1.

Introduction

Thank you for purchasing Olive. To get the most out of your new
plugin suite, please take the time to read this user manual care-
fully.

1.1. Overview

Olive is the fourth Acqua plugin in our new "Boutique Collection"

series (available in VST, VST3, AAX and AU formats) that fai-
thfully reproduces a legendary console, of which very few units
were ever built and whose traces have almost been lost in the mist
of time.

The Olive mixing console was way ahead of its time when it was
designed in the early '70s...

...today, after 50 years from its inception, Olive has finally

come of age!

1.2. What you get

The Olive plugin suite includes:

- Olive EQ (a vintage 4-Band equalizer - low and high shelf, plus

two mid bells and high and lowpass filters, plus a pre-amp stage);

- Olive Pre (a vintage pre-amp section including 4 Line and 4 Mic

pre-amps);

- Olive Comp (an original VCA based compressor/limiter, plus a

pre-amp stage);

- Olive Exp (a VCA expander, plus a pre-amp stage);

01
2. Details

2.1 The story behind Olive console

2.1.1 The birth of a myth

In 1969, Wayne Jones had a unique vision that would have changed
the industry. Mixing consoles were usually custom-made at the time,
combining individual elements such as faders, equalizers and com-
pressors upon customer request. In the 60s, a US company introdu-
ced the concept of strip modularization to make it easier to build
consoles with different numbers of inputs. Other companies soon
followed. Among them, Olive Electrodynamics, a Canadian company
founded in 1971 by Wayne Jones, produced semi-modular consoles whi-
ch included all the features offered by outboard gear until then.

Jones and his team's dedication towards creating Olive was re-
markable. Their relentless effort was evident from the fact that
within the company they communicated mainly through the inter-
com, and even slept in the office to ensure maximum productivity.
However, despite their best efforts, the company had to rush the
console's release date due to mounting pressure to bring it to
the market. The Canadian government played a significant role in
its funding, but the rush to launch the product found the com-
pany unprepared and consequently unsuccessful.. Only two slightly
different consoles are known to have been built and were sold to
two prestigious studios in Toronto and in the U.S. Unfortunately,
the famed American studio had to close its doors in 1985 due to a
severe fire.

There were many internal innovations, yet externally it was re-

volutionary as well. The Olive was the first console to include
what we know today as a standardized channel strip, including
all common functions with every channel, rather than a haphazard
custom design. It was also the first console to have automation.
We might as well say that every mixing desk since, and even the
modern digital audio workstation, has copied these core concepts
from The Olive.

02
2.1.2 Equalization

Creativity is vital to the success of a recording session. One

of the key creative tools of a recording engineer or producer is
equalization. This is why Wayne Jones spent so much time, thought
and effort on the design of the Olive 2000 four-stage equalizer.
Wayne Jones developed a 4-band equalizer to address the limita-
tions of 2 and 3-band equalizers. He also questioned the ergonomi-
cs of concentric rotary controls used by renowned companies.
Each band of the Eq was equipped with three controls. A cut/boost
toggle switch; a knob operated equalization control; and a knob
operated frequency selector. An overall In / Out toggle switch
cuts the equalizer in and out of the program path and a red lamp
indicates when the equalizer is in the circuit.
A total of four independent sections - low, high, and two identi-
cal mid-ranges- each with 12 frequencies gives you a total of 48
to choose from.
Operators often had to compromise during a mix - sacrificing one
instrument to improve another. Wayne Jones found an answer.
Two independent mid-range sections. Each with 12 frequencies of
selection. Boost or cut is up to 12 dB (in 1 dB steps).

Using both sections at adjacent frequencies - which produces a bro-

ad response curve - instruments with slightly different mid-ranges
can be brought out. Together.

03
2.1.3 Compression / Expansion

Jones aimed to include a flexible gain processing device on every

input channel, emulating the functionality of outboard devices,
something that had not yet been achieved.
The original Olive VCA compressor was a rather meager form module
that was equipped with just a few but good controls: Output level
(Out), Threshold (Thresh), Attack (Attack) and Release (Release)
and, lastly, 3 different compression ratios (Ratio). Also, the
presence of a VCA expander made it really interesting.

