1. Introduction 2.

Smoke Suite

Thank you for purchasing Smoke. Smoke includes:

To get the most out of your new plugin suite,
please take the time to read this user manual Smoke Stereo EQ (SMOKE EQ):
carefully. A stereo 4-band fully-parametric EQ with
High and Low-pass Filters derived from a
historic US-made unit from the 60s-70s, plus
1.1. Overview a complete preamp section featuring 5 Mono
Line, and 5 Mono Mic emulations from a fa-
Smoke is a “Made in the USA” plugin suite mous Tube Mixer Amplifier of the 1960s and
consisting of three different plugins that 5 custom Mono-Stereo preamps derived from
emulate rare units from the late 50s to the other tube standalone hardware.
present day. If you’re a vintage valve-lov-
ing audiophile with an eye for today’s tech- Smoke Comp (SMOKE COMP):
nology, this suite is for you and it’s sure to A 1950s Tube Compression Amplifier emulation,
get the creative juices flowing! a real a piece of history, an all-American
stalwart of early broadcast and recording
This suite includes hands down some of the studios.
best tube gear ever built in the Pro Audio
Market. The ‘valve sound’ is classic and ab- Smoke Channel-strip (SMOKE STRIP):
solutely unparalleled, and it dominated the A dual-mono 4-band fully-parametric EQ
sound of hit radio in the 1960’s. with High and Low-pass Filters derived from
a historic US-made unit from the 60s-70s,
The preamps in Smoke sound massive and super the same preamp emulation of Smoke Stereo
smooth, the EQs and filters are absolutely EQ and finally a 1950s Tube Compression Am-
legendary plus the Comp embodies one of the plifier emulation, a real a piece of history,
most iconic 1950s super musical sounding Tube an all-American stalwart of early broadcast
Compression Amplifier for Radio broadcast- and recording studios.
ing that has also found its way into to-
day’s records thanks to the contribution of
a well-known brand that produces a faithful
and noteworthy reissue.

NOTE: Without a doubt, the Smoke Compres-

sor plug-in represents the beating heart of
this product line, so we decide to also make
it purchasable separately from the Smoke
suite.
2.1. Download and Authorization 2.2. System Requirements

Smoke, and all Acustica Audio products, can Modern computers are powerful enough to run
be downloaded, installed, and authorized us- many plugins at once.
ing the Aquarius desktop application, our However, our technology requires more re-
dedicated free app for macOS and Windows. sources than algorithm-based software, so we
When you purchase a product on the Acustica recommend optimizing your system to work
store, the registration is automatic. with high CPU loads and low audio latency.
For more information, please visit our web-
site.
Please Note: make sure Aquarius is always
updated to the latest version. If you expe-
rience any issues during the authorization
of your products, uninstall the plugin(s) and
then re-install them using the latest ver-
sion of Aquarius.

2.3. What is a ZL plugin? Basically, both plugin instances are identi-

cal, but the current Acqua engine can work
Acustica plugins come in two versions: either with or without an audio buffer. The
ZL (zero latency) and a regular version. While idea behind a ZL instance is to give you the
the ZL version does not introduce any laten- option to run an Acqua Effect with minimal
cy to your system, the standard version does. latency, which is helpful for tracking or
This buffer varies in size for each plugin direct monitoring.
and helps reduce the CPU and system load of
your computer significantly. NOTE: Please keep in mind that for Smoke
we recommend that you calibrate your input
We recommend that you use a ZL instance when levels to: -18dBFS = 0dBu.
tracking. We suggest that you do not overload the in-
put. This way you will avoid any unwanted
distortion or unpredictable behavior due to
excessive input levels.
3. Operation Our digital version features this powerful
Stereo EQ but is also equipped with a full
Smoke packs an authentic collection of preamp section (5 LINE - 5 MIC - 5 CUST) and
rare vintage and modern emulations, high- carefully chosen cut-filters (HP1/HP2 - LP1/
ly sought-after by collectors worldwide. It LP2) introduced to give you the most ver-
includes a Mono/Stereo Equalizer, a Filter satile choices possible in a single plugin.
section, a Compressor and a Preamp module. More info in the next chapter.

