STRESS: This is a gain stage before the input to the transformer. Useful for strong saturation on midrange. The higher, the less low frequencies will be affected by the saturation and will pass through. We exposed this parameter as it is a great control on the timbre and frequency range of the effect.īAND: sets the starting frequency of the design. The higher the starting frequency, the higher the frequencies that will be distorted with saturation. One of the main design requisites for an audio transformer is its passing frequency band. You can think of that conrl like going from “Vintage” to “Modern” materials and design, from smoother but less transparent to cleaner but with a stronger break-up and more harmonics. Instead of talking about Physics and complex parameters, we grouped and interpolated lots of models under a single control: “Shape”. Older units are less linear (they have some kind of effect on all levels and frequencies) but saturate in a more musical way. Different styles for different uses. While more modern units are more linear and behave better in a hi-fi sense, they saturate less gracefully. The main effect is a reduction of the impedance seen from the driver, with all the possible effects on its output.ĭesign of transformers and materials used for their construction changed a lot with time. It also adds sustain without compromising the original dynamics.Ī complete model of a transformer includes its effect on the driving stage (input coil), because when it starts saturating something is reflected to that side, too. More transformer saturation, more presence for low range on small systems. This addition means they become a lot more audible, because, for psycho-acoustic reasons, we relate the step of the harmonics to their fundamental, even when it is not audible. One of the main positive effects of this style of saturation is to add harmonics to the lowest frequencies. It is strongly frequency-dependent and for this reason often unique and useful. This is a special kind of saturation, really different from the level saturation we are used to, e.g. The core can saturate, though, when too much average energy is transmitted. The behaviour of an audio transformer is linear for small signals in a defined frequency range but starts deviating from that whenever the audio input approaches frequency extremes or starts being too “strong”. The signal is passed through the two coils of the transformer, through the magnetic core, thanks to an electro-magnetic interaction between the geometry of the coils and the core. We added AnyTesla to every mixer channel, then compared the result with the original sound:ĪnyTesla models a couple of audio transformers and an optional power stage at its input. Here is a video showing the benefits of the cumulative effect of audio transformers on a mix.
PSYCHO THEME STEREO MASTER FOUND MAC
It also features our new vectorial interface, first step towards complete resizeability.Īvailable as VST/AU/AAX and also coming as AAX-DSP for Avid HDX and Venue systems (transformers on every console channel) for Windows and Mac systems, 32 and 64 bit, in the Webshop. – Macro, continuous choice of the style of the transformer (from vintage and smooth to modern and aggressive) under a single “Shape” control. – True Auto-Gain for easy and fair sound comparisons.
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– Through-clipboard preset management system (copy and paste between instances). – Mid/Side control, to balance the stereo field.
One of their interesting characteristic is how they compress lower frequencies more and don’t limit signal’s levels, so keeping the original dynamics while enhancing the sound with harmonics. Transformers can be an important part of tracks’ sound with unique contributes from bass enhancement to harmonic distortion.
One of those powerful yet simple contributes to sound, input and output transformers.ĪnyTesla contains a parametric physical models of audio transformers and an optional power output stage (because the saturation of a core gives effects on both output and input coils).
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