Acustica INDIGO Manual de usuario

1. INTRODUCTION

Thank you for purchasing Indigo. To get the most out of your

new plugin suite, please take the time to read this user man-

ual carefully, to facilitate and ensure a proper understanding

of this plugin suite.

1.1. OVERVIEW

Indigo is a ve-plugin suite that embodies several ‘must

have’ iconic units from different brands that have earned a

reputation as leaders primarily in the eld of high-end mas-

tering.

Indigo suite includes:

- INDIGO STEREO TUBE MASTERING EQUALIZER (EQ1):

A 6-Band all Tube Stereo Equalizer based on a tube circuit

design from the late 60s, handcrafted in Denmark.

- INDIGO STEREO TUBE EQUALIZER (EQ2):

A 3-Band Tube Mastering Stereo Equalizer with ‘Aggres-

sion’, made in the USA

- INDIGO STEREO SHUFFLING PROCESSOR:

A Stereo image processing tool with High-Pass and Low-

pass lters and a Preamp section.

- INDIGO OPTO-COMPRESSOR (MONO):

Dual-Mono Opto-compressor; Features 3 different switch-

able dynamics mastering processors and several preamp

emulations.

- INDIGO STEREO OPTO-COMPRESSOR:

Stereo Opto-compressor features 3 different switchable dy-

namics mastering processors and several preamp emula-

tions, plus all the consolidated controls by Acustica

NOTE: Correspondence of the ‘Indigo product names’ with

the ‘Indigo plugin names’ shown in your DAW:

- INDIGO STEREO TUBE MASTERING EQUALIZER (EQ1): INDIGOEQ

- INDIGO STEREO TUBE EQUALIZER (EQ2): INDIGO TSEQ

- INDIGO STEREO SHUFFLING PROCESSOR: INDIGO SSP

- INDIGO OPTO-COMPRESSOR (MONO): INDIGOCOMP

- INDIGO STEREO OPTO-COMPRESSOR: INDIGOCOMPST

2.1. DOWNLOAD AND AUTHORIZATION

Indigo, and all Acustica Audio products, can be downloaded, installed, and authorized using the

Aquarius desktop application, our dedicated free app for macOS and Windows. When you purchase

a product on the Acustica store, the registration is automatic. For more information, please visit our

website.

Please note: make sure Aquarius is constantly updated to the latest version. If you experience any

issues during the authorization of your products, uninstall the plugin(s) and then re-install them us-

ing the latest version of Aquarius.

2.2. SYSTEM REQUIREMENTS

Modern computers are powerful enough to run many plugins at once. However, our technology re-

quires more resources than algorithm-based software. Please, consider optimizing your system to

work with high CPU loads and low audio latency.

2.3. WHAT IS A “ZL” PLUG-IN

Acustica plugins come in two versions: ZL (zero latency) and a regular version. While the ZL version

does not introduce any latency to your system, the standard version does. This buffer varies in size

for each plugin and helps reduce the CPU and system load of your computer signicantly.

We recommend that you use a ZL instance when tracking. Basically, both plugin instances are iden-

tical, 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 helpful

for tracking or direct monitoring.

NOTE: Please keep in mind that for each plug-in in the Indigo suite we recommend that you cali-

brate your input levels to: -18dBFS = 0dBu.We suggest that you do not overload the input.This

way you will avoid any unwanted distortion or unpredictable behavior due to exces sive input levels.

3. OPERATION

Indigo is packed with an authentic collection of esoteric mastering unit emulations, highly sought-af-

ter by collectors from all over the world. It includes two Stereo Equalizers, a dual-mono Compres-

sor, a Stereo Compressor-Limiter, and a Stereo image processing tool.

3.1. INDIGO STEREO TUBE MASTERING EQUALIZER ( EQ1)

The Indigo EQ features a 6-band Stereo Parametric EQ derived from a rare, all-tube Stereo Master-

ing Equalizer, hand build in Denmark. Probably the most sought-after unit included in this collection.

It is based on a tube circuit designed in the 1960s.

The operating principle is that of frequency-controlled ampliers, a topology that allows a better

global phase linearity. It is a state-of-the-art equalizer built using only the highest quality compo-

nents. Equipped with 22 valves, this equalizer shines on any instrument, but mastering is its spe-

cialty.

