Manual

Nomad Factory Plug-Ins

User Manual

Version 4.0

Table of Contents

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INTRODUCTION

01 - User Manual / Table of Contents ...................................................................................

02 - End User License Agreement ........................................................................................

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AUTHORIZATION

04 - Authorizing Online - Nomad Factory Internet Activation Tool..........................................

06 - Authorizing Offline - Nomad Factory Manual Activation Tool………….………….............

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WINDOWS VST INSTALL LOCATION

09 - Windows VST Plug-Ins Location .....................................................................................

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PRESETS FORMAT

10 - Plug-In Presets Format ...................................................................................................

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MISCELLANEOUS

11 - Usage and Tips ...............................................................................................................

11 - System Requirements .....................................................................................................

11 - Known Issues ..................................................................................................................

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SOFTWARE PLUG-IN CONTROLS

12 - AMT - Amp Leveling …………………………………………………………………………

13 - AMT - Max Warm …………………………………………………………………………….

15 - AMT - Multi Max ………………………………………………………………………………

17 - ASP - EQP-4 ………………………………………………………………………………….

21 - ASP - LM-662 …………………………………………………………………………………

24 - ASP - SC-226 …………………………………………………………………………………

32 - Blue Tubes BrickWall BW2S ………………………………………………………………..

33 - Blue Tubes Compressor CP2S ……………………………………………………………..

34 - Blue Tubes Compressor FA770 …………………………………………………………….

36 - Blue Tubes DeESSER DS2S ………………………………………………………………..

37 - Blue Tubes Expander Gate GX622…………………………………………………………

38 - Blue Tubes Limiter LM2S ……………………………………………………………………

40 - Blue Tubes Dual-Analog Chorus CH2S…………………………………………………….

43 - Blue Tubes Vintage Oilcan Echo TLE-2S ………………………………………………….

44 - Blue Tubes Analog APH-2S …………………………………………………………………

45 - Blue Tubes Stereo Imager ST-2S …………………………………………………………..

46 - Blue Tubes Delay Model DL3D ……………………………………………………………..

48 - Blue Tubes Valve Driver ADR-2S …………………………………………………………..

50 - Blue Tubes Equalizer BQ2S ………………………………………………………………...

51 - Blue Tubes Equalizer BX2S …………………………………………………………………

53 - Blue Tubes Equalizer GEQ12 ……………………………………………………………….

54 - Blue Tubes Equalizer PEQ5B ……………………………………………………………….

56 - Blue Tubes Equalizer PEQ332 ……………………………………………………………...

58 - Blue Tubes Analog TrackBox ……………………………………………………………….

63 - BlueVerb DRV-2080…………………………………………………………………………..

66 - Essential Channel …………………………………………………………………………….

70 - Essential Compressor ………………………………………………………………………..

72 - Essential Gate/Expander …………………………………………………………………….

74 - Essential Graphic EQ ………………………………………………………………………...

75 - Essential Loudness Maximizer ……………………………………………………………...

76 - Essential Multiband Compressor……………………………………………………………

78 - Essential Multiband Loudness Maximizer …………………………………………………

80 - Essential RetroVox ………………………………………………………………………….

84 - Liquid Compressor II …………………………………………………………………………

86 - Liquid Delays II ……………………………………………………………………………….

89 - Liquid Gate II ………………………………………………………………………………….

91 - Liquid Mod II …………………………………………………………………………………..

93 - Liquid Phase II ………………………………………………………………………………..

95 - Liquid Verb II ………………………………………………………………………………….

97 - Retrology: Motown Bundle Introduction ...………………………………………………….

98 - Retrology: Retro Film-Tone ………………………………………………………………….

99 - Retrology: Retro Music-Tone ………………………………………………………………..

100 - Retrology: British MCL-2269 ………………………………………………………………..

102 - Retrology: British NEQ-1972…………………………………………………………………

104 - Retrology: PulseTec EQs Introduction………………………………………………………

105 - Retrology: PulseTec Mid-Range Equalizer MEQ-5………………………………………..

106 - Retrology: PulseTec Program Equalizer EQP-1A ………………………………………...

107 - Retrology: PulseTec Pre-Amplifier PRE-2S ….……………………………………………

108 - Retrology: All-Tech 9063B EQ………………………………………………………………

109 - Rock Amp Legends …………………………………………………………………………..

117 - Magnetic – Reel to Reel Audio Tape Warmer……………………………………………..

119 - Echoes – Analog Box Echo………………………………………………………………..

122 - Magnetic II - Reel to Reel Audio Tape Warmer……………………………………………

124 - Cosmos - Harmonic Exciter and Sub Generator…………………………………………

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TERMS OF USE AND END USER LICENSE AGREEMENT (“EULA”) FOR NOMAD FACTORY LLC

SOFTWARE

Please read this document carefully, and accept the following End User License Agreement. By downloading, installing, and/or using Nomad Factory LLC Professional Audio Products, you agree to be bound by this Agreement.

1): DEFINITIONS

This License Agreement ("Agreement") is a legal agreement between you (either an individual or a single entity) and

Nomad Factory LLC ("Nomad Factory LLC.") for the Nomad Factory LLC product accompanying this Agreement, which includes computer software and may include associated media, printed materials, and "online" or electronic materials

(collectively the "Software"). By exercising your rights to make and use copies of the Software, you agree to be bound by the terms of this Agreement. If you do not agree to the terms of this Agreement, you may not use the Software. The

Software is protected by copyright laws and international copyright treaties, as well as other intellectual property laws and treaties. The Software is licensed, not sold.

2): LICENSE.

You may install and use a copy of the SOFTWARE, or in its place, any prior version for the same operating system, on a single computer.

The DEMO VERSION of the SOFTWARE is NOT LICENSED FOR COMMERCIAL USE.

3): COPYRIGHTS:

All title and copyrights in and to the SOFTWARE (including but not limited to any images, photographs, animations, video, audio, music, text, and "applets" incorporated into the SOFTWARE), the accompanying printed materials are and shall remain the property of Nomad Factory LLC and Nomad Factory LLC owns any copies of the SOFTWARE. Copyright laws and international treaty provisions protect the SOFTWARE. Unauthorized reproduction or distribution of the SOFTWARE or documentation is subject to civil and criminal penalties.

4): RESTRICTIONS:

You may not transfer, modify, rent, lease, loan, resell, distribute, network, electronically transmit or merge the

SOFTWARE. You may not reverse engineer, decompile or disassemble the SOFTWARE, or otherwise attempt to discover the SOFTWARE source code. You are not permitted to copy the SOFTWARE or any of the accompanying documentation.

5): AUTHORIZATION CODE:

The "Nomad Factory LLC. Products" only functions when you are in the possession of an authorization code. You will receive an authorization code upon completing the authorization code request procedure. Once your authorization code is activated, you may use the product.

6): DISCLAIMER OF WARRANTY:

The SOFTWARE is provided "AS IS" and without warranty of any kind. The entire risk arising out of the use or performance of the SOFTWARE and documentation remains with user. To the maximum extent permitted by applicable law, Nomad Factory LLC. further disclaims all warranties, either express or implied, including, but not limited to, implied warranties of merchantability and fitness for a particular purpose, with regard to the SOFTWARE, and any accompanying hardware. To the maximum extent permitted by applicable law, in no event shall

Nomad Factory LLC. be liable for any consequential, incidental, direct, indirect, special, punitive, or other damages whatsoever (including, without limitation, damages for loss of business profits, business interruption, loss of business information, or other pecuniary loss) arising out of this EULA or the use of or inability to use the SOFTWARE, even if

Nomad Factory LLC. has been advised of the possibility of such damages. VIOLATION OF COPYRIGHT. If you violate the copyright of any third party or parties in the process of creating a copyrighted work, you agree that the copyright on your work is invalidated, forfeited, null and void. VIOLATION OF OTHER LICENSE. You may not violate the license agreement, in whole or in part, of this software or any software or software component required for using the Software.

You agree to allow Nomad Factory LLC to verify compliance by any means.

7): GENERAL:

This Agreement is the complete and exclusive statement of the mutual understanding of the parties and supersedes any other agreement relating to the Software. This Agreement shall be construed pursuant to the laws of the State of

California and the United States without regard to the conflict of laws provisions thereof and without regard to the United

Nations Convention on Contracts for the International Sale of Goods. To the extent that US law is applicable, the restriction on reverse engineering is limited to prohibit such activity to the maximum extent without violating the US

Directive on the legal protection on computer programs. No waiver of any breach of any provision of this Agreement shall constitute a waiver of any prior, concurrent or subsequent breach of the same or any other provisions hereof, and no waiver shall be effective unless made in writing and signed by an authorized representative of Nomad Factory LLC. If any

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portion hereof is found to be void or unenforceable, the remaining provisions of this Agreement shall remain in full force and effect.

Nomad Factory LLC

MFX Audio Inc / Nomad Factory

51889 Saddle Ln

PO BOX 309

Pioneertown, CA 92268

Nomad Factory Product Activation

Thank you for purchasing Nomad Factory Software. After you install your software, please locate the folder named

“Authorize Your Machine” which can be found on the install disc or downloaded installer file. Inside this folder you will find the following tool to authorize your software:

- Software Activation Tool

Double click to launch the Software Activation Tool and select an option below to begin the authorization process.

Online Activation:

In order to activate your software using Online Activation, your computer must be connected to the Internet.

If your computer is not connected to the Internet, please choose Offline Activation. (For instructions on how to use Offline

Activation, skip ahead to page 7)

Step 1:

After installing your software, you will notice a folder included called “Authorize Your Machine”. Open that folder and double-click on the application: “Software Activation”

Step 2:

The following window will appear (see below). Once you have verified that your computer is connected to the Internet, then click “Online Activation” to continue. If you choose to Quit before activating, the product will run in DEMO mode.

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Step 3:

Next you will see a page asking you to enter and confirm your email address and your serial number, which you received when you purchased. Enter your information in the fields provided and click “Authorize” activate your software over the

Internet. Make sure you enter your serial number exactly how is it written – using dashes with no spaces before or after.

Click “Authorize”.

Step 4:

When you click authorize, your internet browser will be automatically opened and a license file will be downloaded. Make sure your internet browser does not block the pop-up window or file download.

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Step 5:

Go back to the Software Activation and click “Read License File”. This will open up a finder window on your desktop.

Locate the .auth file which downloaded to your downloads folder or desktop and click “Open”.

Step 6:

After your software is successfully activated, a Congratulations window will appear. We recommend backing up your license files. You can find your Licenses at the locations listed below. Click Quit and begin using your new Nomad

Factory Software.

After your software is successfully activated, you will see the following window below. Click Quit and begin using your new Nomad Factory Software. Enjoy!

*Alternatively you can drag/drop the license file to the locations listed above. This license file can now be copied to multiple computers and it will authorize up to 4 machines simultaneously.

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Offline Activation:

In order to activate your software using the Offline Activation, please follow these instructions:

Since your computer is not connected to the Internet, you will use Offline Activation to generate an authorization file and then copy it to another computer that has an Internet connection.

Step 1:

After installing your software, you will notice a folder included called “Authorize Your Machine”. Open that folder and double-click on the application: “Software Activation Tool”

Step 2:

The following window will appear (see below). Once you have verified that your computer is NOT connected to the

Internet, then click “Offline Activation” to continue. If you choose to Quit before activating, the product will run in DEMO mode.

Step 3:

Next you will see a page asking you to enter and confirm your email address and your serial number, which you received when you purchased. Enter your information in the fields provided and click “Authorize”. Make sure you enter your serial number exactly how it is written – using dashes with no spaces before or after. Click “Authorize”.

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This will generate a .html

Copy that .html file to a

(such as an external hard drive or USB flash drive) and then connect that drive to a computer that has Internet access.

Once you are online, simply double-click on the .html file to launch your Internet browser and connect with

NomadFactory.com. Follow the instructions to download your license file.

file on your desktop. portable storage device

Step 4:

After downloading your license file, the authorization file (.auth) will appear on your desktop. Copy the downloaded file to a portable storage device and transfer it back over to the computer on which you’ve installed your Nomad Factory

Software. Click on “Read License File” and select the file you have copied to authorize your computer.

Step 5:

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After your software is successfully activated, you will see the following window below. Click Quit and begin using your new Nomad Factory Software. Enjoy!

WINDOWS VST INSTALL LOCATION

Where should I install the VST plug-ins on my Windows Computer?:

IMPORTANT: Per default the installer will install the VST plug-ins into:

C:\Program Files\Steinberg\Vstplugins\

To change the install location, click the 'Change' button and select another location. (See picture below)

The VST Plug-Ins can be installed to any location on your hard drive. However, every host or sequencer allows the user to set the VST Plug-Ins path in its preferences, so you have to make sure that you install the VST plug-in to the correct location defined in your host in order to use it.

PLUG-IN PRESETS FORMAT

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The Nomad Factory plug-ins utilizes a Universal Exchange platform, this platform enables the user recall their saved presets in any of the supported hosts: AU, RTAS and VST. For this reason you will not use the standard presets protocol when working in the AU, RTAS and VST environments.

Since the Nomad Factory Menu Bar is practically the same on all new Nomad Factory plug-ins. You will always know how to save presets of a Nomad Factory plug-in.

The Save Menu Button:

Allows saving presets in the Nomad Factory Preset format to the disk for both Mac and PC platforms.

- Save New Preset As : !

- Save Current Preset : !

Presets will be saved into:

Allows you to type the preset name to be saved.

Current preset will be overwritten.

Macintosh OS X:

Macintosh HD/Library/Application Support/Nomad Factory/Plug-in Settings/The Plug-in Name/00-User Presets

Windows XP:

C:\Documents and Settings\Your Account Name\My Documents\BBE Sound\Licenses

Windows 7 & Vista:

C:\Users\Your Account Name\My Documents\BBE Sound\Licenses

Loading Presets:

Pressing the 'Factory Setting' menu will display the included factory presets.

The Utility Menu Button:

- About 'the plug-in name'

Will display information about the plug-in as well as the version number.

- Others (menu items)

If you are connected to the Internet, using this options will launch a browser and will navigate to the Nomad Factory website pages

USAGE AND TIPS

Several presets have been provided to get you started using Nomad Factory plug-ins, however, there is no “right” way to it. Simply adjust the settings to determine what sounds right to you.

SYSTEM REQUIREMENTS

Macintosh® AU, RTAS, VST - Universal Binaries -

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Macintosh G4, G5 and Intel Macs with Mac OS 10.4 / 10.5 / 10.6 or higher, 512 MB RAM, 1027 x 768 screen resolution, high quality audio interface with sample rates from 44 kHz to 192 kHz.

Windows® RTAS, VST

Intel Pentium III or Pentium IV system with Windows XP / Vista / Windows 7 (32 and 64 bit), 512 MB RAM, 1024 x 768 screen resolution, high quality audio interface with sample rates from 44 kHz to 192 kHz.

Sequencers and sound editors compatible with AU, RTAS, VST plug-ins, such as:

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- Copyrights and trademarks are held by their respective holders:

- Cubase SE/SL/SX

- Nuendo

- V-STack

- Acid Pro

- Logic Audio

- Digital Performer

- Pro Tools

- Sonar

- Sound Forge

- Cool Edit Pro

- Melodyne

- Peak

- Live

- Pro Tools

- Audio Hijack Pro

- Rax

- Kore

- AU Lab

- Final Cut Pro

- Soundtrack Pro

- WaveBurner

- Garage Band

- n-Track Studio

- Adobe Audition

- Tracktion

- DSP-Quattro

- Sagan Metro

And any audio application that fully supports one of the above mentioned plug-in standards.

KNOWN ISSUES

VST: (Windows) - Mouse Wheel control doesn't work.

Pro Tools RTAS (Mac and Windows): - When loading a Pro Tools session, the presets menu will not display the saved name but instead 'Factory Setting'. The parameters and controls values are not affected and are loaded correctly.

FOR SUPPORT AND ALL OTHER TECHNICAL QUESTIONS:

Please use the following link: http://nomadfactory.com/support/index.htm

Nomad Factory LLC

MFX Audio Inc / Nomad Factory

51889 Saddle Ln

PO BOX 309

Pioneertown, CA 92268

United States

ANALOG MASTERING TOOLS

AMT – AMP LEVELING

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The A.M.T Amp Leveling is a highly optimized look-ahead Brick-Wall Limiter and Level Maximization. The A.M.T Amp

Leveler has been designed to be used for Mixing, Mastering, Tracking and Live use. Using a new proprietary algorithm ensuring a very smooth-warm sounding with maximum loudness and no digital-over-clipping as well as low CPU consumption for lightening-fast processing, the A.M.T Amp Leveler is nothing short of amazing.

This plug-in delivers look-ahead, brick-wall limiting to maximize the levels of any mixing or mastering project. Increase the

Input Threshold to engage the limiter, and the levels are automatically increased. Recovery controls the release. Use the

Out Ceiling to cap the maximum output at a safe level.

The controls and features of the A.M.T. Amp Leveling are described below:

Input Threshold: -20 dB to +20 dB: Default: 0 dB

Controls the Input and Threshold level (in dB) for the Amp Leveling, this is the level above which the maximizer begins to attenuate the signal; as the signal is attenuated by increasing the Input Threshold, the limiter automatically increases the level to make up for the attenuated level.

Recovery (Release Time): 1 to 5: Default: 1

Controls how long it takes the limiter to return the output to the un-attenuated level.

Out Ceiling: -20 dB to +20 dB: Default: 0 dB

Sets the maximum output level after maximizing

Power: On or Off: Default: On

With the switch in the 'On' position, the equalizer is activated, and the red LED above the switch is illuminated.

NOTE: Clicking on the Nomad Factory logo will display the back panel or about panel.

AMT – MAX WARM

The A.M.T Max Warm is a highly optimized look-ahead Brickwall Limiter, Equalizer and Level Maximizer. What makes the

uses a special processing algorithm to accurately maximize the incoming signal level while limiting the ceiling peak levels.

