Korneff Audio

A monster of a channel strip you’ll use everywhere.
The Amplified Instrument Processor is a complete suite of tools designed to help you sculpt the ultimate guitar, bass or keyboard tone.

But the AIP is much more than that.

Its power and versatility make it an excellent processor for virtually any audio task. The AIP can work wonders on vocals, acoustic instruments, pianos, group buses and even across the whole mix.

Parametric Equalization

The AIP has 4 bands of fully parametric EQ based on German Klangfilm tube equalizers of the 1950’s. This EQ combines digital precision and flexibility with analog quirkiness and unpredictability.

• Up to 36dB of boost and cut using gain scaling.
• Independently switchable high-pass and low-pass filtering.
• Switchable response: modern active or vintage passive EQ curve types.
• Circuit age modeling: dial in analog anomalies to simulate aging components.
• Channel Variance: 16 different channels variations model the slight imperfections of vintage handmade equipment.

Proprietary Signal Processing

This is the Secret Mojo Sauce of the AIP. Forget about swapping in preamp plugins. Change characteristics of the AIP by switching between different response modeling and adjusting a slew rate emulation.

• Tube response modeling provides a warm, round tone that’s perfect for bass and male voices.
• Tape response modeling gives your signal low end push and high end sparkle. Great for heavy electric guitars, kicks and snares.
• Solid State response modeling emulates the midrange forward sound of 70’s consoles like those made out in California by companies… that we can’t name… Great for making things in your face.

VCA Compressor

The AIP’s VCA Compressor emulation is based on the classic dbx 202 VCA integrated circuit. This compressor is great for guitars, but smooth and musical enough to work with vocals.

• Full control of all parameters: threshold, ratio, attack, release and makeup gain.
• Switchable position in the signal path — place it pre or post EQ.
• Adjustable nulling – control the amount of color and crunch when the compressor is hit hard.

Frequency Dependent Gain Reduction
The AIP has yet another compressor on it; this one designed to work on selected ranges of frequencies below 600Hz. Clean up the bottom end of chugging guitars, tame resonant bass notes, knock out chestiness on vocals or take the ring out of a kick drum.

Insufferable Midrange Filter
Overdubs and doubling can lead to a nasty build-up in the presence range. This specialized notch filter takes care of the annoying 2kHz “whistle” of electric guitars, vocal sibilance, excessive cymbal hash, and finger squeaks or pick noise from acoustic instruments.

Stereo Widening
Unlike many stereo widening processors, the AIP’s stereo widening algorithm lets you spread things out across the sound stage without sacrificing the solidity of the center. Wrap reverb and ambience around listeners, enhance the movement and sweep of keyboard pads, and put them dual guitar parts at opposite sides of the stage, and then some.

Real Time Analyzer
The AIP’s RTA shows you the frequency response of your signal, and superimposes all of your EQ curves and Frequency Dependent Gain Reduction settings for fast, intuitive fine tuning.

Gritty. Punchy. Smooth. Warm. All that. And more!

The Pawn Shop Comp 2.0 is a professional tool that will make a huge difference in the quality and impact of your mixes. It sounds great on any sound source and in virtually any application.

More than a compressor, the Pawn Shop Comp also has a fully adjustable tube preamp, a two band equalizer, and swappable components that give you unprecedented control of every parameter of the plugin.

MAIN FEATURES

• Get punch and snap out of individual drums or the entire drum bus. Built in low frequency eq centered at 63Hz, perfect for enhancing the chance of a kick drum. And you can dial in a bit of saturation to mimic the sound of classic FET limiters like the 1176.

• Built for bass sounds. Dial in attack to punch the bass through the mix. Set release to control the sustain and resonance. Some low end equalization to enhance the bottom end, and add some tube style saturation for additional growl.

• Killer on electric guitars. Precise control over note articulation and sustain. Adjust the midrange equalization for presence in the mix. Swap in ECC-83 tubes and get vintage amp overdrive and distortion… from a compressor!

• The PSC is a vocal channel strip, with almost everything you need to get kick-ass vocals. Get smooth tube opto compression, or crush it for color and character. Swap out transformers for tighter or darker response. Add warmth with the preamp, or saturation and drive.

• Add color, character and crunch lead lines, and warmth and harmonic structure to pads. The wide adjustability of the PSC makes it a natural for use with analog or sampled pianos.

• Bus compression with the Pawn Shop Comp… yes, it can do this, too. Give your mix or instrument cluster definition and “glue.” Control the amount of effect with the Wet/Dry control for easy parallel processing. Punch up the top and bottom with the PSC’s inductor based eq.

• Too often, the accordion is overlooked in modern recording… kinda like the cowbell. The Pawn Shop Comp’s preset library is full of places to start when you don’t quite know what you’re dealing with, but know it needs something.

The Compressor: A Modern Classic

A unique hybrid tube/FET circuit lets the Pawn Shop Comp handle virtually any compression task you throw at it. Complete controls for all compressor parameters let you tailor response from smooth to punchy to total crush.

A Tube Preamp
Use the Pawn Shop Comp’s tube preamp to add saturation and the warm harmonic distortion that is the mojo of tubes. But push GAIN even further to add overdrive and distortion, and adjust the BIAS for total shred. The PSC preamp can add character to vocals, hype to guitars and bass, and incredible color to room mics and the drum bus.

