Valve saturation

Thermionic Culture VultureINTRODUCTIONFor more than fifteen years, this British-made, high-gain valve unit has provided a palette of vivid distortion colours; from sublime thickening textures to demonic growls of perverted mayhem!KEY FEATURESDial-in rich harmonic content with three diverse valve topologiesSubtly colour or utterly destroy existing tracks, buses, or an entire mixValve ModesThe triode and pentode settings have different saturation characteristics.The ‘T’ setting generates more second order harmonics and is the cleanest, smoothest, and sweetest mode. Great for adding tube warmth to signals without obvious distortion.The ‘P1’ is the most popular setting, it generates more third order harmonics and provides a harder, more edgy sound.The ‘P2’ setting has a particularly aggressive sound. It can produce some of the most unusual and over-the-top effects such as frequency doubling, gating, and stuttering.BiasModifying the bias significantly affects the saturation characteristics of the Culture Vulture. To achieve the cleanest sound, set the bias so the Meters register around 0.25-0.3mA.Increasing bias current will produce a thicker, rounder tone with more harmonic distortion. At higher bias currents, the cathode is over-fed and outputs rich and fat distortion.If bias current is decreased below 0.3mA, the unit will produce a cleaner and thinner sound. At the lowest bias settings, the cathode is starved and the signal collapses more easily, creating a gated, stuttering effect.MetersThe meters of the Culture Vulture are often confused to be typical VU meters; however, the meters actually depict the current flowing through the input valves and the ‘Bias’ control adjusts this current. Current setting for lowest saturation is at 0.25-0.3mA.Output StageAn Output setting around 8-9 will provide the cleanest output. Increase this setting for higher output valve saturation.TECHNIQUESThe ‘P1’ setting will simulate analogue tape saturation at approximately 0.4mA current reading on the meter.Considerable distortion settings combined with filtering can modify a sine wave into a triangle or sawtooth waveform; this technique can sound very pleasing on synth bass and synth sounds.When the input valves of the Culture Vulture are ‘starved’, the sound becomes thin and loses its body. If the bias approaches 0mA, the unit will only allow the peaks of the signal through. This has a ‘gated’ effect and sounds great on drums. Conversely, if the bias is ‘overfed’ the sound becomes fatter and more rounded.The ‘P2’ setting reacts strangely to decreasing bias and with just the right amount of signal level will cause a frequency-doubling effect to occur. A bias of 0.15mA to 0.2mA

Full Description View Full DescriptionFully-featured classic SSL compressorNo half-measures taken, the X-ValveComp doesn't give you a taste of the sound that made SSL consoles so famous, it gives you the full gamut. Providing an exhaustive range of controls, the X-ValveComp includes ratio, knee and threshold along with envelope shaping with attack, release and hold controls, making it simple to dial in your compression to your audio source. Whether it's a fast and punchy drum shell or a more slow and sustaining vocal note, you can find the perfect amount of dynamic control with the included controls. A neat feature within the X-ValveComp is the RMS/Peak switch. With this control, you can adjust the response of your dynamic compression to target either the loudest peak source in your audio or the most common loudness level. Perfect for tailoring to different types of instruments and their transient response. Stay on Peak mode for transient-heavy instruments which come and go quickly in your session including drum shells and switch to RMS mode for more consistent instruments such as a bass guitar or even keyboard. A dedicated Sidechain section includes low and high-pass filters and a Listen button to hear the sidechain source isolated. Perfect for creating space between two conflicting instruments such as a bass drum and bass guitar to let each bloom and duck, a common technique used in electronic music production for more consistent and clear low-end. The compressor you know, with added gritWhere traditional compressors stop, the X-ValveComp keeps pushing. Designed with an added valve emulation after the compression stage, the X-ValveComp makes it simple to add enhanced harmonic excitement to any track. With many practical applications, the introduction of the valve emulation pairs perfectly with rock vocals. Where additional cut, grit and power are needed to cut through a dense rock mix, compressing vocals is a must to maintain consistency, add in the valve emulation and you can make your vocals jump out of a speaker and take to the forefront. Not only suited for vocals, but you can also try your hand pairing it with distorted rhythm guitars or synthesizers to add something extra which helps them to gel into a mix without needing to reach for any additional plug-ins. A must-have studio essentialFor such a vital studio tool, only the best will do. Known around the world for its punchy sound and 'glueing' characteristics, the SSL Native X-ValveComp lets you harness the sound of console-grade processing in your DAW. The beating heart of all modern productions, dynamics control and compression will let you get closer to a professional sound than you thought you could. The combination of punchy compressor and aggressive harmonic saturation makes this an extremely versatile compressor for just about any audio application or instrument you might find in your sessions. FeaturesSSL console-grade processing in your DAW SSL channel compression with added valve-style tone Valve emulation enhances harmonic saturation to thicken and colour your sound Side-chain input with high and low-pass filtering and side-chain listen

Tube Amp applies asymmetric tube triode overdrive usually found in single-tube microphone pre-amp boxes.The sound this plug-in produces varies from a mild warm overdrive to a fuzzy distortion. Tube Amp also includes a -6 dB/oct low-pass filter that is built-in into plug-in’s valve modeling equation, and can be used to imitate a lower-quality tube triode. Beside that, Tube Amp has a switchable output saturation stage which can be used to additionally overdrive the output signal. It features all standard advanced Voxengo plug-in features like full multi-channel operation, channel routing, built-in oversampling and other functions.Asymmetric tube triode overdrive.Stereo and multi-channel processing.Mid/side processing.Preset manager.Contextual hint messages.Two processing modes.Internal channel routing.Up to 8x oversampling.Undo/redo history.All sample rates support.Additional output saturation stage.Channel grouping.64-bit floating point processing.A/B comparisons.Zero processing latency. Win 32 VST (7.3 Mb) V 2.11 Win 64 VST (7.3 Mb) V 2.11 Mac OSX VST (15.4 Mb) V 2.11 Mac OSX AU (15.4 Mb) V 2.11

You're currently on: Product DescriptionWe Also RecommendSSL and Harrison bring together studio legends from Oxford and Nashville with the Mastering Plug-in Bundle-featuring the Harrison Mastering EQ and SSL X-ValveComp plug-ins.Harrison MASTERING EQThe Mastering EQ has been specifically designed for mastering your mixes and is a must-have for pro audio engineers and enthusiasts alike! The Mastering EQ featuresa revolutionary filter shape that was originally developed for precise speaker management. This means that the resulting curves are perfect for making broad,musical changes to the final tone while maintaining the harmonic balance between the elements of your mix. Unlike ordinary EQs, when two adjacent bands are adjustedthe resulting curve is flat across the band edges, rather than having discrete peaks and valleys. This causes less change in your instrument and vocal character, whileapplying the desired tonal balance to your mix. Managing a powerful full-range EQ has never been so fast and easy!SSL X-ValveCompX-ValveComp is a fully-featured mono or stereo channel compressor with a full set of classic channel compressor controls and an added 'valve' emulation stage. The valve emulation stage sits after the compressor in the signal path and adds a variable degree of primarily 2nd order harmonic saturation and distortion that thickens and colours the sound.The compressor can be switched between Peak or RMS modes and has a full set of controls including; Threshold, Ratio, Knee, Attack, Release and Hold. There are Input and Output Meters with separate kick down compression amount indication and Input and Output Level controls. There's a Gain Make Up control and switched Auto Gain Make Up mode.You may also be interested in: