Accusonus Era Restoration Bundle. -Age of Audio

Welcome to the digital processor reviews window. Today I would like to talk to you about Accusonus, a company based between the United States and Greece, whose corporate mission is to make digital tools used in the world of audio file restoration in general accessible to all and to disseminate creative tools based on the concept of jam. session.

The address of the Accusonus it is extremely interesting. More and more people are entering the world of post production audio for video or on the simple one restoration of multimedia contents, without having available neither important budgets nor specific knowledge in the field of digital audio manipulation. Taking the two big problems that these categories encounter head on is certainly a winning choice; attacking the cost and ease of management of the interface is an appreciable challenge.

After these FUNDAMENTAL considerations arising from the analysis of the manufacturer's website, we face the proposed software package with the right target to whom the offer is addressed in the eyes, emphasizing that at the moment it is on offer at 149 USD, with the addition of voice leveler which is not contained in the package we will examine here.

We will then talk about the following plug-ins:

It was Plosive remover, a processor devoted, as the name suggests, to the removal of low explosives from speech;
It was Reverb remover, for the removal of reverberations from the signals of our interest;
It was to be, whose name speaks for itself;
It was Noise remover.

It was Plosive remover it comes with the orange livery, a large central knob that defines, in percentage, the intensity of processing on the signal. Scrolling through the interface, we notice at the top right a small magnifying glass that allows us to multiply the surface of the graphic user interface; below it, an input meter and a fader that regulates the output of the signal from the processor.
In use, the Spartan interface does not give rise to distractions, the processor is obviously useful for direct sockets where you do not have a antipop or at least of a windshield.

It was Noise remover: this is an interesting processor even in applications that do not directly concern audio for video, I have often used it to remove layers of noise due to the saturation of the electric basses without compromising the sound of the saturation itself.
The processor has an interface very similar to the Plosive remover, but has filter buttons / icons to specify on which part of the spectrum we want more calculation precision. The denoiser it is useful up to the intervention thresholds of 35%, which correspond to an incredible amount of background noise removed, and maintains an honestly credible and not very destructive intervention.

It was De esser it comes with an interface with green livery, always a gigantic knob for the percentage of intervention, and with 3 keys which define the localization of the side chain of the compressor, narrow, normal and broad, which can each be used in extreme or normal mode.

Last, but not least, we find It was reverb remover, usable in all those contexts in which an expander appears insufficient. As in the denoiser, we find icons that allow us to identify the area of intervention on which to focus the preservation of quality in the processing phase, full specrtum, hi band focus, low band focus, midrange focus and hi-low band focus. The processor behaves in a linear and extremely credible way (with respect to the signals I have analyzed) until about 50% of processing.

However, at this point, we need to break a lance in favor of these processors because it is common practice, among those who work in audio restoration, to have various tools available for the same task; transient shapers, denoisers or declickers work in a suitable or unsuitable way according to the type of noises, clicks and transients that we work from time to time. One denoiser will perform best in one context, while another will perform better in another context, unless we are talking about complex restoration suites. If our core business is not audiorepair and we occasionally find it beneficial to use plug-ins instead of a repair suite, it is always better to have multiple tools doing the same thing with different approaches.

At the end of the day I tried these tools for several months, in extremely disparate work situations, which to tell the truth rarely have hostile conditions like those of the files that were given to me for the test, and I must say that they turned out to be like a knife multipurpose that gets you out of the way in less likely situations. In particular, the denoiser has become my trusted friend for being able to layer massive amounts of aural exciters on the electric basses and leave no trace of background noise when the bass isn't playing.

Under extreme conditions of use, (96 Tracks 48khz 24 bit with each an Accusonus processor) la 8 core xeon 3Ghz CPU does not arrive in performance al 18%, with a latency of 1024 samples in Cubase 10, which uses a Apogee Symphony mk II.

Given the cost, the lightness on the CPU and the speed of use for me these processors are promoted. Surely they can be seen as a one trick pony with little choice and manipulation, but it is also true that in certain situations it is also an advantage to cycle the processors very quickly to realize which one works and which one doesn't.

I attach various files for each processor, in which I have made an automation of the intervention percentage by increasing it by the steps indicated in the name each time the loop repeats. You can find them at the bottom.

I thank Age of Audio for these excellent processors and for the space granted to me, the professional voice actor Alberto Angrisano for having created an audio track for our test, The CTRL Room studio which gave us an audio recording of the actress Sabina Guzzanti and many thanks to the Art of Studio Noises by Silvio Speranza who allows me to abuse his workstations and his electric current to do my tests.

Audio demo Reverb Remover by Alberto Angrisano: