White3 Manual
White3 Manual
White3 Manual
1. Introduction
Thank you for purchasing White3. To get the most out of your new plugin suite, please take the time
to read this user manual carefully.
1.1. Overview
White3 is an exciting plugin suite that embodies esoteric units from the renowned Italian studio
White Sound Mastering.
Their solid-state design give them an excellent transient response making them ideal for mastering
and also mixing applications.
In the words of Sound on Sound reviewer Sam Inglis: “White has that elusive quality of making
everything sound better, at a wide range of settings.”
- White3 PEQ-2.0 (solid state P-style EQ) - is a faithful emulation of the WSM PEQ-2.0, a solid state
P-style EQ, with dual-mono channel topology designed specifically for Mastering.
Its solid state design gives it excellent transient response, and its knobs with stepped controls
guarantee perfect reproduction of the stereo spectrum with amazing and complete recall capabil-
ities.
This hardware was created to be an evolution of a classic P-equalizer using passive filters, induc-
tors and transformers , while the design choice of solid state makes it suitable for any musical
genre.
The low frequency band has been enhanced by being split, so, unlike most P-style units, you can
use the controls of the CUT and BOOST simultaneously on multiple frequencies. This provides
greater flexibility and many more possibilities for sound-shaping the audio.
The WSM PEQ-2.0 began as a custom project of the White Sound Mastering studio in Florence.
- White3 FLT-2.0 (solid state mastering pre+filter) - is an emulation of the WSM DLP Dual Line
Preamplifier, an esoteric passive preamp+filters, ideal for mastering purposes, White3 FLT-2.0
compared to the original version features an ‘Extra’ section dedicated to mastering cutting filters
designed to Tommy Bianchi’s specifications.
White3 PEQ-2.0 (solid state P-style EQ).
WSM Labs is a trademark of White Sound Mastering Studio. WSM Labs produces analog esoteric custom
instruments for audio mastering purposes. Founded by Tommy Bianchi and Niccolo’ Caldini, they are based
in Florence (Italy).
2.1. Download And Authorization
White3, and all Acustica Audio products, can be downloaded, installed, and authorized using the
Aquarius desktop application, our dedicated free app for macOS and Windows. When you pur-
chase a product on the Acustica store, the registration is automatic. For more information, please
visit our website. Please note: make sure Aquarius is constantly updated to the latest version. If you
experience any issues during the authorization of your products, uninstall the plugin(s) and then
re-install them using the latest version of Aquarius.
The mastering filters have been carefully recreated in the digital domain according to Tommy Bi-
anchi’s technical specifications, with the aim of obtaining very linear and functional “cutting filters”.
The White 3’s filter section offers two different elliptical filter modes and 3 fixed positions, the V
containing cuts suitable for Vinyl Cutting and the M for classic mastering cuts.
More details in chapter 3.2
In this third version the PRE2 and PRE3 buttons are two different sound modes of the same pream-
plifier, the WSM DLP Dual Line Preamplifier, which compared to the preamplifier stage of the WSM
PEQ-2.0 (linear and clear), introduces an interesting amount of colour and harmonic saturation in
the sound.
These NEW preamplifiers have been added to this third version of the White3 EQ, to improve it in
several respects, whilst still preserving its sound characteristics and identity.
This EQ has become famous over time for its low-and high-shelving boosts and cuts, but it ex-
pands upon these in a couple of interesting ways. In particular, it allows you to choose between
several frequency options, more than a classic P-style EQ, and most significantly, it’s possible to
select different frequencies for the boost and the cut!
3.1. White3 PEQ-2.0
2- PRE 1: Activates the first preamp emulation of the White 3 EQ. It’s the preamp emulation derived
from the WSM PEQ-2.0
3- PRE 2: Activates the second preamp emulation. It’s the first preamp emulation derived from the
WSM DLP Dual Line Preamplifier.
4- PRE 3: Activates the third preamp emulation. It’s the second preamp emulation derived from the
WSM DLP Dual Line Preamplifier.
5- Low Boost (Left Channel): The Low boost goes from 0 to +18 dB.
