I ND EX

1. INTROD UCTION Page 02

1.1 O vervi ew Page 03
1.2 Dave Pensad o Page 04

2. PE NSAD O E Q Page 06
2.1 About the pl ugi n Page 07
2.2 - S ystem requi rem ent Page 07
2.3 - P rod uct regi strati on Page 09
2.4 - P rod uct authori zati on Page 09
2.5 - Per form ance Cauti on Page 09
2.6 - Wh at i s a ZL i nstance for? Page 10

3. ACUSTICA - STUD IO D MI Page 12

4. OPE RATION Page 16

4.1 – C ontrol s Page 17

5. PRE SE TS Page 26
5.1 How to use P resets Page 27
5.2 P resets l i st and d etai l s Page 27

6. TE CHNOLOGY Page 38
6.1 – CORE 14 Page 40
6.2 – Techni cal suppor t Page 41
6.3 – Trou blesh ooti ng and bug repor t Page 41
6.4 – C opyri ghts and Cred i ts Page 41
 1. Dave Pen s ado
I NT R OD UCT I O N
1. I N TRO DUCTION

T h a n k you for c h oo sin g ou r Pen sado EQ!

P le a se take t h e t ime to read t h is user
ma nu al care f u l l y, to facilitate an d e nsure
a p rope r u n d e rstan din g of t h is plu gin.

1.1. OV E R V IE W

T h e Pe n s ad o E Q is t h e fou r t h plu gi n i n
t h e u n i q u e s u i te, t h e D IAMON D series. I t
h a s b e e n cre a ted by Acu st ica & S tud i o
D M I i n col l ab orat ion wit h t h e GRA MMY®
Awa rd -w i n n i n g mix en gin eer Dave Pensa-
d o ( M i chae l Jackson, C h rist in a Agui l era,
B eyon cé ) to cre ate a bran d n ew, power ful
EQ pl u g - i n for t h e con temporary m i xi ng
e ng in e e r. The ‘ Pen sado E Q’ is t h e fi rst
p l ug - i n eve r re l eased carryin g t h e si gna-
t ure of Dave Pen sado, w h o n ot on ly is one
of t h e b i g g e s t names in t h e mu sic in d ustry
b ut who al s o co- h ost s t h e most su cc ess-
ful w e e kl y s how focu sin g on everythi ng
a ud i o, ‘ Pe n s ad o’s Place’.

3
 1.2. DAVE P ENS ADO

Dave Pensad o i s a G R AM MY® Awa rd -wi n-

ni ng m i x engi neer. Hi s career b e ga n i n
Atl anta i n the 1970s and 1980s d oi ng l i ve
and stud i o sound engi n ­ eeri ng. He ha s
l i ved i n Los Angel es si nce 1990. H e m i x-
es between 200 and 25 0 songs a ye a r a t
Larrabee S tud i os i n Los Angel es. Whe n
record i ng, he usual l y record s at T he Fa b
Factory i n Nor th Hol l ywood. O n S e p te m-
b er 12, 2011, he star ted a weekly s how
cal l ed Pensad o’s P l ace wi th Herb Tra w-
i ck. T he show i s ab out engi neeri ng te c h-
ni ques and i ntervi ews wi th a guest M i xe r,
P rod ucer or Ar ti st every epi sod e.

Pensad o now uses very l i ttl e outb oa rd

anal og gear, so our fi rst com m on g oa l
was to j oi ntl y create the ‘Ul ti m ate’ e qua l-
i zer that encom passed al l of the fa-
vouri te uni ts that he uses and ha s us e d
throughout hi s career. Af ter a l ong p ha s e
of d esi gn, fol l owed by a careful a nd p re-
ci se d evel opm ent stage and a se ri e s of
i m provem ents we were abl e to c re a te a
state-of-the-ar t pl ugi n. We spent c ount-
l ess hours d evel opi ng thi s no-c om p ro-
m i se tool to gi ve you onl y the best s ound
and feel that i t i s as cl ose to rea l ha rd-
ware as can be i m agi ned. We are c onfi-
d ent that thi s pl ug-i n wi l l hel p you m a ke
m ore professi onal m i xes.

We are very proud of the resul t, a nd tha t

we are ab l e to gi ve to our l oyal custom e rs
an i nval uab l e and professi onal au d i o tool
wi th great fl ex i b i l i ty and excel l en t s oni c
abi l i ty. I t i s unl i ke any other EQ you wi l l
ever use. Wel com e to the best Ac us ti c a
EQ we have ever created to d ate. J us t try
i t! We are sure that you wi l l qui ckl y re a l i s e
you can’t l i ve wi thout i t.