3.1. Smoke Stereo EQ

The hardware unit is clearly inspired by a

‘Purple-Style’ EQ, if you consider the world
of Acqua Plugins, but unlike the classic and
standard tube EQ in the Pro Audio industry
this model incorporates more HF boost fre-
quencies and is a True Stereo Eq featuring
a true passive EQ circuit that can create
rich and musical EQ curves with a distinc-
tive sound thanks to its custom amplifiers
and transformers.

3.1.1. Smoke Stereo EQ – Controls 4- Highpass Cut-off Frequency:

LP1 can be set at 11 kHz - 22 kHz with a peak-
1- Highpass filter model: ing response and sharp cutoff; first knob
Use this control to select from 2 different step (OFF) bypasses the filter.
HP model (HP1 / HP2). LP2 can be set at 1.8 - 2 - 2.5 - 3 - 4 - 5 - 6
Details: - 7 - 8 - 10 - 12 - 15 - 18 - 20 - 22 - 24 kHz;
HP1 ‘Sub’ filter derived from the sampled True first knob step (OFF) bypasses the filter.
Stereo Tube Program Equalizer unit; it’s Sub-
sonic Filter, with settings at 40Hz or 90Hz. 5- Input VU Meter: Displays the input level
HP2 filter derived from a vintage US ful- of the plugin. Range IN: -20dB to +3dB.
ly-analog filter.
6- Output VU Meter: Displays the output lev-
2- Highpass Cut-off Frequency: el of the plugin. Range IN: -20dB to +3dB.
HP1 can be set at 40Hz or 90Hz with a peaking
response and sharp cutoff; first knob step 7- Input Trim: A one-knob internal gain
(OFF) bypasses the filter. structure control linking the input and
HP2 can be set at 16 - 20 - 25 - 30 - 40 - 50 output gain stages with an inverse law. The
- 60 - 70 - 80 - 100 - 120 - 150 - 180 - 200 - control sets the input level from -24dB to
220 - 250 Hz; first knob step (OFF) bypasses +24dB, and it is used to adjust the plugin’s
the filter. internal level. Note: when the preamp stage
is bypassed (OFF), the ‘Input Trim’ mode has
3- Lowpass filter model: no effect. It is possible to increase the har-
Use this control to select from 2 different monic saturation with this Input trim knob.
LP model (LP1 / LP2).
Details: 8- Output: This knob is an output gain con-
LP1 ‘Homebrew’ filter, with settings at 11 kHz trol ranging from -24dB to +24dB.
- 22 kHz.
LP2 filter derived from a vintage US ful- 9- Link: This button links the left and right
ly-analog filter. channel controls.
10- M/S: This button allows you to enable the 19- HF band control (Channel A): Offers a
MID-SIDE configuration of the plug-in; when boost-peaking EQ and ten cutoff points – at
by­passed, the plug-in operates in LEFT-RIGHT 1.5 kHz, 3 kHz, 4 kHz, 5 kHz, 6 kHz, 8 kHz, 10 kHz,
mode (default). 12 kHz, 14 kHz and 16 kHz and adjustable HF Q
About the EQ, Channel A is the Left channel, (bandwidth control) for the Channel A (Left).
Channel B is the Right Channel.
20- HF Boost control (Channel A): Provides
11- OVF: This Overflow LED warns about possi- continuously variable BOOST from 0dB to ap-
ble clipping and unpredictable behavior due prox. +15dB (GUI range from 0 to 100) to the
to excessive input levels to the plugin. selected High Frequency for the Channel A
(Left).
12- Preamps Bank selector: Use this slider to
select the preamp BANK: LINE-MIC-CUST. Use 21- HF Q control (Channel A): A Bandwidth
the Preamp knob Selector to choose the de- control that alters the Q of the equalization
sired preamp emulation from 5 different em- curve from sharp to broad for the HF Boost
ulation for each bank. The first Preamp knob band for the Channel A (Left).
selector step (OFF) bypasses this section.
22- HF band control (Channel A): Selects at
13- Preamp selector: Use this stepped knob which frequency maximum operation of the HF
to select the desired preamp (for each BANK: band - 3 cutoff points - at 5 kHz, 10 kHz and
LINE-MIC-CUST); The first Preamp knob selec- 20 kHz for the Channel A (Left).
tor step (OFF) bypasses this section.
23- HF Cut/Atten control (Channel A): Pro-
Details: vides a continuously variable CUT/ATTEN
Line / Mic: From 1 to 5 are derived from a from 0dB to approx. +15dB (GUI range from 0
1960s tube-based Mixer Amplifier. They are to 100) to the selected high frequency for the
the perfect choice to bring analog color and Channel A (Left).
character to your tracks ‘cause they are re-
ally not that transparent at all. 24- EQ activation button (Channel B): Acti-
Cust: From 1 to 5 derived from different gear. vates (Led On) the EQ of the Channel B (Right
Pre 1 -> PRE EQ ST; Stereo preamplifier stage Channel)
derived from the Tube Program Equaliser used
in Smoke EQ and SMOKE Channel-strip. 25- LF band control (Channel B): Selects at
Pre 2 -> PRE COMP; Mono preamp stage emu- which frequency maximum operation of the
lation derived from the Tube Vari-Mu Com- low shelf for Boost and/or Attenuation at
pressor used in Smoke Comp and SMOKE Chan- four selectable cutoff points - at 20, 30, 60
nel-strip. and 100 Hz for the Channel B (Right).
Pre 3 -> 500PRE MONO1; Mono preamp stage em-
ulation from a vintage-inspired three tube 26- LF Boost control (Channel B): Provides
500 Series mic preamp. a continuously variable BOOST from 0dB to
Pre 4 -> 500PRE MONO2; Mono preamp stage em- approx. +15db (GUI range from 0 to 100) to the
ulation from a second vintage-inspired three selected Low Frequency for the Channel B
tube 500 Series mic preamp. (Right).
Pre 5 -> 500PRE STEREO; Stereo preamp stage
emulation obtained by simultaneous sampling 27- LF Cut/Atten control (Channel B): Pro-
of the two vintage-inspired 500 series three- vides a continuously variable CUT/ATTEN
valve microphone preamplifier units. from 0dB to approx. +15dB (GUI range from 0
to 100) to the selected low frequency for the
14- Oversampling slider: This ‘three step’ Channel B (Right).
slider allows you to change the oversampling
rate to improve the audio quality increasing 28- HF band control (Channel B): Offers a
the sampling frequency of the preamp being boost-peaking EQ and ten cutoff points – at
processed by a fixed multiple of: 8x or 16x. 1.5 kHz, 3 kHz, 4 kHz, 5 kHz, 6 kHz, 8 kHz, 10 kHz,
The OFF step bypasses the oversampling func- 12 kHz, 14 kHz and 16 kHz and adjustable HF Q
tionality. (bandwidth control) for the Channel B (Right).