This approach tends to produce a more natural warm-sound, the A.M.T Max Warm also includes a two-band equalizer

(Shelving/Peaking) with adjustable frequencies, making this plug-in an amazing advanced and versatile tool.

The controls and features of the A.M.T. Max Warm are described below:


Controls the Input and Threshold level (in dB) for the A.M.T. Max Warm, this is the level where the maximizer begins to attenuate the signal. As increasing the Input threshold attenuates the signal, the limiter automatically increases the level to make up for the attenuated level.



Limit Mode: 1 to 5: Default: 1

Sets the Limiting Character or Ratio for the limiter/maximizer, five settings are available.

- 1: Minimum

- 2: Gentle

- 3: Medium

- 4: Hard

- 5: Pumping

Recovery (Release Time): 10 ms to 999 ms: Default: 100 ms

Controls how long it takes the limiter to return the output to the un-attenuated level.

Low Frequency: 60 Hz to 800 Hz: Default: 220 Hz

This control determines the cut-off center frequency for the Low EQ filter.

High Frequency: 1.2 kHz to 16 kHz: Default: 4.4 kHz

This control determines the cut-off center frequency for the High EQ filter.

Low Gain: ± 12 dB: Default: 0 dB

The Low (frequency) Gain control is continuously variable with up to +12 dB of boost (full clockwise rotation) or -12 dB of cut (full counter-clockwise rotation).

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High Gain: ± 12 dB: Default: 0 dB

The High (frequency) Gain control is continuously variable with up to +12 dB of boost (full clockwise rotation) or -12 dB of cut (full counter-clockwise rotation).

Peaking Switch (Low): Shelving or Peaking: Default: Shelving

This switch determines the type of filter equalization (Shelving or Peaking). With the switch in the 'On' position, the Low

Peaking filter type is selected, and the switch is illuminated.

Peaking Switch (High): Shelving or Peaking: Default: Shelving

This switch determines the type of filter equalization (Shelving or Peaking). With the switch in the 'On' position, the High

Peaking filter type is selected, and the switch is illuminated.

EQ Switch (Low): On or Off: Default: On

This switch enables or disables the Low Freq EQ of the A.M.T. Max Warm. With the switch in the 'On' position, the Max

Warm Low Freq EQ is activated, and the switch is illuminated.

EQ Switch (High): On or Off: Default: On

This switch enables or disables the High Freq EQ of the A.M.T. Max Warm. With the switch in the 'On' position, the Max

Warm High Freq EQ is activated, and the switch is illuminated.


With the switch in the 'On' position, the Max Warm Limiter is activated, and the switch is illuminated.

NOTE: Clicking on the Max Warm logo label will display the back panel or about panel.

AMT – MULTI MAX

The A.M.T Multi Max multiband peak limiter is a highly optimized 3 band look-ahead Brickwall Limiter and Level

Maximizer. The A.M.T Multi Max uses special processing algorithms to accurately spilt and maximize the incoming signal level while limiting the ceiling peak levels. This approach tends to produce a loud and clear natural, warm sound. The

A.M.T Multi Max 3 band crossover with adjustable frequencies delivers sweet highs and punchy lows, making this plug-in an advanced and powerful tool. When you need maximum sound with minimum latency and complete control, the choice

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is clear, use the A.M.T Multi Max plug-in.

The controls and features of the A.M.T. Multi Max are described below:


Controls the Input and Threshold level (in dB) for the A.M.T. Max Warm, this is the level above which the maximizer begins to attenuate the signal; as the signal is attenuated by increasing the Input Threshold, the limiter automatically increases the level to make up for the attenuated level.



Recovery (Release Time): 1 to 5: Default: 1

Controls how long it takes the limiter to return the output to the unattenuated level, five settings are available.

- 1: Ultra-Fast

- 2: Fast

- 3: Medium

- 4: Slow

- 5: Ultra-Slow

Limit Mode: 1 to 5: Default: 1

Sets the Limiting Character or Ratio for the limiter/maximizer, five settings are available.

- 1: Minimum

- 2: Gentle

- 3: Medium

- 4: Hard

- 5: Pumping

X-Over Low: 60 Hz to 800 Hz: Default: 220 Hz

This control determines the Low crossover frequency.

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X-Over High: 1.2 kHz to 7.2 kHz: Default: 2.9 kHz

This control determines the High crossover frequency.

Low Gain: ± 12 dB: Default: 0 dB

Controls the threshold and make-up gain for the Low limiter section. The Low Gain control is continuously variable with up to +12 dB of boost (full clockwise rotation) or -12 dB of cut (full counter-clockwise rotation).

Mid Gain: ± 12 dB: Default: 0 dB

Controls the threshold and make-up gain for the Medium limiter section. The Mid Gain control is continuously variable with up to +12 dB of boost (full clockwise rotation) or -12 dB of cut (full counter-clockwise rotation).

High Gain: ± 12 dB: Default: 0 dB

Controls the threshold and make-up gain for the High limiter section. The High Gain control is continuously variable with up to +12 dB of boost (full clockwise rotation) or -12 dB of cut (full counter-clockwise rotation).

Peaking Switch (Low): Smooth or Hard Peaking: Default: Smooth

This switch determines the type of filter crossover (Smooth or Hard) used by the crossover. With the switch in the 'On' position, the Low Hard Peaking crossover type is selected, and the switch is illuminated.

Peaking Switch (High): Smooth or Hard Peaking: Default: Smooth

This switch determines the type of filter crossover (Smooth or Hard) used by the crossover. With the switch in the 'On' position, the High Hard Peaking crossover type is selected, and the switch is illuminated.

Solo Switches (Low/Medium/High): On or Off: Default: Off

This switches solos the corresponding frequency band of the A.M.T. Multi Max.


With the switch in the 'On' position, the Max Warm Limiter is activated, and the switch is illuminated.

NOTE: Clicking on the Max Warm logo label will display the back panel or about panel.

ANALOG SIGNATURE PACK

PROGRAM EQUALIZER EQP-4

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Introduction:

The Nomad Factory Program Equalizer EQP-4 is a full range stereo channel unit, featuring low and high cut, low and high frequency boost and attenuation (shelving or peaking). If used together, the infamous "Pultec Shelf" is produced which does wonders for bass end equalization, allowing lift without low frequency overload.

The two mid-range frequency sections have variable bandwidth, boost/attenuation (peaking) and frequency selector. All these features allow the Program Equalizer EQP-4 to handle several EQ’ing chores, from the subtleties of mastering to radical tone shaping often needed during tracking. With a stunning visual design it is intended to recreate the warmth of classic analog hardware equalizers. The Nomad Factory Program EQP-4 is one of the most distinctive sounding equalizers ever made. Full of character, the Program Equalizer EQP-4 will add that magic touch to your music.

EQP-4 CONTROLS

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1- Low Frequency:

Shelf/Peaking Switch:

This switch determines the type of filter equalization (shelving or peaking).

Boost Knob:

This control determines the amount of low shelving or peaking gain to be applied to the frequency set by the

(CPS) Frequency switch.

Atten Knob:

This control determines the amount of low shelving or peaking attenuation to be applied to the frequency set by the (CPS) Frequency switch.

Freq Selector:

This control determines the frequency of the low portion of the EQP-4. 13 frequencies are available (CPS):

20, 30, 40, 50, 60, 70, 80, 90, 100, 120, 140, 160, 180 Hz

LF IN Switch:

This switch enables or disables the low portion of the EQP-4.

HPF Selector:

This control determines the frequency of the high pass filter, 5 frequencies are available: 20, 30, 40, 60, 80

Hz.

2- High Frequency:

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Boost Knob:

This control determines the amount of high shelving or peaking gain to be applied to the frequency set by the (KCS) Frequency switch.

Atten Knob:

This control determines the amount of high shelving or peaking attenuation to be applied to the frequency set by the (KCS) Frequency switch.

Freq Selector:

This control determines the frequency of the high portion of the EQP-4. 13 frequencies are available (KCS):

3, 3.6, 4, 4.6, 5, 5.6, 6, 7, 8, 10, 12, 14, 16 Khz

HF IN Switch:

This switch enables or disables the high portion of the EQP-4.

LPF Selector:

This control determines the frequency of the low pass filter, 5 frequencies are available: 10, 12, 14, 16, 18

Khz.

3- Low Mid Freq / High Mid Freq controls:

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Atten / Boost Knob:

This control determines the amount of peaking gain or cut to be applied to the frequency set by the frequency switch. (+-18dB)

Bandwidth Knob:

This controls sets the proportion of frequencies surrounding the center frequency determined by the frequency switch to be affected by the boost/atten control.

LMF - Low Mid Frequency:

Freq Selector:

This control determines the frequency of the low portion of the EQP-4. 13 frequencies are available: x1 - (CPS): 35, 40, 50, 75, 100, 150, 200, 250, 300, 350, 400, 450, 500 Hz x10 - (CPS/KCS): 350, 400, 500, 750 Hz, 1 Khz, 1.5, 2, 2.5, 3, 3.5, 4, 4.5, 5 Khz

X10 Switch:

This switch changes the frequencies of the Freq Selector control: x1 - (CPS): 35, 40, 50, 75, 100, 150, 200, 250, 300, 350, 400, 450, 500 Hz x10 - (CPS/KCS): 350, 400, 500, 750 Hz, 1 Khz, 1.5, 2, 2.5, 3, 3.5, 4, 4.5, 5 Khz

LMF IN Switch:

This switch enables or disables the low mid portion of the Program EQP-4.

HMF - High Mid Frequency:

Freq Selector:

This control determines the frequency of the high portion of the EQP-4. 13 frequencies are available: x1 - (CPS): 200, 260, 320, 360, 420, 460, 520, 560, 620, 720, 760, 820, 960 Hz x10 - (KCS): 2, 2.6, 3.2, 3.6, 4.2, 4.6, 5.2, 5.6, 6.2, 7.2, 7.6, 8.2, 9.6 Khz

X10 Switch:

This switch changes the frequencies of the Freq Selector control: x1 - (CPS): 200, 260, 320, 360, 420, 460, 520, 560, 620, 720, 760, 820, 960 Hz x10 - (KCS): 2, 2.6, 3.2, 3.6, 4.2, 4.6, 5.2, 5.6, 6.2, 7.2, 7.6, 8.2, 9.6 Khz

HMF IN Switch:

This switch enables or disables the high mid portion of the Program EQP-4.

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Input Level:

- This control determines the input level of the Program EQP-4.

- 12 positions are available: 12, -10, -10, -8, -6, -4, -2, 0, +2, +4, +6, +8, +10, +12 dB.

Output Level:

- This control determines the output level of the Program EQP-4.

- 12 positions are available: 12, -10, -10, -8, -6, -4, -2, 0, +2, +4, +6, +8, +10, +12 dB

Phase:

-This control inverts the phase of the Program EQP-4.

Power:

- Turns On/Off the Program Equalizer EQP-4. (Bypass)

- VU-Meters:

Determines what is displayed on the VU meters.

21

If OFF is selected, the meters will be turned off. If the meters select switch is set to IN or OUT, then the meters will reflect the input or output signal levels.

LM-662

Introduction:

The Nomad Factory LM-662 Dual Limiting Amplifier is a recreation of the classic Fairchild 670 limiter.

When using the LM-662, music and instruments react the same as a Fairchild 670 does.

The Nomad Factory LM-662 Dual Limiting Amplifier is built to be a new classic by adding that vintage warmth and realism to the most demanding studio tracks.

- Useful as a limiter or a compressor depending on the program material and control settings.

- Exceptional tone and musical focus.

- Dual channel (dual mono) - A/B with individual controls.

- Extremely fast attack time with variable release time from .3 seconds to 10 seconds.

22

LM-662 FEATURES

Compression Ratio: 1:1 to 1:20

Attack Time: 0.2, 0.4, 0.8, 20, 80, 100, 120, 300 ms

Release Time: 300 ms, 800 ms, 1 sec, 2 sec, 5 sec, 10 sec

Tube Emulation: (1) 12AX7

Controls: Input Level, Threshold, Attack/Release Time, DC Adjust, Gain Control, Tube Emulation and Link

Control

Factory Presets: Yes

LM-662 Limiting Amplifier Features:

1- Input Level / Threshold:

Input Level: - Controls the input level to the compressor: -120dB + 24dB

Threshold: - Sets the threshold level above which the device begins to compress the signal: 0dB -70dB

- Turning the Threshold to the left = less compression

- Turning the Threshold to the right = more compression

2- Attack/Release Time:

23

3- D.C. Adjust / Gain Control:

DC Adjust:

On an original Fairchild, this was called DC Threshold and was on the rear of the unit (not accessible from front panel).

We labeled that control DC Adjust to not confuse with the Threshold control. The DC Adjust lets you adjust the Knee/Ratio of the LM-662. You are able to control how the amplifier reacts to the audio signal coming in.

By turning the DC Adjust to the left, the LM-662 acts more like a 'compressor', by turning the DC Adjust to the right, the LM-662 acts more like a 'limiter'.

The best thing about the DC Adjust is you can find that magic spot in-between.

Gain Control: Controls the LM-662 output level in dB: -60dB / +24dB

4- Tube Emulation (12AX7):

At the heart of the LM-662, we added a tube simulator designed to reproduce the warmth of vintage recordings with unrivaled quality and realism.

The amount (0 - 100%) of 12AX7 tube emulation/saturation effect applied to your audio is controlled by the tube-slider. At 0 (zero), no distortion or emulation occurs, as the tube-slider is increased, the tube (12AX7) generates warmth saturation and distortion.

5- A/B Link Control:

24

This control allows the two sets of controls to be linked. If the controls are given an offset while unlinked, the offset between controls is NOT preserved when the controls are linked.

6- VU-Meter:

Determines what is displayed on the VU meter.

If GR is selected, the meter will show the gain reduction in dB, If the meter select switch is set to IN or OUT, then the meter will reflect the input or output signal level.

25

SC-226

Introduction:

The Nomad Factory Studio Channel SC-226 is a stereo channel recording plug-in, featuring 4-band equalizer, an analog "signature" optical compressor. Plus, at the heart of the shelving and bell filters, a tube simulator and Brick-Wall peak limiter designed to reproduce the warmth of vintage recordings with unrivaled quality and realism. The Studio Channel is tube style virtual equalizer / compressor. It is equally suited for delicate vocal as well as dynamic instrument recordings such as lead guitar, bass guitar, drums and horns.

The algorithm was designed to emulate the response of a high-end vintage analog equalizer/compressor.

Exceptional for tracking, mixing or mastering, the Studio Channel recreates the warm sound qualities of its analog hardware ancestors.

SC-226 FEATURES

• Compression Ratio: 1:1 to 10:1

• Attack Time: 1, 4.47, 14.9, 32.2, 56.4, 87.6, 125.8, 170.8, 222.8, 281.7, 347.5, 420.3, 500 ms

• Release Time: 50, 91.3, 215.3, 421.9, 711.1, 1083, 1538, 2075, 2694, 3397, 4182, 5050, 6000 ms

• Tube Emulation: (1) 12AX7

• Bass Freq Select: 22, 33, 50, 70,100, 160, 230, 320, 420, 520, 620, 720, 820 Hz

• Bass Freq Gain: (shelving or peaking) +-24dB

• Low Mid Freq Select: 200, 300, 400, 500, 600, 700, 800, 900 Hz, 1 Khz, 1.5, 2, 2.5, 3 Khz

• Low Mid Freq Gain: (peaking) +-16dB

• High Mid Freq Select: 1.2, 1.6, 1.8, 2.2, 2.8, 3.2, 3.8, 4.2, 4.8, 5.2, 5.8, 6.2, 6.8 Khz

• High Mid Freq Gain: (peaking) +-16dB

• Treble Freq Select: 2, 3, 4, 5, 6, 7, 8, 9, 10, 12, 14, 16, 18 Khz

• Treble Freq Gain: (shelving or peaking) +-20dB

• High Pass Filter: Off, 20, 30 ,40 ,60, 80 Hz

26

1- Input Level / Output Level:

Input Level:

- This control determines the input level of the Studio Channel SC-226.

(-120dB / +24dB)

Output Level:

- This control determines the output level of the Studio Channel SC-226.

(-120dB / +24dB)

2- Threshold / Compression:

!

Threshold:

Sets the threshold level above which the device begins to compress the signal: 0dB -70dB

!

- Turning the Threshold to the left = less compression

- Turning the Threshold to the right = more compression

Compression: (Ratio)

The Compression control lets you adjust the Ratio of the compression. You are able to control how the amplifier reacts to the audio signal coming in.

IN Switch:

This switch enables or disables the compressor of the SC-226

27

PK Switch:

This switch determines the level detection response between Peak and RMS modes. When enabled: Peak is selected. When disabled: RMS is selected.

3- Attack/Release Time:

4- Tube Emulation (12AX7):

At the heart of the SC-226, we added a tube simulator designed to reproduce the warmth of vintage recordings with unrivaled quality and realism.

The amount (0 - 100%) of 12AX7 tube emulation/saturation effect applied to your audio is controlled by the tube-slider. At 0 (zero), no distortion or emulation occurs, as the tube-slider is increased, the tube (12AX7) generates warmth saturation and distortion.

28

5- Equalizer – Bass:



Bass Knob:

This control determines the amount of low shelving or peaking gain or cut to be applied to the frequency set by the Frequency switch. (+-20dB)

Freq Selector:

This control determines the frequency of the low portion of the equalizer. 13 frequencies are available: 22,

33, 50, 70,100, 160, 230, 320, 420, 520, 620, 720, 820 Hz

IN Switch:

This switch enables or disables the low portion of the equalizer.