3.1.1. STEREO TUBE MASTERING EQUALIZER - Controls

1- Left/Mid Input-Output Meters: Displays the input-output levels (Left/Mid) of the plugin. Range

IN-OUT: -36dB to +0dB.

2- Input Trim (Left Channel): A one-knob internal gain structure control linking the input and out-

put gain stages with an inverse law. The control sets the input level from -24dB to +24dB of the

Left Channel, and it is used to adjust the plugin’s internal level. Note: when the preamp stage is

bypassed (Lamp= OFF), the ‘Input Trim’ mode has no effect. It is possible to increase the harmonic

saturation with this Input trim knob.

3- High Boost band activation button (Left Channel): Activates (Led On) the High Boost band of

the Left Channel.

4- High Boost band – Gain (Left Channel): Approx 1 to +10 dB, according to the selected gain

range (14)

5- High Mid band activation button (Left Channel): Activates (Led On) the High Mid band of the

Left Channel.

6- High Mid band – Gain (Left Channel): Approx 1 to -/+10 dB, according to the selected Boost/

Cut Switch mode (17)

7- High Boost band – Gain (Right Channel): Approx 1 to +10 dB, according to the selected gain

range (21)

8- High Boost band activation button (RightChannel): Activates (Led On) the High Boost band of

the Left Channel.

9- High Mid band – Gain (Right Channel): Approx 1 to -/+10 dB, according to the selected Boost/

Cut Switch mode (23)

10- High Mid band activation button ( Right Channel): Activates (Led On) the High Mid band of

the Left Channel.

11- Input Trim (Right Channel) : A one-knob internal gain structure control linking the input and

output gain stages with an inverse law. The control sets the input level from -24dB to +24dB of the

Right Channel, and it is used to adjust the plugin’s internal level. Note: when the preamp stage is

bypassed (Lamp= OFF), the ‘Input Trim’ mode has no effect. It is possible to increase the harmonic

saturation with this Input trim knob.

12- Right/Side Input-Output Meters: Displays the input-output levels (Right/Side) of the plugin.

Range IN-OUT: -36dB to +0dB.

13- Hi-Cut Frequency range (Left Channel): From 12 to 24 kHz, the rst knob step (OFF) bypass-

es the lter.

14- Hi Boost Gain range switch (Left Channel): To change the gain range/excursion of the Hi

Boost (Left) band, from approx 6dB to 12dB and vice versa.

15- Hi Boost Frequency range (Left Channel): From 8kHz to 24kHz - 6dB or 12dB/Oct ; rst knob

step (OFF) bypasses the band.

16- Hi Mid Q buttons (Left Channel): These buttons (H - M - L) modiy the bandwidth and allows

to change the Hi Mid Q; H=High Q 18dB/Oct, M=medium Q 12dB/Oct, L=low Q 6dB/Oct;

17- High Mid Boost/Cut Switch (Left Channel): This switch changes from boost to cut (and vice-

versa) applied to the indicated center frequency of the High Mid band.

18- Hi Mid Frequency range (Left Channel): From 1KHz - 18KHz; rst knob step (OFF) bypasses

the band.

19- Pre: Activates the preamp stage emulation of the plugin.

20- M/S: This button allows you to enable the MID-SIDE conguration of the plug-in; when by-

passed, the plug-in operates in LEFT-RIGHT mode (default).

21- Hi Boost Gain range switch (Right Channel): To change the gain range/excursion of the Hi

Boost (Left) band, from approx 6dB to 12dB and vice versa.

22- Hi Boost Frequency range (Right Channel): From 8kHz to 24kHz - 6dB or 12dB/Oct ; rst

knob step (OFF) bypasses the band.

23- High Mid Boost/Cut Switch (Right Channel): This switch changes from boost to cut (and

vice-versa) applied to the indicated center frequency of the High Mid band.

24- Hi Mid Frequency range (Right Channel): From 1KHz - 18KHz; rst knob step (OFF) bypasses

the band.

25- Hi Mid Q buttons (Right Channel): These buttons (H - M - L) modiy the bandwidth and allows

to change the Hi Mid Q; H=High Q 18dB/Oct, M=medium Q 12dB/Oct, L=low Q 6dB/Oct;

26- Hi-Cut Frequency range (Right Channel): From 12 to 24 kHz, the rst knob step (OFF) by-

passes the lter.