15- EQ activation button (Channel A): Acti- 29- HF Boost control (Channel B): Provides
vates (Led On) the EQ of the Channel A (Left a continuously variable BOOST from 0dB to
Channel). approx.
+15dB (GUI range from 0 to 100) to the selected
16- LF band control (Channel A): Selects at High Frequency for the Channel B (Right).
which frequency maximum operation of the
low shelf for Boost and/or Attenuation at 30- HF Q control (Channel B): A Bandwidth
four selectable cutoff points - at 20, 30, 60 control that alters the Q of the equalization
and 100 Hz for the Channel A (Left). curve from sharp to broad for the HF Boost
band for the Channel B (Right).
17- LF Boost control (Channel A): Provides
a continuously variable BOOST from 0dB to 31- HF band control (Channel B): Selects at
approx. +15db (GUI range from 0 to 100) to which frequency maximum operation of the HF
the selected Low Frequency for the Channel band - 3 cutoff points - at 5 kHz, 10 kHz and
A (Left). 20 kHz for the Channel B (Right).
18- LF Cut/Atten control (Channel A): Pro- 32- HF Cut/Atten control (Channel B): Pro-
vides continuously variable CUT/ATTEN from vides a continuously variable CUT/ATTEN
0dB to approx. +15dB (GUI range from 0 to 100) from 0dB to approx. +15dB (GUI range from 0
to the selected low frequency for the Chan- to 100) to the selected high frequency for the
nel A (Left). Channel B (Right).
3.2. Smoke Comp Plus, The Smoke Comp adds classic tone and
massive sound immediately, thanks to the
The Smoke Comp is a plugin version of one of preamp emulation which perfectly embodies
the most legendary Variable-Mu Tube Dynamic its tube character.
Processors from 1956. Actually, this plugin
version also includes features from the im- The results that can be achieved by compress-
proved recent reissue built by a USA manu- ing with this plugin are surprisingly var-
facturer that added six release settings and ied. It allows you to undoubtedly enhance
three different modes of operation: “Single” many audio sources especially enriching and
super smooth for bass tracks, “Double” ideal enhancing lead guitars and vocals. Treating
for most sources, and Triple, which allows percussive instruments and the sound of bass
you to limit fast transient waveforms, while with this compressor will make these sources
maintaining great musicality. These new ad- bigger and deeper.
ditions offer plenty of flexibility to find
the perfect dynamic control for any appli- NOTE: Without a doubt, the Smoke Compressor
cation. plug-in represents the beating heart of this
product line, so we decide to also make it
purchasable separately from the Smoke suite
under the name SMOKE COMP. More info here:
https://www.acustica-audio.com/store/prod-
ucts/smokecomp