4
 2.T h e p l u g -i n
P ENS A D O EQ
2 . PEN SA D O EQ 2.2. SYST EM REQUI REMENTS

T he Pensad o EQ i s one of a growi n g num-

2.1. AB O U T TH E PLU G- IN b er i n the Acqua Effects pl ug-i n p rod uc t
l i ne. Acusti ca Aud i o has been work i ng
T h e Pe n s ad o E Q plu gin is t h e resu lt of a i n hi gh-qual i ty anal og hard ware d evi c e
‘s c ru p u l ou s, al most obsessive’ an a l ysi s sof tware m od el i ng for over ei ght ye a rs
of a ll of the f i n e details t h at ch aracteri ses now. T he aud i o rend eri ng engi ne, Ac qua,
Da ve’s u n i q u e work f low an d approa ch to em b od i es state of the ar t, sam pl e -ba s e d
mix i n g , con d e nsin g h is lon g- establ i shed technol ogy, and has set a new qua l i ty
ex p er i e n ce i n th e f ield. stand ard i n the professi onal aud i o p l ug -
I t s p or ts fou r ca ref u lly selected ban ds, LP/ i n m arket.
H P fi l te rs an d t wo selectable pream p fl a-
vours. Each f re qu en cy ban d emu late s d i f- Acusti ca Aud i o, i n a b ol d m ove, eve n for
fe re n t hard ware mach in es t h at Dave has a cutti ng-ed ge com pany l i ke us, ha ve
us e d ove r the years an d t h at h ave con- created som ethi ng great and we a re
t r ib u te d to craf t in g h is son ic t rademark. now b ri ngi ng i t to you i n the form of thi s
Ac usti ca an d S t u dio D MI aimed to pro- ground breaki ng and i ncred i b l e sound i ng
vid e ‘a tool capable of an exqui si te- Acqua pl ug-i n. O f the current sof twa re
l y a r ti cu l ate an d ar t f u l sou n d, wi thout pl ug-i ns avai l ab l e on the m arket, none
c omprom i s i n g on ease of u se’. Per fectl y com e cl ose to the sound of the Pe ns a d o
c a pa b l e of a v i n tage- st yle ton e, a m od- EQ. I t i s based on our CORE 14 tech­n ol ogy
e r n s ou n d i s t h e t ru e focu s of t h is EQ. that guarantees the b est sound qua l i ty
T h e Pe n s ad o EQ u ses Acu st ica’s C ore 14 usi ng our new, ex­t rem el y fast eng i ne.
e ng in e, w hi ch e n su res maximu m respon-
s i ve n e s s an d re sou rce opt imisat ion. I t wi l l
a ls o i n cl u d e s e l ect preset s caref u lly craf t-
e d by Dave Pen sado h imself, an d m ore
a re c om i n g i n a su bsequ en t u pdates.

Pe n sad o e q plug- in GUI

7
D ur in g the m odelin g process w e u sed the NOT ES :
b e s t con ve r te rs an d cables in existence,
w e m e as u re d t h e u n it s in excellen t c ond i- - P rod uct rel ease target OS s are: m a c OS
t ions, an d e m p l oyed sk illed exper t s i n the 10.13.6 and Wi nd ows 10 1803.
s a m p l i n g p rocess u sin g ou r self- d evel- - Und er m i ni m um system requi re m e nts
op e d s am p l i n g applicat ion. Now you have onl y one pl ug-i n i nstance wi l l run.
one of t he b e s t , h igh - qu alit y professi onal - Non genui ne Appl e d evi ces are not s up-
a ud i o p l u g i n s i n you r au dio w o rkstati on. por ted.
- Xeon CP U are not recom m end ed.
We s p e n d cou n t less h ou rs developi ng - 3 2 b i ts pl ug-i n suppor t wi l l b e re m ove d
t h e s e n o- com promise plu g- in s to gi ve on Q1 2020.
yo u on l y t he b est sou n d an d feel t hat i s - VSTG UI 3 fram ework suppor t wi l l b e re-
a s c l os e to re a l h ardware as can be i m- m oved on Q1 2020.
a g ine d. We are con f iden t t h at t h is plug-i n
w i l l h e l p you m a ke you r produ ct ion sound I M P ORTANT:
more p rofe s s i on al.
- I t i s the user ’s responsi bi l i ty to c onfi g-
ure correctl y the operati ng sys­t em, d ri v -
ers and the DAW appl i cati on
- T he com puter system shoul d b e op ti-
m i zed to work at hi gh CP U l oad a nd l ow
aud i o l atency.