6- Equalizer – Treble:



Treble Knob:

This control determines the amount of high shelving or peaking gain or cut to be applied to the frequency set by the Frequency switch. (+-20dB)

Freq Selector:

This control determines the frequency of the high portion of the equalizer. 13 frequencies are available: 2, 3,

4, 5, 6, 7, 8, 9, 10, 12, 14, 16, 18 Khz

29

IN Switch:

This switch enables or disables the high portion of the equalizer.

7- Equalizer - Low Mid Freq controls.

Low Mid Gain Knob:

This control determines the amount of peaking gain or cut to be applied to the frequency set by the Low Mid

Frequency switch. (+-16dB)

Low Mid Freq Selector:

This control determines the frequency of the low mid portion of the equalizer. 13 frequencies are available:

200, 300, 400, 500, 600, 700, 800, 900 Hz, 1 Khz, 1.5, 2, 2.5, 3 Khz

IN Switch: (Low Mid)

This switch enables or disables the low mid portion of the equalizer.

Q Switch: (Low Mid)

This switch determines the Q or Slope of the Low Mid portion of the equalizer. Off = normal, On = Hi Q

8- Equalizer – High Mid Freq controls.

High Mid Gain Knob:

This control determines the amount of peaking gain or cut to be applied to the frequency set by the High Mid

Frequency switch. (+-16dB)

High Mid Freq Selector:

This control determines the frequency of the high mid portion of the equalizer. 13 frequencies are available:

1.2, 1.6, 1.8, 2.2, 2.8, 3.2, 3.8, 4.2, 4.8, 5.2, 5.8, 6.2, 6.8 Khz

IN Switch: (High Mid)

This switch enables or disables the high mid portion of the equalizer.

Q Switch: (High Mid)

This switch determines the Q or Slope of the High Mid portion of the equalizer. Off = normal, On = Hi Q

9- Equalizer - High Pass Filter:

30

HPF Selector:

This control determines the frequency of the high pass filter, 5 frequencies are available: Off - 20, 30, 40, 60,

80 Hz

10- Equalizer - EQ-CP, Limiter, Phase, Power:

EQ-CP:

- This control determines:

- OFF = compression applied before the EQ section.

- ON = compression applied after the EQ section.

Limiter:

- This control applies a BrickWall Limiter to the output of the Studio Channel SC-226.

Phase:

- This control inverts the phase of the Studio Channel SC-226.

Power:

- Turns On/Off the Studio Channel SC-226. (Bypass)

11- VU-Meter:

Determines what is displayed on the VU meter.

If GR is selected, the meter will show the gain reduction in dB, If the meter select switch is set to IN or OUT, then the meter will reflect the input or output signal level.

31

BLUE TUBES DYNAMICS PACK

BT BrickWall BW2S

The BT BrickWall BW2S is a simple and elegant brick wall compressor/limiter. Just insert the BT BrickWall BW2S on your mono or stereo track, and you have smooth audio without the unwanted transients. By using this compressor/limiter on your master track, harsh peaks will be eliminated, allowing you to increase the overall level of your mix.

Threshold: 0 to -30 dB: Default: 0 dB

Sets the decibel (dB) threshold to the level at which the compressor begins to work.

If you set it to -10 dB for instance, any signal exceeding the Threshold level (-10 dB) are reduced in level, and the amount of reduction is shown on the GR meter.

Release: 1 to 1000 ms; Default: 489.5 ms

Controls how long (ms) it takes to release a signal from the compressor once it's dipped below your specified threshold. A long release time can be useful for adding sustain to a signal - On guitar solos for example.

Peak Remover: On or Off: Default: On

This switch engages the output 'Brick Wall' limiter. The 'Brick Wall' limiter or Peak Remover is set to 0 dB.

Meters: IN, OUT or GR: Default: GR

Determines the mode of the VU Meters. When set to GR, the VU Meters indicates the Gain Reduction level in dB. When set OUT, the VU Meters indicates the output level in dB. When set to IN, the VU Meters indicates the input level in dB.

Bypass: On or Off: Default: Off

When the Bypass control switch is “On”, the BT BrickWall BW2S-XP plug-in is disabled.

32

BT Compressor CP2S

The BT Compressor CP2S emulates analog tube compressors in terms of looks, functions and sound. This variable-ratio compressor provides various compression choices, including RMS and Peak compressions. Easy to describe with words, but the warm analog sound of the BT Compressor CP2S is something you need to hear for yourself.




Ratio: 1:1 to Inf. dB: Default: 2.0:1 dB

This sets the amount of compression, in dB, applied to a signal once it violates your pre-set threshold. A ratio of 4:1 will output 1 dB for every 4 dB of input signal that exceeds your targeted threshold

Attack: 0.1 to 1000 ms: Default: 50 ms

The time, measured in milliseconds (ms), it takes for the compressor to reach its maximum level on the sound. A fast attack can be useful for damping percussive peaks so the overall track level can be increased. Can also add punch to a track.

Release: 50 to 5000 ms; Default: 200 ms


RMS/Peak: RMS or Peak: Default: RMS

Sets the level detector: RMS offers the closest approximation to the way in which our ears respond to sound, RMS provides a very natural-sounding dynamic control, where the Peak type of compressor will more accurately track the peak levels of the individual drum beats.

Make-Up: -20 to +20 dB: Default: 0 dB

Sets the overall output level of the effect (dB). This control is useful to adjust the output level again after its been reduced from applying compression to a signal.

Meter: IN, OUT or GR: Default: GR



When the Bypass control switch is “On”, the BT Compressor CP2S plug-in is disabled.

BT Compressor FA770

33

The BT Compressor FA770 provides the operation and sound of highly coveted analog compressors. The FA770 is designed with a fixed-ratio and “time constant” switch (see settings below) as part of its characteristic vintage sound. This model proves that you do not need many knobs and sliders to achieve the great compression sound of the FA770. Adjust the Threshold, maybe the Time Constant to adjust the speed, and there you have it.

Input: 00 to 10: Default: 05

This control determines the input level of the BT Compressor FA770

Threshold: 0 to -60 dB: Default: 0 dB



MODE: A or B: Default: A

This control determines the active set of Time Constant presets.

A = 6 Attack/Release presets.

B = 6 Attack/Release presets.

Time Constant (Attack/Release):

Sets the Attack and Release of the FA770.

MODE A: Attack!

Release

--------------------------------

- 1 -> 0.2 ms -> 300 ms

- 2 -> 0.2 ms -> 800 ms

- 3 -> 4.0 ms -> 2 Seconds

- 4 -> 4.0 ms -> 5 Seconds

- 5 -> 40 ms -> 600 ms

- 6 -> 40 ms -> 300 ms

Time Constant (Attack/Release):

Sets the Attack and Release of the FA770.

MODE B: Attack Release

--------------------------------

- 1 -> 20 ms -> 300 ms

- 2 -> 20 ms -> 800 ms

- 3 -> 40 ms -> 2 Seconds

- 4 -> 40 ms -> 5 Seconds

- 5 -> 120 ms -> 600 ms

- 6 -> 120 ms -> 300 ms

Make-Up Gain: -20 to +20 dB: Default: 0 dB

34





When the Bypass control switch is “On”, the BT Compressor FA770 plug-in is disabled.

35

BT DeEsser DS2S

The BT DeEsser DS-2S is a stereo DeEsser with vintage controls and sound. This DeEsser is designed to tame the harshness of certain vocal sounds, specifically “ess” sounds (hence, the name). However, this device can be useful in controlling the level of other “sibilant” vocal sounds as well, such as “t”, “sh” or “f” to name a few. A DeEsser works like a frequency-specific compressor. In fact, the DS-2S is essentially a compressor driven by a hi-pass/band-pass filter. It reduces the offending high frequencies when the level of those frequencies exceeds the threshold. Threshold and

Frequency sliders are provided, as well as a Listen selector switch to hear only the frequencies being Deessed. The

DS-2S is the ideal way to take that unwanted “sizzle” out of your vocal tracks.


Sets the decibel (dB) threshold to the level at which the DeEsser begins to reduce the high frequencies. The amount of reduction is shown on the GR meter.

Range: 0 to -46 dB: Default: -23 dB

This sets the amount of signal reduction by the DeEsser in dB. When the energy in the side-chain filter is higher than the threshold, the maximum attenuation set by the range control will be applied by the DeEsser.

Frequency (Side Chain): 800 Hz to 16000 Hz: Default: 5600 Hz

The frequency indicated in this control sets the roll off start point for a HPF (high pass filter) or the center frequency of the

BPF (band pass filter).

HPF-BPF (Side Chain): Default: HPF

The Side Chain in the BT DeEsser DS2S can be a HPF (high pass filter) or BPF (band pass filter).

Listen: Off or On: Default: Off

When this switch is set to “On”, you'll hear the filtered input signal.

Master Level: -20 to +20 dB: Default: 0 dB

Sets the overall output level of the effect (dB). This control is useful to adjust the output level again.




When the Bypass control switch is “On”, the BT DeEsser DS2S plug-in is disabled.

36

BT Expander Gate GX622

The BT ExpanderGate GX622 tames the noise floor so that you hear only the audio you want to keep. This fullyadjustable gate/expander reduces (or cuts) the signal if the level becomes too low (as determined by the Gate Threshold setting). This controls unwanted background noise on the track(s). Like a compressor, the Attack and Release controls determine how fast the gate opens and closes. To help the gate decide when to open, you can use the two Filter controls

(Side Chain).

Attack: 0.2 to 1700 ms: Default: 0.2 ms

This control determines how quickly the gate opens, the fastest Attack time ensures that the gate does not clip the leading edge of extremely fast transients.

Hold: 2.0 to 2200 ms: Default: 2.0 ms

This control determines the amount of time the gate is held open after the signal falls below the Threshold.

Decay: 1 to 9000 ms; Default: 95 ms

Controls how long (ms) it takes the gate to close, once the signal has fallen below the Threshold and the Hold time has expired.

Range: 0 to Inf. (100%): Default: Inf. (100%)

This sets the amount of signal reduction by the gate in percents. If you set it to 10% for instance, when closed, the gate will allow 10 % of the audio level goes thru the plug-in.


Sets the decibel (dB) threshold to the level at which the gate begins to open.

(i.e., allow the signal to pass through un-attenuated)

SIDECHAIN FILTERS:

To help the gate decide when to open, you can use the two Filter controls. The Filters only affect the signal driving the gate, not the sound being processed, and you can use the Listen control which allows the effect of the Filters to be heard when setting up, so you'll hear a filtered version of the input in Listen mode.

HPF: 20 Hz to 4000 Hz: Default: 20 Hz

Sets the Low Cut frequency of the Side Chain. (HPF)

LPF: 20 Hz to 16000 Hz: Default: 16000 Hz

Sets the High Cut frequency of the Side Chain. (LPF)


When this switch is set to “On”, you'll hear the Side Chain filtered input signal.

Meter: IN, OUT: Default: OUT

Determines the mode of the VU Meters. When set OUT, the VU Meters indicates the output level in dB. When set to IN, the VU Meters indicates the input level in dB.


When the Bypass control switch is “On”, the BT ExpanderGate GX622 plug-in is disabled.

37

BT Limiter LM2S

BT Limiter LM2S:

The BT Limiter LM2S is an easy-to-use tube emulation limiter. The straightforward controls and outstanding sound make this limiter the perfect tool for mastering. In addition to the basic limiting controls (Peak Reduction, Attack, Release, and

Output Gain), the LM2S also includes a 5-band EQ. This allows you to address those final sonic details in a mastering session while increasing the apparent loudness of your mixes.








Output Gain: -20 to +20 dB: Default: 0 dB

Sets the overall output level of the effect (dB). This control is useful to adjust the output level again after its been reduced from applying compression to a signal. By using this control, the harsh peaks in your program material will be eliminated allowing you to increase the overall level of your mix.

Equalizer:

5-band graphic equalizer:

100 Hz : +- 12 dB

300 Hz : +- 12 dB

1 KHz: +- 12 dB

3 KHz: +- 12 dB

10 KHz: +- 12 dB

Pre Equalizer: Off or On: Default: Off

This control determines:

Off = Equalization applied after (post) the Limiter section.

38

On = Equalization applied before (pre) the Limiter section.




When the Bypass control switch is “On”, the BT Limiter LM2S plug-in is disabled.

39

BLUE TUBES EFFECTS PACK

BT Dual-Analog Chorus CH2S

The BT Dual-Analog Chorus CH2S creates various types of classic modulation effects, such as Leslie, Chorus, and Autopan. In addition, this effect provides the ultimate in control over LFO's and panning, including waveform selection.

Whether you need subtle enhancement or aggressive effects on a track, the CH2S has the power you need.

Input Level: 0 to 10: Default: 5

Sets the overall input level. This control is useful to adjust the input level of the input signal.

Low EQ with In/Out switch: ± 10: Default: 0

The low band "Bass" (shelving response) has a boost/cut control. The control is continuously variable with up to +6dB of boost (full clockwise rotation) or -6dB of cut (full counter-clockwise rotation) at 880 Hz (center frequency). With the switch in the 'IN' position, the Low EQ is enabled and the red LED near the switch is illuminated.

Mix: 0% to 100%: Default: 100%

Controls the mix between the processed wet signal and dry input signal.

High EQ with In/Out switch: ± 10: Default: 0

The high band "Treble" (shelving response) has a boost/cut control. The control is continuously variable with up to +6dB of boost (full clockwise rotation) or -6dB of cut (full counter-clockwise rotation) at 6.2 KHz (center frequency). With the switch in the 'IN' position, the High EQ is enabled and the red LED near the switch is illuminated.

Output Level: 0 to 10: Default: 5

Sets the overall output level of the effect. This control is useful to adjust the output level again after its been reduced or boosted from applying the chorus effect to the signal.

Limiter: On or Off: Default: On


40

Bypass Switch:

With the switch in the 'On' position, the effect is removed from the signal path, and the red

LED near the switch is illuminated.

Chorus A --------------- :

Sync A: Default: Off

With the switch in the 'IN' position, the Chorus A is synced to the host and the red LED near the switch is illuminated.

IN A: Default: IN

With the switch in the 'IN' position, the Chorus A is enabled and the red LED near the switch is illuminated.

Rate A: 0 to 10: (0.05 Hz to 22 Hz) Default: 5

This control sets the frequency of the LFO A. Increasing the Rate increases the oscillation speed.

Depth A: 0 to 100 %: Default: 50 %

The Depth control sets how deeply the signal is shifted in time, which results in small pitch changes. If the Depth control is set to 50%, the delay time will vary by half of its value.

Wave Form A: Default: Sine

Sets the waveform from a range of waveforms:

1. Sine - 2. Triangle - 3. Square - 4. Saw Down - 5. Saw Up

Delay A: 0 to 10: Default: 1.8

Sets the base delay of the effect.

HPF A: 0 to 10 (22 Hz to 6.8 KHz): Default: 0

Sets the Low Cut frequency. (HPF A)

LPF A: 0 to 10 (400 Hz to 16 KHz): Default: 10

Sets the High Cut frequency. (LPF A)

Pan A: 100L to 100R: Default: 63L

Sets the panning of Chorus A:

Chorus B --------------- :

Sync B: Default: Off

With the switch in the 'IN' position, the Chorus B is synced to the host and the red LED near the switch is illuminated.


With the switch in the 'IN' position, the Chorus A is enabled and the red LED near the switch is illuminated.

Rate A: 0 to 10: (0.05 Hz to 22 Hz) Default: 1.7

This control sets the frequency of the LFO A. Increasing the Rate increases the oscillation speed.

Depth A: 0 to 100 %: Default: 100 %

The Depth control sets how deeply the signal is shifted in time, which results in small pitch changes. If the Depth control is set to 50%, the delay time will vary by half of its value.

41

Wave Form A: Default: Sine



Delay A: 0 to 10: Default: 0

Sets the base delay of the effect.

HPF A: 0 to 10 (22 Hz to 6.8 KHz): Default: 0

Sets the Low Cut frequency. (HPF A)

LPF A: 0 to 10 (400 Hz to 16 KHz): Default: 10

Sets the High Cut frequency. (LPF A)

Pan A: 100L to 100R: Default: 63R

Sets the panning of Chorus A:

Panner ---------------- :

Sync Pan: Default: Off

With the switch in the 'IN' position, the Panner is synced to the host and the red LED near the switch is illuminated.


With the switch in the 'IN' position, the Panner is enabled and the red LED near the switch is illuminated.

Pan Rate: 0 to 10: (0.05 Hz to 22 Hz) Default: 2.0

This control sets the speed at which the signal is panned from one side of the stereo field to the other.

Pan Depth: 0 to 100 %: Default: 50 %

The Depth control sets how deeply the auto-pan function spreads the stereo image.

Pan Wave Form: Default: Sine



42

BT Vintage Oilcan Echo TLE-2S

The BT Vintage Oilcan Echo TLE-2S delivers the classic analog sound of a tapeless oilcan echo/delay. This model adds

“Color” to your music by providing various slap/delay/echo styles from specific time periods, namely 1964, 1977, 1989, and 1995. These styles, along with the other various controls on the TLE-2S, give you a wide range of time-based effects to add to your recordings.

Time Select: Slap - Delay - Echo: Default: Delay (DLY)

Selects between a slap, echo and delay effect

Input Level: ± 20 dB: Default: 0 dB

Sets the overall input level. This control is useful to adjust the input level of the input signal.

Echo - Delay: 0 to 10: Default: 5.0

Determines the length of time for each delay (repeat); ranges from “Fast” 0.0 to “Slow” 10.0.

Sustain (Feedback): Short to Long: Default: 5.0 (50%)

Controls how much of the wet signal is looped back through the delays section.

Color:

Selects classic slap/delay/echo sounds from specific time periods, including “1964”, “1977”,

“1989”, and “1995”

Flutter: 0 to 10: Default: 2.0

Controls the variation of the delay pitch or vibrato effect.