2.1.4 VCAs

Jones used a Voltage Controlled Attenuator/Amplifier (VCA) as the

primary gain setting device on each channel, enabling flexibility
and new sub-grouping functionality.

2.1.5 The Sound

The Olive console has an open and natural sound, striking a balan-
ce between clinical neutrality and warmth. It provides a sense of
space and openness to the original signal.

2.1.6 Notable Mixes

Between 1971 and 1974, the Olive console was used for various
albums and singles by artists like Rick Derringer, Joe Walsh and
Chicago.

2.1.7 The Resurrection

As a result of a collaborative effort with Craig Patterson and

Clark Hagan, Acustica recovered and restored the only abandoned
Olive 2000 console existing today.

The console was massive and heavy, and it took time and strength
to move it out of the warehouse. Bulldozers were used to tran-
sport its frame and various sections. Once we had cleaned all the
pieces and reassembled them, the real work began. We meticulou-
sly connected every wire and tested every button, ensuring that
everything was working perfectly. The excitement grew as we re-
alized we were bringing back to life something truly unique and
legendary in a plugin suite form, enhancing its performance with
our proprietary technology.

It was like watching a phoenix rise from the ashes.

2.1.8 The Plugin Suite

Isn't it great that today's technology can now bring these unique
colors from the past to everyone?

At last, like a fine wine of a great vintage, today it's time to

again tasta the classy sound of Olive! Acustica is proud to of-
fer you an inimitable sound that was destined to disappear and is
set to make history in the form of one of the most valuable and
powerful plug-in suites ever made, enhanced with our 'Hyper' 2
technology, which delivers unparalleled sonic warmth and character
to your music.

04
3. Operation

Olive brings together emulations derived from the extremely rare

Olive 2000 mixing console, built in the 1970s by the well-known
Olive Electrodynamics, a Canadian company founded in 1971 by Wayne
Jones, who built them to order for studios around the world.

The Olive suite includes 4 different plugins: a 4-Band EQ, a di-

screte VCA-style dynamic processor, a VCA expander and a preamp
module.

NOTE: Please keep in mind that for each plug-in in the Olive suite
we recommend that you calibrate your input levels to: -18dBFS =
0dBu. In this way you will avoid any unwanted distortion or unpre-
dictable behavior due to excessive input levels.

Below you will find the explanation of each plugin included in

this powerful suite.

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3.1. Olive EQ

The Olive EQ ia a 4-band mono parametric equalizer with high/low

shelves and high-pass and low-pass filters.

Each of the four independent sections for the EQ - low, high, and
two identical mid-ranges - offers 12 frequencies.
The level of equalization can be cut or boosted from 0 dB to +/-12
dB. The additional custom HP (11 frequencies with a slope of 12dB
per octave) and LP (11 frequencies with a slope of only 6 dB per
octave) filters were not present in the original console, yet we
decided to add them to make the product even more versatile.

Two Mid-ranges

Operators often have had to compromise during a mix - sacrificing

one instrument to improve another, but here's a simple an answer:
two independent mid-range sections, each with 12 selectable fre-
quencies. Boost or cut goes from 0 to 12 dB.

The use of both sections at adjacent frequencies produces a broad

response curve: in this way instruments with slightly different
mid-ranges can be brought out.

When two sections are used at the same frequency and both set to
cut or boost, the mid-range is extremely selective - to the point
where you can pull one single sound up and out of the mud and
noise and rapidly clean up poor tracks and turn good takes into
excellent ones.

06
3.1.1. Olive EQ Controls

BYPASS: bypasses the whole plugin.

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, and it is used to adjust the
plugin's internal level. It is possible to increase the harmonic
saturation with this Input trim knob.
Note: when the preamp stage is bypassed (OFF), the "Input Trim"
mode has no effect.

OFF (PREAMP): Bypasses the preamp.

LINE / MIC: These buttons allow you to select from 2 different

preamps (Line or Mic). As expected, each preamp is mutually exclu-
sive; as a consequence, only one pre-amp emulation at a time can be
activated. The harmonic distortion levels of the preamps included
in this plugin depend on the Input Trim control. NOTE: when the
pre-amp stage is bypassed, the "Input Trim" mode has no effect on
the plug-in.