8
2.3. PR O D U CT RE GISTRATIO N -Fi rst of al l, set your buffer si ze s e tti ng
as l arge as possi b l e. T here i s gene ra l l y
A f te r you have pu rch ased a produ ct from no speci fi c reason for usi ng a l ow b uff-
our w e b - s hop, produ ct regist rat ion i s er si ze setti ng d uri ng m i x i ng or m a s te ri ng
a utom at i c. You r n ew ly pu rch ased prod- sessi ons. I ncreasi ng buffer si zes (c on-
uc t w i l l b e avai lable for dow n loading us - sequentl y l atency) hi ghl y d ecrea s e s re-
i ng ou r i n s tal l a t ion assistan t applicati on qui red CP U power.
Aq uar i u s. For more details abou t prod uct
re g is trat i on, p l ease refer to t h e Aquari us -You shoul d al so consi d er onl y usi ng the
us e r m an u al on ou r w ebsite. necessary features. We d o not ens ure the
com pl ete ab sence of b ugs or the p e r fe c t
operati on of the prod uct. Before purc ha s-
2.4. PR O D U CT AU TH ORIZ ATIO N i ng, we suggest you d ownl oad the Tri a l
versi on to veri fy the b ehavi or of th e p l ug -
P rodu ct au thorizat ion an d de- au t h ori za- i n wi th your system.
t ion i s an on - l i ne au tomat ic process that
c re a te s a p rod uct licen se based on your Tri al prod ucts are ful l y-functi ona l ve r-
c ompu te r ’s i d e n t if icat ion code. si ons of the rel ati ve com m erci al p l ug -i n.
T he tri al peri od expi res 3 0 d ays a f te r a c-
T h i s p roce d u re is au tomat ically per- ti vati on.
for me d by ou r in stallat ion applica ti on, We d o not take any responsi b i l i ty for the
Aq uar i u s. I t s pu rpose is to simplif y and m i suse of the prod uct, or col l atera l p rob-
a utom ate t he au t h orizat ion, in stall ati on l em s d eri ved from i t. Norm al l y th e Ea rl y
a nd u n i n s tal l ation process of you r pur- Access peri od end s wi thi n 3 0 d a ys from
c h a se d Acu s t i c a produ ct s. the pub l i cati on on the prod uct pa g e, b ut
thi s peri od m ay vary at our d i screti on.
For m ore d e ta ils abou t in stallat ion/au-
t h orizati on, p l ease re­fer to t h e Aquari us
us e r m an u al on ou r w ebsite.

R EC O MME N DATION :
P le a se al ways update Aqu ariu s to t he l at-
e s t ve rs i on available. In case of au t h ori za-
t ion p rob l e m s wit h an Acqu a plu g- i n, we
re c om m e n d you to proceed w it h a prod-
uc t u n i n s tal l an d t h en re- in stall t h rough
t h e late s t ve rs i on of t h e Aqu ariu s app.

2.5. P E R F O R MANC E C AU TION

I n ord e r to m aximize t h e per form ance

a nd u s ab i l i t y of t h e Pen sado E Q pl ugi n
on you r com p u ter, w e su ggest you fol l ow
s om e p re cau ti on ary ru les t h at will hel p
yo u save p re ci ou s C PU cycles.

9
T h i s m an u al i n clu des a descript ion of the T hi s b uffer vari es i n si ze for each p l ug -i n
p rod u ct b u t g i ves n o gu aran tee for spe- and hel ps to si gni fi cantl y red uce t he CPU
c ific characte ri st ics or su ccessf u l resul ts. and system l oad of your com puter.
T h e d e s i g n of ou r produ ct s is u n der con-
t inuou s d eve l opmen t an d improvem ent. For thi s reason we recom m end tha t you
Te c hn i cal s p e c if icat ion s are su bje ct to use a ZL i nstance whi l st tracki ng.
c h a n g e.
T h e Pe n s ad o E Q plu gin comes in a “S tand- Keep i n m i nd that anythi ng that c a n re-
a rd ve rs i on” an d an altern a­t ive “Z L* ” ver- d uce the CP U l oad on your system s houl d
s i on w hi ch operates at ‘ zero laten cy ’ and b e consi d ered. For exam pl e the tra c k
i s t h u s s u i tab l e for u se du rin g t rack ing, at count of your sessi on, the numb e r of
t h e c os t of ex t ra processin g load. pl ug-i n i nstances used, sam pl e ra te, e tc.
N OT E : Pl e as e keep in min d t h at for each You coul d al so consi d er d i rect m oni tori ng
p l ug - i n i n t he Pen sado E Q w e recom- or d oubl i ng the b uffer/hybri d aud i o e n-
me nd e d t hat you calibrate you r in put l ev- gi ne i n your host i f avai l ab l e.
e l s to t he u s ual Acqu a/ N ebu la conven-
t ion: -18 d B F S = 0V U ; t h is way you wi l l Basi cal l y b oth pl ug-i n i nstances a re i d e n-
a void an y u n wan ted distor t ion or u npre- ti cal but the cur­rent Acqua engi ne c a n
d i c ta b l e b e havior du e to an excessi vel y work wi th a l ong aud i o buffer or wi thout
h ig h i n p u t l eve l. any aud i o buffer. T he i nstance wi thout
aud i o b uffers, “ZL”, or zero l atenc y, d oe s
not have any aud i o buffer pre-l oade d, a nd
2.6. W H AT I S A Z L IN STA N C E FOR? wi l l process the aud i o wi thout any d e l a y,
b ut at the sam e ti m e the CP U l oad wi l l b e
Ac usti ca Au d i o’s plu g- in s come in two hi gher com pared to the stand ard non ZL
ve rs i on s : Z L (zero laten cy ) an d n orm al i nstance. T he i d ea b ehi nd a ZL i ns ta nc e i s
( non Z L). Whi l e t h e Z L version does not to gi ve users the opti on to run Ac qua E f-
i nt rod u ce an y l a ten cy to you r system, the fect prod ucts wi th m i ni m al l atency, whi c h
s ta nd ard ve rs i o n does. i s useful for tracki ng or d i rect m oni tori ng .

