INDEX

Overview..............................................................................page 2
Performance Caution..........................................................page 4
First Circle - Limbo - Proem.......................................page 6
Package Contents................................................................page 7
System Requirements..........................................................page 9
Second Circle - Lust - Operation................................page12
Cream Preamp....................................................................page13
Cream Equalizer................................................................page 15
Cream Compressor...........................................................page 17
Third Circle - Gluttony - Controls.............................page 20
Preamplifiers......................................................................page 21
Equalizers...........................................................................page 22
Compressors......................................................................page 25
Fourth Circle - Greed - Technology...........................page 28
Core 12...............................................................................page 30
Fifth Circle - Anger - Register, Install, Authorize.....page 32
Product download, installation and authorization........page 33
Sixth Circle - Heresy - Technical Support.................page 35
Troubleshooting and Bug report.....................................page 36
Seventh Circle - Violence - Copyrights.....................page 38
Eighth Circle - Fraud - Appendix..............................page 41
Ninth Circle - Treachery............................................page 64

1
 OVERVIEW

Welcome

Thank you for choosing the Acustica Audio Cream, the first in a series of three plugin suites, each embodying
a volume of Dante’s Divine Comedy according to the vision of Acustica.
In our usual fashion, for the realization of this manual we’ve chosen a theme that serves as a ‘common thread’
related to Cream, in order to better communicate our vision behind this product. So, welcome to the first Can-
tica… the ‘Cream Inferno’!
Try not to lose sight of the right path on your way and be careful not to burn yourself!

How to use this manual

Please read this user manual carefully: we did our best to make it pleasant and informative reading.
This manual is divided into nine different sections, exactly like the circles of hell of Dante’s Inferno, each de-
scribing the various features of Cream in the form of an easy step-by-step guide, beginning with a general
Introduction (Proem) and then delving into the more intricate details of this Acqua Effects plugin suite.

2
Circle 1: Proem.
General concept of CREAM, the idea behind the product, the wonderful link with Dante’s “Divine Comedy”,
mysticism and medieval traditions. At the end of this Circle you’ll find a basic Overview including all the nec-
essary preliminary information to start understanding this epic plugin suite.

Circle 2: Operation.
This Circle discusses the various plug-in functions, describing all the features for each module of CREAM (and
all of the included standalone modules). Furthermore, you will find interesting info about the genesis of the
sampled devices and the reason why Acustica included them in this powerful product.

Circle 3: Controls.
A detailed look at the signal processing capabilities, quick notes, description of the signal chain of CREAM,
graphs and presets.

Circle 4: Technology.
A brief look into Acustica’s technology.

Circle 5: How to Register, Install & Authorize:

Guess what... A registration, Installation and authorization guide.

Circle 6: Copyrights and Credits:

Usage of images, videos texts and other material.

Circle 7: Getting technical support:

How to get support from Acustica, troubleshooting and bug reports.

Circle 8: Appendix:
Behind the scenes - Graphs, tech details and some Cream-related trivia.

Circle 9: To be continued..
Final conclusions... or rather not.

3
 PERFORMANCE CAUTION
In order to maximize performance and usability of Cream on your computer, we suggest you follow some pre-
cautionary rules that will help you save precious CPU cycles.

- First of all, set your buffer size setting as large as possible. There is generally no specific reason for using a low
buffer size setting during mixing or mastering sessions. Increasing buffer sizes (also latency) highly decreases
required CPU power.
- You should also consider using only using the necessary features.

We do not ensure the complete absence of bugs or the perfect operation of the product.
Before purchasing, we suggest you download the Trial version to verify the behavior of the plug-in with your
system. Trial products are fully-functional versions of the relative commercial plug-in. The trial period expires
30 days after activation.

We do not take any responsibility for misuse of the product, or collateral problems derived from it.
Normally the pre-order period ends within 30 days from the publication on the product page but this period
may vary at our discretion.

This manual includes a description of the product but gives no guarantee for specific characteristics or success-
ful results.
The design of our products is under continuous development and improvement.
Technical specification are subject to change.

Disclaimer

PRE-ORDER (%OFF)
PRE-SALE
SPECIAL PRICE
PROMO

We are using these terms to define the introductory price of the product. It’s a Public Beta Preview.
In other words, we provide to the customers a COMMERCIAL VERSION/ TRIAL VERSION that could be
improved and bugs fixed within this period.

4
 “Midway upon the journey of our life
I found myself within a forest dark,
For the straightforward pathway had been lost”.

(Infern - Canto I - Divine Comedy - Dante Alighieri)

FIRST CIRCLE
LIMBO
Dante wakes up to find that he has crossed the Acheron, and Virgil leads him to the first circle of the abyss,
Limbo, where Virgil himself resides.

5
 CIRCLE I
PROEM

Welcome to Inferno, the first volume of Dante’s Divine Comedy, according Acustica’s vision.

Cream represents our idea of Dante’s Hell: a sensational plugin suite that once again raises the quality of our
products to unprecedented heights.

Cream is the latest Acqua Effects plugin suite by Acustica. It includes several modules derived from an iconic
series of British hardware built between the late ‘50s to early ‘70s. Part of it is vacuum-tube based, part of it is
upon solid-state technology.

6
1.1 Package Contents
CREAM is the name of this suite, it consists of four different plug-ins:
1. CREAM (Channel-strip)
2. CREAM PRE ( Preamps Standalone module)
3. CREAM EQ ( Equalizer standalone module)
4. CREAM COMP ( Compressor standalone module)

Each plug-in included in the Cream suite comes in a “Standard” version and an alternative “ZL*” version which
operates at *zero latency and is thus suitable for use when tracking, at the cost of extra processing resources.

