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Fuzz is one of the more unique saturators we’ve encountered to date, modeling two distinct approaches to Germanium transistor circuitry common to guitar pedals and stompboxes. Digi provides Klanghelm’s take on what a boutique digital saturation unit would sound like, producing tones ranging from subtle enhancement to outright bit-crushing and sample rate reduction effects. Tube provides two superb tube preamp emulations, easily supplying warmth and tone reminiscent of top-notch tube outboard gear use it to beef up any bass or drum sound, or to remove digital harshness from any source. While Desk got the majority of the use in our sessions, all three modes are extremely useable and flexible depending on the needs of your source material. We found the EQ’s Tight controls to provide some of the highest quality one-knob EQ adjustments we’ve found in any plugin on the low band, Tight emulates the famous simultaneous LF boost-cut found on Pultec EQ’s, while the high band’s Tight control emulates the Neve 1073’s unique High Shelf design.
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Hitting the plugin with enough signal to get the VU meter hovering around 0, cranking the drive up to ~2, and adding EQ where necessary using the superb ‘Tight’ modes on the low and high bands was often enough to completely transform lifeless, muddy, dull sounds into polished, mix-ready tracks.
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Modeled after the classic characteristics of analog consoles, Desk aims to provide a supremely flexible and usable channel strip for track, buss, and master processing using a minimal control set - something SDRR 2 accomplishes with ease. In our testing, we found ourselves reaching for the Desk mode substantially more than the other 3 while all 4 sound great, Desk excels at the kind of bread and butter saturation and EQ/compression most Hip-Hop and EDM producers are looking for.
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Ideally, you want to see the VU meter bouncing between the -1 and +1 range for most mixing purposes hit the plugin with less signal and you won’t be driving it to full saturation, and hitting the meter fully into the red will produce more outright saturation and distortion depending on your source material. It’s important to note that SDRR 2 has been calibrated by default at 18dBVU, just like almost all analog outboard gear as such, it’s important to gain stage into the plugin properly (either by controlling the input level you’re feeding in to the plugin, or using the input trim control within the plugin), or to be aware of this setting and use the “Cal” knob to adjust the plugin’s internal calibration. Rotary knobs move smoothly and predictably, and the interface has clearly been well thought out and carefully engineered. Overall, SDRR 2’s GUI is beautifully rendered even on 4K Retina displays, and is one of the better-looking plugins we’ve seen to date. Further down, you’ll find controls for Stages (controls the depth and coloration of the overall saturation), Crosstalk, and 4 rotary controllers which change depending on the saturation mode selected. Below the top bar you’ll find a large VU meter - with buttons to switch between SDRR 2’s 4 distinct saturation modes - in between controls for Input Drive and Output Level. The top of the plugin’s GUI flips between A/B settings, a dropdown preset menu, a GUI scale adjustment, and high quality (switchable between CPU-efficient normal mode, low latency HQ mode, and linear phase oversampled HQ mode) and calibration controls.
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Opening the VST/AU/AAX/RTAS plugins for the first time reveals a compact yet deep interface SDRR 2 manages to pack a tremendous amount of tweak-ability into a relatively simple and small GUI.