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2.3. System Requirements

Modern computers are powerful enough to run many plugins at once. However, our tech-
nology requires more resources than algorithm-based software. Please, consider optimiz-
ing your system to work with high CPU loads and low audio latency.

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Summary of Contents for IVORY5

Page 1: ......

Page 2: ...in 6 Operation 7 IVORY5Equalizers 7 IVORY5 IAE 2 Mastering Equalizer 7 IVORY5 IAE 3 Mastering Stereo Equalizer 9 IVORY5 Compressors 36 IVORY5 MAC 2 Mastering Compressor 36 IVORY5 MAC 3 Mastering Multiband Compressor 38 IVORY5DynamicEqualizers 44 Ivory5 MAL 2 Limiter 52 Technical support 54 Troubleshooting and bug report 54 Copyrightsandcredits 54 1 ...

Page 3: ...st converters and cables available we meas ured the mastering unit in excellent conditions and employed skilled experts in the sam pling process using our self developed sampling application Now you have one of the best high quality professional audio software plugins in your audio workstation We spend countless hours developing these no compromise plug ins to give you only the best sound and feel...

Page 4: ...VORY5_IAE 2 Mastering Equalizer IVORY5_IAE 3 Mastering Stereo Equalizer IVORY5_MAC 3 Mastering Multiband Compressor IVORY5_IAE 4 Mastering Dynamic Equalizer IVORY5_IAE 5 Mastering Dynamic Stereo Equalizer IVORY5_MAL 2 Mastering Limiter 3 ...

Page 5: ...uggest not to overload the input trim knob of your music This way you will avoid any unwanted distortion or unpredictable behavior due to excessive input levels 2 2 Product download installation and authorization When you purchase a product from our webshop the registration is automatic Your newly purchased product can be downloaded via the Aquarius application our dedicated appli cation for macOS...

Page 6: ...dern computers are powerful enough to run many plugins at once However our tech nology requires more resources than algorithm based software Please consider optimiz ing your system to work with high CPU loads and low audio latency ...

Page 7: ...size for each plugin and helps reduce the CPU and system load of your computer significantly We recommend that you use a ZL instance when tracking Basically both plugin instances are identical but the current Acqua engine can work either with or without an audio buffer The idea behind a ZL instance is to give you the option to run an Acqua Effect with minimal latency which is useful for tracking o...

Page 8: ...1 IVORY5 IAE 2 Mastering Equalizer This plug in is carefully crafted to provide an equalizer with a great sonic character and high performance Ivory5 IAE 2 provides four separate equalizer sections with EQ in out for each channel All sections are switchable between shelving five different peaking responses The Preamp section adds extra harmonics to this Eq and can be switched off to use in a chain...

Page 9: ... in Each band is controlled independently by an identical set of controls sections are Low Fre quency 1 Low Frequency 2 High Frequency 1 and High Frequency 2 each section has controls for Q frequency cut boost Parametric Bands Q Available values for the Q are shelf 4 6 9 14 and 20 although these vary depending on gain and bandwidth selection Frequencies Here the list of available frequencies for e...

Page 10: ...controls It is equipped with the same controls as Ivory5 EQ IAE 2 and other features Ivory5 EQ Stereo version is comprised of 2 different channels LEFT RIGHT engaging M S mode the LEFT channel becomes the MID M channel and the RIGHT channel becomes the SIDE S channel M S This button allows you to choose the LEFT RIGHT or the MID SIDE configuration of the plug in IVORY5 IAE 3 The stereo equalizer ...

Page 11: ...IGHT meter measures the OUTPUT level of the plugin IVORY3 STEREO IAE 3 DETAILS Here s a fairly common processing in mastering push the M S button of the IVORY3 STEREO plugin to activate this mode The Left and Right Channels A B become respectively the Mid and Side components M S of the signal Decrease the LOW range of frequency under 100 200 Hz and High range of frequen cy above 10 15 KHz of the S...

Page 12: ...LOW FREQ Gain 8 4 2 0 2 4 8 Frequency 19 Hz Q shelf Gain 8 4 2 0 2 4 8 Frequency 19 Hz Q 20 11 ...

Page 13: ...Gain 8 4 2 0 2 4 8 Frequency 19 Hz Q 12 Gain 8 4 2 0 2 4 8 Frequency 19 Hz Q 4 12 ...

Page 14: ...Gain 8 4 2 0 2 4 8 Frequency 98 Hz Q shelf Gain 8 4 2 0 2 4 8 Frequency 98 Hz Q 20 13 ...

Page 15: ...Gain 8 4 2 0 2 4 8 Frequency 98 Hz Q 12 Gain 8 4 2 0 2 4 8 Frequency 98 Hz Q 4 14 ...

Page 16: ...Gain 8 4 2 0 2 4 8 Frequency 530 Hz Q shelf Gain 8 4 2 0 2 4 8 Frequency 530 Hz Q 20 15 ...

Page 17: ...Gain 8 4 2 0 2 4 8 Frequency 530 Hz Q 12 Gain 8 4 2 0 2 4 8 Frequency 530 Hz Q 4 16 ...