So, more specifically we can consider the Cream bundle as a suite composed of:

1.CREAM:
CREAM
CREAM ZL (zero latency)

2. CREAM PRE:
CREAM PRE
CREAM PRE ZL (zero latency)

3. CREAM EQ:
CREAM EQ
CREAM EQ ZL (zero latency)

4. CREAM COMP:
CREAM COMP
CREAM COMP ZL (zero latency)

7
1.2 The main concept behind Cream
Cream arises from a specific need: we wanted to offer our loyal customers a product that contains what we
believe to be a number of iconic (even legendary, we might say) vintage devices that should not be missing in
the equipment list of any recording studio worth its name and fame.
Acustica had been thinking for a long time about introducing into the market a product so impressive and
capable of such a unique sound.
Cream went through a long phase of research, design, development and prototyping; today we hope we have
managed to create a complete, intelligible, easy to use plug-in, a product that is going to meet the needs of all
of our customers.
We are very proud of this product, and we are really happy with the final result: the innumerable peculiarities
of Cream make this plugin suite the perfect fusion between Vintage and Modern - Analogue and Digital...
In other words, we believe that we have created a bridge to close the gap that separates software from hardware,
at the same time demonstrating all the inherent potential of Acustica’s technology and demystifying the preju-
dices and outdated ideas about it once and for all.

1.2.1 Genesis of Cream

Cream merges the essential sound of the ‘60s and ‘70s into a plug-in based on a number of vintage units which
we expressly sampled with the utmost care.
Today these units are among some of the most sought after; their market value increases on a daily basis and
their artistic and historical relevance is beyond question.
Just take a quick look at the history of audio recording, the impact that these units have had is immediately
apparent.
For this reason we could not exempt ourselves from creating a new exciting Acqua Effects plugin suite that
embodies the spirit of revolution and the desire to experiment, typical of those years.
Specifically, this amazing plug-in includes the emulations of the following machines:

1) A Vintage British transistor-based solid-state recording and mixing console – version MK2 (1970)
2) A Vintage British transistor-based solid-state recording and mixing console – version MK4 (1970)
3) A Vintage British tube compressor (1960)
4) A ‘Homebrew’ EQ section built by SOUNDROPS (SteDal) based on a original ‘60s valve desk circuit
5) A Vintage British Tape Recorder (1960 –also known as the “Green Machine”)
6) A Vintage valve Tape Recorder made in the UK (1967)

In the following chapters (Circles 2 - 3) we will give a detailed description of each module in Cream, complete
with operating instructions and some historical notes referring to the modeled analogue units.

1.3 Acustica Audio

Acustica Audio is a leading company specialized in analog hardware virtualization.
Since the birth of Nebula in the summer of 2005, an active collaboration has started between forward thinking
developers, beta testers, audio engineers and equipment samplers from around the world.
The research and development have progressed through many stages and employ innovative processes and
technologies as of yet unheard of in other products or devices. The company’s goal is to provide the most au-
thentic reproduction of sampled vintage gear and other high-end hardware devices, using the revolutionary
technology Vectorial Volterra Kernels Technology (V.V.K.T.) without the negative artifacts created by the cur-
rent convolution technology.
After many years of fruitful labor, this creative forward thinking group has evolved into a team of experts in
knowing what it takes to serve the “best of both worlds” (digital & analog).
Acustica… Audio Renaissance
8
1.4 References
Acustica Audio is a trademark of Acusticaudio s.r.l.
Via Tortini, 9
26900 - Lodi (LO) - Italy
www.acustica-audio.com

1.5 System Requirements

Modern computers are powerful enough to run many plugins at once. However, our technology requires more
resources than algorithm-based software. Please, consider optimizing your system to work with high CPU
loads and low audio latency.

9
1.6 Sampling Process
The sampling process has been performed by Acustica. The units were sampled with mastering quality convert-
ers, using a method which takes considerably more time than the normal sampling standard.
This method is of benefit to the entire audio spectrum.

Two sample rates are provided with Cream; the native sample frequency was 96kHz. The 44.1kHz frequency
was derived from the native one by a downsampling and upsampling process. This method avoids any negative
sample rate conversion (SRC) artifacts when matching projects different sample rates and also helps in project
loading times.

10
11
 SECOND CIRCLE
LUST
Dante and Virgil leave Limbo and enter the Second Circle – the first of the circles of Incontinence – where
the punishments of Hell proper begin.

12
 CIRCLE II
OPERATION
2.1 Cream preamp module
The Cream channel-strip (and standalone version as well) features several PRE-AMPLIFIERS capable of pro-
viding loads of vintage warmth to your sound. Thanks to the important contribution given by our latest CORE
12 tech, we have been able to emulate even more precisely their original phase, harmonic distortion and fre-
quency response. We are very proud to provide our customers, for the first time, with a complete virtual con-
sole emulation that reproduces all the channel pre-amps of a legendary desk that we deem as one of the best
ever built in the history of sound recording. Preamps included in the Cream channel-strip (and relevant stand-
alone plugins):

1) A Vintage British transistor-based solid-state recording and mixing console – version MK2 (1970)
a) Line 1-24 – 24 channel paths (line input to group output)
b) Mic 1-12 – 12 channel paths (mic input to group output)

2) Vintage Valve Tape Recorders made in the UK (just the tape signal path excluding the tape medium):
- Model 1: this emulation is characterized by a flat frequency response. This has been achieved after the sam-
pling process during deconvolution by applying a de-emphasis algorithm.
- Model 2: this emulation is identical to Model 1 but the frequency response has been left intact and without
any corrections. This results in a substantial HF boost of 11dB at 14.4 kHz.
- Model 3: A Vintage British 1960s tape recorder.

Cream Channel Strip Preamp Section

Cream Standalone Preamps

13
A little bit of history...

In 1947 the first batch of British-made valve tube tape recorders became available from one of the historical
record companies based in London.
These machines were reel-to-reel tape recorders, and their design was based on the recorders used by the
Germans during the World War II. Since these multi-track recorders were painted in a typical pale green, they
became known as the “Green Machines”.
The first model made was named the BTR1 (British Tape Recorder 1). The BTR1 machines were first made
in 1947, but were superseded shortly after by the BTR2 mono machine in 1952 (with adjustable bias current,
allowing better fidelity). The BTR2 was made in greater quantity, and the general quality of this recorder was
much higher compared to the previous models.

The BTR3 tape recorder was initially intended to support 2 or 4 tracks, but the only units produced were
the stereo (2-track) machines, the 4-track version having been rejected at the prototype stage. Only a few of
these were built, and the only known use of them is at the famous recording studio in St John’s Wood, Lon-
don during the 1960s, where they were used for all of the stereo recordings and vinyl mastering sessions.

A few months ago, while we were planning CREAM, we were lucky enough to find a BTR2 model in perfect
condition; without wasting time, we immediately rented it. We were stunned by the quality of its vacuum-tube
pre-amplifiers, so we decided to sample it: in our opinion the resulting emulation is absolutely sensational
(Model 3, IN-TAPE-OUT);

Furthermore we added 2 different pre-amp emulations from a very rare, totally recapped unit built in 1967.

- Model 1 (IN-OUT; we applied de-emphasis during deconvolution process in order to achieve a flatter fre-
quency response);
- Model 2 (IN-OUT; no de-emphasis).

14
2.2 Cream equalizer module
The Cream EQ section is the result of a complete and elaborate sampling of different devices.
We had the honor (and the pleasure!) of getting our hands on what is perhaps the most famous solid-state
console of the ‘60s. It really made the history of music back then, and still makes it today, thanks to constant
and caring maintenance work.

However, in order to provide a complete experience to our customers and equip them with a complete EQ sec-
tion, we have used the valuable contribution of SteDal (SoundDrops) with a view to supplement Cream with
the emulation of an earlier vacuum-tube console as well.

That iconic mixing desk is considered the ‘Mother of all consoles’, as it were. Its warm sound is a significant part
of all the major British hits of the ‘60s; when it was replaced by the newer solid-state desk that we extensively
sampled for Cream (the ‘Vintage British transistor-based solid-state recording and mixing console’), the engi-
neers immediately appreciated all of its new powerful features, but at the same time they all regretted the fact
that some notably warm sounds (bass guitar and kick drum, in particular) were no longer obtainable from the
new solid-state machine.

SoundDrops has provided an extended eq section which closely reproduces (and expands on) the filters availa-
ble in the original vacuum-tube console. Since it is built upon a modern circuit (based on the original designs)
expressly made for this scope, we decided to call this collection of emulations a ‘Homebrew’.
In order to make each EQ model easily intelligible and to make sure that each band can be traced back to its
inspiration, we have used alternative skins.

In other words, the enameled metal plates of the bands in the EQ section change their color following the em-
ulated model:

- GRAY plate: The EQ section from a Vintage British transistor-based solid-state recording and mixing console
- version MK4 (1970s);

- GREEN plate: The ‘Homebrew’ EQ section built by SoundDrops (SteDal) based on an extension of the orig-
inal ‘60s vacuum-tube console circuit.

EQ sections included in Cream channel-strip (and relevant stand-alone plug-in) are:

- The Vintage British transistor-based solid-state recording and mixing console – version MK4 (1970s)
Available bands:
LF: fixed frequency (100 Hz); ±10dB
PRESENCE: 8 frequencies (0.5, 0.8, 1.2, 1.8, 2.8, 4.2, 6.5, 10 KHz) ±10dB
HPF: Bass Cut with 5 frequencies (75, 150, 300, 600, 1200 Hz)

- The ‘Homebrew’ EQ section built by SoundDrops based on an original ‘60s valve desk circuit.

Available bands:

BASS: 3 frequencies (50, 100, 200 Hz); ±10dB

PRESENCE: 6 frequencies (2.7, 3.5, 5, 8, 10, 12 KHz); ±10dB
TREBLE: 3 frequencies (2.5, 5, 10 KHz); ±10dB

You’ll find further information about this section in the next chapter (Controls), where each control in each EQ
module will be analyzed and described in detail.

15
 Cream Channel Strip EQ Section

Cream Standalone EQ

A little bit of history...

In this short section we will try to retrace the history of the two British desks modeled in Cream.

The first one made its appearance in 1957 (in its .17 version). It was entirely based on vacuum-tube technology
and, starting from version .37, had 8 input channels, 2 auxiliary channels and 4 output channels (routed to
the 4-track tape recorder). The eq section was a basic treble/bass 2-band affair, but with a lovely typical British
twist: two different modules were available for the Treble section: a ‘Classic’ module, giving a 5KHz/±10dB
high shelf response, and a ‘Pop’ module, which was different from the Classic one only in its boosting response,
in that it became a peak eq, again centered at 5K.

Thus the engineer had to decide which kind of curve he would be using, and then have a studio technician un-
screw/screw the right module for each channel from underneath the hinged top panel of the desk. Talk about
instant total-recall!

