1 INTRODUCTION

1.1 FROST

Thank you for choosing Frost!

The new powerful, fully hyper, channel strip plugin from our Ac-
qua series, available in VST, VST3, AU and AAX format, which re-
presents the ultimate expression of Acustica’s new high-perfor-
mance Hyper technology.

It is one of Acustica’s most versatile and creative plugins, able to

take on just about any job, made up of different precious tools
used and appreciated by world wide Pro Audio engineers and ca-
refully selected by Acustica to create the ultimate all-in-one chan-
nel strip.

This Channel strip is made up of three processing modules, an

EQ section (1), a Dynamic section (2) and a Pre/Clipper/Saturator
section (3). All of them hold up on their own, but all together they
make sparks fly!

This plugin is so precisely controllable and so versatile, and its

sonic character so configurable, that its use really isn’t limited to
specific genres and tasks. Ranging from ultra-clean to warm and
musical, aggressive to chilled out, it’s all about supporting your
choices and needs.

To get the most out of your new plugin, please read this user ma-
nual carefully.
1.2 FEATURES

• Hyper technology.
• Hyper ‘Glue’ Compressor plus two Brickwall limiters.
• Hyper ‘British-style’ 4-band EQ plus HP-LP filters.
• Hyper Dynamic EQ mode.
• Hyper Saturation, Preamp, Clipper.
• 3 modes of operation - Classic Stereo (LR), Mid or Side.
• External Sidechain.
•Top quality product suite with a great, distinctive and impeccable
sound.
• Oversampling for all sections.
• Low CPU consumption.
2 OVERVIEW 2.1 AT A GLANCE

Frost aims to become your inseparable ‘British-style’ channel Frost channel strip features three different sections:
strip, providing all the basic processing - equalisation (static and
dynamic), compression, pre-amplification, saturation and clipping • 1 -> a ‘Sand-style’ [pun intended considering the AA world] EQ
- in one single, easy-to-manage plugin, created to work 360 de- affair inspired by one of the most ‘British’ EQs, it sounds classy,
grees effectively and organically. smooth and very musical with fixed Q, HF and LF shelving curves
address the extremes (3k,8k, 10k, 12k, 14kHz / 30, 60, 100, 200
This innovative and versatile plugin will allow you to manage dif- and 400Hz) along with both high and low mid-band EQ with pea-
ferent scenarios, regardless of the musical genre you are working king curves (0.7k,0.96k, 1.3k, 1.8k, 2.5k, 3.5k, 4.8k, 6.6k, 9k,12k5
with. and 17kHz / 20, 28, 40, 60, 80, 120, 170, 240, 350, 490 and
700Hz) with oversam­pling-rate buttons (1x – 2x - 4x - 8x).
It will allow you to better manage your sounds by “marrying” them This section also includes High-pass (from 65Hz to 1.5kHz) and
in a beautiful and cohesive way, creating that much sought-after Low-Pass (from 18kHz to 1.4kHz) cutting filters derived from the
‘glue’. It can be a great tool for sculpting vocals and solo instru- same gear.
ments, giving them considerable energy thanks to its preamplifi-
cation/saturation section, or for widening the stereo panorama by • 2 -> a ‘Sand-style’ [pun intended considering the AA world]
giving it more three-dimensionality thanks to its EQ section. VCA Bus Compressor providing fast, relatively clean and detailed
compression with oversam­pling-rate buttons (1x – 2x - 4x - 8x).
Also, don’t underestimate the potential of the sampled equaliser Two Brickwall limiters ( 1-2 ), the first a more ‘traditional’ and the
included in this plug-in, that can make for a very quick and effi- second a more ‘pioneering’ in their conception both based on
cient mixing and mastering workflow. our new ‘Hyper’ compression technology with oversam­pling-rate
buttons (1x – 2x - 4x - 8x); and a Dynamic EQ option.

• 3 -> a Preamp/Saturation/Clipping stage with oversampling-rate

buttons (1x - 4x - 8x) derived from a Tube Vari-mu compressor,
which can make your sound vary from subtle to extremely aggres-
sive, but always remain musical. Sensible use of the saturation
options helps make a mix sound bigger, more cohesive and more
interesting.

Moreover the plugin includes a series of additional controls inclu-

ding: MID - SIDE – L-R buttons, a complete Input-Output meter
section and finally a series and External sidechain. Check the
‘Operation’ chapter for more de­tails.

The Frost signal chain:

Input -> Static Eq -> Compressor -> Dynamic Eq -> Pre->Satura-
tion/Clipper -> Output
3 OPERATION
It is capable of providing saturation options that can help make
Sonically, this channel won’t let you down, delivering the kind of a mix sound bigger, more cohesive and more interesting, and a
smooth, controllable sound you would expect from a real chan- range of dynamic processors that can crush the sound or “glue
nel strip, providing a tool that can easily sculpt a perfect sound, together” your tracks. Let’s find out together how it is able to do
whether it’s processing a single instrument, grouped tracks or that by going into the details of the controls of each section of this
even during mastering. powerful plugin.
3.1 FROST CONTROLS Oversampling: Selects the Eq oversampling factor.