Page 18: ...LOW MID FREQ Gain 8 4 2 0 2 4 8 Frequency 21 Hz Q shelf Gain 8 4 2 0 2 4 8 Frequency 21 Hz Q 20 17 ...

Page 19: ...Gain 8 4 2 0 2 4 8 Frequency 21 Hz Q 12 Gain 8 4 2 0 2 4 8 Frequency 21 Hz Q 4 18 ...

Page 20: ...Gain 8 4 2 0 2 4 8 Frequency 108 Hz Q shelf Gain 8 4 2 0 2 4 8 Frequency 108 Hz Q 20 19 ...

Page 21: ...Gain 8 4 2 0 2 4 8 Frequency 108 Hz Q 12 Gain 8 4 2 0 2 4 8 Frequency 108 Hz Q 4 20 ...

Page 22: ...Gain 8 4 2 0 2 4 8 Frequency 572 Hz Q shelf Gain 8 4 2 0 2 4 8 Frequency 572 Hz Q 20 21 ...

Page 23: ...Gain 8 4 2 0 2 4 8 Frequency 572 Hz Q 12 Gain 8 4 2 0 2 4 8 Frequency 572 Hz Q 4 22 ...

Page 24: ...Gain 8 4 2 0 2 4 8 Frequency 617 Hz Q shelf Gain 8 4 2 0 2 4 8 Frequency 617 Hz Q 20 23 HIGH MID FREQ ...

Page 25: ...Gain 8 4 2 0 2 4 8 Frequency 617 Hz Q 12 Gain 8 4 2 0 2 4 8 Frequency 617 Hz Q 4 24 ...

Page 26: ...Gain 8 4 2 0 2 4 8 Frequency 3 3 kHz Q shelf Gain 8 4 2 0 2 4 8 Frequency 3 3 kHz Q 20 25 ...

Page 27: ...Gain 8 4 2 0 2 4 8 Frequency 3 3 kHz Q 12 Gain 8 4 2 0 2 4 8 Frequency 3 3 kHz Q 4 26 ...

Page 28: ...Gain 8 4 2 0 2 4 8 Frequency 24 kHz Q shelf Gain 8 4 2 0 2 4 8 Frequency 24 kHz Q 20 27 ...

Page 29: ...Gain 8 4 2 0 2 4 8 Frequency 24 kHz Q 12 Gain 8 4 2 0 2 4 8 Frequency 24 kHz Q 4 28 ...

Page 30: ...Gain 8 4 2 0 2 4 8 Frequency 665 Hz Q shelf Gain 8 4 2 0 2 4 8 Frequency 665 Hz Q 20 29 ...

Page 31: ...Gain 8 4 2 0 2 4 8 Frequency 665 Hz Q 12 Gain 8 4 2 0 2 4 8 Frequency 665 Hz Q 4 30 ...

Page 32: ...Gain 8 4 2 0 2 4 8 Frequency 3 6 kHz Q shelf Gain 8 4 2 0 2 4 8 Frequency 3 6 kHz Q 20 31 HIGH FREQ ...

Page 33: ...Gain 8 4 2 0 2 4 8 Frequency 3 6 kHz Q 12 Gain 8 4 2 0 2 4 8 Frequency 3 6 kHz Q 4 32 ...

Page 34: ...Gain 8 4 2 0 2 4 8 Frequency 27 kHz Q shelf Gain 8 4 2 0 2 4 8 Frequency 27 kHz Q 20 33 ...

Page 35: ...Gain 8 4 2 0 2 4 8 Frequency 27 kHz Q 12 Gain 8 4 2 0 2 4 8 Frequency 27 kHz Q 4 34 ...

Page 36: ...35 PREAMP Press the PRE IN button to activate the PREAMP It is characterized by a relatively low harmonic distortion This preamp gives the tone color of the original hardware modelled in IVORY5 EQ ...

Page 37: ...efault and it s equipped with the following controls Controls BYP By pushing this button the compressor is bypassed SC button This button engages the external side chain of the compressor OVER led This led shows the peak clipping CLIPPER Push this red button to engage the clipper of the plugin it helps to raise the overall volume retaining the perceived shape of the transients emulating the analog...

Page 38: ...0 GAIN REDUCTION METER Measures the reduction level applied by compressor The meter indicates 0 in the absence of an input signal or any gain reduction If the signal exceeds the compression threshold or limit level the amount of gain reduction is shown INPUT OUTPUT METERS Measure the input and output levels of the plug in Input Trim A one knob internal gain structure control linking the input and ...

Page 39: ... be al tered The outputs of the compressors are then re combined and fed to the outputs The frequency band compressors have separate controls so that different parts of the au dio spectrum can be adjusted and tuned The original device as with this plugin is usually used to compress up to 8 dB especially for mastering in our opinion we believe that it s the correct way to use it nevertheless Acusti...

