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Guitar World review of Bomb Factory SansAmp PSA-1 - 'In last month’s Audio File, we checked out the Line 6 Amp Farm plug-in for Pro Tools. This month we look at another ultra-cool plug-in package designed both for Pro Tools and the newer, low-cost Digi 001 system: the SansAmp PSA-1 from Bomb Factory.

SoftAmp PSA

Sansamp Psa-1 Plugin Sansamp Psa-1 Vst Download Torrent It may be small but Avid's SansAmp PSA-1 is a powerhouse of sonic sculpting that can be used not only on guitars and basses but on any source you like. Here's how it does its magic. SansAmp VST plugin in 2018? Looking for something like the Sans Amp PSA-1 by Avid, like the one that's available with Pro Tools, but one that i can use in Logic. So VST / AU for Mac. A very nice plugin comes free with protools 9hd, dont know if also comes in non hd, its the AIR Harmonics Distortion, Air plugins are amazing, but distortion plugin also has the same oscillation in the highs like wavearts., much better than the tube plugin that comes with cubase/nuendo.

SoftAmp PSA is a virtual-analog guitar pre-amp supplemented with noise gate and compressor, all modeled after famous guitar gear that needs no introduction.

At its core there are 5 distortion stages. First three are based on op-amps with zener diodes in the feedback chain, while the last two are just op-amps being overdriven into saturation. They are followed by tonestack, speaker simulator and an output level control. Each overdrive stage has a distinct frequency shaping quality according to their names. See the EQ plot in the bottom right corner for details.

All stages are modeled as nonlinear filters with their outputs depending on both the frequency and the amplitude of the input signal. It gives the most accurate digital representation, compared to cascaded filter/static waveshaper approach.

In addition to the basic controls, there are two more knobs that control the speaker simulator parameters - Shape and Rolloff. With both knobs at 0, the speaker simulator is completely bypassed (for example, to be used with external impulse loader).

Giving even finer control over the gain structure, there are two more buttons - Asymmetric and Soft-Clip. The former applies to the zener diode stages and replaces the default 4.7v/4.7v zener pair with intentionally unbalanced 3.3v/4.7v pair to saturate the signal with even harmonics. The more the first three stages are overdriven, the more pronounced is the effect. See the clipping LED indicators to have a feel of which stage gets the most saturation from the signal. The Soft-Clip function applies to the two overdriven op-amps and changes their open-loop gain from 1 million to just 200. This effectively makes the transition from linear to saturated region much more softer, making the distortion less harsh and also helping the fading notes sound smoother.

The PSI Denoiser is noise gate with adaptive release time. It has a handy 'Learn' function. Don't play anything on your guitar and hit the Learn button. As soon as the LED goes off, the gate threshold will be automatically set to match your noise level. The noise gate is applied directly to the input signal.

The Squeezo Range compressor is applied to the signal right before entering the PSA pre-amp. It's a very nonlinear, but musical sounding device. It acts as both upward and downward compressor depending on the gain and bias setting. In the original device those controls were not available for user adjustment.

This plugin was made for KVRAudio Develope Challenge 2016. If you like it, and happen to have a KVRAudio account, please consider voting for it before December, 18th!

Trumpet free vst. 1.0.00 - 01.12.2016
- Initial Release

1.0.01 - 06.12.2016
- Double click now properly resets the knob position
- Drive knob now has a correct range (extended towards lower gain)
- Version update availability text is now properly colored
- Default preset now initializes all the controls
- Fixed a bug that could affect the compressor/gate gain plot when multiple instances are launched

1.0.02 - 16.12.2016
- Fixed a bug that affected channel balance of Squeezo Range in stereo mode

During a recent session, I took notice of a particular plug-in that I had used quite a bit to achieve a variety of different results. With that in mind, I thought it would be useful to take a look at a classic piece of software that can cover a lot of ground with just a handful of knobs - the SansAmp PSA-1 from Avid.