10
 3.Th e c o mpa n i es
ACUSTICA & STUDIO DMI
 V ia Lago d ’I seo 3 6
26900 Lod i ,I TALY
w ww.acusti caud i o.net

T h e com pan y ’s goal is to pro­ v ide the Af ter years of conti nous work, thi s c re-
mos t au the n ti c re­p rodu ct ion of sampl ed ati ve forward thi nki ng group has d eve l-
vin­tag e g e ar a n d ot h er h igh en d hard- oped i nto a team of exper ts i n knowi ng
wa re d ev i ce s, u sin g t h e revolu t ionary what i t takes to serve the best “of b oth
te c h n ol og y “V.V.K.T.” ( Vectorial Vol terra worl d s” (d i gi tal & anal og).
Ke rne l s Te chn ology) w it h ou t t h e n egati ve
a r t i fa ct s cre ated by cu rren t con vol uti on
te c h­n ol og y.

13
 683 9 Pond erosa Way
LAS VEGAS , NV 89118
w ww.stud i od m i .com

T h e S tu d i o of D igital Mu sic In n ovati on, Luca has l ogged over 20,000 hours i n
l e a d by G R A M MY® n omin ated E D M M i x- the stud i o honi ng hi s ski l l s. Engi ne e ri ng,
i ng & M as te r i n g en gin eer Lu ca P retol esi , m i x i­ng, and m asteri ng are treate d a s a n
i s b ri n g i n g the ar t ist ic in tegrit y back to ar t form at the l ead i ng Las Vegas s tud i o,
e l e c t ron i c d an ce mu sic. and each practi ce i s careful l y exec ute d to
preserve the power of the ar ti st’s ori g i na l
vi si on.

14
 4.C o n tro l s
O P E RAT I O N
4 . O P ER ATI O N

B e l ow w e w i l l i mmerse ou rselves in to the expl ana­t i on of the EQ control s i ncl ud e d i n

t h i s n ew Pe n s a do “en dorsed” plu gin, that em bod i es Dave’s uni que soni c si gna ture.

4.1 C O N TR O LS - Wi th the AUTOGAI N b utton e nga ge d

(l am p ON) you enab l e the I NP U T TR I M
By p as s : mode. In TRIM mode the Pensado EQ INPUT
t h i s b u t ton e n a bles ( lamp ON ) or bypass - knob i s a “one sl i d er ” i nternal gain s ta g-
e s ( l am p O F F ) th e plu g- in. i ng control autom ati cal l y l i nk­i ng th e i np ut
and output gai n stages wi th an i nve rs e
Input: l aw. T he control sets the i nput l eve l from
t h i s con t rol s th e gain stagin g in pu t of the -18 d B to +18 d B, and i t i s used to a d j us t
p l ug i n. the i nternal operati onal l evel of the p l ug i n.
T h e b e hav i or of t h is k n ob ch an ges ac- NOT E: that thi s i s d i fferent from a s ta nd-
c ordi n g to t he AU TOGAIN bu t ton whi ch ard i nput gai n control d ue to the l i nke d
c a n b e s e t f rom S tan dard INPU T GAI N out­p ut gai n stage, whi ch al ways e ns ure s
( ‘AUTO GA IN ’ b u t ton en gaged; lamp ON) that whatever gai n change i s i ntrod uc e d
to I N PU T ‘ TR I M’ ( AU TOGAIN bu t ton NOT at the Pensad o EQ’s i nput, the outp ut l ev-
e nga g e d ; l am p OFF) . el i s autom ati cal l y com pensated, s o tha t
I n bot h m od e s t h e INPU T ran ge l ev- there i s no percei ved l evel change.
e l is s e t b e tw een -18 dB to +18 d B. - Wi th the AUTOGAI N b utton d i s a b l e d
For m ore d e tai ls see t h e explan at ion of (l am p OFF; by d efaul t) you swi tch to the
t h e AU TO GA I N bu t ton con t rol. “S tand ard i nput gai n” of the pl ug i n. I n
thi s m od e the i nput gai n knob c ontrol s
Au to ga i n : the i nput l evel of the pl ug-i n (from -18 d B
t h i s b u t ton affect s t h e INPU T stage of the to +18 d B) wi thout effecti ng the outp ut
p l ug i n. I t al l ow s you to ch an ge t h e be hav- l evel.
i or of the IN P U T con t rol, sw itch in g from NOT E: when the pre-am p stage i s by-
t h e “S tan d ard I NPU T GA IN” con t rol to the passed (l am p OFF) , the ‘I n­p ut Tri m’ m od e
“I NP U T TR I M ” c on t rol. has no effect on the pl ug-i n.