Page 40: ...for the amount of compression that you want CLIPPER OVERFLOW DRY WET EXP Controls are included in this plugin operation details in the previous chapter Ivory5 Comp single band BAND CONTROLS IN Press this button for each band to activate the compressor ATTACK This knob sets the compressor s attack time Ranges from 1 mS fast to 200 ms slow RELEASE This knob sets the compressor s release time that ra...

Page 41: ... by two separate Left Right knobs before it reaches the compressor input Please note this plugin doesn t have an input trim so each time the input level is altered the output level of the signal must be manually re adjusted with the OUTPUT knob ranging from 10 to 10 dB The finest accuracy of intervention is achieved by choosing a suitable crossover frequency FILTER knob These are passive 6 dB octa...

Page 42: ...Ratio 1 1 Ratio 1 4 41 ...

Page 43: ...Ratio 1 6 Ratio 2 42 ...

Page 44: ...Ratio 3 Ratio 6 43 ...

Page 45: ...is bundle IVORY5 EQ and IVORY5 COMP merged in a single plugin The pack also includes the STEREO version of it The outcome of this fusion is an incredible Dynamic EQ the second one based on sam pling and FIR filters characterized by several important features IVORY5 DYN EQ consists of four sections EQ A EQ B sidechain EQ COMPRESSOR C DYNEQ D These sections included in both version below a resume ta...

Page 46: ...IVORY5 IAE 4 The dynamic equalizer IVORY5 IAE 5 The dynamic stereo equalizer 45 ...

Page 47: ...he spectral character of the audio signal in a fixed static fashion A multiband processor such as our IVORY5 DYN EQ can do both at the same time It can be used like a filter that isn t just set to a specific gain level but that is able to dynamically change its gain settings depending on the signal just like a compressor The audio market usually offers complex tools that can be potentially destruc...

Page 48: ...he Range knob lets you easily adjust the maximum amount of applied dynamic equaliza tion This control sets the global active range of the dynamic equalization so depending on Eq1 settings prevalence of boosts or cuts it determines how much spectral gain increase or reduction is applied to the input signal The Range control is therefore strictly dependent on the threshold parameter The latter sets ...

Page 49: ... input signal if in internal sidechain mode or from an ex ternal signal routed to input channels n 3 4 if EXT SIDECHAIN is selected Pushing Dynamic EQ The signal is dynamically processed using the EQA EQB and COMP settings as indicated above INPUT OUTPUT METERS Measures the input and output levels of the plugin GAIN REDUCTION METERS Measure L R the reduction level applied by compressor The meter i...

Page 50: ...s the Dynamic Eq PRE This button activates the preamp of the plug in the same preamplifier circuit emulation of IVORY5 EQ standalone version RATIO This control allows you to choose among 3 different ratios more details in the MAIN FEA TURES chapter above ATTACK Sets the compressor s attack time ranging from 0 5 mS fast to 50 mS slow SC This button enables the external sidechain of the plug in more...

Page 51: ...A as desired and activate the preamp stage if need be EQ A OUTPUT is an output gain control and it is used as a final master volume control 2 COMPRESS YOUR TRACK AND USE THE SIDECHAIN Compress your track using the dynamic processor module of Dyn Eq in internal sidechain mode activating IN button of EQB module or external sidechain mode activating IN but tons of EQB and pushing SC button The input ...

Page 52: ...reat choice for de essing use our PRESETS Here s an interesting usage apply a Reverb to a Voice track via a Send bus insert an instance of IAE 4 in external sidechain mode after the Reverb processor send a signal from the Voice track also to the SC input of IVORY5DYNEQ cut the mid frequencies creating a sort of smile curve the voice suddenly jumps in front of the mix but the Reverb is still presen...

Page 53: ...onding button set the LOW SHELF control to cut the 150Hz region similarly cut some high frequencies as well starting say from 12kHZ adjust the compressor to taste the final result is a more controlled stereo field yet the process is extremely transpar ent and dynamically involving Ivory5 Dyn EQ Stereo includes PRESETS 3 4 Ivory5 MAL 2 Limiter The Acustica Audio team would like to surprise you here...

Page 54: ...e preset output level might slip through the processor before the gain control cir cuit is able to react to the situation This is the reason why in the original device some clippers are strategically placed in the circuit in order to take care of those unruly offenders Despite being in the digital domain we decided to maintain this behaviour with a view to preserving the analogue flavour of this l...

Page 55: ...ent part of the frequency range LF and HF LF THRESHOLD Sets the input level and as a consequence the operating range of the first limiter range 20 dB to 20 dB HF THRESHOLD Sets the input level and as a consequence the operating range of the second optional limiter range 20 dB to 20 dB SOA Overflow LED Wideband LF limiter The SOA Safe Operating Area Overflow LED warns about possible clipping and un...

Page 56: ...ational copyright laws The information contained on our website may not be downloaded modified distributed uploaded or otherwise used without the express written consent of Acusticaudio S r l Acustica Audio is a trademark of Acusticaudio s r l 55 TIP This is the suggested manner of use of this limiter first choose between one or two band operation then adjust the Threshold control s until you reac...

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