[Review] Pulsar Audio-"MASSIVE" Review (Emulation of Manley Massive PassiveEQ, passive EQ, usability, etc.)

 

[Review] Pulsar Audio-"MASSIVE" Review (Emulation of Manley Massive PassiveEQ, passive EQ, usability, etc.)

I have just introduced this product because it has been talked about a lot.

Manufacturer Information

Pulsar Massive is an emulation of the Manley Massive Passive* EQ that is found in nearly every mastering studio in the world. The machine is designed to be a synthesis of the best passive equalizers of the last 70 years, and several features of the design make it sound very unique. First, the fully parallel topology of the EQ provides a completely different kind of response for digital equalizers with the same settings. The tonal corrections of the parallel equalizers are not cumulative, but they do tend to interact, allowing for a more intuitive and fluid shaping of the frequency spectrum. In addition to this, the entire equalization circuitry of the original hardware is passive, so there are several inductors. These inductors are specifically machined and wound by the manufacturer, and the magnetic saturation they bring about produces a creamy, nonlinear, organic sound.

Quoted from Pulsar Audio

Features

 Emulation plug-in for the Manley Massive PassiveEQ, a passive equalizer. Unlike active equalizers that use transistors or ICs, it is processed by amplification and attenuation through resonance with coils and capacitors and audio transformer step-up & step-down. Therefore, it is characterized by the fact that it does not carry noise even when the gain is increased.

There is a full range of presets. I think it is easy to use that the presets are divided by instrument. (I think it would be difficult to find presets divided by artist.)

In the case of LR, the left knob section is for L and the right section is for R. (Not only individual settings, but also two channels can be set separately. (Not only individual settings, but the two channels can also be linked.) In addition, an analyzer is displayed for each channel. (You can link the two channels as well as set them individually.) In addition, each channel displays its own analyzer, and moving a parameter on either channel instantly changes the EQ screen for that channel, which is very convenient. (There may be times when you lose track of which channel you are working on.)

Of course, you can move the points up and down on the analyzer as well as the knobs. It is also nice to be able to change the Q width with the wheel, a familiar operation in iZOTOPE "Neutron" and others.

Two types of transformer circuits are available so you can switch between them with minor changes when they don't feel right.

An auto-gain function is also provided to maintain loudness after EQ. Also, a modest but useful feature is the lock function. Parameters with keys displayed on the right retain their values even if the preset is changed.

It is also very convenient to be able to switch between each of the four bands with a single switch on the shelf bell. The band on/off and bypass functions are all available. You can't miss this. The high-pass and low-pass can also be quickly swept with the knob. The drive can be tweaked to produce the familiar distortion, but it is not a rock-like drive, but rather sandy. You can also create a boomy kick. Fine-tuned and natural, I like that each MS can be applied independently.

Evaluation

First of all, the ease of use is outstanding. It is very easy to use for users who are not familiar with analog emulation EQs because they can operate analog EQs in the same way they operate other digital EQs. This is a good option for people who are used to using digital EQs and want to try analog EQs.

Also, as is characteristic of passive EQs, when compared to other active EQs or emulation EQs, this EQ does not add a homogeneous roughness, as if the hip-hop or funk material itself has been processed and crushed, but rather a roughness that seems to be added to the material, giving the sound a sense of presence, core, and breadth. It gives the sound a sense of presence, core, and breadth. It makes up for the lack of presence. The sound image remains clear and centered. However, it does not have the inorganic, too-clean feel that is characteristic of digital sounds, so it is ideal for highlighting drums and other sounds naturally. It is somewhat similar to the feeling of a compressor that makes a sound crisp and clear. Therefore, it fits modern needs better than you might imagine, and is very useful for many purposes. At this point, you will want even more bands. (Although that would also be a big departure from the concept.)

I like the versatility of this product, regardless of genre. It might be good for pop or future music. It's also great for adding punch.

Pulsar Audio