The original SansAmp hardware, designed by Andrew Barta, was introduced in 1989 by Tech 21 and was one of the first products to utilize the concept of amp modeling. Over the years it has evolved into a variety of SansAmp related pedals and rack units and the various iterations have appeared on countless records. The first software version was designed by Bomb Factory and is now an Avid plug in for Pro Tools users. What makes it so great is its versatility - harmonic generation, EQ, tone shaping, amp modeling, saturation and overall sonic attitude adjustment.

Quick Look

One of the things I like about the PSA-1, besides how it sounds, is how easy it is to dial in. There’s nothing but rotary knobs for PreAmp, Buzz, Punch, Crunch, Drive, Low, High and Level. That's it - no meters or visuals. You open up the plug-in and start turning knobs. Instead of looking at any graphics, you use your ears. Want more bottom? Turn up the Low, but add some Punch. Want a great edge? Turn up the Drive, High and some Buzz. You have to jump into this thing and start twisting the knobs and see how they all interact with each other.

Take The Bus

Many people think of the SasAmp as a tool for guitar and bass sounds, which it is. But I use it in a variety of ways outside of that. One thing I do is create an Aux track and assign SanAmp to that in my session. Then I will bus things to it when I want some extra grit and tonal saturation. Since I use quite a lot of loops in my TV work, I tend to add extra kicks and snares in for additional weight. Sending a snare to SansAmp makes it have a bit more attitude. If you feel there's a phase issue, simply stick a plug in on the snare that alters the phase. There is no right or wrong.

SansAmp on snare, Aux muted

SansAmp on snare
Above is an example of a piece of music with and without SansAmp on the snare sample, which is on beats 2 and 4. As you can hear, that extra weight is present in the overall sound, and the more you push up the snare bus send to the Aux, the more saturated and weighty it will be. Like most other elements in a production, it should be added to your taste. Also, you can go into the SansAmp settings and tonally shape them however you choose. You could of course add the plug in directly to the channel, but since there is no wet/dry control, it's sometimes harder to get the blend correct between the original and effected sound.

Percussion

Another way I use the plug-in is to add character to percussion. Things like shakers, cymbals and rhythmic elements such as tambourines can take on a whole new life with a SansAmp.
In this example, I’ve assigned the plug-in directly to a tambourine and pushed up some Punch and Crunch, adding a bit of extra Low and High to cut it through. I’ve included the full mix to hear how it helps drive the entire cut. It makes the percussion tambourine sound almost metallic with a midrange grit to it.

Sansamp Psa 1 Plugin Vst Plugin

Full mix no SansAmp on tambourine

Sansamp Psa 1 Plugin Vst Plugins

Full mix with SansAmp on tambourine
Sometimes I will just duplicate the percussion track such as the tambourine and use the clean sound for the first half of the track, then use the track with the SansAmp on it for the later sections of the song. It’s a small but important production element that can help the track ‘go somewhere’, just by adding some grit and edge later in the piece.

Bass

I use the PSA-1 on every single bass track I do. Not only that, but in my studio I use the SansAmp Bass Driver DI as my input for both bass and direct electrics. The output feeds a tube DI and tuner and the Parallel Output feeds my Mesa Boogie MKIV head, which I use both for bass and guitar as a second channel.

Even if I have the BassDriver DI engaged on input, I will still use the PSA-1 for additional tonal shaping after. I find it especially useful for overdriven bass sounds both subtle and heavy. While I do sometimes use other plug-ins to overdrive bass, there are few as edgy and effective as the PSA-1 for this job. To get a bit of extra edge, push up the Crunch and Drive. In this instance, I’ve added just a little extra Low and High to boost both ends of the EQ spectrum, and given it a few dB’s of Level.
There’s a reason the SansAmp PSA-1 is on every session I do. It delivers tonal shaping, EQ, edge, punch, crunch and attitude to just about anything you put it on.

Sansamp Psa 1 Plugin Vst Download

Sansamp Psa 1 Plugin Vst Commands