DRIVE: Controls the saturation amount. At its minimum setting it

bypasses the Saturation control.

OUTPUT: Adjusts the output volume. Range: -24dB to +24dB.

LF ACTIVATION BUTTON: Activates (Led On) the LF band of the plugin.

MID1 ACTIVATION BUTTON: Activates (Led On) the MID1 band of the
plugin.

MID2 ACTIVATION BUTTON: Activates (Led On) the MID2 band of the
plugin.

HF ACTIVATION BUTTON: Activates (Led On) the HF band of the plugin.

LF Shelving BOOST/CUT button: This toggles between Boost or Cut

for the Low frequency band (in Shelf).

MID1 Shelving BOOST/CUT button: This button toggles between Boost

or Cut for the Mid1 band (in Peak).

MID2 Shelving BOOST/CUT button: This button toggles between Boost

or Cut for the Mid2 band (in Peak).

HF Shelving BOOST/CUT button: This button toggles between Boost or

Cut for the High frequency band (in Shelf).

LF FREQUENCY control: Selects the frequency for the LF band - 12

cutoff points - from 50 to 600 Hz.

MID1 FREQUENCY control: Selects the frequency for the MID1 band
- 12 cutoff points - from 220 Hz to 10k Hz.

07
MID2 FREQUENCY control: Selects the frequency for
the MID2 band - 12 cutoff points - from 220 Hz to 10k Hz.

HF FREQUENCY control: Selects the frequency for the HF band - 12

cutoff points - from 1k1 Hz to 14k Hz.

LF Cut/Boos gain control: Provides a continuously variable CUT/

BOOST from 0dB to approx. -/+12dB to the selected LOW frequency.

MID1 Cut/Boos gain control: Provides a continuously variable CUT/

BOOST from 0dB to approx. -/+12dB to the selected MID1 frequency.

MID2 Cut/Boos gain control: Provides a continuously variable CUT/

BOOST from 0dB to approx. -/+12dB to the selected MID2 frequency.

HF Cut/Boos gain control: Provides a continuously variable CUT/

BOOST from 0dB to approx. -/+12dB to the selected HF frequency.

PAN: Well, it lets you pan! You can also use this control on a regular
stereo track to reduce the stereo separation. So you can add space
in a mix by panning the instruments to the center, left, and right in
the stereo field. But it behaves exactly as the Olive console would.

INPUT & OUTPUT METERS: Led (Peak) meters measure the input and
output level of the plugin. Range: -24dB + 6dB.

SIZE: Adjust the whole plugin-GUI size. Choose between 3 ma-

gnifications (1x - 1.5x - 2x) from the top left SIZE dropdown
menu. Once the desired size has been selected, the plugin
must be removed and re-loaded in order to apply the new size.
This action affects the currently selected plugin. New in-
stances of the same plugin will open with this size. NOTE: 3D
plugin versions have only 1x and 2x plugin-GUI size options.

OVERSAMPLING (OVS) MENU: This menu allows you to change the over-
sampling rate to improve the audio quality, increasing the sam-
pling frequency of the plugin and minimizing aliasing artefacts:
- The 1x mode bypasses the oversampling functionality.
- The oversampling mode increases the sampling
frequency of the saturator being processed by a fixed multiple of
4x 8x 16x in high quality (HQ), and of 4X 8x 16x 32x 64x in eco
mode.

08
3.2. Olive Pre

Each plug-in in the Olive bundle features several Mono Pre-Am-

plifiers, capable of adding warmth to your sound. In the Olive
Pre standalone plugin you can find them all ( 4 Mic and 4 Line
emulations). Thanks to our Hyper tech, today we have been able to
emulate the phase, harmon­ic distortion and frequency response of
their corresponding circuits even more precisely than before. We
can now also offer even more authentic and convincing saturation
in the digital domain than before, emulating the sound of analog
recording equipment in powerful plugins with a low CPU consump-
tion, preserving sound quality while ensuring better stability and
ultimately providing the "ultimate" saturation color.