17
O u tpu t :
t h i s k n ob i s an ou t pu t gain con t rol rang-
i ng from -18 d B to +18 dB .

EQ S E CTIO N

T h e re are fou r E Q ban ds. Each has

a n O N / O F F b ut ton to sw itch t h e band
O N or O F F by click in g on it s button.
Ra t h e r t han of fer a h u ge assor t ment of
c ompl ex fe at u res, t h e Pen sado E Q was
c re a te d to p rov ide ju st t h e righ t n um ber
of c on t rol s. Eac h ban d of fers f ive swi tch-
a b le f i l te r fre q u en cies pu rpo sely chosen
by Da ve to b e mu sical rat h er t h an n um er-
i c, t he s e w e re caref u lly selected by one
of t he m os t prof icien t en gin eers of the
re c ord i n g i n d u st ry.
B y t h e way, d o n ot expect a ‘ S tand ard ’
Pa ra m e tr i c E Q w it h predictable sh el vi ng
a nd p e aki n g f i lters for t h e ban ds. T he
Pe ns ad o E Q can be con sidered a ‘ H ybri d ’
EQ t hat e m b odies t h e accu r­ate di gi tal
re p re s e n tati on of Dave’s sou n d ’si gna-
t ure’ to d ate.

D eta i l s :

- Low f re q u e n cy E Q sect ion ( H z ) : 50, 80,

100, 16 0, 3 6 0.

- Low m e d i u m frequ en cy E Q sect ion (Hz):

16 0, 3 3 0, 6 5 0, 80 0, 1 k 25.

- Hig h m e d i u m frequ en cy E Q sect ion (Hz):

fixe d ran g e f rom 4 4 0 -12k 8, 2k5, fi xed
ra ng e f rom 1k24-12k 8 , 7k , 8k .

- H i g h f re q u e n cy E Q sect ion ( H z ) : 8k2,

9 k 8, 17k, 18 k, 34 k .

- Q : t he Q an d ban dwidt h are f ixed at a

p re s et val u e for each ban d f requ en c y.

- Ga i n : Each paramet ric ban d h as a Gai n

c ont rol.

18
 Range: approx . +/-6 d B; approx. + / -12d B
(d epend i ng on whether the d B 2 x b utton
i s acti vated or not).

dB 2x:
Engagi ng the 2 x button to swi tc h from
1d b steps (d e­f aul t) of resol uti on to 3 x 1d b
steps of gai n. I ncreasi ng the gai n ra ng e
for each band al l ows you to have a m ore
gai n excursi on across al l EQ band s.

When the d B 2 x b utton i s e nga g e d

(LAM P=ON) the gai n range of al l EQ ba nd s
i s: approx . +/-12 d B.
When the d B 2 x b utton i s di s a b l e d
(LAM P=OFF) the gai n range of a l l E Q
band s i s: approx . +/-6 d B.

NOT E: When thi s button i s presse d, the

gai n l abel s d o not change but the s ound
b ehavi or wi l l cl earl y be d i fferent a nd p e r-
cepti bl e.

T he Pensad o EQ i ncl ud es two d i ffe re nt c ut

fi l ters for each channel, each has a n ON /
OFF b utton to swi tch the fi l ter ON or OF F.

- Low Pass Fi l ter Frequency rang e (Hz ) :

12k5 to 800, O ff (the fi rst knob s te p by-
passes the LP fi l ter)