3.2.1. Smoke Comp – Controls 8- SOA control: An acronym derived from ‘safe
operating area’; This is a fine-tuning con-
1- Bypass switch: This switch allows you to trol for the Threshold to expand the head-
enable (LAMP ON) or disable (LAMP OFF) the room and to find the sweet spot of the com-
plug-in. pressor (comfort zone). An Overflow LED has
been added to this control, this warns about
2- Preamp knob: This knob allows you to en- possible clipping and unpredictable behavior
able (ON) or disable (OFF) the Preamp stage of due to excessive input levels to the compres-
the plug-in. sor.

3- Compressor modes: This control allows you 9- Gain reduction meter: This meter displays
to select between 3 different and mutually the gain reduction level applied by the com-
exclusive compres­sion modes: SINGLE- DOU- pressor.
BLE - TRIPLE. NOTE: Single is very smooth
for bass tracks. Double is perfect for almost 10- Flt (Filter): This control sets the cut
every source you throw at it (this mode comes frequency of a very gentle 1-pole high-pass
the closest to the behaviour of the vintage filter inserted in the side-chain path. Gen-
original). The Triple mode allows the Comp erally, the higher the fre­quency, the small-
to clamp down on fast transient waveforms er the amount of gain reduction, since less
while still retaining great musicality. of the low fre­quencies will be affecting the
Compressor action. In the leftmost position
4- Harmonics: A Global boost of the harmonic (labeled ‘0’), the filter is bypassed.
content and linear material of the Preamp.
11- Recovery: This knob sets the processor’s
5- Input gain: Controls the input level of release time from Slow to Fast times.
the plugin (range: -24/+24 dB).

6- Output gain: Controls the output level of

the plugin (range: -24/+24 dB).

7- Mix: This controls the proportion between

the original (dry) and ‘effected’ (wet) signal.
In other words, it lets you balance the com-
pressed with the un­compressed signal. Range:
0% to 100%.
3.3. Smoke Channel-strip

The Smoke Channel strip is the perfect choice

for a high-quality vintage-style Tube chan-
nel strip to enhance and enrich your music.
It blends all the great features of the in-
cluded standalone plugins of this suite.