16
Being that the onboard filters were somewhat limited, the engineers felt they needed greater control on the
frequency spectrum. 5KHz was an ideal range for emphasizing vocals and many instruments, but treble fre-
quencies other than that could not be directly adjusted on the desk. So it was decided to introduce an external
outboard equalizer to supplement the effective, but limited, EQ section of the tube mixers.
With this precise idea in mind, the studio technical staff set about designing a more versatile package of sup-
plementary “top” equalizers for the tube desks. The result of their efforts was the ‘Presence Box’. In 1962 this
compact unit was put into service inside the recording studio. Originally called the ‘Brilliant Control’, this
designation changed until it eventually became known as ‘The Presence Box’. Over time, it became very useful
for quite a number of applications, making it one of the most widely used, albeit unknown, studio devices.
This external unit was housed in a small metal box and was built in two different designs, though all the con-
trols and features were identical on both units. The first devices were intended to be housed below the Control
Room patch-bays and had a small chrome handle to facilitate pulling them out of the racks. The second type
of unit was a smaller portable free-standing version which could be set on any flat surface. It was painted the
distinctive green color shared by much of the studio’s equipment at the time.
As it was passive, it only needed an audio input and output connection - no power was required. The controls
were extremely simple, but effective: a small knob on the bottom selected the frequency centre - 2.7kHz, 3.5kHz,
or 10kHz - and a second larger knob offered up to 10 dB of Boost or Cut at the chosen frequency in 2 dB steps.
Note that a large frequency range is not covered between 3.5k and 10k. This was due to the fact that the desk
EQ - which was centered exactly at 5K - was capable of covering that region.
Norman Smith certainly used this unit on the Beatles’ early albums, in a subtle way, as the intended sound was
a more natural one. However, as the years progressed and the Beatles’ creative vision grew, the Presence Boxes
became extremely common and were a main ingredient of the sound of the group’s later records.
In 1967 the increasing sonic experimentation by a number of groundbreaking musicians and artists re-
required a technological advancement. After an intensive phase of design aimed at obtaining a new com-
prehensive mixing desk capable of handling the needs of the latest music recordings, the ‘Vintage Brit-
ish transistor-based solid-state recording and mixing console, as we have christened it, was finally born.
The idea behind this new machine was to replace the vacuum-tube desk with a console entirely built upon the
comparatively new (for the time) solid-state technology.
This ‘Vintage British transistor-based solid-state recording and mixing console proved to have a brighter and a
much punchier sound, compared with its predecessor.
At that time, these highly innovative features were soon welcomed by the recording personnel; they all were
immediately impressed with how clean it sounded; the added top-end sparkle and sheen and the much greater
control over the sound that it afforded soon outweighed the relative lack of ‘tube warmth’. The EQ section of
this console is pure, it produces an open sound with a nice smooth character. It includes a “Presence section”
which is undoubtedly derived from the previous desk, but in this new realization it’s implemented with tran-
sistorized circuitry.
Over the years this desk was improved in several ways, yet always preserving its sound and the ideas behind it.
Cream EQ (mod B) embodies the best of the MK4 model, which was the result of continued refinements,
aimed at achieving the highest possible quality.

2.3 Cream Compressors module

After a long research and development period, today Acustica is proud to offer to all of our customers two
powerful vintage compressors, both available as part of the CREAM channel-strip and as a standalone plugin.
These exceptional dynamic processors are inspired by some expensive iconic British-built units.
The Cream Compressor module (and standalone version) emulates two different compressors. One of them
has been sampled directly from an iconic console, a legendary desk that we call the “Vintage British transis-
tor-based solid-state recording and mixing console – version MK4 (1970s)”. We defined the other one as a
“Vintage British tube compressor (1960s)”; this processor can be literally defined as ‘The Sound of the Sixties’,
since it has been used on practically every ‘Beatles’ recording; it used to be the first-call compressor at Abbey
Road, employed in most of the sessions, both at the recording and mixing stage.

17
 Cream Channel Strip Compressor Section

Cream Standalone Compressor

A little bit of history...

We consider the console that we have emulated in Cream the beating heart of this plug-in. We’ll provide some
historical information and various trivia about it in 2.3 sub-chapter, but first allow us to spend a few moments
to describe this iconic and extremely rare vacuum-tube compressor that we absolutely wanted to integrate in
Cream.
This device could be considered a secret weapon available to a selected number of very successful groups of the
‘60s, such as The Beatles, The Shadows, The Zombies, and many other artists who recorded at that time.
A compressor was first brought in from America to be used as an automatic volume-control device.
Finding it not quite up to their high standards, the technical engineers a most famous record company in Lon-
don were put in charge of redesigning it. Just a few dozen units were ever made, and an even smaller number
of them survive today.
The action of this powerful compressor is extremely soft; it’s capable of taming transients and smoothing them
without attenuating the sound even at high levels of gain reduction. This feature made it immediately popular
for tracking, buss compression, mixing and mastering duties. The sound of this dynamic processor became so
unique that to this day it is one of the most coveted pieces of recording gear ever developed.

18
19
 THIRD CIRCLE
GLUTTONY
Cerberus, the monstrous three-headed beast of Hell, ravenously guards the gluttons lying in the freezing mire,
mauling and flaying them with his claws as they howl like dogs. Virgil obtains safe passage past the monster by
filling its three mouths with mud.

20
 CIRCLE III
CONTROLS

Cream is a channel strip equipped with 39 preamp emulations divided in three different categories (Line, Mic and
Tube), a four-stage multi-model EQ featuring Bass, Treble, Presence and ‘Magic’ bands, and a compressor section
switchable between a solid-state processor (included in the 1970 console) and a vacuum tube outboard model.

As with other similar releases, we offer to our customers a versatile and complete bundle consisting of a powerful
complete channel-strip, plus 3 separate plug-ins for each of its pre-amp, EQ and compressor sections.

Each stand-alone plug-in contains the same features included in the strip, and in some cases it also offers some
useful extras.
For example, in the Cream stand-alone compressor (CREAMCOMP) you can enable an external sidechain and/
or use the pre-amp circuit emulation of the original compressor unit, also available in Cream stand-alone PRE
plug-in (CREAMPRE), but unavailable in the channel-strip unit.

In order to facilitate a complete understanding, we will explain the controls separately for each stand-alone plug-
in.

