iZotope Plasma Intelligent Saturation Plug-In: the Synth and Software Review

Dynamic, frequency-dependent “tube” saturation that you’ll probably use somewhere on every project

Do you have an affinity for “just make it sound better” processors? If so, you’re really going to like iZotope’s Plasma.

(This is the mystery processor we weren’t allowed to mention at the time we created this month’s cover, but now the cat’s out of the bag. Here are two short demonstration files: with and without Plasma.

The easiest way to explain it: a non-linear tube saturation plug-in that’s constantly adapting to what you feed it. That description would also apply to the magical “halo” sound a real tube circuit can provide, but Plasma in effect lets you tune the tube and its behavior – and more.

iZotope calls their algorithm Flux Saturation. It divides the signal into “many” bands, each with an automatic, intelligent, dynamic threshold. You can see what it’s doing in a line graph that looks like a real-time frequency analyzer – only it’s showing the processing, not the input.

The processor is very simple to use even if you don’t start with a preset for a whole mix or individual instrument. 

First you set a Tuning Profile from a preset list, either for the whole mix (balanced, bright, warm, scooped), or various choices for an individual instrument (keys, drums, bass, etc.). The instructions explain that this tells the spectral algorithm which frequencies should be boosted. Presumably that means setting the frequency curve to run the signal through en route to being saturated.

That’s an important part of what makes Plasma sound good – it doesn’t just distort the whole thing to high heavens, it’s subtle and doesn’t sacrifice clarity.

Then you set the Flux Saturate control to set how much of the effect you’re adding. It has attack and release controls labeled in milliseconds, unlike a real tube. Next, the Overdrive slider does just what its name implies – add extra distortion.

Finally, you can limit the entire bandwidth to be affected with lines on either side of the graphic display. All of the above settings are stored in presets (including user ones).

There are some other nice features. A Delta button (nerdy name!) lets you solo just the effect. And you can process the signal as stereo, mid/side, or separate the transients from the sustain (and process just one).

Plasma isn’t particularly demanding of computer resources. As a very rough indication, the Logic Pro processing threads meter goes up about 5% on the two cores the processor was running when you turn off the Bypass button.

While you have to try very hard to make Plasma sound bad, one thing to be aware of when processing mixes (or submixes) is that it can chorus a little and cause the image to oscillate subtly – which can be a creative effect or one you don’t want. This happens if the left and right sides hover around the dynamic processing threshold and cross it at different times. It’s easy to avoid with the Flux Saturate control.

But it’s hard to imagine any track that can’t be improved with some Plasma on it somewhere. Put another way, this is a processor you’ll spend fifty bucks on and use in every project.

Price: $49

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