3.3.1. Smoke Channel-strip – Controls 7- Input Trim: A one-knob internal gain

structure control linking the input and
1- Highpass filter model: output gain stages with an inverse law. The
Use this control to select from 2 different control sets the input level from -24dB to
HP model (HP1 / HP2). +24dB, and it is used to adjust the plugin’s
Details: internal level. Note: when the preamp stage
HP1 ‘Sub’ filter derived from the sampled True is bypassed (OFF), the ‘Input Trim’ mode has
Stereo Tube Program Equalizer unit; it’s Sub- no effect. It is possible to increase the har-
sonic Filter, with settings at 40Hz or 90Hz. monic saturation with this Input trim knob.
HP2 filter derived from a vintage US ful-
ly-analog filter. 8- Output: This knob is an output gain con-
trol ranging from -24dB to +24dB.
2- Highpass Cut-off Frequency:
HP1 can be set at 40Hz or 90Hz with a peaking 9- OVF: This Overflow LED warns about possi-
response and sharp cutoff; first knob step ble clipping and unpredictable behavior due
(OFF) bypasses the filter. to excessive input levels to the plugin.
HP2 can be set at 16 - 20 - 25 - 30 - 40 - 50
- 60 - 70 - 80 - 100 - 120 - 150 - 180 - 200 - 10- Preamps Bank selector: Use this slider to
220 - 250 Hz; first knob step (OFF) bypasses select the preamp BANK: LINE-MIC-CUST. Use
the filter. the Preamp knob Selector to choose the de-
sired preamp emulation from 5 different em-
3- Lowpass filter model: ulation for each bank. The first Preamp knob
Use this control to select from 2 different selector step (OFF) bypasses this section.
LP model (LP1 / LP2).
Details: 11- Preamp selector: Use this stepped knob
LP1 ‘Homebrew’ filter, with settings at 11 kHz to select the desired preamp (for each BANK:
- 22 kHz. LINE-MIC-CUST); The first Preamp knob selec-
LP2 filter derived from a vintage US ful- tor step (OFF) bypasses this section.
ly-analog filter.
Details:
4- Highpass Cut-off Frequency: Line / Mic: From 1 to 5 derived from a 1960
LP1 can be set at 11 kHz - 22 kHz with a peak- s tube-based Mixer Amplifier. They are the
ing response and sharp cutoff; first knob perfect choice to bring analog color and
step (OFF) bypasses the filter. character to your tracks ‘cause they are re-
LP2 can be set at 1.8 - 2 - 2.5 - 3 - 4 - 5 - 6 ally not that transparent at all.
- 7 - 8 - 10 - 12 - 15 - 18 - 20 - 22 - 24 kHz; Cust: From 1 to 5 derived from different gear.
first knob step (OFF) bypasses the filter. Pre 1 -> PRE EQ ST; Stereo preamplifier stage
derived from the Tube Program Equaliser used
5- Input VU Meter: Displays the input level in Smoke EQ and SMOKE Channel-strip.
of the plugin. Range IN: -20dB to +3dB. Pre 2 -> PRE COMP; Mono preamp stage emu-
lation derived from the Tube Vari-Mu Com-
6- Output VU Meter: Displays the input level pressor used in Smoke Comp and SMOKE Chan-
of the plugin. Range IN: -20dB to +3dB. nel-strip.
Pre 3 -> 500PRE MONO1; Mono preamp stage em- 24- Input gain: Controls the input level of
ulation from a first vintage-inspired three the plugin (range: -24/+24 dB).
tube 500 Series mic preamp.
Pre 4 -> 500PRE MONO2; Mono preamp stage em- 25- Output gain: Controls the output level of
ulation from a second vintage-inspired three the plugin (range: -24/+24 dB).
tube 500 Series mic preamp.
Pre 5 -> 500PRE STEREO; Stereo preamp stage 26- Mix: This controls the proportion between
emulation obtained by simultaneous sampling the original (dry) and ‘effected’ (wet) signal.
of the two vintage-inspired 500 series three- In other words, it lets you balance the com-
valve microphone preamplifier units. pressed with the un­compressed signal. Range:
0% to 100%.
12- Oversampling slider: This ‘three step’
slider allows you to change the oversampling 27- SOA control: An acronym derived from
rate to improve the audio quality increasing ‘safe operating area’; This is a fine-tun-
the sampling frequency of the preamp being ing control for the Threshold to expand the
processed by a fixed multiple of: 8x or 16x. headroom and to find the sweet spot of the
The OFF step bypasses the oversampling func- compressor (comfort zone). An Overflow LED
tionality. has been added to this control, this warns
about possible clipping and unpredictable
13- EQ activation button: Activates (Led On) behavior due to excessive input levels to the
the EQ of the plugin. compressor.