6-14 Low Frequency (Left Channel): This sets the cut-off frequency for the Low frequency BOOST
and CUT controls for the Left Channel. The frequency settings for each controls are 20 Hz, 30Hz,
40Hz, 60Hz, 100Hz, 120Hz.
7-15 Low Frequency (Right Channel): This set the cut-off frequency for the Low frequency BOOST
and CUT controls for the Right Channel. The frequency settings for each controls are 20 Hz, 30Hz,
40Hz, 60Hz, 100Hz, 120Hz.
8- Low Boost (Right Channel): The Low boost goes from 0 to +18 dB.
9- Output meter (Left-Mid): This VU meter displays the output level (Left/Mid) of the plug-in.
10- Output meter (Right-Side): This VU meter displays the output level (Right/Side) of the plug-in.
11- Low band activation button (Left Channel): Activates (Led On) the Low Frequency band of
the Left Channel.
12- Low band activation button (Right Channel): Activates (Led On) the Low Frequency band of
the Right Channel.
13- Low Cut (Left Channel): The Low Cut goes from 0 to -18 dB.
16- Low Cut (Right Channel): The Low Cut goes from 0 to -18 dB.
17- High Cut activation button (Left Channel): Activates (Led On) the High Cut section of the Left
Channel. Note: The HIGH FREQUENCY band is made up of two INDEPENDENT subsections, the
BOOST and the CUT sections.
18- C Link: By pressing this button you can link the controls of left and right channels.
19- High Cut activation button (Right Channel): Activates (Led On) the High Cut section of the Right
Channel. Note: The HIGH FREQUENCY band is made up of two INDEPENDENT subsections, the
BOOST and the CUT sections.
20- High Cut (Left Channel): The High Cut goes from 0 to -18 dB.
21- High-Cut Frequency (Left Channel): Sets the cut-off frequency for the high frequency CUT con-
trol of the Left Channel. The frequency settings are 5kHz, 10kHz, 12Hz, 16Hz, 20kHz.
22- Gain (Left Channel): This knob is an output gain control of the Left Channel ranging from -12dB to
+12dB.
23- M/S: This button allows you to enable the MID-SIDE configuration of the plug-in; when bypassed,
the plug-in operates in LEFT-RIGHT mode (default).
24- Gain (Right Channel): This knob is an output gain control of the Right Channel ranging from -12dB
to +12dB.
25- High-Cut Frequency (Right Channel): Sets the cut-off frequency for the high frequency CUT con-
trol of the Right Channel. The frequency settings are 5kHz, 10kHz, 12Hz, 16Hz, 20kHz.
26- High Cut (Right Channel): The High Cut goes from 0 to -18 dB.
27- High Boost activation button (Left Channel): Activates (Led On) the High Boost section of the
Left Channel. Note: The HIGH FREQUENCY band is made up of two INDEPENDENT subsections, the
BOOST and the CUT sections.
28- High Boost activation button (Right Channel): Activates (Led On) the High Boost section of the
Right Channel. Note: The HIGH FREQUENCY band is made up of two INDEPENDENT subsections, the
BOOST and the CUT sections.
29- High Boost (Left Channel): The High boost goes from 0 to +18 dB.
30- High Boost Frequency (Left Channel): Sets the cut-off frequency for the high frequency BOOST
control of the Left Channel it goes from 1kHz to 16kHz;
31- BROAD/ SHARP control (Left Channel): Sets the Q of the BOOST peak filter of the Left Channel.
32- Input Trim: A one-knob internal gain structure control linking the input and output gain stages with
an inverse law. The control sets the input level from -24dB to +24dB of the plugin, and it is used to ad-
just the plugin’s internal level.
Note: When the preamp stage (PRE1 / PRE2 / PRE3) is bypassed (OFF button activated), the ‘Input
Trim’ mode has no effect. It is possible to increase the harmonic saturation with this Input trim knob.
33- BROAD/ SHARP control (Right Channel): Sets the Q of the BOOST peak filter of the Right Chan-
nel.