Mix: 0% to 100%: Default: 50%


Output Level: ± 20 dB: Default: 0 dB

Sets the overall output level of the effect.

Bypass Switch:

With the switch in the 'On' position, the effect is removed from the signal path, and the red LED near the switch is illuminated.

43

BT Analog Phaser APH-2S

The BT Analog Phaser APH2S is designed with all of the characteristics of a vintage analog phaser. The selectable 4-, 6-,

8- or 12- stage resonant analog filters enable this phaser to create various modulation effects. Various controls on the

APH2S, such as Speed, Depth, Resonance, and Stage, all contribute to a wide range of phasing effects. Additionally, the

Width control provides an adjustable stereo field and a Color control.

Phaser Stage: 4- 6- 8- 12-: Default: 8

Sets the number of resonant analog filters. (Stages)

Sync: Default: Off

With the switch in the 'IN' position, the LFO is synced to the host and the red LED near the switch is illuminated.

Rate: 0 to 10: (0.05 Hz to 22 Hz) Default: 1.0

This control sets the frequency of the LFO. Increasing the Rate increases the oscillation speed.

Depth: 0 to 100 %: Default: 50 %

The Depth control sets how deeply the stages will be swept. The depth is fixed in percentage.

Wave Form: Default: Sine



Resonance: 0 to 100%: Default: 25%

Controls how much of the wet signal is looped back through the phaser.

Stereo Width: 0 to 100 %: Default: 100 %

Sets the phase between left and right LFO!s. “Stereo Width” controls the Left-Right Modulator phase. If the width is set at

100 %, then the Left side is phasing down while the Right side is phasing up, and so forth. One classic device that uses this feature was the Mutron Biphase.

Mix: 0% to 100%: Default: 50%


Color: 0 to 10: Default: 5

This control determines the center-frequency limits of the sweeping stages according to the LFO Rate and LFO Depth settings.

Limiter: On or Off: Default: Off


Bypass Switch:

With the switch in the 'On' position, the effect is removed from the signal path.

44

BT Stereo Imager ST-2S

The BT Stereo Imager provides precise control over the width of the stereo field. This graphically striking device enables you to “visualize” the width of the stereo sound stage.

Some stereo tracks may require special treatment in terms of stereo width. The Stereo Imager gives you a simple way to manipulate the spread of the stereo tracks while receiving visual feedback on your changes.

Input Level: 0 to 10: Default: 5

Sets the overall input level of the signal being fed into the imager

Slider Mono/Stereo (Width): 0 to 200%: Default: 100%

Adjusts the spread of the stereo field. The control is continuously variable with up to 200% of stereo width (knob full right) or 0% (Mono) of stereo width (slider full left).

Output Level: 0 to 10: Default: 5

Sets the overall output level of the effect. This control is useful to adjust the output level again after its been reduced or boosted from applying effect to the signal.

Bypass Switch:

With the switch in the 'On' position, the Stereo Imager is removed from the signal path, and the red LED near the switch is illuminated.

45

BT Tempo Delay Model DL3D

The BT 3D Delays DL3D is a tempo-driven delay effect with a classic analog sound. No more trial-and-error in setting tempo-based delay times. Simply sync the tempo of the song, and select the note value corresponding to the desired delay time. This delay provides three separate channels. Using the Pan controls, you can pan all 3 delay channels to the center, or spread the channels out across the stereo field (left, center, right). Gain controls set the levels for each channel individually.

Tempo: 20 to 999 bpm: Default: 120 bpm

Provides for entry and display of tempo, this is the reference for delay times on the three delay channels

Sync - (Host-Sync): Off or On: Default: On

When the button is “On” (Sync), the delays (1, 2 and 3) will be synced to the host’s tempo. Any changes made to the host’s tempo will affect the delays in real time.

Mix: 0% to 100%: Default: 50%


In 1/2/3 - (Delay): Off or On: Default: On

This switch enables or disables the Delay section of the Delay 3D.

DLY 1/2/3: (Notes):

Selects the note value that sets the delay rhythm for the selected channel. This setting refers to the Tempo value to determine the delay time (MS), values range from whole notes to sixteenth notes, and include triplets and dotted notes.

Pan 1/2/3: 100L to 100R

Sets the panning of the selected delay

Level 1/2/3: 0 to 100%

Sets the level of the selected delay

Feedback: 0 to Inf: Default: 50%

Controls how many times the delay repeats.

IN (Filters): Default: Off

With the switch in the 'IN' position, the LHP/LP filters are enabled and the red LED near the switch is illuminated.


Sets the Low Cut frequency. (HPF)

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LPF: 20 Hz to 16000 Hz: Default: 16000 Hz

Sets the High Cut frequency. (LPF)


Sets the overall output level of the effect. This control is useful to adjust the output level again after its been reduced or boosted from applying the delays effect to the signal.

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BT Analog Valve Driver ADR-2S

The BT Analog Valve Driver ADR2S delivers that authentic saturation effect found in many vintage tube amplifiers. Not only does this model provide a tube-like Overdrive effect, but also High Pass and Low Pass filters and a Noise Gate to enable greater control of your overdriven sound. If your clean tracks call for a powerful and warm overdrive, your answer is the ADR2S.

Grungelizer:

Selects filter type the Valve Driver will use: oo = Off.

Tube-Driver:

Adjusts the amount of saturation effect (preamp distortion) added to the signal, higher settings result in more distortion

IN (Tube-Driver): Default: IN

With the switch in the 'IN' position, the Tube-Driver is enabled and the red LED near the switch is illuminated.

- Filters:--------------

IN (Filters): Default: IN

With the switch in the 'IN' position, the HP/LP filters are enabled and the red LED near the switch is illuminated.


Sets the Low Cut frequency of the filter. (HPF)

LPF: 100 Hz to 22000 Hz: Default: 3156.0 Hz

Sets the High Cut frequency of the filter. (LPF)

Q (Slope): Variable bandwidth:

The “Q” control offers completely variable bandwidth, from very narrow to super wide.

- NoiseGate:--------------

IN (Gate): Default: IN

With the switch in the 'IN' position, the Noise Gate is enabled and the red LED near the switch is illuminated.

Gate: (Threshold): 0 to -70 dB: Default: 0 dB




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This control determines how quickly the gate opens. The fastest Attack time ensures that the gate does not clip the leading edge of extremely fast transients.

Decay: 50 to 4000 ms; Default: 200 ms

Controls how long (ms) it takes the gate to close, once the signal has fallen below the Threshold.


When the Bypass control switch is “On”, the BT Analog Valve Driver plug-in is disabled.

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BLUE TUBES EQUALIZER PACK

BT Equalizer BQ2S

The BT Equalizer BQ2S is a simple and elegant 3-band “British-Style” equalizer. The BT Equalizer BQ2S is equipped with high and low frequency shelving curves and a Parametric Mid-Band covering the 300Hz-5kHz ranges. The BQ2S is ideal for both tracking and mixing applications. The output stage includes a simple peak-limiter or 'Brick-Wall' circuit.

Bass: Variable gain of +/-15 dB: Default: 0 dB

Sets the range of boost or cut with a true “Flat” response at the center of the control track.

Frequency (Bass): 60, 90, 120 or 220 Hz: Default: 90 Hz

Selects the cut-off frequency for the low-shelf filter section.

Q (Bass): Variable bandwidth 0.05 to 2.0: Default: 1.69

The “Q” control offers completely variable bandwidth, from very narrow to super wide, having a range of “Q” = 0.05 to “Q”

= 2.0.

Middle: Variable gain of +/-15 dB: Default: 0 dB


Mid-Freq: 300 Hz to 5 KHz: Default: 2.65 KHz

Selects the cut-off frequency for the Mid-Band filter section.

Q (Middle): Variable bandwidth 0.05 to 2.0: Default: 1.69


= 4.0.

Treble: Variable gain of +/-15 dB: Default: 0 dB


Frequency (Treble): 6, 8, 10 or 12 KHz: Default: 8 KHz

Selects the cut-off frequency for the high-shelf filter section.

Q (Treble): Variable bandwidth 0.05 to 2.0: Default: 0.39


= 2.0.

Output Level: -10 to +10 dB: Default: 0 dB

Sets the overall output level of the effect (dB). This control is useful to adjust the output level again after its been reduced or boosted from applying equalization to the signal.




When the Bypass control switch is “On”, the BT Equalizer BQ2S plug-in is disabled.

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BT Equalizer BX2S

The BT Equalizer BX2S is a two band Baxandall tone controls, which is simple but very effective. The BT Equalizer BX2

Baxandall tone-control shelving equalizer provides low shelf (Bass) boost and cut, as well as high shelf (Treble) boost and cut.

Bass: ± 15 dB: Default: 0 dB

The low band "Bass" (shelving response) has a boost/cut control. The control is continuously variable with up to +15dB of boost (full clockwise rotation) or -15dB of cut (full counter-clockwise rotation) at 100 Hz (center frequency).

Master Level: ± 20 dB: Default: 0 dB


Treble: ± 15 dB: Default: 0 dB

The high band "Treble" (shelving response) has a boost/cut control. The control is continuously variable with up to +15dB of boost (full clockwise rotation) or -15dB of cut (full counter-clockwise rotation) at 5 KHz (center frequency).



Bypass Switch:

With the switch in the 'On' position, the equalizer is removed from the signal path, and the red LED near the switch is illuminated.

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BT Equalizer GEQ12

The BT Equalizer GEQ12 has been created to fit all applications for the professional engineer. The numerous EQ bands make the GEQ12 an ideal companion to parametric EQ, it is ideal for recording and mixing where a professional result is required. The GEQ12 is the perfect tool for sculpting the fine detail out of raw digital audio: 12 EQ bands, adjustable Q and a brick-wall Limiter circuit at the output.

Band: ± 12 dB: Default: 0 dB

Each of these sliders controls the output level of each of the band-pass filters.

30Hz, 80Hz, 110Hz, 220Hz, 350Hz, 700Hz, 1.6Khz, 3.2KHz, 4.6KHz, 7KHz, 10KHz, 12KHz

Q: Variable bandwidth 0.1 to 1.6: Default: 0.8

The “Q” control offers completely variable bandwidth, from very narrow to super wide, having a range of “Q” = 0.1 to “Q” =

1.6.





Bypass Switch:


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BT Equalizer PEQ2B

The BT Equalizer PEQ2B recreates the sound of the classic 60's EQ. The interaction of the passive boosting and attenuating shelving EQs has been designed to bring back the life and musicality lost in the recording. The incredibly musical character of the BT Equalizer PEQ2B is the perfect choice when a truly vintage EQ sound is what your music requires. The PEQ2B is the equalizer of choice for final musical touches.

Low Boost: 0dB to +15dB

This control boosts the low frequency determined by the Low-Frequency control.

Low Atten: 0dB to -18dB: Default: 0dB

This control attenuates the low frequency determined by the Low-Frequency control.

Low Frequency: variable from 20Hz to 140Hz

This control determines at which frequency the maximum boosting and attenuation is obtained.

Bandwidth: Sharp to Broad (0-10): Default: 5

This controls the width of the High-Frequency boost curve.

High Boost: 0dB to +18dB or 0dB to +12dB: Default: 0dB

This control boosts the high frequency determined by the High-Frequency control.

When the Bandwidth is in Sharp position the boost gain is from 0dB to +18dB

When the Bandwidth is in Broad position the boost gain is from 0dB to +12dB

High Frequency: variable from 4KHz to 16Hz

This control determines at which frequency the maximum boosting is obtained.

Atten Freq (high attenuation): select from 4KHz, 10KHz and 20KHz

This control determines at which frequency the maximum attenuation is obtained.

High Atten: 0dB to -18dB: Default: 0dB

This control attenuates the high frequency determined by the Atten Freq control.

Output Level (Trim): 0 to 10: Default: 5

Sets the overall output level of the effect. This control is useful to adjust the output level again after its been reduced or boosted from applying equalization to the signal. (± 12 dB)



Bypass Switch:


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BT Equalizer PEQ5B

The BT Equalizer PEQ5B delivers the controls and the amazing results of a true analog EQs. Based on the PEQ2B, this model provides passive boosting and attenuating shelving EQs, 3 parametric bands with center frequency, bandwidth-Q and amplitude controls. BT Equalizer PEQ5B is more open and musical than other similar equalizers of the same type by adding an exceptional tone and character to your music.

Low Boost: 0dB to +15dB

This control boosts the low frequency determined by the Low-Frequency control.

Low Atten: 0dB to -18dB: Default: 0dB

This control attenuates the low frequency determined by the Low-Freq control.

Low Frequency: variable from 20Hz to 140Hz

This control determines at which frequency the max boosting and attenuation is obtained.

IN (LF): Default: IN

With the switch in the 'IN' position, the LF band is enabled and the red LED near the switch is illuminated.

High Boost: 0dB to +15dB

This control boosts the high frequency determined by the High-Frequency control.

High Atten: 0dB to -18dB: Default: 0dB

This control attenuates the high frequency determined by the High-Freq control.

High Frequency: variable from 2KHz to 16KHz

This control determines at which frequency the maximum boosting and attenuation is obtained.

IN (HF): Default: IN

With the switch in the 'IN' position, the HF band is enabled and the red LED near the switch is illuminated.

BAND 2-4: (LMF, MF, HMF)

Bandwidth: Variable bandwidth 0 to 10: Default: 5


0.1.

Atten/Boost: ± 15 dB: Default: 0 dB

This control is continuously variable with up to +15dB of boost (full clockwise rotation) or -15dB of cut (full counter-

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clockwise rotation).

Freq: 20Hz to 16KHz: Default: 604Hz

Selects the cut-off frequency for the LMF, MF and HMF Band filters.

IN: Default: IN

With the switch in the 'IN' position, the selected band is enabled and the red LED near the switch is illuminated.

Output Level (Trim): -20dB to +20dB: Default: 0dB

Sets the overall output level of the effect. This control is useful to adjust the output level again after its been reduced or boosted from applying equalization to the signal. (± 20dB)


This switch engages the output 'Brick Wall' limiter. The 'Brick Wall' limiter or Peak. Remover is set to 0 dB.

Bypass Switch:


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BT Equalizer PEQ332

Specially designed to meet the most demanding studio tracks, the BT Equalizer PEQ322 features 3 parametric bands with center frequency, bandwidth-Q and amplitude controls, high-pass and low-pass filters as well as low-shelf and high-shelf filters. The BT Equalizer PEQ322 delivers the controls and the amazing results of a true analog EQ. The PEQ322 is the perfect choice when a truly vintage EQ sound is what your music requires.

Q (Band 1): Variable bandwidth 1.5 to 0.1: Default: 0.8


0.1.

Gain (Band 1): ± 15 dB: Default: 0 dB

The LF band (shelving response) has a boost/cut control. The control is continuously variable with up to +15dB of boost

(full clockwise rotation) or -15dB of cut (full counter-clockwise rotation).

Freq (Band 1): 20 Hz to 450 Hz: Default: 245 Hz

Selects the cut-off frequency for the LF Band filter section.

IN (Band 1): Default: IN

With the switch in the 'IN' position, the LF band is enabled and the red LED near the switch is illuminated.



0.1.


The LMF band (peaking response) has a boost/cut control. The control is continuously variable with up to +15dB of boost


Freq (Band 2): 200 Hz to 2.5 KHz: Default: 1.36 KHz

Selects the cut-off frequency for the LMF Band filter section.


With the switch in the 'IN' position, the LMF band is enabled and the red LED near the switch is illuminated.



0.1.


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The MF band (peaking response) has a boost/cut control. The control is continuously variable with up to +15dB of boost


Freq (Band 3): 400 Hz to 5.5 KHz: Default: 3 KHz

Selects the cut-off frequency for the MF Band filter section.


With the switch in the 'IN' position, the MF band is enabled and the red LED near the switch is illuminated.



0.1.


The HMF band (peaking response) has a boost/cut control. The control is continuously variable with up to +15dB of boost



Selects the cut-off frequency for the HMF Band filter section.


With the switch in the 'IN' position, the HMF band is enabled and the red LED near the switch is illuminated.



0.1.


The HF band (shelving response) has a boost/cut control. The control is continuously variable with up to +15dB of boost


Freq (Band 5): 1.5 KHz to 16 KHz: Default: 8.9 KHz

Selects the cut-off frequency for the HF Band filter section.


With the switch in the 'IN' position, the HF band is enabled and the red LED near the switch is illuminated.

HPF Selector:

This control determines the frequency of the high pass filter, 5 frequencies are available: 20, 30, 40, 60, 80 Hz

LPF Selector:

This control determines the frequency of the low pass filter, 5 frequencies are available: 10, 12, 14, 16, 18 Khz

Meter: IN, OUT: Default: OUT

Determines the mode of the VU Meters. When set OUT, the VU Meters indicates the output level in dB. When set to IN, the VU Meters indicates the input level in dB.



Bypass Switch:


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BLUE TUBES ANALOG TRACKBOX

The Blue Tubes Analog TrackBox is not an update or a replacement for our very popular Blue Tubes Bundle, but a complementary unit that incorporates a substantially different combination of elements. The Blue Tubes Analog TrackBox is an all-purpose channel strip tool designed to maximize sound quality and audio character for total musical flexibility.

Nomad Factory designs and builds the most powerful and efficient audio processing tools for pro audio applications.

Including dynamics processors, equalizers and effects, Nomad Factory delivers the highest quality tube emulation plugins without sacrificing ease-of-use or affordability.

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TUBE EMULATION SECTION

The Tube-Emulator section has the unique option of being able to switch between two different sounding tube options from Single-Triode to Dual-Triode. The independent Amount and Color controls permit overdrive of the Tube-Emulator stage to vary the harmonic content of the signal.

Amount: 0 to 100 %: Default: 34 %

This sets the amount of drive from the Tube 12AX7, allowing you to sweeten and personalize your sound by adding the desired amount of harmonics to the original signal. Additional harmonics are produced by slightly overdriving the tube stage. The more you turn the Amount control to the right, the more tube sound will be added to the original signal.