14- LF band control: Selects at which fre- 28- Gain reduction meter: This meter dis-
quency maximum operation of the low shelf plays the gain reduction level applied by the
for Boost and/or Attenuation at four se- compressor.
lectable cutoff points - at 20, 30, 60 and 100
Hz for the plugin. 29- Flt (Filter): This control sets the cut
frequency of a very gentle 1-pole high-pass
15- LF Boost control: provides continuously filter inserted in the side-chain path. Gen-
variable BOOST from 0dB to approx. +15db (GUI erally, the higher the fre­quency, the small-
range from 0 to 100) to the selected Low Fre- er the amount of gain reduction, since less
quency. of the low fre­quencies will be affecting the
Compressor action. In the leftmost position
16- LF Cut/Atten control: Provides a contin- (labeled ‘0’), the filter is bypassed.
uously variable CUT/ATTEN from 0dB to ap-
prox. +15dB (GUI range from 0 to 100) to the 30- Recovery: This knob sets the processor’s
selected low frequency. release time from Slow to Fast times.

17- HF band control: Offers a boost-peaking

EQ and ten cutoff points – at 1.5 kHz, 3 kHz,
4 kHz, 5 kHz, 6 kHz, 8 kHz, 10 kHz, 12 kHz, 14
kHz and 16 kHz and adjustable HF Q (bandwidth
control).

18- HF Boost control: Provides a continuously

variable BOOST from 0dB to approx.
+15dB (GUI range from 0 to 100) to the selected
High Frequency.

19- HF Q control: A Bandwidth control that

alters the Q of the equalization curve from
sharp to broad for the HF Boost band.

20- HF band control: Selects at which fre-

quency maximum operation of the HF band - 3
cutoff points - at 5 kHz, 10 kHz and 20 kHz.

21- HF Cut/Atten control: Provides a contin-

uously variable CUT/ATTEN from 0dB to ap-
prox. +15dB (GUI range from 0 to 100) to the
selected high frequency.

22- Bypass switch: This switch allows you to

enable (LAMP ON) or disable (LAMP OFF) the
compressor.

23- Compressor modes: This control allows you

to select between 3 different and mutually
exclusive compres­sion modes: SINGLE- DOU-
BLE - TRIPLE. NOTE: Single is very smooth
for bass tracks. Double is perfect for almost
every source you throw at it (this mode comes
the closest to the behaviour of the vintage
original). The Triple mode allows the Comp
to clamp down on fast transient waveforms
while still retaining great musicality.
4.1. Technical support

Technical support is exclusively provided

via our dedicated ‘Freshdesk’ platform.
Please visit our website to learn more.

4.2. Troubleshooting and bug report

We are constantly improving our products and

adding new features. On-going issues, bugs,
and rare crashes can still be possible.
If you are experiencing problems with your
product, please head over to our website and
visit the dedicated knowledge base section.
Many an­swers have already been answered, and
ready-to-use solutions can be found there.

4.2. Copyrights and credits

All names, product names, logos, and brands

displayed on this document are the proper-
ty of their respective owners. The content
included in this man­ ual, such as graphics,
icons, images, is the exclusive property of
Acusticaudio S.r.l. or its suppliers and is
protected by international copyright laws.

The information contained on our website

may not be downloaded, modified, distributed,
uploaded, or otherwise used without the ex-
press written consent of Acusticaudio S.r.l.
Acustica Audio is a trademark of Acusticau-
dio S.r.l.