27- Lo-Cut Frequency range (Left Channel): From 20 to 80 Hz, the rst knob step (OFF) bypasses

the lter.

28- Lo Mid band activation button (Left Channel): Activates (Led On) the Lo Mid band of the Left

Channel.

29- Lo Mid band – Gain (Left Channel): Approx 1 to -/+10 dB, according to the selected Boost/

Cut Switch mode (40)

30- Lo Boost band activation button (Left Channel): Activates (Led On) the Lo Boost band of the

Left Channel.

31- Lo Boost band – Gain (Left Channel): Approx 1 to +10 dB, according to the selected gain

range (42)

32- Indigo LED: Shows the INPUT signal level of the plugin.

33- Lo Mid band – Gain (Right Channel): Approx 1 to -/+10 dB, according to the selected Boost/

Cut Switch mode (45)

34- Lo Mid band activation button (Right Channel): Activates (Led On) the Lo Mid band of the

Right Channel.

35- Lo Boost band – Gain (Right Channel): Approx 1 to +10 dB, according to the selected gain

range (48)

36- Lo Boost band activation button (Right Channel): Activates (Led On) the Lo Boost band of

the Right Channel.

37- Lo-Cut Frequency range (Right Channel): from 20 to 80 Hz, the rst knob step (OFF) bypass-

es the lter.

38- Output (Left Channel): This knob is an output gain control of the Left Channel ranging from

-24dB to +24dB.

39- Lo Mid Q buttons (Left Channel): these buttons (H - M - L) modiy the bandwidth and allows

to change the Lo Mid Q; H=High Q 18dB/Oct, M=medium Q 12dB/Oct, L=low Q 6dB/Oct;

40- Lo Mid Boost/Cut Switch (Left Channel): this switch changes from boost to cut (and vicever-

sa) applied to the indicated center frequency of the Lo Mid band.

41- Lo Mid Frequency range (Left Channel): from 60Hz to 1.6KHz; rst knob step (OFF) bypasses

the band.

42- Lo Boost Gain range switch (Left Channel): to change the gain range/excursion of the Lo

Boost (Left) band, from approx 6dB to 12dB and vice versa.

43- Lo Boost Frequency range (Left Channel): from 40Hz to 120Hz - 6dB or 12dB/Oct ; rst knob

step (OFF) bypasses the band.

44- CL: This switch links the controls of left and right channels. Note: The automations only work

using the controls on the left-hand side.

45- Lo Mid Boost/Cut Switch (Right Channel): this switch changes from boost to cut (and vice-

versa)

applied to the indicated center frequency of the Lo Mid band.

46- Lo Mid Frequency range (Right Channel): from 60Hz to 1.6KHz; rst knob step (OFF) bypass-

es the band.

47- Lo Mid Q buttons (Right Channel): these buttons (H - M - L) modiy the bandwidth and allows

to change the Lo Mid Q; H=High Q 18dB/Oct, M=medium Q 12dB/Oct, L=low Q 6dB/Oct;

48- Lo Boost Gain range switch (Right Channel): to change the gain range/excursion of the Lo

Boost (Right) band, from approx 6dB to 12dB and vice versa.

49- Lo Boost Frequency range (Right Channel): from 40Hz to 120Hz - 6dB or 12dB/Oct ; rst

knob step (OFF) bypasses the band.

50- Output (Right Channel): This knob is an output gain control of the Right Channel ranging from

-24dB to +24dB.

1-Left/Mid Input-Output Meters: Displays the input-output levels (Left/Mid) of the plugin. Range

IN-OUT: -36dB to +0dB.

2-Input Trim: A one-knob internal gain structure control linking the input and output gain stages

with an inverse law. The control sets the input level from -24dB to +24dB of the Left Channel, and it

is used to adjust the plugin’s internal level. Note: when the preamp stage is bypassed (Lamp=OFF),

the ‘Input Trim’ mode has no effect. It is possible to increase the harmonic saturation with this Input

trim knob.

3-Agression: Acustica interpretation of the original unit’s Agression control; Global boost of the

harmonic content (as a Drive control) and linear material allowing you to push the tubes for a signif-

icantly saturation. Range: 0-100.

4-Pre: Activates the preamp stage emulation of the plugin.

5- EQ BYP: bypasses (Led on) the EQ section of the plugin.