3.1 Preamplifiers:
The Cream PRE standalone version (CREAMPRE) is equipped with 6 mutually exclusive pre-amp buttons.

OFF: disables the preamps.

LINE/MIC/TUBE/TUBE 2/C: each of these buttons enables a different pre-amp emulation.

The display next to the scroll wheel identifies the number of the emulated channel. Therefore, the scroll wheel can
be used to select between different channels of the same pre-amp model.

LINE: these are 24 different transistor-based channel path emulations from a ‘70s console, going from a line input
to a group output. This is the default path for any line level source during recording. In a mixing situation this
would be the default path from the tape machine to the group outputs, from where the signals would be summed
or bounced to another tape machine.
A possible use of this emulation is to have a pre-amp with a different channel number inserted in each channel
of your DAW mixer. In this way you’ll simulate the pass-through tone color of an entire 24 channel console with
astonishing realism.

MIC: these are 12 different transistor-based channel path emulations from a ‘70s console, going from a mic input
to a group output. During recording sessions this is the default path to tape for a microphone signal.

TUBE: these are 2 different 1960s pre-amp emulations derived from British-made vintage valve tape recorders
which became known as the “Green Machines.”. Both are samples of the entire signal path of the unit including
the tape medium.

21
Model 1: this emulation is characterized by a flatter frequency response. This has been achieved after the sampling
process by applying a de-emphasis algorithm during deconvolution.

Model 2: this emulation is identical to Model 1 but the frequency response has been left intact and without any
corrections. This results in a substantial HF boost of 11dB at 14.4 kHz.

TUBE 2: A Vintage British 1960s tape recorder.

C: This is an emulation of the pre-amp stage of a classic early ‘60s British vacuum tube compressor.
This emulation is only available in Cream Pre (CREAMPRE) and Cream Compressor (CREAMCOMP) stan-
dalone versions.

In Cream, the channel-strip version, all TUBE preamp emulations (1-2-3) are included in a single slot and are all
accessible with the button called ‘TUBE’.

INPUT TRIM: this function allows for a “one knob” internal gain staging control by automatically linking input
and output gain stages with an inverse law. The control sets the input level from -10dB to +10dB, and it is used to
adjust the internal operational level of the plugin. Note that this is different from a standard input gain control due
to the linked output gain stage, which always ensures that whatever gain change is introduced at Cream’s input,
the output level is automatically compensated, so that there’s no perceived level change.
When a positive value is selected the signal entering Cream is brought up by the set amount in dB and the device
will operate at higher internal level. This will result in higher harmonic distortion levels. Contrary to this, negative
values will result in lower internal operational level.
It is a good idea to reach for this control at the very start after loading Cream. In this way you can ensure that you
are hitting Cream at a suitable operating level, depending on the recorded source.

OUT: this is an output gain control ranging from -10dB to +10dB.

3.2 Equalizers:
INPUT TRIM: this function allows for a “one knob” internal gain staging control by automatically linking input
and output gain stages with an inverse law. The control sets the input level from -10dB to +10dB, and it is used to
adjust the internal operational level of the plugin. Note that this is different from a standard input gain control due
to the linked output gain stage, which always ensures that whatever gain change is introduced at Cream’s input,
the output level is automatically compensated, so that there’s no perceived level change.

When a positive value is selected the signal entering Cream is brought up by the set amount in dB and the device
will operate at higher internal level. This will result in higher harmonic distortion levels. Contrary to this, negative
values result in lower internal operational level.

22
It is a good idea to reach for this control at the very start after loading Cream. In this way you can ensure that you
are hitting Cream at a suitable operating level, depending on the recorded source.

OUTPUT: this is an output gain control ranging from -10dB to +10dB.

Before continuing with the explanation of the EQ controls, hereinafter the NOMENCLATURE used in this
manual section will be given in order to clarify and facilitate the understanding of the module’s controls.

Cream’s EQ module combines two legendary British equalizer circuits with some additional ‘homebrew’ designs.
The display section for each band situated next to the scroll wheel identifies the model emulation. Each emulation
is uniquely identified by two letters following an X-Y labeling arrangement.

The leftmost letter (X) identifies the type of response curve:

- B: Bass Lift

- L: this letter can identify either the Loudness filter provided in the Magic section or a low-shelf EQ curve as
provided in the Bass section.

- 1: ‘Magic’ high-shelf model 1

- 2: ‘Magic’ high-shelf model 2
- 3: ‘Magic’ high-shelf model 3
- H: High-pass filter
- P: Presence
- S: High-shelf

The right-most letter (Y) identifies the Equalizer model:

- A (Model A): refers to a modern recreation of the EQ section of a ‘60s vacuum-tube desk. The circuit (built by
SoundDrops – SteDal) is based on the original passive inductor design.
- B (Model B): refers to the EQ derived from a ‘70s British transistor-based recording and mixing console.

23
MAGIC: this scroll wheel enables a few very different and unique EQ shapes. The display next to the scroll wheel
identifies the model emulation.

B-A: A Bass Lift filter originally used to compensate for the lack of proximity effect when microphones were
placed far from the sound source. It boosts frequencies starting from about 120 Hz downwards, reaching approx-
imately +10dB at 20Hz.

L-A: This filter delivers a continuous loudness control. When turned anticlockwise it results in a very wide 1 KHz
bell boost and both low and high frequency attenuation (inverse ‘Loudness’ curve). In its middle position the re-
sponse is flat. When set clockwise it gives a bell cut at 1kHz, while simultaneously boosting both the low and high
frequencies of the signal (‘Loudness’ curve).

Note from SteDal: this filter wasn’t present in the original ‘60s console. I decided to include it because it employs the
same components (inductors + capacitors) used elsewhere in the EQ, only connected according to a different circuit
topology.