19
- Hig h Pas s F i lter Frequ en cy ran ge (Hz) As expected, each P RE button i s m utua l-
: 50 to 8 0 0, O f f ( t h e f irst k n ob step by- l y excl usi ve; as a consequence, onl y one
pa s s e s the H P f ilter) pre-am p em ul ati on at a ti m e can be a c ti-
vated.
P R E A MP S E CTI ON T he harm oni c d i stor ti on l evel s of the
pream ps i ncl ud ed i n thi s pl ugi n d e p e nd
T h e p re - am p sect ion of t h e Pen sad o EQ on the I nput CONT R OL.
i nc l u d e s t w o d i fferen t preamp emu lati ons.
Boost the I NP UT control af ter enga g i ng
T h e PR E 1 b u t ton en ables ( lamp ON) or the AUTOGAI N b utton to i ncrea s e the
bypa s s e s (l am p OFF) t h e f irst pre -am p harm oni c d i stor ti on of the pream p s ta g e.
e mul ati on of t h e plu gin.
T h e P R E 2 b u tton en ables ( lamp ON) or NOT E: when the pre-am p stage i s by-
bypa s s e s (l am p O FF) t h e secon d pre- passed (l am p OFF) , the ‘I n­p ut Tri m’ m od e
a m p e m u l at i on o f t h e plu gin. has no effect on the pl ug-i n.

P R E A MPS G R A PH S

P re am p 1 - H armon ic distor t ion +6 d B P ream p 2 - Harm oni c d i stor ti on + 6 d B

P re am p 1 - Frequ en cy response P ream p 2 - Frequency res p ons e

20
EQ CU R V ES G RAPH S

H igh f requ en cies - 8.2 kHz Hi gh frequenci es - 9.8 k Hz

H igh f requ en cies - 17 kHz Hi gh frequenci es - 18 k Hz

H igh f requ en cies - 34 kHz Low Pas s F i l te r

21
H i gh- m i d frequ en cies - 1.24 /12.8 kHz Hi gh-m i d frequenci es - 2.5 k Hz

H i gh - mid f requ en cies - 7 kHz Hi gh-m i d frequenci es - 8 k Hz

H i gh- m i d f requ en cies - 0.4 4 /12.8 kHz

22
 Low- mid f requ en cies - 160 Hz Low-m i d frequenci es - 330 Hz

Low- mid f requ en cies - 65 0 Hz Low-m i d frequenci es - 8 0 0 Hz

Low- mid f requ en cies - 1.25 kHz

23
 Low f requ en cies - 5 0 Hz Low frequenci es - 8 0 Hz

Low f requ en cies - 100 Hz Low frequenci es - 16 0 Hz

Low f requ en cies - 360 Hz Hi gh Pas s F i l te r

24
5.S et yo u r e qu a l i za ti o n
P RES ETS
5. PRESET S

5.1. H OW TO US E T HE P RES ETS

1. O pen an instance of Pensad o EQ i n

yo u r DAW.

2. C lick t h e PRES ET (I CON) on the top l ef t

of t h e plu gin GUI .

3. S elect f rom the LI ST the “P reset_nam e”

an d click to load the preset.

5.2. PRESE T L I ST AND DETAI LS

01 - K ick A
02 - K ick B
0 3 - S n are A
0 4 - S n are B
0 5 - Modern Hi -Hat
0 6 - B ass A
07 - B ass B
0 8 - B ass C
0 9 - Pads
10 - S yn t h Lea d
1 1 - Min imoog Cl eanup
12 - Vocal D P
13 - Vocal P u nchy
14 - Vocal U pfront
15 - S tereo B us
16 - F- K it U p