Color: -10 to 10; Default: 0

Controls the color of the tube sound. Turning the Color control to the right emulates the sound of triode tube distortion.

Turning the control to the left emulates the sound of analog tube-tape-recorder.

Triode: Single to Dual: Default: 1.5

Determines the number of stages from the 12AX7 (twin triode). When set to the right (Dual-Triode), additional harmonics are produced by overdriving the second tube stage, the output signal coming from tube-stage one is re-injected into tubestage two. Increasing tube saturation produces a slight compression effect, this saturation effect can be perceived when analog tape is saturated.

IN: Default: Off

With the switch in the 'IN' position, the tube section is enabled and the red LED near the top switch is illuminated.

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GATE SECTION

The Gate/Expander section tames the noise floor so that you hear only the audio you want to keep. This fully adjustable gate/expander reduces (or cuts) the signal if the level becomes too low (as determined by the Gate Threshold setting).

This controls unwanted background noise on the track(s). Like a compressor, the Attack and Release controls determine how fast the gate opens and close.





This control determines how quickly the gate opens; the fastest Attack time ensures that the gate does not clip the leading edge of extremely fast transients.


Controls how long (ms) it takes the gate to close, once the signal has fallen below the Threshold.

IN: Default: Off

With the switch in the 'IN' position, the gate section is enabled and the red LED near the top switch is illuminated.

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COMPRESSOR SECTION

The Compressor section, derived from our popular Blue Tubes Compressor CP2S emulates analog compressors in terms of looks, functions, and warm analog sound found in vintage compressors to provide the classic feedback response unique to the characteristics of the Blue Tubes Analog TrackBox.



If you set it to -10 dB for instance, any signal exceeding the Threshold level (-10 dB) are reduced in level, and the amount of reduction is shown on the light meter.

Attack: 1 to 400 ms: Default: 21 ms




Ratio: 1:1 to 10:1 dB: Default: 2.6:1 dB




IN: Default: Off

With the switch in the 'IN' position, the compressor section is enabled and the red LED near the top switch is illuminated.

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EQUALIZER SECTION

The Equalizer section, derived from the Blue Tubes PEQ322 is designed to meet the most demanding studio tracks, features 2 parametric bands with center frequency, bandwidth-Q and amplitude controls as well as low-shelf and highshelf filters. The Equalizer section delivers the controls and the amazing results of a true analog EQ.

Q (Band 1 to Band 4): Variable bandwidth 0.1 to 1.5: Default: 0.8

The “Q” control offers completely variable bandwidth, from very narrow to super wide.

Gain (Band 1 to Band 4): ± 15 dB: Default: 0 dB

The LF band (shelving response) has a boost/cut control. The control is continuously variable with up to +15dB of boost


Freq (Band 1): 40 Hz to 600 Hz: Default: 64 Hz

Selects the cut-off frequency for the EQ Band 1 filter section.

Freq (Band 2): 200 Hz to 2.5 KHz: Default: 500 Hz




Freq (Band 4): 1.5 KHz to 16 KHz: Default: 7.4 KHz


IN: Default: Off

With the switch in the 'IN' position, the equalizer section is enabled and the red LED near the top switch is illuminated.

Low/High Pass – Master Section

HPF Selector:

This control determines the frequency of the high pass filter, 5 frequencies are available: 20, 30, 40, 60, 80 Hz

LPF Selector:

This control determines the frequency of the low pass filter, 5 frequencies are available: 10, 12, 14, 16, 18 Khz

Input Level: ± 15 dB: Default: 0 dB

Sets the overall input level of the effect (dB).


Sets the overall output level of the effect (dB). This control is useful to adjust the output level again after its been reduced or boosted from applying Tube, Gate, Compressor and Equalization to the signal.

Phase Switch:

Inverts the phase of the Blue Tubes Analog TrackBox.

Limit Switch: On or Off: Default: On

This switch engages the output 'On' position, Brick Wall' limiter. The 'Brick Wall' limiter or Peak Remover is set to 0 dB.

Meter: Left, Right: Default: Left

Determines the mode of the VU Meters. When set Left, the VU Meters indicates the left input/output levels in dB. When set to Right, the VU Meters indicates the Right channel input/output levels in dB.

Bypass Switch: With the switch in the 'On' position, the Blue Tubes Analog TrackBox is removed from the signal path.

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BLUEVERB DRV-2080

BlueVerb DRV-2080 Controls:

1- PreDelay:

Pre-Dly:

- This control introduces a delay before the reverb effect: 0 ms / 999 ms

2- Ambiance / Amount:

Ambiance:

- This control alters the character of the reverberation, can also be named early reflections, this control can reproduce the

'Ambiance' of Lexicons ambiance patches.

Amount:

- This control determines the level of early reflections. (Ambiance) (0 - 100%)

3- Decay-RT60 / Damping:

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Decay-RT60:

- The Decay-RT60 sets the reverberation time (in seconds) 0.5 to 10 sec

Damping:

- This controls the high frequency damping. Turning the knob to the left = dark Turning the knob to the right = bright

4- Tail Level / Stereo Width:

Tail Level:

- This control determines the level of the classic reverberation. (0 - 100%)

Stereo Width:

- This control determines the stereo image of the reverberation. Turning the knob to the left = Mono Turning the knob to the right = Stereo

5- Equalizer:

Low Gain:

This control determines the amount of low shelving gain or cut to be applied to the frequency set by the Frequency switch.

(+-15dB)

Low Freq:

This control determines the frequency of the low portion of the equalizer. 50 Hz to 800 Hz

High Gain:

This control determines the amount of high shelving gain or cut to be applied to the frequency set by the Frequency switch. (+-15dB)

High Freq:

This control determines the frequency of the low portion of the equalizer. 1Khz to 8 Khz

On/Off Switch:

This switch enables or disables the equalizer.

!

6- Master Levels:

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Input:

This control determines the input level of the BlueVerb DRV-2080.

Output:

This control determines the output level of the BlueVerb DRV-2080.

Mix:

The Mix control is used to control the mix between the unprocessed input and the reverberated output.

7- Divers:

Rev A / Rev B:

This switch determines the quality and CPU usage of the reverberation. Rev A = less CPU (Good Quality Processing) Rev

B = more CPU (High Quality Processing)

7- Power:

Turns On/Off the BlueVerb DRV-2080 (Bypass).

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ESSENTIAL STUDIO SUITE

Essential Channel

The Essential Channel delivers maximum processing flexibility with minimum space required. The most critical channel processing functions are provided in a single plug-in: 3-band parametric EQ, High and Low Shelf filters, High and Low

Pass Filters, Peak or RMS Compression (Pre- or Post EQ), DeEsser (with selectable High-Pass or Band-Pass Filter),

Noise Gate, and Brick-Wall Limiting. Additional features include L/R Swap and Phase Inversion (both or L/R channels individually), and Mode selection.

The controls and features of the Essential Channel are described below:

Equalizer On/Off (Equalizer section)

• Square button that turns the EQ on and off; yellow is “on”

HPF (Equalizer section)

• Selects the cutoff frequency for the High Pass Filter above which the signal passes un-attenuated

LPF (Equalizer section)

• Selects the cutoff frequency for the Low Pass Filter below which the signal passes un-attenuated

Low Shelf Gain (Equalizer section)

• Adjusts the amount of boost (+24dB) or cut (-24dB) below the selected frequency

Low Shelf On/Off (Equalizer section)

• Square button that turns the Low Shelf EQ on and off; yellow is “on”

Low Shelf Freq (Equalizer section)

• Selects the frequency for the Low Shelf EQ (20Hz - 400Hz)

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MLF/MF/MHF On/Off (Equalizer section)

• Square button that turns the MLF (mid-low freq.), MF (mid freq.), or MHF (mid-high freq.) EQ on and off; yellow is “on”

MLF/MF/MHF Gain (Equalizer section)

• Adjusts the amount of boost (+24dB) or cut (-24dB) for the corresponding frequency band

MLF/MF/MHF Freq (Equalizer section)

• Selects the center frequency for the corresponding frequency band (MLF: 30Hz - 600Hz; MF: 100Hz - 6kHz; MHF:

600Hz - 18kHz)

MLF/MF/MHF BW (Equalizer section)

• Controls the bandwidth of the corresponding frequency band (.1 - 2.0)

High Shelf On/Off (Equalizer section)

• Square button that turns the High Shelf EQ on and off; yellow is “on”

High Shelf Gain (Equalizer section)

• Adjusts the amount of boost (+24dB) or cut (-24dB) above the selected frequency

High Shelf Freq (Equalizer section)

• Selects the frequency for the High Shelf EQ (2kHz - 20kHz)

Compressor On/Off (Compressor section)

• Square button that turns the Compressor on and off; yellow is “on”

Threshold (Compressor section)

• Controls the threshold level (in dB) for the compressor; this is the level above which the compressor begins to attenuate the signal

Ratio (Compressor section)

• Controls the compression ratio for the compressor; this is the ratio of input to output levels

Attack (Compressor section)

• Controls how fast the compressor begins to attenuate the signal after exceeding the Threshold

Release (Compressor section)

• Controls how long the compressor takes to return the signal to the unattenuated level

Makeup (Compressor section)

• Controls the make-up gain for the compressor

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Atten (Compressor section)

• Meter that displays the amount of signal attenuation by the compressor

Pre EQ/Post EQ (Compressor section)

• Button that toggles between Pre EQ (compression applied before the EQ section) and Post EQ (compression applied after the EQ section)

RMS/Peak (Compressor section)

• Button that toggles between RMS compression and Peak compression

DeEsser On/Off (DeEsser section)

• Square button that turns the DeEsser on and off; yellow is “on”

Freq (DeEsser section)

• Sets the cutoff frequency above which the DeEsser attenuates the signal if the level exceeds the Threshold (see

“Threshold” below); the “Listen” button must be off for the DeEsser to operate properly (see “Listen” below)

Threshold (DeEsser section)

• Sets the threshold level (in dB); the DeEsser attenuates signal levels that exceed both the threshold and the frequency

(see “Freq” above)

Attack (DeEsser section)

• Controls how fast the DeEsser begins to attenuate the signal once the threshold and frequency is exceeded

Atten (DeEsser section)

• Meter that displays the amount of signal attenuation by the DeEsser

HPF/BPF (DeEsser section)

• Button that toggles the DeEsser between a High-Pass Filter and a Band-Pass Filter

Listen (DeEsser section)

• Button that outputs only the frequencies above the selected frequency; this allows you to solo the signal that will be attenuated by the DeEsser

Threshold (Noise Gate section)

• Controls the threshold level (in dB) for the Noise Gate; this is the level the signal must exceed in order to open the gate

(i.e., allow the signal to pass through unattenuated)

Attack (Noise Gate section)

• Controls how fast the Noise Gate opens after the signal exceeds the Threshold

Release (Noise Gate section)

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• Controls how long the Noise Gate takes to close (i.e., cut the signal)

Atten (Noise Gate section)

• Meter that displays whether the gate is open (green) or closed (red)

Input (Master section)

• Adjusts the input level to the Essential Channel

Output (Master section)

• Adjusts the output level from the Essential Channel

Limiter (Master section)

• Applies a Limiter to the output of the Essential Channel

Swap L/R (Master section)

• Swaps the Left and Right channels of the stereo signal

Phase (Master section)

• Inverts the phase of the output (Invert), or inverts only the Left (Invert L) or Right (Invert R) channels independently;

Normal = no phase inversion

Mode (Master section)

• Changes the overall sound to the output of the Essential Channel; options include Warm, Fat, Dirty, Hard; Clean = no change to the output

Mono (Master section)

• Sums the stereo output signal to mono

Bypass (Master section)

• Turns off the Essential Channel

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Essential Compressor

The Essential Compressor is like having several compressors in one plug-in. Choose analog or digital compression, and

Peak or RMS compression. This compressor provides intuitive control over the Threshold, Ratio, Attack, Release, and

Make-Up gain. The Essential Compressor also enables adjustment of the Threshold and Ratio parameters within a graphical display. Other features include Brick-Wall Limiting, and individual Input and Output level controls.

The controls and features of the Essential Compressor are described below:

Analog/Digital

• Button that switches the Essential Compressor between Analog compression and Digital compression

RMS/Peak

• Button that toggles between RMS compression and Peak compression

Threshold

• Controls the threshold level (in dB) for the compressor; this is the level above which the compressor begins to attenuate the signal; the Threshold may also be controlled on the horizontal axis (pink) of the graphic display

Ratio

• Controls the compression ratio for the compressor; this is the ratio of input to output levels; the Ratio may also be controlled on the vertical axis (green) of the graphic display

Attack

• Controls how fast the compressor begins to attenuate the signal after exceeding the Threshold

Release

• Controls how long the compressor takes to return the signal to the un-attenuated level

Makeup

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• Controls the make-up gain for the compressor

Atten

• Meter that displays the amount of signal attenuation by the compressor

Limiter

• Applies a Limiter to the output of the compressor

Input

• Adjusts the input level to the Essential Compressor

Output

• Adjusts the output level from the Essential Compressor

Bypass

• Turns off the Essential Compressor

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Essential Gate/Expander

The Essential Gate/Expander tames the noise floor so that you hear only the audio you want to keep. This fully-adjustable gate/expander allows control of Threshold, Attack, Hold, Release and Range. Left and Right VU meters and controls for

Input and Output round out the feature list for this essential studio plug-in.

The controls and features of the Essential Gate/Expander are described below:

Threshold

• Controls the threshold level (in dB) for the gate; this is the level the signal must exceed in order to open the gate (i.e., allow the signal to pass through un-attenuated)

Attack

• Controls how fast the gate opens after the signal exceeds the Threshold

Hold

• Controls how long the gate stays open after the signal has dropped below the threshold

Release

• Controls how long the gate takes to close (i.e., cut the signal)

Range

• Controls the amount of signal reduction by the gate

Atten

• Meter that displays whether the gate is open (blue) or closed (red)

In/Out/Off

• Selects the source for the VU Meters above; In = input, Out = output, Off = VU Meter off

Input

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• Adjusts the input level to the Essential Gate/Expander

Output

• Adjusts the output level from the Essential Gate/Expander

Bypass

• Turns off the Essential Gate/Expander

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Essential Graphic EQ

The Essential Graphic EQ is the perfect tool for sculpting the fine detail out of raw digital audio. 15 frequency bands, adjustable bandwidth and brick-wall limiter allow for precise sound definition in your mixes or mastered tracks.

The controls and features of the Essential Graphic EQ are described below:

Frequency Bands

• 15 sliders that control the amount of boost (+24dB) or cut (-24dB) for specific frequency bands indicated at the top of each slider

Band

• Adjusts the bandwidth around the center frequencies (or corner frequencies in the case of the 40Hz and 16kHz bands)

In/Out/Off

• Selects the source for the VU Meter above; In = input, Out = output, Off = VU Meter off

Input

• Adjusts the input level to the Essential Graphic EQ

Output

• Adjusts the output level from the Essential Graphic EQ

Limiter

• Applies a Limiter to the output of the Essential Graphic EQ

Bypass

• Turns off the Essential Graphic EQ

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Loudness Maximizer

The Loudness Maximizer is an easy-to-use peak limiter for increasing audio levels. This Maximizer delivers look-ahead, brick-wall limiting to maximize the levels of any mixing or mastering project. Input levels are individually adjustable for Left and Right channels. Lower the Threshold to engage the limiter, and the levels are automatically increased to compensate for the attenuation. Set the release to yield smooth limiting. Use the Out Ceiling to cap the maximum output at a safe level.

The controls and features of the Loudness Maximizer are described below:

Input Level

• Two sliders (L, R) that control the amount of input level from each channel

Threshold

• Controls the threshold level (in dB) for the Loudness Maximizer; this is the level above which the maximizer begins to attenuate the signal; as the signal is attenuated by lowering the threshold, the maximizer automatically increases the level to make up for the decreased level

Out Ceiling

• Sets the maximum output level after maximizing

Release

• Controls how long it takes the maximizer to return the output to the un-attenuated level

Atten

• Meter that displays the amount of signal attenuation by the maximizer

In/Out/Off


Bypass

• Turns off the Loudness Maximizer

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Multiband Compressor

The Multiband Compressor brings together all the vital controls of multiband compression within this easy-to-use interface. With 3-band compression, Brick-Wall limiting, L/R Swap and Curve Mode EQ, this compressor is a powerful and flexible solution for any mixing or mastering project. Move the crossovers to define the frequency bands, adjust the gain, add compression and solo each band individually to create your sound with precision.

The controls and features of the Multiband Compressor are described below:

Low - Mid - High (Crossover section)

• Displays the frequencies dividing the Low from the Mid bands, and the Mid from the High bands; on the graphic frequency display, click and drag in the Low band to adjust the Low-Mid crossover frequency; click and drag in the High band to adjust the Mid-High crossover frequency; click and drag the entire Mid band to change both crossovers simultaneously.