1-A: High-shelf model 1 with ±10dB of gain and fixed cut-off frequency.
2-A: High-shelf model 2 with ±10dB of gain and fixed cut-off frequency.
3-A: High-shelf model 3 with ±10dB of gain and fixed cut-off frequency.

Note from SteDal: these 3 models were born just out of pure curiosity. I designed these circuits around homemade
capacitors, built from some of the materials they used to employ in past decades. I fabricated these capacitors from
paper, paper+oil and PVC plastic wrap.

Each of these 3 EQ models utilizes a different type of capacitor, but we won’t specify which is which. Actually,
differences quite frankly very subtle, but since these filters have been sampled, well, then why not include them in
Cream? Just try and use them, if you like, then guess which is which…No prizes available, anyway.
H-B: A High-Pass filter (BASS CUT) with selectable cut-off frequencies of 75, 150, 300, 600 and 1200 Hz.

BASS
L-A: A low-shelf EQ with ±10dB of gain and selectable cut-off frequency of 50, 100 and 200 Hz.
Please note: the original ‘60s console offered only the 100Hz setting.
L-B: A bell curve EQ with ±10dB of gain at 100 Hz.
H-B: A High-Pass filter (BASS CUT) with selectable cut-off frequencies of 75, 150, 300, 600 and 1200 Hz.
(same as in the Magic section)

PRESENCE
P-A: A bell curve EQ with ±10dB of gain and selectable frequencies of 2.7, 3.5, 5, 8, 10, 12 KHz.
Please note: the original ‘60s console offered only the 2.7, 3.5 and 10K setting. The 5K setting was available as the
boost part of the ‘Pop’ type Treble EQ.
P-B: A bell curve EQ with ±10dB of gain and selectable frequencies of 0.5, 0.8, 1.2, 1.8, 2.8, 4.2, 6.5, 10 KHz.

TREBLE
P-A: A bell curve EQ with ±10dB of gain and selectable frequencies of 2.7, 3.5, 5, 8, 10, 12 KHz.
Please note: the original ‘60s console offered only the 2.7, 3.5 and 10K setting. The 5K setting was available as the
boost part of the ‘Pop’ type Treble EQ.
S-A: A high-shelf EQ with ±10dB of gain and selectable frequencies of 2.5, 5, 10 KHz.
Please note: the original ‘60s console offered only the 10K setting as the Treble section of the ‘Classic’ type EQ.
P-B: A bell curve EQ with ±10dB of gain and selectable frequencies of 0.5, 0.8, 1.2, 1.8, 2.8, 4.2, 6.5, 10 KHz.

For each section, OFF disables the relevant EQ band.

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3.3 Compressors:
OFF/B/C KNOB: this stepped control enables and selects the two compressors included in Cream.

OFF: bypasses the unit.

B: enables Compressor model B.
C: enables Compressor model C.

Model B comes from a ‘70s British solid-state recording and mixing console. It is based on a property typical of
Zener diodes, in that their impedance is approximately a logarithmic function of the current passing through
them. This compressor design relies on the use of such components as part of the gain control circuit.

Model C comes from an early ‘60s British modification of an American ‘vari-µ’ vacuum tube compressor. This
unit was employed for various tracking, mixing and mastering duties, but it is particularly well known for its great
bass guitar and kick drum sounds. This unit is also universally valued for its unique way of softening the tone of
the program material.

ATTACK: A fixed attack value. No control for it is provided.

RECOVERY: sets the compressor’s release time.

Model B: values range in seconds from 0.1 (SLOW) to 0.6 (FAST).

Model C: for this model the release times are reversed (FAST to SLOW)

HOLD: this control sets the threshold of the compressor. It ranges from 0dB to -20dB.

MAKE-UP: This is a classic compressor make-up gain control. It allows for the compressed signal to be boosted so
that it is level matched to the uncompressed signal. This allows for an easier comparison between the two signals
and a better judgment on the compressor’s action.

SHMOD: alters the shape of the attack envelope. This allows to fine-tune the attack behavior in order to adapt it to
any audio source. Position 2 gives the original attack time of the modeled compressor. Position 1 gives the fastest
setting. Going from 1 down to 0, a look-ahead function is enabled. The range/amount of look-ahead goes from 0
to 4 milliseconds. Values above 2 will slow down the attack time.

25
GAIN REDUCTION VU METER: measures the reduction level applied by the compressor. The meter indicates
‘0’ in the absence of an input signal or any gain reduction. If the signal exceeds the compression threshold or limit
level, the amount of gain reduction is shown.
Range GR: from 0dB to 30dB.

EXTERNAL INPUT: this button engages the external side-chain of the compressor. This allows for controlling
the compression behavior of the unit by an external control source. The control signal goes through the sidechain
channel and sets the amount of the gain reduction.

Sidechain operation for different plugin formats:

VST: the plugin supports four input channels (Quadro Mode). The first two channels represent the audio
channels (1-2), the last two channels are the sidechain channels (3-4).

AAX: the external sidechain routing controls a key input parameter to selectively modify the
sidechain in PT. Audio channels (1-2), sidechain channels (3-4).

Some hosts do not support the channels 3 – 4, so using this feature might cause crashes with specific DAWs un-
der certain conditions. This behavior differs depending on format and host used. Please read the manual of your
DAW to verify if it supports this feature.
The external sidechain is not yet supported in AUDIO UNIT (AU) format. It will be implemented in the future.

Users can contact our technical support for more details.

MIX: controls the mix proportion between the original (dry) and ‘effected’ (wet) signals. In other words, it deter-
mines the balance between the compressed and uncompressed signal.
Range: 0% to 100%
This control isn’t available in the Cream Channel-strip version.

FILTER: this knob allows to use a IIR type high-pass filter within the sidechain circuit of the compressor. It is
useful to control the way the compressor reacts to bass heavy sources, limiting its sensitivity to the low frequency
range of the signal.
Available range: Off (bypass)/from 40 to 300 Hz.
This control isn’t available in the Cream Channel-strip version.