27
 P reset 01 - K ick A

P re set 01 - H armon ic distor ti on P reset 01 - Frequency re s p ons e

P reset 02 - K ick B

P re s et 02 - H armon ic distor ti on P reset 02 - Frequency re s p ons e

28
 P reset 03 - Snare A

P re s e t 0 3 - H armon ic distor ti on P reset 03 - Frequency re s p ons e

P reset 04 - Snare B

P re s et 0 4 - H armon ic distor ti on P reset 04 - Frequency res p ons e

29
 P reset 05 - Modern Hi- Hat

P re s et 0 5 - H armon ic distor ti on P reset 05 - Frequency re s pons e

P reset 06 - Bas s A

P re s e t 0 6 - H armon ic distor ti on P reset 06 - Frequency re s p ons e

30
 P reset 07 - Bas s B

P re set 07 - H armon ic distor ti on P reset 07 - Frequency res p ons e

P reset 08 - Bas s C

P re s et 0 8 - H armon ic distor ti on P reset 08 - Frequency res pons e

31
 P reset 09 - Pads

P re s e t 0 9 - H armon ic distor ti on P reset 09 - Frequency re s p ons e

P reset 10 - Synth Lead

P re set 10 - H armon ic distor ti on P reset 10 - Frequency res p ons e

32
 P reset 11 - Minimoog Clean Up

P re set 1 1 - H armon ic distor ti on P reset 11 - Frequency res pons e

P reset 12 - Vocal DP

P re set 12 - H armon ic distor ti on P reset 12 - Frequency re s p ons e

33
 P reset 13 - Vocal Punchy

P re set 13 - H armon ic distor ti on P reset 13 - Frequency re s p ons e

P reset 14 - Vocal Upfront

P re set 13 - H armon ic distor ti on P reset 13 - Frequency re s p ons e

34
 P reset 15 - Stereo Bus

P re set 15 - H armon ic distor ti on P reset 15 - Frequency re s p ons e

P reset 16 - F - - k It Up

P re set 16 - H armon ic distor ti on P reset 16 - Frequency re s pons e

35
36
6. Acusti c a En gi n e
T EC HNO LO GY
O ur te chn ol ogy prov ides seamless re- Vectori al Vol terra Kernel s Tec hnol o-
a l-t im e e m u l a t ion s of : pre- amplifi ers, gy (V.V.K.T.): Vol ­terra kernel s are s tore d
e q ua l i ze rs, compressors, reverbs, m ul- i n tree d ata structures (m anag­ing up to
t i-e ffe cts, s tomp- boxes, cabin et s, m i- 100,000 el em ents i n real -ti m e us i ng a
c rop h on e s an d tape emu lat ion s, on I ntel CP U Penti um I V 3 GHz). T he Acqua E n-
ba s e d m achi n es, bot h for Win dow s and gi ne i s capab l e of i m pl em enti ng a l i s t of
O SX . The Acust ica Acqu a E n gin e i s a m od ul es com m onl y used i n au­d i o s ynthe-
c omb i n at i on of mu lt iple, advan ced tech- si zers (LFO, envel ope fol l owers, d yna m i c
nic a l p roce s s e s t h at are u n iqu e to Acus- m od ul es, FUNS ). M ul ti pl e com bina ti ons
t ic a Au d i o. E f fect s dev ices can be suc- of these pro­ c esses m ay be appl i e d to
c e s sf u l l y s am pled w it h ou t f u r t h er ed i ti ng control sources and d esti na­t i ons.
or a d j­ u s tm e n t, an d t h en immediately pro-
c e s se d an d re pro­d u ced v ia t h e same en- Ti m e Varyi ng Mod el s (T.M.V.): A c ol l e c -
g i ne, w he re th e sampled data is stored ti on of kernel s col l ect d ata usi ng a n a d-
a nd avai l ab l e for recallin g, loadin g, sav- vanced sam pl i ng techni que, cre a ti ng a
i ng, a n d ad van ced edit in g wh en desi red. m ul ti -d i m ensi onal snapshot of a nonl i ne-
T h e q u al i ty of repro­d u ct ion of sam pl ed ar/ti m e-varyi ng system. Mul ti pl e re c ord-
s ourc e s i s n e arly in dist in gu ish able from i ngs are i nterpo­l ated i n ord er to mi m i c the
t h e o ri g i n al s. ti m e evol uti on and response to ex te rna l
vari ab l es such as user param ete rs a nd
T h e fol l ow i n g tech n iqu es are me rged i nput/output assessm ents (e.g. ti m e -va r-
i nto a s i n g l e model. N on lin ear convol u- yi ng cycl i c effect pro­c essors, stom p -b ox-
t ion: The Vol te rra t h eorem is applied as es, d i gi tal m ul ti -effect uni ts).
a c om p l e te re - t h in k in g, replacemen t, and
g e neral i ze d s u b st it u t ion of t h e convol u- More info about our technology can be found at the following link:
http://www.acustica-audio.com/pages/engine
t ion al g ori t hm t h at is common ly u sed i n
a ud i o ap p l i cat ion s. Accu rate sampl i ng,
p roc es s i n g , an d reprodu ct ion of u p to 9
harm ­ on i cs i s possible w it h ou r propri e-
ta ry te chn ol og y.
N onl i n e ar con volu t io n, dyn amic Vol ter-
ra s er i e s, an d t ime- varyin g model s are
j us t s om e of the state- of- t h e- ar t features
t h a t t he C ore Acqu a E n gin e of fers. T he
C ore Acq u a E n gin e comes co mplete wi th
a ll of i t s i n te r n al tools, an d also in c l ud es
t h e N .A .T. s am plin g system, a stand -
a lone ap p l i cat ion sh ipped w it h most of
Ac usti ca Au d i o’s produ ct s u sin g dif ferent
c onfi g u­rati on s.
S up por t i s p rov ided direct ly f rom t h e R & D
Te a m that i s con t in u ou sly developing the
e ng in e. Wor ks h ops an d project - speci f-
i c le ar n i n g s e ssion s can be organi zed
for you r te am. Th e C ore Acqu a E ngi ne
i s a vai l ab l e w i t h a diverse stan d- al one
l i b ra r y, re ad y for in clu sion in 3rd par ty
p rod u cts.