6- Spread: This knob controls the balance between the full MONO (M) and SIDE (S) signal.

7- Output: This knob is an output gain control ranging from -24dB to +24dB.

8-Right/Side Input-Output Meters: Displays the input-output levels (Right/Side) of the plugin.

Range IN-OUT: -36dB to +0dB.

9-11-15 Low/Mid/High Frequency: The Low, Mid, and High controls manipulate the three EQ

bands, but in a way that adds more dynamic, harmonic content the higher the EQ is set. NOTE: the

Mid control covers a massive amount of territory while the Low and High controls are much narrow-

er in comparison.

10-Mid Shift: alters the response of the Low and Mid controls, essentially assigning the low mids

to either control.

NOTE: M and S buttons are mutually exclusive, this doesn’t allow you to make changes to both the

Mid and Side channels at the same time.

12- M button: when the MID button is selected, EQ processing is applied to the center of your soundstage.

13- Stereo button: When this button is enabled, the input signal to the plugin is split into two pro-

cessing channels, Left & Right. The signal is ‘summed’ back to Stereo at the plugin’s output.

14-S button: when the SIDE button is selected, processing is applied to the edges of your sound-

stage.

3.2. INDIGO STEREO TUBE EQUALIZER (EQ2)

Indigo Stereo Tube EQ 2 is a 3-band Stereo EQ derived from a modern, discrete, class-A tube ste-

reo EQ, with input and output Jensen transformers.

This is a one-of-a-kind, wide-range EQ, so to speak, that focuses on broad-frequency brush strokes

rather than honing in on specic frequencies. Thanks to its ‘Aggression’ control, it can heat up your

sound considerably by generating very musical harmonics.

Indigo Stereo Tube EQ2 is geared more towards mastering, but its versatility and sonic ‘beauty’

make it an ideal tone-shaping machine during the production phase.

3.2.1. STEREO TUBE EQUALIZER - Controls

NOTE: M and S buttons are mutually exclusive, this doesn’t allow you to make changes to both the

Mid and Side channels at the same time.

16- Vintage switch: toggles between a “modern” mode (more hi sound), and a “vintage” mode (an

old school sound, more darker)

17- Air: boosts the ‘ultra’ high frequencies

3.3. INDIGO STEREO SHUFFLING PROCESSOR

Indigo Stereo Shufing Processor is a Stereo image processing tool characterized by switchable

High-Pass and Low-pass lters with a 3 or 12 dB/oct slope and a Tube Preamp section equipped

with two different emulations.

This is an ambitious and unusual plugin that pays homage to two different units, dusting off some

concepts and techniques that are perhaps a bit outdated today but are part of the history and evo-

lution of the recording world.

1) The rst unit we sampled for this plugin is made entirely in Italy, designed and built by Marco

Bosisio for Tesla Audio Laboratories (http://www.teslaeng.it). It is a high-pass and low-pass tube LC

lter (inductor-capacitor) with buffered output.

Both HP and LP lters normally affect the stereo program, but they can also be routed on the Mid

or Side components of the signal. In particular, used in this mode the HP lters operates as a very

effective passive elliptical LC lter that comes in handy in both its 3 and 12dB/oct slopes. In order

to provide maximum versatility to the user, we added a low-pass version of the same lter as well.

TIP: if you’re mastering for vinyl, these types of lters denitely come in useful.

2) The second unit is our take on a transformer-based, valve-buffered stereo processor designed to

correct the typical issues of certain stereo mic techniques. Usually, this concept is often associated

with the term ‘shufing’ invented by Alan Blumlein in the early 1930s; hence the name Stereo ‘Shuf-

ing’ Processor.

Its 10-step Stereo Field Manipulator allows you to exploit an emulation of the original Blumlein’s

shufer processor, the notable ‘Spreader’ circuit developed for popular ‘60s British tube consoles,

plus the emulation of an entirely new stereo correction technique for crossed cardioids, ORTF, and

NOS arrays.

NOTE: The technique of spreading low frequencies across the stereo eld is completely at odds

with the way mastering for vinyl generally works: use with care!

Moreover, we have complemented the original four modes with six intermediate ones (1,2,4,6,7,9)

to allow a smooth transition from one to the other.

Fig.1

The ten

modes of the

Stereo Field

manipulator

control

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