3.2.1. Olive Pre Controls

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, and it is used to 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 in-
crease the harmonic saturation with this Input trim knob.

PRE-OFF: Bypasses the preamp.

PREAMPS BUTTONS (LINE 1-2-3-4; MIC 1-2-3-4): These buttons allow

you to select from 8 different preamps. (4 Line and 4 Mic). As
expected, each preamp is mutually exclusive; as a consequence,
only one pre-amp emulation at a time can be activated. The har-
monic distortion levels of the preamps included in this plugin
depend on the Input Trim control. NOTE: when the pre-amp stage is
bypassed, the "Input Trim" mode has no effect on the plug-in.

DRIVE: Controls the saturation amount. At its minimum setting it

bypasses the Saturation control.

OUTPUT: Adjusts the output volume. Range: -24dB to +24dB.

PAN: Well, it lets you pan! You can also use this control on a
regular stereo track to reduce the stereo separation. So you can
add space in a mix by panning the instruments to the center, left,
and right in the stereo field. It behaves exactly as the Olive
console would.

09
INPUT & OUTPUT METERS: Led (Peak) meters measure the input and
output level of the plugin. Range: -24dB + 6dB.

SIZE: Adjust the whole plugin-GUI size. Choose between 3 magnifi-

cations (1x - 1.5x - 2x) from the top left SIZE dropdown menu. Once
the desired size has been selected, the plugin must be removed and
re-load in order to apply the new size.
This action affects the currently selected plugin. New instances
of the same plugin will open with this size. NOTE: 3D plugin ver-
sions have only 1x and 2x plugin-GUI size options.

OVERSAMPLING (OVS) MENU: This menu allows you to change the over-
sampling rate to improve the audio quality increasing the sampling
frequency of the plugin and minimizing aliasing artefacts:
- The 1x mode bypasses the oversampling functionality.
- The oversampling mode increases the sampling
frequency of the saturator being processed by a fixed multiple of
4x 8x 16x in high quality (HQ), and of 4X 8x 16x 32x 64x in eco
mode.

10
3.3. Olive Comp

The Olive Compressor is a classic VCA-based dynamic processor that

delivers exceptional performance. Boasting a clean and strai-
ghtforward control layout, it offers a seamless and intuitive user
experience. Its sonic character is distinguished by its rapid and
neutral response, creating a vivid, punchy, and highly musical
sound.

Even when pushed to the limits, the Olive Compressor maintains

its integrity, with high frequencies remaining crisp and clear,
while the low-end retains its power and definition. At Acustica,
we pride ourselves on innovation and enhancing user experience,
which is why we have taken this already impressive design and made
it even more versatile.

In keeping with Acustica's tradition of continuous improvement, we

have upgraded the original compressor by incorporating additional
controls to expand its adaptability. Moreover, we have enriched
the Ratio range by introducing new options, further elevating the
capabilities of this remarkable device.

11
3.3.1. Olive Comp Controls

BYPASS: Bypasses the whole plugin.

ATTACK: Sets the compressor's attack time, ranging from 1 mS

(fast) to 25 mS (slow).

RELEASE: Sets the compressor's release time, ranging from 0.3 S

(fast) to 3 S (slow);

THRESHOLD: Sets the threshold of the compressor (range: -64 dB to

+ 0 dB).

SC FILTER: This control sets the cut frequency of a very gentle

1-pole high-pass filter inserted in the side-chain path. Filters
out the low frequencies which can affect the action of the com-
pressor. Range: 50 -250 Hz. In the leftmost position (labeled
"0"), the filter is bypassed.

RATIO: Sets the ratio of the compressor; Range: from 2:1 to an

explosive 30:1. Ratios labeled in red are those of the original
unit, those labeled in white have been added by Acustica.

THRESHOLD: Sets the threshold of the compressor (range: -64 dB to

+ 0 dB).

MAKE UP: Compensates for the compressor's gain reduction. Gain

range: from 0 dB to +48 dB.