Low/Mid/High Gain (Crossover section)

• Controls the make-up gain for each compressor (C1, C2, C3) corresponding to the three frequency bands

Low/Mid/High Solo (Crossover section)

• Square button that solos the corresponding frequency band; yellow is “on”

C1/C2/C3 On/Off (Compressor section)

• Square button that turns the Compressor (C1, C2, or C3) on and off; yellow is “on”

C1/C2/C3 Peak/RMS

• Toggles between Peak or RMS compression for the corresponding compressor (C1, C2 & C3)

C1/C2/C3 Threshold

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• Controls the threshold level (in dB) for the corresponding compressor (C1, C2 & C3); this is the level above which the compressor begins to attenuate the signal

C1/C2/C3 Ratio

• Controls the compression ratio for the corresponding compressor (C1, C2 & C3); this is the ratio of input to output levels

C1/C2/C3 Attack

• Controls how fast the signal begins to attenuate once the threshold is exceeded for the corresponding compressor (C1,

C2 & C3)

C1/C2/C3 Release

• Controls how long the compressor takes to return the signal to the un-attenuated level for the corresponding compressor

(C1, C2 & C3)

Input (Master section)

• Adjusts the input level to the multiband compressor

Output (Master section)

• Adjusts the output level from the multiband compressor

Curve Mode (Master section)

• Applies a pre-defined EQ curve to the signal path (Linear, Hi Boost, Lo Boost, Hi Atten, Lo Atten, Smile, Sad)

Limiter (Master section)

• Applies a Limiter after the EQ curve

Swap L/R (Master section)

• Swaps the Left and Right channels of the stereo signal

Mono (Master section)

• Sums the stereo output signal to mono

Bypass (Master section)

• Turns off the Multiband Compressor

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Multiband Loudness Maximizer

The Multiband Loudness Maximizer brings the sound of professional mastering to any audio application. The multiband maximizer from Nomad Factory delivers three frequency bands of look-ahead, brick-wall limiting to precisely control and maximize the output levels of a recording. Input levels are individually adjustable for Low, Mid and High bands, and the crossovers can be moved to precisely define the frequency bands. Lower the Threshold to engage the limiter, and the levels are automatically increased to compensate for the attenuation. Set the release to yield smooth limiting. Once you have set the right amount of limiting/ attenuation, you can even add more level to the output to give you all the volume you could want.

The controls and features of the Multiband Loudness Maximizer are described below:

Low - Mid - High (Crossover section)

• Displays the frequencies dividing the Low from the Mid bands, and the Mid from the High bands; on the graphic frequency display, click and drag in the Low band to adjust the Low-Mid crossover frequency; click and drag in the High band to adjust the Mid-High crossover frequency; click and drag the entire Mid band to change both cross-overs simultaneously

Input Level L/M/H

• Each slider (L, M, H) controls the amount of level input into each of the three frequency bands (High, Mid, Low)

Threshold

• Controls the threshold level (in dB) for the Multiband Loudness Maximizer; this is the level above which the maximizer begins to attenuate the signal; as the signal is attenuated by lowering the threshold, the maximizer automatically increases the level to make up for the decreased level; this smooths out the transient peaks allowing for increased output level (see “Output Level” below)

Output Level

• Allows you to add increased level to the output after attenuation

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Release

• Controls how long it takes the maximizer to return the output to the un-attenuated level

Atten

• Meter that displays the amount of signal attenuation by the maximizer

Bypass

• Turns off the Multiband Loudness Maximizer

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RetroVox

The RetroVox is designed to add a wide range of vocal effects to any studio toolkit. The Vinylizer generates the warm sound and drive of old vinyl records. You can even add the vinyl pops and clicks, and at various speeds like 33 rpm or 78 rpm. Other features of the RetroVox include Noise Gate, Compressor, Bass and Treble controls, Brick-Wall Limiter, and

“V-Mix” which blends the output of the Vinylizer with the “non-Vinylized” signal of the RetroVox.

The controls and features of the RetroVox are described below:

Gate On/Off

• Square button that turns the gate on and off; yellow is “on”

Gate

• Slider that controls the noise gate threshold; other gate parameters are fixed

Comp On/Off

• Square button that turns the compressor on and off; yellow is “on”

Comp

• Slider that controls the compressor threshold; other compressor parameters are fixed

Tone

• Button that toggles the tone controls (Bass and Treble) on and off

Bass

• Slider that controls the amount of bass EQ

Treble

• Slider that controls the amount of treble EQ

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Vinylizer On/Off

• Square button that turns the Vinylizer on and off; yellow is “on”

Level

• Controls the level of the pops and clicks in the Vinylizer output

Speed

• Controls the speed of the Vinylizer; this simulates a vinyl record spinning at various speeds (16 rpm - 78 rpm)

Drive

• Adjusts the amount of overdrive in the Vinylizer sound

“Gramophone”

• Graphical display used to create various filter effects, such as “Phone Voice”; drag the green cursor around the square graphic to hear the filtering effects

In/Out/Off

• Selects the source for the VU Meter above; In = input, Out = output, Off = VU off

Input

• Adjusts the input level to the RetroVox

Output

• Adjusts the output level from the RetroVox

V-Mix

• Adjusts the output level from the Vinylizer section!

Limiter

• Applies a Limiter to the output of the RetroVox

Bypass

• Turns off the RetroVox

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Tube/Tape Warmer

Digital audio can sometimes sound lifeless or brittle. Add some analog warmth and drive to those tracks with Nomad

Factory’s Tube/Tape Warmer. This effect gives sterile audio the coveted sounds of tube circuitry and analog tape saturation. Engage the 12AX7 tubes (A or B) and increase the drive control individually for extra bite. You can independently add the sound of analog tape rolling at 30 or 15 ips. Use the Tone control to dial in just the right amount of high or low frequencies to highlight the added warmth.

The controls and features of the Tube/Tape Warmer are described below:

12AX7 A/B

• Controls the amount of drive from the tubes; click to engage Tube A and/or Tube B buttons (see below) to apply tube sound

Tone

• Adjusts the amount of high or low frequencies in the signal

Tape Speed Select (30 ips/ 15 ips)

• Toggles between two tape speed simulations: 30 inches per second or 15 inches per second

Tube A

• Button that applies the tube sound from Tube A; the drive of the tube is controlled by the slider labelled “12AX7 A”

Tube B

• Button that applies the tube sound from Tube B; the drive of the tube is controlled by the slider labelled “12AX7 B”

Tape

• Applies the sound of tape warmth to the signal; the tape sound can be changed by toggling the tape speed (see “Tape

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Speed Select” above)

In/Out/Off


Input

• Adjusts the input level to the Tube/Tape Warmer

Output

• Adjusts the output level from the Tube/Tape Warmer

Bypass

• Turns off the Tube/Tape Warmer

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LIQUID BUNDLE II

Liquid Compressor II

The Liquid Compressor II pumps up your sound and keeps your dynamics in check. The Liquid Compressor II can add depth and sustain to your sound while helping you cut through a mix. Easy-to-use modern interface with gain reduction light-meter. It is offered in Mono and Stereo.




Ratio: 1:1 to 20:1 dB: Default: 2.5:1 dB




Release: 1 to 5000 ms; Default: 489.5 ms



Sets the level detector: RMS offers the closest approximation to the way in which our ears respond to sound, RMS provides a very natural-sounding dynamic control, where the Peak type of compressor will more accurately track the peak levels of the individual drum beats.

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Soft/Hard Knee: Soft or Hard Knee: Default: On

There is both 'Soft Knee' and 'Hard Knee' compression styles. 'Soft knee' provides a smoother start of compression, great for any voice or instrument and for subtle musical compression. 'Hard knee' compression works for an aggressive squash.

Brick Wall: On or Off: Default: Off

This switch engages the output Brick Wall limiter. The Brick Wall limiter is set to 0 dB.




To help the compressor decide when to compress, you can use the two Filter controls. The Filters only affect the signal driving the compressor, not the sound being processed, and you can use the Listen control which allows the effect of the

Filters to be heard when setting up, so you'll hear a filtered version of the input in Listen mode.

Low Cut: 22 Hz to 22 KHz: Default: 22 Hz


High Cut: 22 Hz to 22 KHz: Default: 22 Hz


Bypass - SideChain: Off or On: Default: On

Turns On/Off the side chain filters (Bypass)


This switch engages the output Brick Wall limiter. The Brick Wall limiter is set to 0 dB.

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Liquid Delays II

The Liquid Delays II is a filtered dual-delay effect plug-in, featuring two delays, resonant filters, tube saturation-overdrive, peak-limiter and LFO. The Liquid Delays II is capable of clean-delays, dirty-delays, filtered-delays, and more. From basic synced delays to dirty, grungy, distorted delayed filters, the Liquid Delays II cerates an unlimited number of amazing effects.

On - Filters: Off or On. Default: On

Turns On/Off the filters section (Bypass)

Low Cut: 22 Hz to 11 KHz: Default: 800.2 Hz


Resonance: 0 to 100 %: Default: 50 %

Sets the HP/LP filters' resonance.

High Cut: 600 Hz to 22 KHz: Default: 2.3 KHz


Overdrive: Off to 100%: Default: Off

This sets the amount of distortion-overdrive to be added to the effect.

On - (In-Loop): Off or On: Default: Off

On = The direct (dry) signal will be added and processed through the filters and overdrive modules.

Off = Only the delayed (wet) signal will be filtered.

On - (Filters-modulation): Off or On: Default: Off

This switch enables or disables the LFO section of the Liquid Delays II.

Sync - (Filters-modulation): Off or On: Default: Off

When the Sync button is On, Liquid Delays II will be synced to the host’s tempo. Any changes made to the host’s tempo will affect the plug-in’s modulation rate in real time.

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Wave Form (Filters-modulation)): Default: Sine


1. Sine

2. Triangle

3. Square

4. Saw up

5. Saw down

Rate (Filters-modulation)): 0.05 Hz to 22 Hz: Default: 1.00 Hz

This control sets the frequency of the LFO in Hz. Increasing the Rate increases the oscillation speed. When the Sync button is On, Liquid Delays II will be synced to the host’s tempo. Any changes made to the host’s tempo will affect the plug-in’s modulation rate in real time. In Sync mode, the Rate control is adjustable in musical units (bars, 1/8th notes, triplets, etc.)

1 x 8 bars

1 x 7 bars

1 x 6 bars

1 x 5 bars

1 x 4 bars

1 x 3 bars

1 x 4T Bars

1 x 2 bars

1 x 1D

1 x 2T

1 x 1

1 x 1/2D

1 x 1/2

1 x 1/4D

1 x 1/2T

1 x 1/4

1 x 1/8D

1 x 1/4T

1 x 1/8

1 x 1/16D

1 x 1/8T

1 x 1/16

1 x 1/32

Depth (Filters-modulation)): Off to 100 %: Default: 100 %

The Depth control sets how deeply the filters will be swept. The depth is fixed in percentage.

Peak-Limit (Master): On or Off: Default: On

This switch engages the output "Brick Wall" peak limiter. The Peak Limiter is set to 0 dB.

Stereo Width (Master): 0 to 100 %: Default: 100 %

Sets the stereo image between left and right outputs

On - (Delay-Sync): Off or On: Default: On

When the button is “On” (Sync), the delays (left and right) will be synced to the host’s tempo. Any changes made to the host’s tempo will affect the delays in real time.

On - (L-Delay): Off or On: Default: On

This switch enables or disables the Left Delay section of the Liquid Delays II.

On - (R-Delay): Off or On: Default: On

This switch enables or disables the Right Delay section of the Liquid Delays II.

Tempo (Delays): 40 to 500 bmp / Sync: Default: Sync or 120 bmp.

When the Sync button is “On”, delay section will be synced to the host’s tempo. Any changes made to the host’s tempo will affect the tempo of the delays in real time.

Feedback (Delays): Off to 100%: Default: 33 %

Controls how much of the wet signal is looped back through the delays section.

L-Delays (Delays):

Selects the note value that sets the delay rhythm for the left channel.

This setting refers to the Tempo value to determine the delay time.

Values range from whole notes to Thirty-second note, and include triplets and dotted notes.

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R-Delays (Delays):

Selects the note value that sets the delay rhythm for the left channel.

This setting refers to the Tempo value to determine the delay time.

Values range from whole notes to Thirty-second note, and include triplets and dotted notes.

Mode (Routing):

Controls the order on how the effects (sections) will be processed.

- Drive -> Filters -> Delays

- Drive -> Delays -> Filters

- Delays -> Filters -> Drive

- Delays -> Drive -> Filters

- Filters -> Delays -> Drive

- Filters -> Drive -> Delays

Input Level: -24 to +24 dB: Default: 0 dB

This control determines the input level of the Liquid Delays II


This control determines the output level of the Liquid Delays II

Mix: 0% to 100%: Default: 50%


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Liquid Gate II

The Liquid Gate II tames the noise floor so that you hear only the audio you want to keep. This fully adjustable gate/ expander allows control of Threshold, Attack Time, Hold Time, Release Time and Range. To help the gate decide when to open, you can use the two Filter controls (SideChain). Easy-to-use modern interface with gain reduction light-meter. It is offered in Mono and Stereo.

Threshold: 0 to -60 dB: Default: -21.6 dB



Range: 0 to 100%: Default: 100%

This sets the amount of signal reduction by the gate in percents. If you set it to 10% for instance, when closed, the gate will allow 10 % of the audio level goes thru the plug-in.

Attack Time: 0.1 to 1000 ms: Default: 5 ms

This control determines how quickly the gate opens, the fastest Attack time ensures that the gate does not clip the leading edge of extremely fast transients.

Hold Time: 0.0 to 2000 ms: Default: 0.0 ms

This control determines the amount of time the gate is held open after the signal falls below the Threshold.

Release Time: 10 to 5000 ms; Default: 50 ms

Controls how long (ms) it takes the gate to close, once the signal has fallen below the Threshold and the Hold time has expired.


Sets the level envelope detector: RMS provides a very natural control of the gate, where the Peak type will more accurately track the peak levels of the individual drum beats.

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To help the gate decide when to open, you can use the two Filter controls. The Filters only affect the signal driving the gate, not the sound being processed, and you can use the Listen control which allows the effect of the Filters to be heard when setting up, so you'll hear a filtered version of the input in Listen mode.

Low Cut: 22 Hz to 22 KHz: Default: 22 Hz


High Cut: 22 Hz to 22 KHz: Default: 22 Hz


Bypass - SideChain: Off or On: Default: On

Turns On/Off the side chain filters (Bypass)


When this switch is set to “On”, you'll hear the filtered input signal.

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Liquid Mod II

Chorus and Flanger effects operate on a very similar basis, that's why they were both implemented in the Liquid Mod II.

The Liquid Mod II produces vintage tape-flanging, gentle choruses, sharp phasing, phaser-emulation effects and a variety of dual-delay-modulation sounds quickly. It has the character of a vintage chorus-flanger unit using modern features options.

Feedback: Off to 100%: Default: Off

Controls how much of the wet signal is looped back through the effect.


This sets the amount of distortion-overdrive to be added to the flanger/chorus.

Stereo Width: 0 to 180 Degrees: Default: 180 Degrees

Sets the phase between left and right LFO’s. “Stereo Width” controls the Left-Right Modulator phase. If the width is set at

180 degrees, then the Left side is flanging/chorusing down while the Right side is flanging/chorusing up, and so forth. One classic device that uses this feature was the Mutron Biphase.



Digital/Analog: Default: Digital

"Digital" provides a very clean-sounding.

"Analog" emulates the sound of analog tape by adding a certain amount of distortion at all signal levels

Delay: x1 to x4: Default: x1

Sets the base delay of the effect. The default Delay setting of x1 is useful for general flanging/chorus effects, x2, x3 and x4 provides different delay times.

Rate: 0.05 Hz to 22 Hz: Default: 1.0 Hz

This control sets the frequency of the LFO in Hz. Increasing the Rate increases the oscillation speed. When the Sync button is On, Liquid Mod II will be synced to the host’s tempo. Any changes made to the host’s tempo will affect the plugin’s modulation rate in real time. In Sync mode, the Rate control is adjustable in musical units (bars, 1/8th notes, triplets, etc.)

1 x 8 bars

1 x 7 bars

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1 x 6 bars

1 x 5 bars

1 x 4 bars

1 x 3 bars

1 x 4T Bars

1 x 2 bars

1 x 1D

1 x 2T

1 x 1

1 x 1/2D

1 x 1/2

1 x 1/4D

1 x 1/2T

1 x 1/4

1 x 1/8D

1 x 1/4T

1 x 1/8

1 x 1/16D

1 x 1/8T

1 x 1/16

1 x 1/32

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Liquid Phase II

The Liquid Phase II emulates the sounds of classic analog phasers from the 70’s and 80’s. The Liquid Phase II provides a wealth of vintage and modern phasing effects. The selectable "Phaser Stage" control allows you to select any number of stages between 2 and 24 including all odd numbers. Using an odd number of stages sounds totally different than an even number of stages, this cool feature allows the Liquid Phase II to create unique phasing and modulation effects.

Phaser Stage: 2 to 24: Default: 12

Sets the number of resonant analog filters. (Stages)

Resonance: 0 to 100%: Default: 25%

Controls how much of the wet signal is looped back through the phaser.

Low Contour: 90 Hz to 6000 Hz: Default: 226.4 Hz

This control determines the lower center-frequency limits of the sweeping stages according to the LFO Rate and LFO

Depth settings.

High Contour: 90 Hz to 6000 Hz: Default: 2.0 KHz

This control determines the higher center-frequency limits of the sweeping stages according to the LFO Rate and LFO

Depth settings.

Digital/Analog: Default: Digital

"Digital" provides a very clean-sounding.

"Analog" emulates the sound of analog tape by adding a certain amount of distortion at all signal levels.

Invert Feed: 0 to 100%: Default: 25%

Invert Feed or 'Invert Resonance' inverts the phase of the wet signal looped back through the effect.

Peak-Limit: On or Off: Default: Off

This switch engages the output "Brick Wall" peak limiter. The Brick Wall limiter is set to 0 dB.

Stereo Width: 0 to 180 Degrees: Default: 180 Degrees

Sets the phase between left and right LFO’s. “Stereo Width” controls the Left-Right Modulator phase. If the width is set at

180 degrees, then the Left side is phasing down while the Right side is phasing up, and so forth. One classic device that uses this feature was the Mutron Biphase.

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This sets the amount of distortion-overdrive to be added to the phaser effect.



Mix: 0% to 100%: Default: 50%


Sync: Off or On: Default: Off

When the Sync button is On, Liquid Phase II will be synced to the host’s tempo. Any changes made to the host’s tempo will affect the plug-in’s modulation rate in real time.

WaveForm: Default: Triangle


1. Sine

2. Triangle

3. Square

4. Saw up

5. Saw down

Rate: 0.05 Hz to 22 Hz: Default: 1.00 Hz

This control sets the frequency of the LFO in Hz at which the stage center-frequency sweeps through its profile from the lower limit to the upper limit. Increasing the Rate increases the oscillation speed. When the Sync button is On, Liquid

Phase II will be synced to the host’s tempo. Any changes made to the host’s tempo will affect the plug-in’s modulation rate in real time. In Sync mode, The "Rate-Slider" control determines the LFO modulation (see table below).

1 x 8 bars

1 x 7 bars

1 x 6 bars

1 x 5 bars

1 x 4 bars

1 x 3 bars

1 x 4T Bars

1 x 2 bars

1 x 1D

1 x 2T

1 x 1

1 x 1/2D

1 x 1/2

1 x 1/4D

1 x 1/2T

1 x 1/4

1 x 1/8D

1 x 1/4T

1 x 1/8

1 x 1/16D

1 x 1/8T

1 x 1/16

1 x 1/32

Depth: Off to 100 %: Default: 100 %

The Depth control sets how deeply the stages will be swept. The depth is fixed in percentage.

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Liquid Verb II

The Liquid Verb II Digital Reverb is a great professional reverb for music and post-production applications. From spacious concert halls to small rooms, the Liquid Verb II delivers professional-quality reverb and ambience processing to the most demanding studio sessions. Designed to be musical, the Liquid Verb II is easy to use with just a few controls and a simple modern interface.

On - (Equalizer): Off or On: Default: On

This switch enables or disables the Equalizer section of the Liquid Verb II.

Bass: +- 18 dB: Default: 12 dB

Sets the level in decibel (dB) the amount of low shelving gain or cut to be applied to the low-range frequency section.

Frequency is fixed at: 120 Hz - Low Shelf

Middle: +- 18 dB: Default: 0 dB

Sets the level in decibel (dB) the amount of mid peaking gain or cut to be applied to the mid-range frequency section.

Frequency is fixed at: 1200 Hz - Mid-Peak

Treble: +- 18 dB: Default: 0 dB

Sets the level in decibel (dB) the amount of high shelving gain or cut to be applied to the high-range frequency section.

Frequency is fixed at: 7200 Hz - High Shelf

Post Reverb: Off or On: Default: Off

This control determines:

Off = Equalization applied before (pre) the reverberation section.

On = Equalization applied after (post) the reverberation section.

On - (Pre-Delay): Off or On: Default: On

This switch enables or disables the Pre-Delay section of the Liquid Verb II.

Pre-Delay: 0 to 200 ms: Default: 25 ms

This control introduces a delay before the reverberation effect.

Reverb Time: 0.1 to 10 sec: Default: 2.7 sec

Sets the reverberation time (in seconds) 0.1 to 10 sec

- Small mode ! : 0.1 to 2.0 sec

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- Med mode!

: 2.0 to 4.0 sec

- Large mode! : 4.0 to 10.0 sec

Damper: 0 to 10: Default: 5

This controls the high frequency damping.

Moving the slider to the top (10) = dark

Moving the slider to the bottom (0) = bright

Stereo Width: 0 to 100 %: Default: 100 %

This control determines the stereo image of the reverberation.

On - (Filters): Off or On: Default: On

This switch enables or disables the Filters section of the Liquid Verb II.

HPF: 20 Hz to 1.6 KHz: Default: 20 Hz


LPF: 2.8 KHz to 20 KHz: Default: 20 Hz


Rev Level: 0 to 100 %: Default: 41 %

This control determines the level of the classic reverberation (wet level). (0 - 100%)

Dry Level: 0 to 100 %: Default: 41 %

This control determines the level of the un-processed signal (dry level). (0 - 100%)

Reverb Mode: Small, Medium or Large: Default: Medium

- Small mode ! : 0.1 to 2.0 sec

- Med mode!

: 2.0 to 4.0 sec

- Large mode! : 4.0 to 10.0 sec

Input Level: -12 to +12 dB: Default: 0 dB

This control determines the input level of the Liquid Verb II


This control determines the output level of the Liquid Verb II

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RETROLOGY: MOTOWN BUNDLE

INTRODUCTION

Developed using an innovative new modeling technique (Retro Sound Modeling), the RETROLOGY Series gives you access to an amazing collection of plug-ins based on legendary hardware including Equalizers, Filters, Limiters,

Compressors, etc. This innovative hardware cloning technique delivers the sound and feel of the original vintage hardware. Depending on the model cloned, we added some modern features like Brick-Wall-Limiter, Phase Invert, VU

Meters, Light Meters, Easy-to-Use vintage interfaces and other personalized features which are mixing vintage sounding and modern technologies by adding a personal touch to the original hardware.

Here's a picture taken during the plug-in development using our RSM technique. We used the original hardware for modeling so it would reproduce the warm characteristics of the original vintage hardware.

Designed to improve the quality of digital sound recordings, these plug-ins provide a simple and functional “Vintage/Retro-

Style” interface, as well as low CPU consumption for lightening-fast processing.

!

!

!

- Retro Film-Tone

- Retro Music-Tone



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Retro Film-Tone

Like his brother, the Retro Film-Tone is a 7-band passive equalizer with fixed frequencies and Proportional Q emulation of the hardware version used exclusively by Motown engineers.

The Retro Film-Tone provides a close emulation of the original units, which introduces Proportional Q, where small boost/ cuts have broad Q and greater boost/cuts have narrow Q.

7 Band-EQ: ± 8 dB: Default: 0 dB

Each of these knobs controls the output level (dB) of each of the band-EQ filters.

80 Hz, 200 Hz, 500 Hz, 1250 Hz, 3200 Hz, 8000 Hz, 16000 Hz.

Output: ± 8 dB: Default: 0 dB

Sets the overall output level of the effect (dB). This control is useful to adjust the output level gain after its been reduced or boosted from applying equalization to the signal.

Phase Switch: Normal, Inverted: Default: Normal

Inverts the phase of the equalizer.



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Retro Music-Tone

The Retro Music-Tone is a 7-band passive equalizer plug-in emulation of the hardware version used exclusively by

Motown engineers.

The Retro Music-Tone provides a close emulation of the original units, which introduces Proportional Q, where small boost/cuts have broad Q and greater boost/cuts have narrow Q.

7 Band-EQ: ± 8 dB: Default: 0 dB

Each of these knobs controls the output level (dB) of each of the band-EQ filters.

50 Hz, 130 Hz, 320 Hz, 800 Hz, 2000 Hz, 5000 Hz, 12500 Hz.







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RETROLOGY: BRITISH BUNDLE

British MCL-2269

The British MLC-2269 is a simple and elegant Master Compressor Limiter (MCL). The British MCL-2269 is the perfect choice for a truly "British-Style" vintage sounding.

Input: ± 20 dB: Default: 0 dB

Sets the overall input level of the MCL-2269 (dB). This control is useful to adjust the input level gain before applying compression to the signal.


Sets the overall output level of the MCL-2269 (dB). This control is useful to adjust the output level gain after its been reduced from applying compression to the signal.

Vintage: On or Off: Default: Off

With the switch in the 'On' position, the MCL-2269 recreates the harmonic distortion and noise level of the original modeled hardware processor, when activated, the red LED above the switch is illuminated.


With the switch in the 'On' position, the MCL-2269 is activated, and the red LED above the switch is illuminated.

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British MCL-2269 – Limiter Section:

Limit: On or Off: Default: Off

With the switch in the 'On' position, the Limiter section is activated, and the red LED above the switch is illuminated.

Limit Level: +4 dB to +12 dB: Default: +12 dB

Sets the threshold level of the Limiter section above which the device begins to limit the signal. The amount of reduced level is shown on the Limit Gain Reduction meter.

Attack: Fast or Slow: Default: Fast

The time, measured in milliseconds (ms), it takes for the limiter to reach its maximum level on the sound.

- Fast = 0.1 ms

- Slow = 1 ms

Release: 100 ms, 200 ms, 800 ms, Auto; Default: Auto

Controls how long (ms) it takes to release a signal from the limiter once it's dipped below your specified threshold. A long release time can be useful for adding sustain to a signal.

- Auto: depending on the input signal 170 ms to 3000 ms.

British MCL-2269 – Compressor Section

Comp: On or Off: Default: On

With the switch in the 'On' position, the Compressor section is activated, and the red LED above the switch is illuminated.

Threshold: -20 dB to +10dB: Default: 0 dB


If you set it to -10 dB for instance, any signal exceeding the Threshold level (-10 dB) are reduced in level, and the amount of compression is shown on the Comp Gain Reduction meter.

Ratio: 1,5:1, 2:1, 3:1, 4:1, 6:1: Default: 3:1 dB

This sets the amount of compression ratio, in dB, applied to a signal once it violates your pre-set threshold. A ratio of 4:1 will output 1 dB for every 4 dB of input signal that exceeds your targeted threshold.

Release: 400 ms, 800 ms, 1500 ms, Auto; Default: 400 ms

Controls how long (ms) it takes to release a signal from the compressor once it's dipped below your specified threshold.

- Auto depending on the input signal 800 ms to 2500 ms.

Comp Gain: 0 dB to +20 dB: Default: +4 dB

Sets the overall output level of the compressor section (dB). This control is useful to adjust the output compressor gain after its been reduced from applying the compression to the signal, If the limiter is activated (On position), the Comp Gain will be applied before the Limiter section.

Clicking on the Nomad Factory logo will display the back panel or about panel.

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British NEQ-1972

The British "Nomad-EQ" NEQ-1972 is a simple and elegant “British-Style” four-band equalizer with low-pass and highpass filters. The NEQ-1972 provides ± 18 dB of gain and switchable High-Q settings.



HP Selector:

This control determines the frequency of the high pass filter, 5 frequencies are available: 27, 47, 82, 150, 2270 Hz, when

“Off” is selected, the High Pass filter is bypassed.

LP Selector:

This control determines the frequency of the Low Pass filter, 5 frequencies are available: 3.9, 5.6, 8.7, 12, 18 kHz, when

“Off” is selected, the Low Pass filter is bypassed.

Low Freq (Band 1): 33, 56, 100, 180, 330 Hz: Default: Off

Selects the cut-off frequency for the EQ (Band 1) filter section.

Low Freq (Band 1): Shelf/Peaking Switch:


Lo-Mid Freq (Band 2): 220, 270, 330, 390, 470, 560, 680, 820, 1000, 1200 Hz: Default: Off


Lo-Mid (Band 2): HiQ Switch:

This controls the width of the Lo-Mid frequency curve from normal 'Broad' to HiQ 'Sharp'

Hi-Mid Freq (Band 3): 1.5, 1.8, 2.2, 2.7, 3.3, 3.9, 4.7, 5.6, 8.2 kHz: Default: Off


Hi-Mid (Band 3): HiQ Switch:

This controls the width of the Hi-Mid frequency curve from normal 'Broad' to HiQ 'Sharp'

High Freq (Band 4): 3.3, 4.7, 6.8, 10, 15 Hz: Default: Off


High Freq (Band 4): Shelf/Peaking Switch:


Gain (Band 1 to Band 4): ± 18 dB: Default: 0 dB

The Gain control is continuously variable with up to +18 dB of boost (full clockwise rotation) or -18 dB of cut (full counterclockwise rotation).



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Vintage: On or Off: Default: Off

With the switch in the 'On' position, the NEQ-1081 recreates the harmonic distortion and noise level of the original modeled hardware processor, when activated, the red LED above the switch is illuminated.

Clicking on the Nomad Factory logo will display the back panel or about panel.

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RETROLOGY: PULSETEC EQs

INTRODUCTION

Developed using an innovative new modeling technique (Retro Sound Modeling), the RETROLOGY Series gives you access to an amazing collection of plug-ins based on legendary hardware including Equalizers, Filters, Limiters,

Compressors, etc. This innovative hardware cloning technique delivers the sound and feel of the original vintage hardware. Depending on the model cloned, we added some modern features like Brick-Wall-Limiter, Phase Invert, VU

Meters, Light Meters, Easy-to-Use vintage interfaces and other personalized features to mix vintage and modern technologies by adding a personal touch to the original hardware.

The PULSE-TEC EQs includes the legendary Pultec Mid-Range Equalizer MEQ-5 and the well-known Pultec Program

Equalizer EQP-1A into a single high quality plug-In, the PULSE-TEC EQs. The PULSE-TEC EQs sections can be enabled or disabled individually or used simultaneously for full range analog equalization. We added an analog Pre-Amp section, which adds Input Level and Output Level controls as well as a simple 'Clipper' limiter at the master output section.

- The PULSE-TEC MEQ-5 Mid-Range Equalizer section is designed to add Body and Presence to your recorded tracks.

Highlight or Subdue a vocalist where the vocal is already mixed with the orchestra, improve the quality of voices by altering their fundamental and overtone relationships.

- The PULSE-TEC EQP-1A Equalizer section will add a wide range of equalization. This makes it possible to boost the very low or very high frequency notes of the orchestra without 'muddying up' the middle register instruments. Continuously variable controls permit changing the amount of the equalization or sustained tones without step in level or noise.



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PULSE-TEC MID-RANGE EQUALIZER MEQ-5

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PULSE-TEC PROGRAM EQUALIZER EQP-1A

NOTE on EQP-1A & MEQ-5:

Vintage Button EQP-1A & MEQ-5: On or Off: Default: Off

With the switch in the 'On' position, the 'VINTAGE' button recreates the harmonic distortion and noise level of the original modeled hardware processor, when activated, the red LED above the switch is illuminated.

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STEREO PRE-AMPLIFIER PRE-2S

The Stereo Pre-Amplifier PRE-2S is a simple and elegant Master Amplifier.

Input: ± 18 dB: Default: 0 dB

Sets the overall input level of the PULSE-TEC EQs (dB). This control is useful to adjust the input level gain before applying equalization to the signal.


Sets the overall output level of the PULSE-TEC EQs (dB). This control is useful to adjust the output level gain after its been reduced or boosted from applying equalization to the signal.

Clipper: On or Off:

With the switch in the 'On' position, the 'BrickWall' Limiter section is activated, and the blue LED above the switch is illuminated.


With the switch in the 'On' position, the MCL-2269 is activated, and the red LED above the switch is illuminated.

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RETROLOGY: ALL-TECH

INTRODUCTION

This classic piece of hardware has been cloned and offered in a sleek, simple plug-in to add that classic EQ effect on your tracks. This innovative hardware cloning technique delivers the sound and feel of the original vintage hardware.

With its 5 knobs, the ALL-TECH interface is bare bones, but the sound achieved with some minor tweaking is amazing.

For those who are familiar with the original hardware, this digital recreation is no small feat!

Doubling up as a shelving and peak EQ depending on the settings chosen, the ALL-TECH can attenuate and boost by increments of 2 db in LO Frequency and High Frequency spectrums.

Add this EQ to get that classic vintage sound for your mix!

ALL-TECH 9063B EQ

LO Freq Selector: Knob has 3 selections. Select low frequency 40Hz or 100Hz as well as “OFF” (Bypass).

LO FREQ: Attenuate (by turning knob to left) and boost (by turning to the right) in increments of 2 dB. 0 to 12 dB turning to the right (Equalize) and 0 to 16 dB to the left (Attenuate).

Shelving EQ in the Low Frequencies.

Volume: Master level. – 18 to + 18.

HI FREQ: Attenuate (by turning knob to left) and boost (by turning to the right) in increments of 2 dB. 0 to 12 dB turning to the right (Equalize) and 0 to 16 dB to the left (Attenuate).

Shelving EQ when attenuating (Cut).

When Boosting (Equalize), it takes Peak EQ characteristics. As Equalization is increased (boost), the Q (bandwidth) narrows consistently around the “HI FREQ SELECTOR” setting chosen.

HI Freq Selector: Knob has 4 selections. Select high frequency: 3kHz, 5kHz, 10kHz, or 15kHz.

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ROCK AMP LEGENDS

INTRODUCTION

Congratulations on choosing Nomad Factory’s guitar amp plug-in “Rock Amp Legends by Jimmy Crespo”. We are sure you will enjoy the new sound in guitar amp simulation. Nomad Factory designs and builds the most powerful and efficient audio processing tools for pro audio applications. Including dynamics processors, equalizers and effects, Nomad Factory delivers the highest quality tube emulation plug-ins without sacrificing ease-of-use or affordability.

This User Guide describes the controls and functions of the Rock Amp Legends guitar amp simulator plug-in.

Features

* High quality processing using double precision floating point

* Up to 48kHz sample rates supported

* Automate any control via RTAS, VST, and HTDM host applications

* Set of factory presets

* Authorize Disk (Receive an authorization Challenge/Response)

Getting Started:

When inserting the Rock Amp Legends plug-in on a channel, choose “Mono to Stereo” in order to hear the effects in stereo. If you choose “Mono”, the stereo effects will not be audible.

Note to Cubase Users: Since Cubase insert strips are Mono and cannot be used as Mono to Stereo, Cubase users should convert a mono file to stereo in order to use the Stereo FX on the insert channel.

After launching the plug-in, try the “Factory” presets. These 82 presets provide a good starting point to create and save your own additional presets. This way you can capture, and easily recall, your signature guitar sound.

Also, each knob (pot) on the amp has a global default setting (not related to a particular preset). To reset a knob to the default position on a Mac, press Apple + click on the knob; on a PC, press Alt + click on the knob.

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FRONT PANEL

Power:

Turns the amp plug-in on and off

FX:

Displays the effects panel (FX Rack)

A/B:

This control switches between the A and B banks of amp simulations. This switch basically provides two different sounds for each amp simulation in the menu below.

