GUI Switch Button

Switch between “Boomer” and “Producer” modes.

1 – Input module and level

I’m happy to be at around -18 dB … hey, I’m digital, right? So give me some headroom!

Turn the input level knob until the VU meter reaches the top of the green zone. The system has been optimized to operate between -18 dB and -12 dB. The “Stay Here” arrow is set to -16 dB, and the first yellow VU meter to -12 dB. You can, of course, exceed these levels, but if you want to get the best out of your audio chain, stay within this range. As always, trust your ears.

GAIN MATCH: Enable this if you are unsure about the level; this is an automatic gain matching feature that calculates the average between the peak level and the RMS level.

2 – Color

Start with a subtle color; use only this stage if you want to emulate a channel strip

Here are 5 input models… do you really want to ruin the magic and have me tell you what they are? Come on, no way. We’re here to use our ears and our gut, not our eyes and our brains! But I’ll give you a few clues: here you’ll find 3 emulations of British mixers—2 brands and 3 models—then an esoteric tube unit, and finally a lovely tape machine. DRY = BYPASS

3 – Character

This is where things start to get interesting

5 saturation/distortion/euphoria generator models. Use the Character control to modulate the input and adjust the saturation/compression curve for this stage. Use the Color knob to set the intensity and the wet/dry percentage.

4 – Compressor

Could a compression stage be missing? Of course not

Guys: these compressors are your Swiss Army knife, and they sound absolutely brilliant (I’m biased, I know). I can tell you that the two-stage models are extremely rare and almost impossible to find (EMT and Telefunken… OK, I’ve given it away). The other two are timeless classics.

Pump: determines how hard the compressor works. Comp Gain: compensates for your experiments with compression. Be grateful for it and don’t overdo it. Or just go ahead and do it—you’re adults, after all.

5 – Eq

Do I really have to explain what’s going on here? Come on…

As you’ve probably realized, the whole point of this playful little platform is to use your ears, so I’ve been teasing you a bit, but maybe one day you’ll thank me for it. There are NO numerical readings of ANY kind—no gain, no frequency, and so on. Just turn that darn knob, and if it sounds good… well, that’s it. We can treat ourselves to a bit of this every now and then, can’t we?

6 – Delay

A simple delay can have a devastating effect when placed in the right audio chain

DLY COLOR: I can’t quite remember exactly what it does, but I think it makes the sound brighter or darker. Experiment with it in a musical context and find the right setting for the sound you’re looking for.
DLY DRIVE: a saturator after the filter and before the delay.
DLY TIME: When the delay is unlatched from the grid (DLY SYNC), this knob allows you to freely create tight slapbacks or off-beat delays.
DLY SYNC: 1/1, 1/2, 1/4, 1/8, 1/16, triplet, or straight
Feedback: Why a spaceship? To infinity and beyond—the feedback will take you home

7 – Reverb

Are we sure we should just call them “reverbs”?

Here, I’ll continue to deliberately avoid telling you what happens in this module, because that’s part of the fun of shaping the sound. A TIP: Experiment with the reverb model while listening to the entire track with the next module engaged if you want to get creative, especially with synths and unusual vocals. A low-cut and high-shelf EQ will help you position the sound in the mix.

POSITION: Allows you to insert the delay before the reverb, or to have them run in parallel.
IR DROP: I know you’ll love it and will do your best to thank me for this feature: from here, you can add your own IR to give your track an even more personalized touch.

8 – Saturation

“Saturazione” stands for “Saturation”… a bit of national pride, given that back in the 1960s, Italy was among the best at making mixers and delay units

This stage is magical and dangerous—if you want your individual tracks to really stand out in the mix… go for it! This stage acts as a saturator, compressor, and expander. You no longer need those guitar pedal chains you’ve been using up until now! Saturation Drive determines how hard the stage works, while Amount is a dry/wet control.

9 – DA Conversion

Hey, buddy: how many of them let you get that authentic ’90s sound?

I’ve made an exception here: the names will help you understand what the plugin’s output algorithms are referring to. This stage is unusual but extremely useful in certain contexts.

A TIP: If you want to recreate that ’90s hip-hop sound—and more besides—use the Input Color and DA Conversion stages, bypassing the others. You’ll thank me later.

MIX DRY/WET Overall

Use this for a more subtle sound design

OUTPUT

Guys, we’ve done it—we’ve reached the end.

Output gain: You can adjust the numerical value to match the input level with the post-processing output level. COME ON, GUYS, BE SERIOUS: Always match the gain; otherwise, your ears will play tricks on you.

As the final stage, there is also a limiter, which is not intended for regular use but only as a safety net at the output before the signal is sent back to your DAW.