MIX: This controls the proportion between the original (dry) and
"effected" (wet) signal. In other words, it lets you balance the
compressed with the uncompressed signal. Range: 0% to 100%.

DRIVE: Controls the saturation amount. First step, bypasses the

Saturation control.

OUTPUT: Adjusts the output volume. Range: -24dB to +24dB.

PAN: Well, it lets you pan! You can also use this control on a
regular stereo track to reduce the stereo separation. So you can
add space in a mix by panning the instruments to the center, left,
and right in the stereo field. But it behaves exactly as the Olive
console would.

INPUT & OUTPUT METERS: Led (Peak) meters measure the input and
output level of the plugin. Range: -24dB + 6dB.

SIZE: Adjust the whole plugin-GUI size. Choose between 3 magnifi-

cations (1x - 1.5x - 2x) from the top left SIZE dropdown menu. Once
the desired size has been selected, the plugin must be removed and
re-load in order to apply the new size. This action affects the
currently selected plugin. New instances of the same plugin will
open with this size. NOTE: 3D plugin versions have only 1x and 2x
plugin-GUI size options.

12
4X OVERSAMPLING BUTTON: Press this button to change the oversam-
pling rate of the preamp to improve the audio quality increasing
the sampling frequency of the plugin and minimizing aliasing ar-
tefacts:
- The 1x mode bypasses the oversampling functionality.
- The oversampling mode increases the sampling frequency of the
compressor being processed by a fixed multiple of 4x.

MORPH: This implements an intuitive morphing control (MORPH) that

allows each of the dynamic elements to be seamlessly transformed
from a compressor, to a limiter, to a saturator while simultane-
ously handling the stereo-link intuitively.
This control allows for a continuous action of further transfor-
mation of the detector's attack and release curves. In the first
half of the run, they transform the attack curves up to an attack
time of zero length; in the second half, they bend the release
curves, reaching a release time of zero length. Interestingly, the
transformation of the attack and release curves always maintain
the original proportions.

SHmod: This alters the shape of the attack envelope, allowing

you to fine-tune the attack behavior and adapt it to any audio
source. Position 2 gives the original attack time of the modeled
compressor. Position 1 gives you the fastest setting. Going from
1 down to 0, a lookahead function is enabled. The global range of
the lookahead goes from 0 to 4 milliseconds. Values above 2 will
slow down the attack time.

POWER: The power function allows you to change the general cha-
racteristics of the detector.
Power ranges from 1 to 5, where the value 1 corresponds to the
typical PEAK-type detector.
The times written for attack and release are calculated on the PEAK
mode and are derived from sampled curves from the real hardware.

HOLD ATTACK - HOLD RELEASE: These controls allow you to overcome

any limitation and arrive at instantaneous compression.
In an envelope detector, the attack (attack) is the time required
for the output of the circuit to reach the maximum value of the in-
put signal after a sudden increase in its amplitude. On the other
hand, the hold function forces the time required for the output of
the circuit to maintain its value after a sudden increase in the
amplitude of the input signal. The visible result is a tendency to
preserve transients, avoiding compressing them if they are shorter
than the HOLD time.

In the OLIVE Comp, the time is also proportional to the current

attack value. The HOLD function related to attack differs from
that of release because it is dependent on the threshold value of
the compressor (whereas in the case of release, it is indepen-
dent): when the hold function is active, once the amplitude of the
input signal exceeds the threshold, the output of the circuit will
remain at its value for a predetermined period, regardless of fur-
ther changes in the amplitude of the input signal. So as a general
rule, transients that exceed the value set by the threshold and
are shorter than the HOLD time are perfectly preserved.

13
Since the HOLD section creates a considerable effect, its presen-
ce (or absence) can drastically change the way transients are
processed, similarly a slight change in release can create a
completely different feel on transients. We decided to introduce
in Olive Comp a hold control for the release as well, increasing
versatility and allowing you to have all the punch you want! Ran-
ge: 0 / 100.

MID/LEFT-RIGHT/SIDE: This control allows you to choose different

processing modes.

Details:

Left-Right: Left/Right processing is enabled by pressing the L-R

button (the default processing mode).