Swap Tubes and Transformers
Swap between three different sets of tubes and three different transformers to adjust the response of the Pawn Shop Comp from timid to street thug. Combined with the preamp Gain and Bias, tubes and transformers let the PSC sound like a classic tube limiter from the early 60’s, to modern, high end bespoke compressors, and all shades in-between.

Essential Sonic Sweetening
The EQ can be used to compensate for the loss of lows and presence that happens at high compression settings, and also for more creativity and enhancement. The WEIGHT control can be set for extreme lows (think kick drums) or slightly higher to give a signal warmth. The FOCUS control is centered in the midrange and adjustments in this band can add presence and width to a track. With +/- 8dB of gain, and wide, gentle peaking curves, use the eq to beautifully sculpt a track or an entire mix.

Tweakable like no other
Want to change the compression curves of the PSC? Swap in different FET’s. Want to get a vintage sound? Swap in Carbon resistors.Need something bright and modern? Switth over to Metal film resistors.

Looking to experiment? Crank up the OPERATING LEVEL control and emulate what happens when you blow up gear in the studio – but without the smoke, fire, repair bills or chance of electrocution. And if you go too far, you can back it all down using the WET/DRY control, or the INPUT and OUTPUT trims.

Set the OVERSAMPLING rate to better manage your CPU usage.

Browse the PRESET LIBRARY. Adjust the size of the GUI to fit your monitors and studio set-up. This ain’t no one knob plugin.

Nerdy. Easy. Super Cool.

The Micro Digital Reverberator combines killer reverb and delay effects with a super friendly user interface and controls. Pop it on an insert, pick a preset, and go. Drums? Vocals? Synths? Guitars? This little plugin has you covered.

Our MDR has the sounds of the first generations of budget reverbs that took over project studios in the late 1980s. In a few years, these units were commonplace in major recording studios and all over many of your favorite records.

Don’t let the simple interface fool you: this thing sounds amazing, with tight small rooms, huge plates and halls, gates and reverse reverbs, and some effects that can only be found on the MDR.

Machine 1

Machine 1 is a simulation of a very popular 16 bit, 1/3 rack size digital reverberator that was introduced in 1986. Although it has a limited amount of sounds, they are carefully designed and sound great. You still see this unit in guitar racks and studios all over the world.

Machine 2

Machine 2 is a simulation of the second-generation, full-rack size digital reverberator. This unit has lots of presets, lots of useful sounds, and some one-off special effects which can only be found on this particular unit.

Nerdy on the Back Side

The Micro Digital Reverberator has a few tweaks on the other side that let you craft frequency response, oversampling and GUI performance. There’s also a super effective stereo widener tucked in back there, for those times you want the effect all around the music and the listener.

Punchy. Loud. Beautifully Destructive. Fun!

The Talkback Limiter is an aggressive, in your face limiter. Carefully modeled from the real thing, our Talkback Limiter has the character and anti-social tendencies that made it so popular for drums. We’ve added additional controls to make it much more versatile.

Secret Weapon of Top Producers
First utilized in a vintage British recording console, the Talkback Limiter was THE sound of drums throughout the 80’s, and is still a major component on records today.

Originally designed to protect control room speakers and personnel from loud noises over the studio communications system, this down and dirty, heavy-handed limiter is perfect for adding huge amounts of punch to any signal with a transient.

Flexible and Tweakable

Our Talkback Limiter has expanded functionality to make it more versatile than the original, and useful on more than just drums. It adds pop and tickle to bass tracks, brings out attack and details on guitars, and adds a gutsy quality to vocal tracks.

The Korneff Audio Talkback Limiter has addition “Other Side” controls to let you further tweak the plugin. The bottom line is you have a lot more control of this plugin than engineers had over the original console based unit.

100:1 ratio – talk about a brick wall
Turn LISTEN 1 to lower the threshold and kick in an FET style compression circuit at a 100:1 ratio. Attack is very fast, but just slow enough to make this the punchiest compressor you’ll ever use. It adds bite to ANYTHING. Makes grandma’s church choir sound like a Vinnie Paul drum solo.

30dB of gain! Yikes!
Switch the input level from LINE to MIC to add 30dB of gain, and loads of harmonically rich saturation and distortion to even the quietest signal. Seriously, this thing will make the sneeze of a bug sound like the scream of a metal core singer. Click on ANALOG to accentuate the non-linearities in the frequency response of the analog unit we modeled for the plugin.

Control the Mayhem
Our Talkback Limiter can be used for more than just drums. The WET/DRY control lets you back the compressed signal way down, so you can precisely adjust how much punch and character you hear in the final mix. You’ll end up using the Talkback Limiter to to add a subtle punch and presence to all sorts of instruments in many different applications. And, of course, you’ll use it to crush the hell out of things.

Tweakable
Our Talkback Limiter has addition “Other Side” controls to let you further tweak the distortion characteristics and compression curves. There’s also an adjustable Low Pass filter that can smooth out the top end, or completely mangle it for a low fi effect. And adjustable oversampling lets you manage your CPU usage in a plugin heavy recording/mixing situation.