emulations of hardware are programmed to replicate these tonal characteristics. However, due to a phenomenon known as aliasing in digital audio, the results aren’t always identical.

Thus, software can’t completely replace hardware. In fact, it’s better to consider them as entirely different tools.

Even hardware units of the same model have subtle variations, and software characteristics differ depending on the developer.

During a recent visit to my professor at Yonsei University’s music department recording studio, I noticed they’d added a Millennia Preamp and CL-1B to their Avid MTRX Studio setup. Quite the setup—if only I could afford it!

Mixing engineers often own multiple emulations of the same hardware for this reason.

For instance, I use several LA-2A emulations, each with its unique character:

  1. UAD – For adding sparkle to the high end
  2. Waves – To slightly lower the position and soften the tone
  3. IK Multimedia – For a more transparent sound

Some SSL hardware includes knobs labeled 2nd Harmonics and 3rd Harmonics to add harmonic saturation.

The SSL X-Saturator plugin replicates these features, allowing users to add harmonics independently.

Upon analysis, the plugin shows that:

  • 2nd Harmonics boosts both odd and even harmonics
  • 3rd Harmonics emphasizes odd harmonics only

The same logic applies to microphones and mic preamps.

  • Neve and API preamps are beloved for their bold color.
  • Grace Design and Millennia preamps are praised for their clean, subtle coloration.

While minimal coloration is ideal for playback systems, some listeners still prefer the warmth of analog mediums like LPs and tape.

Similarly, tube amplifiers were standard before transistors and remain popular for their unique sound, even in speakers.

Though such choices aren’t ideal for professional engineering work, understanding consumer preferences is important point too.

Conclusion

  1. Understand how each piece of gear applies saturation to your source.
  2. Think about how to use that saturation effectively in your mix.

Hope this post clarified things for you. See you in the next one!

Basics of Mixing – 9.3 Vinyl Saturation

Hello! I’m Jooyoung Kim, an audio engineer and singer-songwriter.

Today, I want to dive into the topic of vinyl saturation. Let’s get started!

The history of the LP (vinyl) began with Edison’s invention of the phonograph. In its earliest form, audio was recorded and played back on cylindrical records.

After the phonograph, vinyl records in disk format emerged as a new storage medium. Edison initially resisted the disk format, as the playback speed varied from the outer to inner edge, affecting the sound quality. Instead, he continued to advocate for the cylindrical format.

However, vinyl disks became the standard due to their better storage capabilities, cost-efficiency, and convenience—qualities the market prioritized over audio fidelity. In retrospect, the sound quality differences weren’t that significant.

Vinyl records come in various sizes based on rpm (revolutions per minute), with the 12-inch disk being the most common.

Vinyl’s sound characteristics are primarily defined by two key elements:

  1. Stereo limitations and lower frequency cutoff
  2. High-frequency roll-off

1) Stereo Limitations and Low-End Cutoff

Stereo imaging in the low end results in rapid vertical movement of the groove, causing the cartridge to move intensely. To avoid tracking errors, bass was typically kept in mono. Similarly, very low frequencies can cause excessive lateral movement in the groove, so bass roll-off was often applied during production.

2) High-Frequency Roll-Off

https://www.vinylengine.com/turntable_forum/viewtopic.php?t=132699

Excessive high frequencies can cause the cartridge to vibrate at short intervals, leading to overheating and potential noise and distortion. As a result, high-frequency roll-off was applied during production. Due to cartridge limitations, ultra-high frequencies (15kHz and above, depending on the cartridge) are also naturally rolled off.

Other characteristics include noise caused by dust in the grooves, wow and flutter from inconsistent turntable speeds, and crosstalk between channels due to the physical reading of the sound. Harmonic distortion can also be introduced due to the nonlinear interaction between the needle and groove.

All these factors together create vinyl’s unique saturation. Today, there are vinyl emulation plugins designed to reproduce these characteristics.

The Abbey Road Vinyl plugin by WAVES is a notable example. Taking a closer look…

As expected, it adds quite a bit of distortion.

Each turntable and cartridge setup yields unique sonic characteristics.

As I always say, if you like the sound a vinyl plugin adds to your mix, that’s all that matters! But as an audio professional, it’s essential to understand the background behind these effects. This knowledge helps when approaching retro-style mixing requests without getting lost in the process.

Maybe I went on a bit too long here… Haha.

I’ll wrap up for today. See you in the next post!