Meters (IN-OUT): they display the input and output levels entering and exiting Cream.
Range IN/OUT: -20dBFS to +3dBFS.
These meters are only available in the Cream Channel-strip version.

26
27
 FOURTH CIRCLE
GREED
The Fourth Circle is guarded by a figure Dante names as Pluto: this is Plutus, the deity of wealth in classical
mythology.

28
 CIRCLE IV
TECHNOLOGY

Our technology provides seamless support of real-time pre-amplifier, equalizer, compressor, reverb, mul-
ti-effect, stomp-boxes, cabinets, microphones and tapes emulations on Intel based machines, both for
Windows and OSX. It can also take advantage of CUDA parallel GPU computing architecture. The Acus-
tica Acqua Engine is a combination of multiple advanced technical processes that are unique to the Acus-
tica team. Effects devices can be successfully sampled without further editing or adjustment, and then im-
mediately processed and reproduced via the same engine, where the sampled data is stored and available for
recall, loading, saving, and advanced editing when desired. The quality of reproduction of sampled sourc-
es are nearly indistinguishable from the originals. The following techniques are merged into a single model.

Nonlinear convolution: The Volterra theorem is applied as a complete re-thinking, replacement, and gener-
alized substitution of the convolution algorithm that is commonly used in audio applications. Accurate sam-
pling, processing, and reproduction of up to 9 harmonics is possible with our proprietary technology.

Nonlinear convolution, dynamic Volterra series, and time-varying models are just some of the state-of-the-art
features that the Core Acqua Engine offers. The Core Acqua Engine comes complete with all of its internal
tools, and also includes the N.A.T. sampling system, a stand-alone application shipped with most of Acustica
Audio’s products using different configurations. Support is provided directly from the R&D Team that contin-
uously develops the engine. Workshops and project-specific learning sessions can be organized for your team.
The Core Acqua Engine is available with a diverse stand-alone library, ready for inclusion in 3rd party products.

Vectorial Volterra Kernels Technology (V.V.K.T.): Volterra kernels are stored in tree data structures (managing
up to 100000 elements in real-time using a CPU Pentium IV 3 GHz). The Acqua Engine is capable of imple-
menting a list of modules commonly used in audio synthesizers (LFO, envelope followers, dynamic modules,
FUNS). Multiple combinations of these processes may be applied to control sources and destinations.

Time Varying Models (T.M.V.): A collection of kernels collect data using an advanced sampling technique, cre-
ating a multi-dimensional snapshot of a nonlinear/time-varying system. Multiple recordings are interpolated
in order to mimic the time evolution and response to external variables such as user parameters and input/
output assessments (e.g. time-varying cyclic effect processors, stomp-boxes, digital multi-effect units).

More info about our technology at the following link:

http://www.acustica-audio.com/pages/engine

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4.1 Core 12
Cream is based on CORE 12, the last significant upgrade featuring new important features affecting both the
performance and sonic quality of our products.

Core 12 represents a new technological advancement by Acustica:

• Upgraded SASM (Symmetric & Asymmetric Saturation Modeling) high performance saturation algorithm;
• Introduction of a new post-production sample de-noising tech for cleaner deconvolved impulses called STT
(Super transient technology);
• Full compatibility with Client/Server architecture integrated by default in Acqua plugins;
• Engine optimization introducing a new highly efficient algorithm. This innovative technique is applied to all
the deconvolved impulses for further de-noise processing and subsequent elimination of any incorrect low-lev-
el behavior (including the so-called “echo bug”).

Core 12 allows performance improvements for each plug-in of the Acqua Effects series, while at the same time
preserving all the features already supported in previous CORE upgrades.

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31
 FIFTH CIRCLE
ANGER
An angel sent from Heaven secures entry for the poets, opening the gate by touching it with a wand, and re-
bukes those who opposed Dante.

32
 CIRCLE V
HOW TO DOWNLOAD, INSTALL AND AUTHORIZE

5.1 Product download, installation and authorization

When you purchase a product from our webshop, the registration is automatic. Your newly purchased product
can be downloaded via the Aquarius application, our dedicated appli­cation for macOS and Windows.

Cream2, and all Acustica Audio products, can be downloaded, installed, and authorized using the Aquarius
application. The Aquarius application is a free standalone application that will manage the downloading, in-
stallation, and authorization of your product in an automatic way without user intervention.
To learn more about the Aquarius application, read the user's PDF manual included in the installer. Please,
make sure the Aquarius application is always updated to the latest version available. For more information,
please visit our website.
If you experience any issues during your product authorization, uninstall the product, and then re-install it
using the latest version of Aquarius application from Acustica Audio website.

33
34
 SIXTH CIRCLE
HERESY
In the sixth circle, heretics, such as Epicurus and his followers are trapped in flaming tombs.

35
 CIRCLE VI
GETTING TECHNICAL SUPPORT

Technical support is only provided through our ticket system.

In order to send a ticket to our technical support department, sign into your Acustica Audio account
and go to ‘Support and Help-desk Section’, click on ‘New support ticket’ compile the form and Sub-
mit Ticket , remember to assign it to the correct Department. Please try to describe your issue and your
system in detail. All tickets have a tracking number, the response and resolution time will be affect-
ed with a delay of 7 to 14 working days.. If you cannot access your personal account or you are not
yet a customer, you can send us an email to support@acusticaudio.net, but we are not able to track it.
We do not provide support via social networks, public forums, Acustica Audio forums, or email accounts.

6.1 Troubleshooting and bug report

Acustica Audio is constantly improving its products and adding new features. There is the possibility of on-go-
ing issues, bugs and rare crashes. In order to enable Acustica Audio to support you, please provide a complete
system profile as well as a thorough description of the problem you are experiencing, including the exact text
and error numbers in any error messages you are getting.