Section1 > EQ: Left-Right: Left/Right processing is enabled by pressing the L-R
Modify the equalisation at the begin of the chain. button (the default processing mode).

OFF: disables the Eq. Mid: MID processing is enabled by pressing the MID button, EQ
processing is applied to the center of your soundstage (Mid com-
LF Frequency: Selects the frequency of the LF band - 5 cutoff ponent).
points - from 30 to 400 Hz with shelving curves.
Side: SIDE processing is enabled by pressing the SIDE button,
LMF Frequency: Selects the frequency of the LMF band - 11 cutoff EQ processing is applied to the edges of your soundstage. (Side
points - from 20 to 700 Hz with peaking curves. component).

HMF Frequency: Selects the frequency of the HMF band - 11 cu- NOTE: These processing modes effect only the EQ both static
toff points - from 0.7 to 17 kHz with peaking curves. and dynamic (LR/MID/SIDE)

HF Frequency: Selects the frequency of the HF band - 5 cutoff Section2 > DYNAMICS:
points - from 3 to 14 kHz with shelving curves. Modify the equalisation at the begin of the chain.

Gain LF: Controls the gain of the Low Frequency band ranging Attack: Sets the compressor’s attack time, ranging from 0.1 mS
approx. -6/+6 dB. (fast) to 30 mS (slow).

Gain LMF: Controls the gain of the Low Mid Frequency band ran- Release: Sets the compressor’s release time, ranging from 0.8 S
ging approx. -10/+10 dB. (fast) to 14 S (slow); plus, two even slower times were added, cal-
led A1 and A2.
Gain HMF: Controls the gain of the High Mid Frequency band ran-
ging approx. -10/+10 dB. Threshold: Sets the threshold of the compressor (range: -64 dB
to + 0 dB). When DYN EQ is enabled, this sets the signal level
Gain HF: Controls the gain of the Low Frequency band ranging where the dynamic eq starts working.
approx. -6/+6 dB. When the audio breaches the threshold, boosts and cuts are ap-
plied, thus compressing or expanding the dynamic range of the
HP filter: Can be set between 30 Hz – 1.5 kHz; first knob step frequencies concerned.
(OFF) bypasses the filter.
Compressor modes: This control allows you to select between 4
LP filter: Can be set between 18 kHz – 1.4 kHz; first knob step different and mutually exclusive compression modes:
(OFF) bypasses the filter.
COMP (a faithful algo ‘copy’ of the VCA bus compressor unit):
Oversampling- rate functions available (1x, 2x, 4x, 8x).
BRICKWALL1 (1st ‘Frankenstein’ brickwall limiter by Acustica): Filter: This control sets the cut frequency of a very gentle 1-pole
It’s an emulation of a traditional brickwall limiter that does not allow high-pass filter inserted in the side-chain path. Generally, the hi-
transients to exceed the maximum limit when the input gain is set gher the frequency, the smaller the amount of gain reduction, sin-
to maximum. Sc Filter, Stereo link, Attack and SHMOD controls not ce less of the low frequencies will be affecting the Compressor
available in this mode. Oversampling- rate functions available (1x, action. In the leftmost position (labeled ‘0’), the filter is bypassed.
2x, 4x, 8x, 16x).
Output: This knob is an output gain control of the compressor ran-
BRICKWALL2 (2nd ‘Frankenstein’ brickwall limiter by Acustica): ging from -24dB to +24dB.
It is characterised by Tulip’s attack-release times, a fixed ratio (sta-
tic curve) derived from an iconic VCA compressor. Unlike the more Stereo LInk: Stereo linking synchronizes the gain reduction ap-
‘traditionally’ designed Brickwall 1, Brickwall 2 is able, by adjusting plied across both channels, ensuring that both the left and right
the available attack and SHMOD controls, to achieve the desired channels receive the same amount of gain reduction.
volume while preserving the transients and dynamics of the track. Turning the knob fully counterclockwise to the OFF position acti-
The SC Filter, Stereo link and Ratio controls aren’t available in this vates the LINKED mode, while turning it fully clockwise to the FULL
mode. position sets the UNLINKED mode.

DYN EQ: Used to modify the gain (compression/expansion) of the External sidechain button: Used to modify the control signal, press
dynamic eq and the frequency of both the static and dynamic eq. this button to select if the control signal is taken from channels 1-2
to 3-4. Changes the gain of the control signal by +/- 24 dB.
Ratio: Sets the ratio of the compressor; Range: from 2:1 to explo-
sive 100:1 Dyn EQ ON button: Press this to activate the Compressor/Dyna-
mic section.
SOA button: An acronym derived from ‘safe operating area’; This
is a fine-tuning button to set the input level signal to the compres- Dyn EQ OFF button: Press this to disable the Compressor/Dyna-
sor at +18 dB. mic section.

