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DENSE MULTIBAND SATURATOR
Saturate dense material — chords, layered synths, busy low end — and keep it clean.
"Forty-eight small fires instead of one large one."
FORTY-EIGHT BANDS, NOT ONE.

An ordinary saturator drives your whole signal at once — so a dense chord smears into mud. NOVA-2000 splits it into 48 bands and saturates each on its own: the harmonics stay separated, the low end stays solid, and the chord stays a chord. Drive it as hard as the track needs — up to 200%, into clean overdrive — and AUTO holds the output level, so pushing harder changes the character, not the volume.

Six algorithms change how it bites — and the screen shows every band reacting in real time.

NOVA-2000
POWERING ON…
NOVA-2000 interface
> THE INTERFACE IS LIVE. THE SOUND IS IN THE EVIDENCE LOCKER.
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A chord is the worst case for saturation: the notes intermodulate into mud, and a wideband saturator can't dodge it. Same Cm9 stack, same drive, level-matched: an ordinary wideband saturator dumped ~30% of its energy into junk you never played; NOVA at 48 bands, ~1%. Hear it in the locker below.

We measured the band-count curve (Cm9, loudness-matched): 1 band — ~30% junk. 6 bands — ~23% (barely better). 12 — ~18%. 24 — ~5%. 48 — ~1%. The payoff arrives where other multibands stop.

CLARITY: one band to forty-eight, continuous — same CPU, same latency, and the same loudness at every position. AUTO holds your output level, so sweeping CLARITY changes the band count, not the volume. We looked for another saturator with band density on a knob. We did not find one.

DELTA draws the output spectrum minus the input spectrum, per bin. You see what changed. A meter, not a null test — the null test is in the downloads.

832 samples of latency, always — 17.3 ms, host-compensated. That delay IS the precision: 48 linear-phase filters, zero phase smear. It protects your low end, too — SUB keeps everything below 120 Hz phase-coherent; WIDTH moves only the sides. Costs an order of magnitude more CPU than a plain saturator.

AUTO output level-match, always on. Output loudness tracks the input, so DRIVE, CLARITY and the algorithm change the tone — never the volume. Fair A/B while you dial, and it can't clip from a hot boost. The OUTPUT slider rides on top as a +/- dB trim.

One engine, six voicings. Each is a different algorithm — not a preset — antiderivative-antialiased at unity gain, and each re-skins the unit. The interface beside you is live. Scroll, or pick one.

NOVA-2000 voicing

> THE EVIDENCE LOCKER — PROOF, NOT A PITCH

Same saturation. On dense chords, one stays a chord.

Cream = the chord notes you played. Gold = the harmonics saturation adds — the warmth, the whole reason you saturate: both engines give you the same warmth (~4.6% at max). Red = intermodulation mud — the unwanted smear on frequencies you never played: the ordinary wideband floods the gaps with it (~29% at max), NOVA barely any (~3%). So it's not "saturation = bad" — it's same warmth, no smear (and NOVA even keeps a touch more of your notes). Loudness held equal on both, so you're hearing character, not volume. Rival = a typical wideband saturator (our own engine with the 48-band split off — the fairest baseline; the respected $50–130 commercial saturators measure the same). Every number is rendered straight from the plugin.

Want the whole picture — the band-count curve, the CLARITY sweep, the aliasing test, CPU headroom, plus the full method and sources? Read the full field note →
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