39
6.1. C O R E 14

C ore 14 A I i n trodu ces 4 sign ificant up-

d a te s:
-A I D e e p l e arn in g ( IRIS)

D E TA ILS :

- A I a l l ow s you to replicate t h e act ions of

a m i x i n g an d m asterin g en gin eer and re-
p rod u ce the s et t in gs h e/sh e w ou ld m ake
on t h e au d i o i n pu t of t h e plu gin, imitati ng
h is / he r s t yl e.
- New N e b u l a U n iversal Wrappe r v 2
( NUW )
- I nfere n ce e n gin e based on Ten sor fl ow
mod e l s, ar r­ an ged in smar t preset s
- J U CE f ram ework u pgraded to ve rsi on
4.3.1
- Ba c kward compat ibilit y wit h N U W v1
- VST 3 S DK u p graded to version 3.6.7
- A AX S D K u p graded to version 2.3.2
- N at i ve s i d e -ch ain su ppor t for AAX, FI XES :
VST 3 an d AU
- C om p l e te l y new, overh au led in pu t/out- - Fi xed FL S tud i o VST 3 i ssues
p ut , b u s / chan n ­ el man agemen t - Fi xed C ubase and Nuend o m ac O S VST3
- S uppor t for VST3 64 bit processing crashes wi th pl ug-i n A/ B b utton
- I mprove d AU ch an n el h an dlin g - Fi xed d oub l e engi ne i nstanti ati on
- New m eteri ng engi ne (EVFb)
- VU wi th vari ous fi l ter types (I EC A, B, C,
D, Z, BS .1770) and vari ous stand ard s (DI N ,
Nord i c, Nor th Am eri can, EBU, S tan d a rd )
-EBU R128 (shor t-term, m om enta ry a nd
i ntegral ) -RMS (EBU, K20, K14, K12)
- C ore opti m i sati ons

FEAT UR ES :

-Better i nternal routi ng (b l end er e ng i ne

that can work i n vari ous posi ti ons of the
DS P chai n of each i nternal i nstanc e )
-D i rect access m od e of the fol l ow e r e n-
vel opes, better synchroni zati on be twe e n
the vari ous el em ents).
-P P M (peak, true peak wi th ove rs a m-
pl i ng).

40
6.2. TE CH N IC AL SU PPO RT 6.4. COPYR I G HTS AND CREDI TS

Te c hn i cal s u p p or t is on ly prov ided t h rough Al l nam es, prod uct nam es, l ogos a nd
our t i cke t s ys te m. In order to sen d a ti cket b rand s d i spl ayed on thi s d ocume nt a re
to ou r te chn i cal su ppor t depar t men t, si gn the proper ty of thei r respecti ve owne rs.
i nto you r Acu s tica Au dio accou n t and go T he content i ncl ud ed i n thi s m anu a l s uc h
to t he Acu s t i ca Au dio H elp- desk Por tal as graphi cs, button i cons, i m ages, s ound,
( h t t ps :/ / acu s t i c au dio. vi d eos, d i gi tal d ownl oad s, d ata, and s of t-
fre s hd e s k.com / su ppor t /h ome) , clic k on ware i s the excl usi ve proper ty of Ac us ti-
‘ New s u p p or t t icket’ complete t h e form caud i o S .r.l. or i ts content suppl i e rs, a nd
a nd S u b m i t a Ticket , remember to a ssi gn i s protected by i nternati onal copyri g ht
i t to the cor re ct D epar t men t . Please try to l aws.
d e s cr i b e you r i ssu e an d you r system i n as
muc h d e tai l as you can. T he i nform ati on contai ned on our we b s i te
A l l t i cke t s have a t rack in g n u mber, t he re- m ay not b e d owl oad ed, m od i fi ed, d i s tri b -
s p on s e an d re solu t ion t ime will be wi th - uted, upl oad ed, or otherwi se used exc e p t
i n 7 to 14 w or kin g days. We do n ot pro- wi thout the express wri tten cons e nt of
vid e s u p por t v ia social n et works, publ i c Acusti caud i o S .r.l.
for um s, Acu s t i c a Au dio foru ms, or em ai l
a c c ou n ts. Acustica Audio is a trademark of Acusticaudio S.R.L.

6.3. TR O U B LES H OOTING

A N D B U G R E P O RT

Ac usti ca Au d i o is con stan t ly improv ing i ts

p rod u cts an d a ddin g n ew feat u res. T here
i s t h e p os s i b i l i ty of on - goin g issu es, bugs
a nd rare cras he s. In order to en able Acus-
t ic a Au d i o to s u ppor t you , please provi d e
a c om p l e te s ystem prof ile as w ell as a
t h orou g h d e s cript ion of t h e problem you
a re ex p e ri e n ci n g, in clu din g t h e exac t text
a nd e r ror n u m b ers in an y error messages
yo u a re g e t t i n g .

41
A lot of f u n. And a l ot of coffee too.
A lot of f u n. And a l ot of coffee too.
2019