34- High Boost Frequency (Right Channel): Sets the cut-off frequency for the high frequency BOOST
control of the Right Channel it goes from 1kHz to 16kHz;
35- High Boost (Right Channel): High boost knob goes from 0 to +18 dB.
1-Output Meters (L-R): These meters display the output level of the plug-in. Range OUT: -36dB to
+6dB.
5- M-S Output meters: Displays the Mid-Side output levels of the plugin.
6- Input Trim: A one-knob internal gain structure control linking the input and output gain stages
with an inverse law. The control sets the input level from -24dB to +24dB of the plugin, and it is
used to adjust the plugin’s internal level.
Note: When the preamp stage (PRE1 / PRE2) is bypassed (OFF button activated), the ‘Input Trim’
mode has no effect. It is possible to increase the harmonic saturation with this Input trim knob.
7- Highpass filter: From 30 to 200 Hz; first knob step (OFF) bypasses the filter.
NOTE: it only works in L-R mode
8-Spread: This knob controls the balance between the full MONO (M) and SIDE (S) signal.
9-Precision cutting filter: this filter section offers two different elliptical filter modes and 3 fixed
positions, the V contains cuts suitable for Vinyl Cutting and M for classic mastering cuts. Each one
operates ONLY in M/S mode; Also you can use the Spread control (8) to define the amount of Mid
and Side information.
V Mode
M Mode
10- Output: This knob is an output gain control of the plugin ranging from -24dB to +24dB.
nce upon a time, in a land far, far away, there was a
man who was very full of himself. He was passionate
and a great connoisseur in the world of audio.
He was very proud of his little world, which according to him, he had built
with so much effort.....so much effort the he was almost obsessed…
His passion was fueled only by his pursuit of perfection and the ut-
most quality in his audio work; it was his only reason for living. Achieving
this perfection was becoming more and more difficult as the cost of liv-
ing increased and economic resources were beginning to run low, much
to prevent him from buying the hardware that both wanted and that he
would step closer to the realization of his dream, realize the perfect mix….
9
Sgroove was his name, a strict and straight-laced man, outspoken enough
to alienate his peers in the industry; colleagues, sound engineers, produc-
ers.... Everyone one knew his name not because of his skills, but for his
temper.
Sgroove was locked to the past in Audio history, insisted that au-
dio must be “hardware or nowhere”....He harbored a deep hatred towards
those who had chosen the inferior path of plug-ins ... this was unaccept-
able!
After all, he knew that even if he had access to the machines that he
desired, he still would hardly have been able to finish the mix that has long
tormented him ....Each forum was therefore fertile ground for Sgroove,
who took great pleasure in discrediting and berating anyone’s suggestion
(especially if they suggested software!) ... instead of finding a practical
solution to his problem ...
As Sgroove’s eyes scanned the room, he took in the dust, the smell of
old and unused hardware, but what he noticed most was the unrealized
dreams that were so heavy in the room that he could almost taste the sad
feelings that they left behind in the tangled mess of cables and scratchy
knobs….The spirit pointed a crooked and shaky finger across the room,
forcing Sgroove to bestow his eyes on a small and almost hidden and un-
noticed urn in the corner. The spirit said; “Sgroove….read the inscription
on the urn….”...
Sgroove, feeling afraid because he had a dreadful premonition that he
knew what it might say, but he knew that he had no choice but to look…..
As he bent over to read the words, covered in years of dust that not a single
person had ever bothered to blow off to read before now, he was cold and
shaking in fear…..As he slowly focused on the engraving, his blood ran
cold...It read:
“Here lies EBENEZER SGROOVE, old and sad sound engineer whose
desire to achieve the perfect mix was never achieved.”
“No spirit! No! I am not that man! I want to live in the past, present,
AND future. Why show me all of this if all hope is lost for me? Please erase
the shadows and burdens I have seen tonight and have mercy on me! I
want to have my knowledge of the past but use the tools of the present. I
want to explore and develop the tools of the future! The spirits of all three
will live within me. I will not be deaf to their lessons. Oh tell me that I can
still erase the writing on the plate.....”