Mid: MID processing is enabled by pressing the MID button, the

dynamic control is applied to the center of your soundstage (Mid
component).

Side: SIDE processing is enabled by pressing the SIDE button, the

dynamic control is applied to the sides of your soundstage. (Side
component).

SOFT/HARD KNEE: Select the shape of the compression curve. Using

this knob it is possible to set the KNEE shape of this module and
alter the way in which the compressor begins to reduce the gain
of the signal.

GAIN REDUCTION METER:

This meter displays the gain reduction level applied by the com-
pressor. Range: -38dB to +0

14
3.4. Olive Exp

In order to maintain adherence to the original Olive mixing con-

sole, we decided to introduce for the first time in a full suite
of Acqua plugins a VCA expander, aware that the original console
had one. Therefore we felt it was only right to pay homage to this
really interesting module as well in terms of design and sound.

3.4.1. Olive Exp Controls

The operating principle of Olive Exp is exactly the opposite of

the Olive Compressor, so although they share the same controls,
its action is governed by an expansion curve rather than a com-
pression curve.

To avoid unnecessary repetition, if you need more information on

the operation of Olive Exp controls we suggest to consult the
Compressor section of this manual. There's only one control found
only in Olive Exp, namely the autogain button, which is explained
below.

AUTO: An autogain control; it keeps gain constant while expanding.

15
3.5. What is A ZL plugin?

Acustica plugins come in two versions: ZL (zero latency) and a re-

gular version. While the ZL versiondoes not introduce any latency
to your system, the standard version does. This buffer varies in
size for each plugin and helps reduce the CPU and system load of
your computer significantly. We recommend that you use a ZL in-
stance when tracking.
Basically, both plugin instances are identical, but the current
Acqua engine can work either with or without an audio buffer.
The idea behind a ZL instance is to give you the option to run an
Acqua Effect with minimal latency, which is helpful for tracking
or direct monitoring.

3.6. Hyper Technology

Thanks to our new Hyper/Hyper2 technology, we can now deliver even

more realistic and convincing compression, saturation, filters,
and preamp signals in the digital domain by emulating the sound of
analog recording equipment with lower CPU consumption and improved
stability.

4. How To Download, Install, And Authorize Your Products

Acustica Audio products can be downloaded, installed, and autho-

rized using the Aquarius Desktop application.
The Aquarius Desktop application is a free standalone application
that will manage every step in an automatic way without user in-
tervention.
Download Aquarius Desktop Application
www.https://www.acustica-audio.com/pages/plugins-installation

4.1. How to download a product in Aquarius Desktop Application

To download a product using the Aquarius Desktop application go to

the purchase page and select the product and format (VST2, VST3,
AAX, AU) to install.
In case you can't find your product on the purchase page use the
search page.

4.2. How to install a product in Aquarius Desktop Application

The installation is done automatically by the Aquarius Desktop ap-

plication after the download. As the Aquarius Desktop application
creates a temporary file of the downloaded products, known as the
stage area, at the moment you want to reinstall a product it will
not be necessary to download it again.

4.3. How to authorize a product 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.

16
5. System Requirements

Modern computers are powerful enough to run many plugins at once.

However, our technology requires more resources than algorithm-ba-
sed software, so we recommend optimizing your system to work with
high CPU loads and low audio latency.
Before starting the installation process, please confirm that your
system meets the minimum system requirements to run the plugins
please consult the following link:
https://app.box.com/v/AASYSTEMREQUIREMENTS

6. Customer Care

To contact Acustica Audio, always use the single point of contact,

which is this help-desk portal:
https://acusticaudio.freshdesk.com/support/home
We do not provide official assistance via social networks, public
forums, or email accounts. For troubleshooting and issue repor-
ting, check the available solutions in the knowledge base.

7. Copyrights and Credits

All names, product names, logos, and brands displayed on this do-
cument are the property of their respective owners. The content
included in this manual, such as graphics, icons, images, is the
exclusive property of Acusticaudio S.r.l. a socio unico 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
express written consent of Acusticaudio S.r.l. a socio unico, Acu-
stica Audio is a trademark of Acusticaudio S.r.l. a socio unico.

17