Threshold: Sets the threshold of the compressor (range: -64 dB Mix/ Sensitivity: This controls the proportion between the original
to + 0 dB). (dry) and ‘effected’ (wet) signal. In other words, it lets you balan-
ce the compressed with the uncompressed signal. Range: 0% to
Make up: Compensates for the compressor’s gain reduction. Gain 100%. When the Dyn Eq is engaged this control become a Sen-
range: from -12 dB to +12 dB. sitivity knob, it determines the amount of the eq effect that is ap-
plied to the signal. Ranging from 0% to 100%.
Mix: This controls the proportion between the original (dry) and
‘effected’ (wet) signal. In other words, it lets you balance the com- Section3> PRE/SATURATOR/CLIPPER:
pressed with the uncompressed signal. Range: 0% to 100%.
Pre In (Input Trim): A one-knob internal gain structure control lin-
Stereo Link: Use this control to link or unlink the response of the king the input and output gain stages with an inverse law. The
left/right channels when working on a stereo source. Makes the control sets the input level from -24dB to +24dB, and it is used to
control signal mono (100%). adjust the plugin’s internal level. Note: when the preamp stage is
bypassed (OFF), the ‘Input Trim’ mode has no effect. It is possible
to increase the harmonic saturation with this Input trim knob.

Pre (In) ON button: Press this to activate the Preamp section.

Pre (In) OFF button: Press this to disable the Preamp section.

Saturation modes: Choose between OFF (Bypass) / Saturator /

Clipper.

Saturation knob: This knob increases the distortion of the plugin,

behaving differently depending on the type of processor selected
(Saturation / Clipper).
Details:
- OFF: The distortion doesn’t work.
- Clipper mode: Amplification before the clipping stage. Increase the
input gain to drive the signal into the clipper. Range: from 0% to 100%.
- Saturation mode: Turn it up to increase the distortion of the plu-
gin. Watch out, it can give an instrument a bit of analog character
adding warmth or it will literally ‘punish’ the signal with extreme
saturation becoming very aggressive, use it wisely! Range: from
0% to 100%.

Output: This knob is an output gain control of the plugin ranging

from -24dB to +24dB.

Preamp Oversampling: Modify the oversampling rate (1x -2x – 4x

- 8x) to improve the audio quality, increasing only the sampling
frequency of the Preamp

ADDITIONAL CONTROLS
To adjust and measure Input-output level and gain reduction.

Input-Output meters: They measure the input and output levels

of the plugin.

Gain Reduction meters: They measure (L-R) the reduction level

applied by the compressor. The meter indicates ‘0’ in the absence
of any input signal or any gain reduction. If the signal exceeds the
compression threshold or limit level, the amount of gain reduction
is shown.
4 HOW TO DOWNLOAD, INSTALL, AND AUTHORIZE YOUR 5 SYSTEM REQUIREMENTS
PRODUCTS
Modern computers are powerful enough to run many plugins at
Acustica Audio products can be downloaded, installed, and au- once. However, our technology requires more resources than al-
thorized using the Aquarius Desktop application. gorithm-based software, so we recommend optimizing your sy-
The Aquarius Desktop application is a free standalone application stem to work with high CPU loads and low audio latency.
that will manage every step in an automatic way without user in- Before starting the installation process, please confirm that your
tervention. system meets the minimum system requirements to run the plu-
Download Aquarius Desktop Application gins please consult the following link:
www.acustica-audio.com/pages/aquarius https://app.box.com/v/AASYSTEMREQUIREMENTS

4.1 6 CUSTOMER CARE

How to download a product
in Aquarius Desktop Application To contact Acustica Audio, always use the single point of contact,
which is this help-desk portal:
To download a product using the Aquarius Desktop application go https://acusticaudio.freshdesk.com/
to the purchase page and select the product and format (VST2,
VST3, AAX, AU) to install. We do not provide official assistance via social networks, public
In case you can’t find your product on the purchase page use the forums, or email accounts. For troubleshooting and issue repor-
search page. ting, check the available solutions in the knowledge base.

4.2 7 COPYRIGHTS AND CREDITS

How to install a product
in Aquarius Desktop Application All names, product names, logos, and brands displayed on this
document are the property of their respective owners. The con-
The installation is done automatically by the Aquarius Desktop tent included in this manual, such as graphics, icons, images, is
application after the download. As the Aquarius Desktop applica- the exclusive property of Acusticaudio S.r.l. a socio unico or its
tion creates a temporary file of the downloaded products, known suppliers and is protected by international copyright laws.
as the stage area, at the moment you want to reinstall a product it
will not be necessary to download it again. The information contained on our website may not be downloa-
ded, modified, distributed, uploaded, or otherwise used without
4.3 the express written consent of Acusticaudio S.r.l. a socio unico,
How to authorize a product Acustica Audio is a trademark of Acusticaudio S.r.l. a socio unico.
in Aquarius Desktop Application

The authorization is done automatically by the Aquarius Desktop

application after the product installation. You can manage your
authorizations using the Aquarius Web Service.

Click HERE or a complete installation user guide