Spl Twintube Processor

[Heberto Calderon]

Authenticplug-in version of the world-class SPL TwinTube tube effects processor

Adds analog tube warmth, saturation and harmonic distortion to instruments and vocals

Boosts presence and spatial imaging without increasing overall dynamic range

Easy, intuitive interface and simple workflow

Developed for the UAD Powered Plug-Ins platform by SPL

Really disappointed in this. wish I spent the money on a different UAD plugin. Native Instruments is far better, this seems to just add super unnatural transients and doesn't even sound nice on 95% of drums or anything I use it on compared to other transient plugins.

the twin tube is an exellent tool to give colours on individual tracks. by adding differrent upper harmonics each track seperates from the other, so you have a possibility to differenciate the different instruments.

this tool really is priceless

I've used the SPL Twintube Processor on just about every part of my productions, but it really shines on snares - makes them pop and even acts as a natural limiter of some sorts. Great stuff, and great bang for the buck!

SPL always gives you what you need, no more, no less. This emulation gives you a valve color and warm but do not add extra character. Do not sound digital, if you use it "wisdomly" will improve your audio more than you could believe. Thanks UA!

The high harmonic function of this plugin is fantastic - usually; on the wrong source it just makes everything worse.

The unwelcome intermodulation distortion component of the other control can only be used both sparingly and very carefully. lest it badly unglue your mix.

perhaps it's intended for master bus usage, but I think it's way to heavy handed for that.

Combined saturation and presence tube effects The TwinTube module is described by SPL as a tube effects processor to apply typical tube sound effects to any signal. Tube saturation can be regulated to add subtle to heavy harmonic tube distortions for more punch and rougher sounds. The Harmonics control allows for moving signals up front in a mix or to ennoble the top end in general with the nice touch of tube harmonics. Both effects can be used separately or simultaneously and in common. SPL recommends applications in single track processing during recording and mixing in studio as well as in live sessions.

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Based on SPL's hardware modules, the Twin Tube is designed to replicate the saturation and presence effects of tubes. The company's Analogue Code system transfers this as faithfully as possible into the software domain.

The simpler of the two processes is saturation, and this is created by pushing the tube beyond its normal limits. This results in the gradual onset of harmonic distortion, accompanied by signal limiting.

It's a classic processing effect that can be used subtly to fatten up sounds and also excessively to add audible colouration. Keeping things simple, the Twin Tube includes a simple saturation level and on/off selector.

The second more intriguing process is the harmonic enhancer. This uses a special circuit for overtone processing that reacts dynamically to the signal. There are four frequency settings that influence the nature of the overtones produced (2, 3, 6 and 10kHz), and the overall effect 'pushes' that region to the foreground.

It's worth noting that, although the process 'enhances' the sound, it doesn't work in the same way as a traditional enhancer. Once again, it's a one-knob affair, this time with two frequency selector buttons.

Capturing tube-type processing in software form is a bit of a challenge, and many tube-based processors are influenced by transformer input and output stages. Indeed, SPL's hardware Twin Tube can be purchased with transformer input/output stages, but it's the transformerless version it's modelled for the plug-in.

So how does it sound? The saturation effect is instantly likeable, primarily because it doesn't sound like a dodgy overdrive. In use, its behaviour is quite dependent on the type of sound you process - sounds with plenty of low and mid frequencies benefit the most.

The harmonic control is more like a cross between an enhancer and an EQ. The two frequency selector switches combine to select the four frequencies. Beyond this it's simply a case of winding up the control. Because this is boosting frequencies, pushing things hard can cause considerable level change, so here it would be useful to have an output level.

As for tonality, again the effect is never really nasty, and like SPL's EQ Ranger plug-ins, it's reminiscent of the best analogue gear. Importantly, it can generate as well as boost frequencies and of the many enhancer plug-ins we've tried, it's by far the most convincing.

Like its siblings, SPL's Twin Tube wears its analogue heritage with pride, and the result is a highly usable albeit quite specialist plug-in. There are certain situations that will be calling out for this sort of processor, and it's then that the slightly steep price tag will make perfect sense.

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A very good sounding tube simulation for your mixes in the box. The special qualities of the analog TwinTube are in enhancing in fact nearly any signal with the classic analog sound attributes. Now we can fully transfer those amazing results to the digital domain. And where could the warm, transparent and smooth sound of analog tube and coil filtering make more sense than in DAW productions?

The TwinTube plug-in is the first combination of two essential tube effects in a single processor, that is, saturation effects along with harmonics processing. Both stages work separately from each other and are based on individual processing stages. The effects can therefore not only be applied both individually or separately, but also in common.Harmonics processing can be applied to four different fundamental tone frequency bands to improve presence and clarity without raising signal levels significantly. The saturation control can be compared to the sound effects of tape saturation to add warmth and achieve more density with virtually any kind of sound source.

In the original analog design, the saturation effects are generated through the tube being pushed to and beyond its normal operating limits. In contrast to semiconductors, a tube thus pushed to such levels does not clip from a certain level, approaching more gradually its level limits and thereby producing its typical tonal result, which in audio signal processing can have such often profitable aural effects.

On one hand (and depending on the amount applied), from subtle to extensive harmonic distortion and on the other hand, a compaction of the sonic event, that is, a limiting effect that exhibits a pleasant, rounded or soft sound. Acoustically and also in its range of applications this can be compared very well with tape saturation effects. Harmonic distortion and limiting are the generally known, "classic" tube effects, which are today cornerstones of sound processing.

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