Amp Simulations Menu:

This menu is visible below the Power, FX and A/B switches. It appears as a small box displaying the name of the currently selected amp. Clicking this box displays a drop down menu of all amp choices, plus a Bypass option. Clicking on an amp name selects that amp simulation. Also, for each amp simulation two sounds are available via the A/B switch.

Amp Simulations:

- Classic Lead 4x12 A

- Classic Lead 4x12 B

- Classic Lead 4x12 C

- Modern Lead 4x12 A

- Modern Lead 4x12 B

- Modern Lead 4x12 C

- Combo A 1x12

- Combo B 2x12

- Combo C 2x12

- Tweed A 1x12

- Tweed B 2x12

- Tweed C 2x12

- Super Lead 4x12 A

- Super Lead 4x1

- Super Lead 4x12 C

- Rectified Lead 4x12 A

- Rectified Lead 4x12 B

- Rectified Lead 4x12 C

- BYPASS

Master:

Controls the overall output level of the amp

Presence:

Controls the clarity of the amp tone. Adjust the Presence in conjunction with the Treble for the desired high-end sound.

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Treble:

Adjusts the high frequencies in the amp tone

Middle:

Adjusts the middle frequencies in the amp tone

Bass:

Adjusts the low frequencies in the amp tone

Reverb:

Controls the amount of reverb added to the signal; increase the reverb to simulate a larger “room size”

Drive:

Controls the gain added by the “preamp” section of the amp; overdrive

Input:

Switches the instrument cable between High and Low input level jacks; this effect gives a slight input boost; the effect is more noticeable in conjunction with the lower Drive settings (<50)

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FX RACK

To turn on each effect, click the “on/off” toggle switch in the corresponding effect section.

The following sections describe each effect section individually.

Stereo Imager:

Width Meter:

Graphically displays the spread of the stereo image.

Width:

Controls the audible width of the stereo image. Turning the knob to the right widens the stereo image; turning the knob to the left brings the image back toward the center of the stereo field. To enable the effect, click the “on/off” toggle switch.

Close:

Closes the FX Rack and returns to the Front Pane

Equalizer:

Low Gain:

Controls the gain of the low frequencies; the specific (center) frequency may be selected using the knob to the right

(50-600Hz)

Bandwidth:

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Adjusts the width of the frequency band around the center frequency; increasing the Bandwidth widens the range of frequencies adjusted by the Low Gain control; decreasing the Bandwidth creates a narrow range of frequencies adjusted by the Low Gain control

Mid Gain:

Controls the gain of the middle frequencies; the specific (center) frequency may be selected using the knob to the right

(400Hz-4Khz)

Bandwidth:

Adjusts the width of the frequency band around the center frequency; increasing the Bandwidth widens the range of frequencies adjusted by the Mid Gain control; decreasing the Bandwidth creates a narrow range of frequencies adjusted by the Mid Gain control

Hi Gain:

Controls the gain of the high frequencies; the specific (center) frequency may be selected using the knob to the right

(2-12khz)

Bandwidth:

Adjusts the width of the frequency band around the center frequency; increasing the Bandwidth widens the range of frequencies adjusted by the Hi Gain control; decreasing the Bandwidth creates a narrow range of frequencies adjusted by the Hi Gain control

Compressor:

Pre/Post:

Determines where the compressor is positioned in the signal chain; “Pre” places the Compressor at the input stage of the amp; “Post” places the Compressor after the pre-amp stage (i.e., after the Drive), as if inserted in the Send/Return loop

Attack:

Controls how fast the compressor decreases the signal level after it exceeds the threshold; range: 0.2mS – 200mS

Release:

Controls how fast the compressor stops decreasing the signal level after it drops below the threshold; range: 0.05 sec. – 5 sec.

Threshold:

Adjusts the threshold for the compressor; threshold is the level at which the compressor begins to decrease the signal level; turning this knob to the right causes more of the signal to be compressed; range: –59dB – 0dB

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Ratio:

Controls how drastically the compressor decreases a signal level that exceeds the threshold; range: 1:1 – 10:1. For example, with a 10:1 ratio, every 10dB increase in input level above the threshold yields only a 1dB increase at the compressor’s output.

Make Up:

Increases or decreases the overall output level of the compressor; for instance, additional level may be added back to a signal that lost level as a result of compression; range: –20dB – 20dB

Gain Reduction Meter:

Displays the reduction in signal level as a result of compression; range: 0db – 30dB

Noise Gate:

Pre/Post:

Determines where the noise gate is positioned in the signal chain. “Pre” places the Noise Gate at the input stage of the amp; “Post” places the Noise Gate after the pre-amp stage (i.e., after the Drive), as if inserted in the Send/Return loop.

Attack:

Controls how fast the gate opens after a signal exceeds the threshold. Short attack settings avoid cutting off the beginning of transient signals. Range: 10 microSeconds – 200 milliSeconds

Release:

Controls how fast the gate closes after the signal drops below the threshold and the Hold time expires; range: 5ms – 4 sec.

Threshold:

Adjusts the threshold for the noise gate. Threshold is the level above which a signal opens the gate. If signals do not have more level than the threshold, then the gate stays closed. Turning this knob to the right raises the threshold. Range:

-90dBfs - ∞

Hold:

Determines how long the gate remains open after the signal level drops below the threshold and before the Release begins. Range: 2mS – 2 sec.

Range:

Controls the output level of a signal whose input level is below the threshold (i.e., the output level while the gate is closed). Turning the knob to the right decreases the output level of a signal below the threshold. Range: 0dB to –90dB

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Noise Gate Meter:

Displays the status of the gate. Green = gate is opened; red = gate is closed; yellow = gate is either opening or closing.

Tremolo:

Center/Pan:

Toggles between a standard tremolo effect (in the center of the stereo field) and an auto-pan effect

Speed:

Controls how fast the effect cycles through level changes. Turning the knob to the right creates faster cycle speed.

Depth:

Controls the variation between high levels and low levels in tremolo cycles

Modulator:

Chorus/Phaser:

Toggles between a chorus effect and a phaser effect

Speed:

Controls how fast the effect cycles through level changes. Turning the knob to the right creates faster cycle speed.

Depth:

Controls the variation between high levels and low levels in effect cycles

Mix:

Adjusts the proportion of dry signal to wet (effect) signal

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Delay:

Time:

Controls the amount of time between the original signal and the delayed signal

Feedback:

Determines how much the delayed signal is repeated.

Width:

Controls the amount of “ping-pong” delay effect. The individual repeats alternate between the Left and Right channels.

Turning the knob to the right increases the separation between the alternating delays.

Mix:

Adjusts the proportion of dry signal to wet (delayed) signal.

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MAGNETIC Reel-to-Reel Audio Tape Warmer

Nomad Factory introduces MAGNETIC, a Reel-to-Reel Audio Tape Warming effect that gives your tracks the elusive vintage tape sound which your ears crave. This effect can inject sterile audio with the warmth and character of classic tube circuitry and analog tape saturation.

The plug-in features pure analog reel-to-reel tape speeds, tape/tube saturation and tape color effects, as well as a dedicated vintage style EQ and a built in Boost mastering section. The result is a creamy, warm sound that can only be achieved by MAGNETIC.

MAGNETIC CONTROLS

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Reel Speed:

This knob controls the speed of the virtual tape machine. Higher speeds give you more studio-quality fidelity; lower speeds sound more like a cassette tape. The DASH setting gives you the highest-fidelity of digital audio tape predominately used in the 80’s and 90’s.

Saturation:

This knob gives different levels of tube and/or tape saturation effects. Recreates the warmth and character of classic tube circuitry and analog tape saturation.

Tape Color:

This knob provides the highly sought-after sound of Natural, Vintage and Modern Tape Compression.

Lows:

This Knob controls the amount of low frequency equalization. Select the boost/cut frequency range with the Body,

Warm, and Lush Settings.

Highs:

This knob controls the amount of high frequency equalization. Select the boost/cut frequency range with the Detail,

Focus and Brilliance Settings.

Boost:

This button switches on/off the built-in Mastering Limiter section. This incorporates multiple stages of limiting and a look-ahead brickwall limiter to deliver first-class peak reduction. Adjust the Gain and Ceiling Knobs to achieve High-

Resolution Limiting.

Gain:

This knob sets the threshold for the incoming signal. Higher settings result in a louder sound.

Ceiling:

This knob sets the brickwall output level so that it limits all peaks above the number it is set to.

V/U Meter:

Shows the amount of limiting taking place when the Boost is engaged.

Power:

Bypasses the entire unit.

Reset Button:

Unlike the rest of Nomad Factory plug-ins, Magnetic has a Reset button instead of a Utility button at the top of the GUI.

The Reset Button recalls the knob settings of the currently loaded preset. So if you load a preset and make changes to it, the Reset Button will bring you back to the original settings of the loaded preset.

ECHOES – Analog Echo Box

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DISCLAMER *All product names used below are trademarks of their respective owners which are in no way associated or affiliated with Nomad

Factory. These trademarks of other manufacturers are used solely to identify the products of those manufacturers whose tones and sounds were studied during Nomad Factory’s sound model development.

Nomad Factory is proud to introduce Echoes, a new Analog Echo Box plug-in designed to give you the warmth and richness of classic vintage delay effects. Echoes faithfully models the greatest delay effects of all time, PLX-1 based on*

Echoplex® 1, PLX-3 based on* Echoplex 3, OILCAN based on* Tel-Ray® Oilcan Delay, EXH-DM based on* Electro

Harmonix® Deluxe Memory Man, and ADM-2 based on* Boss® DM-2 Analog Delay.

Echoes not only sounds amazing, but it is designed to be very easy to use. Unlike many other delay plug-ins that have dozens of unnecessary knobs and confusing parameters, Echoes has captured the essence of the original effects by keeping it simple. With the turn of a few knobs, the plug-in delivers musical results and instant analog delay satisfaction!

ECHOES - Control

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Echo Time:

20 to 2000ms of analog delay.

Sync Switch:

Locks the echo time to your master tempo

Stereo / Ping-Pong:

Center position of the knob gives you stereo echoes.

Turn the knob left to create a Ping-Pong delay effect that goes from left to right.

Turn the knob right to create a Ping-Pong delay effect that goes from right to left.

Echo Mode (Red Knob):

Selects from 5 classic analog delay effects all in one plug-in.

PLX-1: Based on* Maestro Echoplex 1

The original Tube-based tape delay effect

PLX-3: Based on* Maestro Echoplex 3

Transistor-based tape echo

OILCAN: Based on* Tel Ray Echo

Tapeless Oilcan delay/echo

EXH-DM: Based on* Electro Harmonix Deluxe Memory Man

The most in-demand analog delay pedal ever built

ADM-2: Based on* Boss DM-2

Analog delay pedal from the early 80's

Unique Parameters (3 Black Knobs):

Depending on which Echo Mode you have selected, The 3 additional preset knobs above will change according to the currently selected mode. Each set of parameters is specific to the Echo Box that is being modeled. For example:

PLX-1 is modeled after the original *Echoplex-1 which used tubes, so there is a drive parameter knob available. The

PLX-3 is modeled after the *Echoplex-3 which used transistors instead of tubes, giving it a much cleaner sound, hence the bass and treble parameter knobs above and no drive.

PLX-1 : Wow & Flutter, Drive and Echo Level

PLX-3 : Bass, Treble and Echo Level

EHX-DM : Mod Speed, Mod Depth and Echo Level

OILCAN : Tone, Variation and Echo Level

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ADM-2 : Bass, Treble and Echo Level

Repeats:

Controls the feedback amount of the delay effect.

Mix:

Controls the balance of the wet /dry signal.

Vintage Switch:

Give your delays that vintage analog sound by filtering the repeats.

Stereo Width:

Move the slider up to increase the width of the delay. Lower the slider to achieve true mono echo.

Input and Output:

Dedicated volumes for in and out.

Magnetic II - Reel to Reel Audio Tape Warmer

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The plug-in features pure analog reel-to-reel tape speeds, tape/tube saturation and tape color effects, as well as a dedicated vintage style EQ and a built in Boost mastering section. The result is a creamy, warm sound that can only be achieved by MAGNETIC II.

Never before has such a great sounding plug-in effect been so easy to use! At first touch, the plug-in’s interface is modern, simple, and extremely user-friendly which instantly allows you to dial in usable sounds.

MAGNETIC II can be used in many different musical ways. Try using it on individual tracks to add subtle warmth and tape color to your drums or use it to create a filtered cassette AM-radio effect on a vocal. But that’s not all… when used on the master bus, MAGNETIC II can warm your entire mix and “boost” it up to broadcast level. It’s just like having a 30+ year old reel-to-reel tape machine at your fingertips, without all the maintenance costs.

NEW FEATURES OF MAGNETIC II:

- We included 9 TAPE MODELS that give you the authentic sound of the famous vintage tape machines:

* Otari MX-80 2-inch 24-track

* Otari MTR-90 2-inch 24-track

* Ampex MM1200 2-inch 24-track

* Ampex ATR-102 half-inch two-track

* Tascam ATR60-16 1-inch 16-track

* Studer A80 Mk II 2-inch 24-track

* Studer A827 2-inch 24-track

* Studer A820 2-inch 24-track

* MCI JH24 2-inch 24-track

REAL TAPE MODEL Mode:

To engage the new Real Tape Model mode, simply turn the Reel Speed knob between 1 and 30 and it will activate the selector buttons on the left.

Wow & Flutter Knob:

Turning the Reel Speed knob between 1 and 30 also activates the Wow & Flutter knob which gives you the irregularities in the playback speed of analog recordings

Magnetic Tape Color:

When the Reel Speed knob is set to DASH, this engages the original Magnetic Tape-Color sound. Any other Reel Speed

Knob setting allows you to select between different Tape Model modes, including Magnetic.

MAGNETIC II CONTROLS:

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REEL

SPEED controls the speed of the virtual tape machine. Higher speeds give you more studio-quality fidelity; lower speeds sound more like a cassette tape. The DASH setting gives you the highest-fidelity of digital audio tape predominately used in the 80’s and 90’s.

SATURATION gives different levels of tube and/or tape saturation effects. Recreates the warmth and character of classic tube circuitry and analog tape saturation.

TAPE COLOR provides the highly sought-after sound of Natural, Vintage and Modern Tape Compression.

LOWS controls the amount of low frequency equalization. Select the boost/cut frequency range with the Body, Warm, and Lush Settings.

HIGHS control the amount of high frequency equalization. Select the boost/cut frequency range with the Detail, Focus and Brilliance Settings.

BOOST switches on/off the built-in Mastering Limiter section. This incorporates multiple stages of limiting and a lookahead brickwall limiter to deliver first-class peak reduction. Adjust the Gain and Ceiling Knobs to achieve High-

Resolution Limiting.

GAIN sets the threshold for the incoming signal. Higher settings result in a louder sound.

CEILING sets the brickwall output level so that it limits all peaks above the number it is set to.

VU METER shows the amount of limiting taken place when the Boost circuit is engaged.

REEL TAPE MODELS give you the color of the famous vintage tape machines. To engage the new Tape Model mode, simply turn the Reel Speed knob between 1 and 30 and it will activate the selector buttons on the left.

WOW & FLUTTER appears when the Tape Mode is engaged by turning the Reel Speed knob between 1 and 30. Wow &

Flutter gives you the irregularities in the playback speed of analog recordings.

POWER bypasses the entire unit

- Usage and Tips:

Magnetic is designed to be used as an “insert” type effect and should be configured into the effects chain in series with the signal path the same way a graphic equalizer or limiter would be connected. In other words, the entire signal should pass through the plugin. Setting up Magnetic as an echo send or “AUX” device like a digital reverb is not recommended, as the processed effect is not fully realized when summed with the original source audio.

COSMOS - Harmonic Exciter and Sub Generator

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Description:

Nomad Factory is proud to unveil COSMOS the latest addition to its catalog of professional studio effects. COSMOS is the ultimate tool for sonic enhancement and low-end fattening that will elevate the sound of your tracks to soaring new heights.

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This audio sweetening plug-in faithfully emulates legendary audio hardware that is used in professional studios worldwide. COSMOS can be used in virtually any

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application:

- Embellish a recording or enhance single instrument

- Harmonically excite an entire mix

- Enhance any TV/Film Post-Production project

- Improve the sound of a Broadcast/Podcast

Naturally, COSMOS excels in the recording studio whether you need lead vocals to pop out more in a mix or boost the low end of a bass guitar. The plug-in is especially useful when placed on the mix bus to enhance an entire mix.

Engineers have been using comparable hardware for decades and now

COSMOS delivers the same sonic signature that can be found on countless hit records and award-winning productions.

COSMOS is designed to improve clarity and punch without increasing gain, which results in a more balanced sound. The plug-in uses harmonic enhancement instead of traditional EQ boosting to bring out desirable frequencies in your audio material. COSMOS works great to improve the sound quality of any audio source, including compressed mp3 files, podcasts and voiceover work.

COSMOS also features a tunable synth sub-generator that can give your audio a huge boost in the low frequency department. For years, audiophiles have used this secret technique to fatten bass parts, kick drums and give mixes a thunderous bottom end. COSMOS’ built-in limiter and imaging add an extra dimension of control and stereo enhancement.

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COSMOS CONTROLS:!

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Input:

Shows the level of the input signal.

Output:

Shows the resulting output level of the plug-in.

Sub-Bass Tuning:

Dials in the frequency of the synth sub generator.

Sub-Bass Drive:

Boosts the drive amount of sub bass.

Bottom Drive:

Increases the drive of the bottom frequency shelf (less than ~600Hz)

Exciter Drive:

Increases the drive of the upper frequency shelf (above ~600Hz)

Limiter On/Off Switch:

Turns On/Off the built in limiter.

Limiter Gain:

Boosts the gain of the limiter without clipping the signal.

Stereo Imaging:

Widens and enhances the stereo field of the signal.

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