36
37
 SEVENTH CIRCLE
VIOLENCE
The Seventh Circle, divided into three rings, houses the Violent. Dante and Virgil descend a jumble of rocks
that had once formed a cliff to reach the Seventh Circle from the Sixth Circle, having first to evade the Mino-
taur.

38
 CIRCLE VII
COPYRIGHTS AND CREDITS

All content included in this document, such as texts, graphics, logos, button icons, images, sounds, videos,
digital downloads, data compilations, and software, is the exclusive property of Acusticaudio s.r.l. or its content
suppliers, and is protected by international copyright laws.
The information contained in this web site may not be downloaded, modified, distributed, uploaded, or other-
wise used except without the express written consent of Acusticaudio s.r.l.
Acustica Audio is a trademark of Acusticaudio S.R.L.
Nebula is a trademark of Acusticaudio S.R.L.
Information in this User’s Manual is subject to change without notice

39
40
 EIGHTH CIRCLE
FRAUD
Dante now finds himself in the Eighth Circle, called Malebolge: the upper half of the Hell of the Fraudulent
and Malicious.

41
CIRCLE VIII
APPENDIX

42
 Line 3 Line 1 Line 1 Harmonics

43
Preamps - Line
 Mic 1 Mic 1 Harmonics Line 21

44
Preamps - Mic
 Tube 1 Harmonics Mic 9 Mic 3

45
Preamps - Tube
 Tube 3 Tube 2 Tube 1

46
47
 Magic 2-A High Magic 1-A Low Magic 1-A High

48
Equalizer - Magic band
 Magic 3-A Low Magic 3-A High Magic 2-A Low

49
 Magic L-A Mid Magic L-A High Magic B-A

50
 Magic Bass H-B 300 Hz Magic Bass H-B 150 Hz Magic Bass H-B 75 Hz

51
 Bass L-A 50Hz High Magic Bass H-B 1200 Hz Magic Bass H-B 600 Hz

52
Equalizer - Bass band
 Bass L-A 100Hz Low Bass L-A 100Hz High Bass L-A 50Hz Low

53
 Bass L-B High Bass L-A 200Hz Low Bass L-A 200Hz High

54
 Presence P-A 2.7 kHz Low Presence P-A 2.7 kHz High Bass L- B Low

55
Equalizer - Presence band
 Presence P-A 5 kHz High Presence P-A 3.5 kHz Low Presence P-A 3.5 kHz High

56
 Presence P-A 8 kHz Low Presence P-A 8 kHz High Presence P-A 5 kHz Low

57
 Presence P-A 12 kHz High Presence P-A 10 kHz Low Presence P-A 10 kHz High

58
 Presence P-B 0,5 kHz Low Presence P-B 0,5 kHz High Presence P-A 12 kHz Low

59
 Presence P-B 6,5 kHz High Presence P-B 1,8 kHz Low Presence P-B 1,8 kHz High

60
 Treble S-A 2,5 kHz Low Treble S-A 2,5 kHz High Presence P-B 6,5 kHz Low

61
Equalizer - Treble band
 Treble S-A 10 kHz Low Treble S-A 10 kHz Low Treble S-A 5 kHz Low

62
63
 NINTH CIRCLE
TREACHERY
At the base of the well, Dante finds himself within a large frozen lake: Cocytus, the Ninth Circle of Hell.
Trapped in the ice, each according to his guilt, are punished sinners guilty of treachery against those with
whom they had special relationships.

64
 CIRCLE IX

y Master said: ‘Get up, on your feet: the way is long, and difficult the
road, and the sun already returns to mid-tierce.’ Where we stood was no palace hall,
but a natural cell with a rough floor, and short of light. When I had risen, I said: ‘My
Master, before I leave the abyss, speak to me a while, and lead me out of error. Where
is the ice? And why is this monster fixed upside down? And how has the sun moved
from evening to dawn in so short a time?’
And he to me: ‘You imagine you are still on the other side of the earth’s centre, where I
caught hold of the Evil Worm’s hair, he who pierces the world. You were on that side of
it, as long as I climbed down, but when I reversed myself, you passed the point to which
weight is drawn, from everywhere: and are now below the hemisphere opposite that
which covers the wide dry land, and opposite that under whose zenith the Man was
crucified, who was born, and lived, without sin. You have your feet on a little sphere
that forms the other side of the Judecca.
Here it is morning, when it is evening there: and he who made a ladder for us of his
hair is still as he was before. He fell from Heaven on this side of the earth, and the land
that projected here before, veiled itself with the ocean for fear of him, and entered our
hemisphere: and that which now projects on this side, left an empty space here, and shot
outwards, maybe in order to escape from him.’
Down there, is a space, as far from Beelzebub as his cave extends, not known by sight,
but by the sound of a stream falling through it, along the bed of rock it has hollowed out,
into a winding course, and a slow incline. The guide and I entered by that hidden path,
to return to the clear world: and, not caring to rest, we climbed up, he first, and I second,
until, through a round opening, I saw the beautiful things that the sky holds: and we
issued out, from there, to see, again, the stars”.
 Think not that your journey is done, O Wayfarer!

We all are pilgrims. We are all in search of light, aiming at the stars like Dante.
The path to our natural destination is laid down by our desire for knowledge, and
our constant efforts to rise and look upwards.
We are approaching our destination, but the journey is still long. It is the journey
of the heart of every human being, each with his or her own personal blend of
Hell, Purgatory and Heaven...
So let yourself be comforted by Cream; grasp its essence, reach the full deploy-
ment of its miraculous strength, feed on it. When you are satiated, then be pre-
pared for what awaits you next: the sweet vision of Purgatory.

Acustica 2018

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