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The quality of the digital tools available today is great, and so is their price. With so many possibilities at our fingertips, the constant deals, and the relentless releases, it is hard to believe that today's music production tools can be inadequate for our needs. Realistically, nothing is preventing us from doing a great job with what is available, already.

On the other hand, we could not resist the possibility of making "our stuff". Our own, contextualized vision of tools grant us the sound we are looking for and a fast workflow. In the years, the frenetic revision times and the deadlines from audio leads and producers have made analog gear too slow to use and therefore too expensive for our clients and colleagues to include in the production process.

Because of this, we ended up in-between two choices: we liked our 'clean' versions for their modern, crisp and detailed sound and we liked our 'colored' ones for the interplay, thickness, and weight... but neither felt like our final mixdown. This meant that we often ended up choosing the path that would give us the best sound, at the expense of our own time, budgets, and money.

One time, we stopped in the middle of sessions and took some time to track down what gave that production the 'signature sound' we (and our clients) wanted. We gathered all the recall notes, asked the engineers, and checked all the settings used on our gear and we ended up planning to take some time off to make our plug-ins and sound libraries.

Whether it was a bunch of drum samples, a capture of a particular pre-amplifier, or a combination of effects that defined the soundstage of our tracks, we aimed at making tools that we would use in our future sessions to maintain the best possible sound, with the smoothest and most competitive workflow.

Here, you will find nothing but trusted tools that we made ourselves, for ourselves. We are as happy to use them today as we were when we first dialed these settings on the original analog outboard. We hope this to be the best seal of warranty we can offer you.

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Quantam

Fuseroom Quantam

Quantam features three modules: Tape, Electrode, and Arc. All three modules are aimed at introducing different types of harmonic saturation to enrich single tracks, groups of instruments, entire mixes, or masters.

If you are looking for heavy tape coloration and effect, Quantam is most definitely not going to work for you. If you are interested in an elusive way to get audio to translate better, more easily, and effortlessly, occupying 'more space' within the same number of tracks and loudness, then this is for you.

TAPE

The Tape module features one of the best circuits ever created to add body, density, and an audacious majestic touch to finished mixes, but also works wonderfully on single tracks. The Process knob controls the quantity of the effect, the Tone knob shifts the focus in the frequency spectrum (L=Lows, M=Mids, H=Highs) and the Recovery control offsets the extreme high-frequency registry to re-balance the highest part of the spectrum.

Quantam Tape does not "slow down" your music, it does not make your bass shift to lose intensity and clarity, from low-mids to extreme subs. It does not make your mid frequencies sound muddied nor does it introduce hiss or extraneous noises. On the contrary: Tape is the perfect finalizer when you cannot afford to lose high-energy sub bass, need defined transients and air... but at the same time want to convey more interplay, density, and emotion to the music.

ELECTRODE and ARC

These two modules represent our most-frequently used combination of analog gear and effects to enrich the music we produce. We managed to capture some tube-based gear that has always been part of our mixes (represented by Electrode's Triode and Pentode modes) and some other iconic solid-state analog equalizers for enriching our mixes and adding detail and air (represented by Arc's Tungsten and Argon). They can be used by themselves or in combination with Tape, for a formidable mastering chain.

Audio Examples

Lucky Machine Lucky Machine - Who Cares?
Vocals, Keyboards: J. Gary Thompson, Guitars: Jeremy Little, Bass: Joey Venden Praete, Drums: Joe Presutti

Men-Kau Men-Kau - Overgrown
Songwriting and Production: Men-Kau

Sunday Mayhem Sunday Mayhem - Rock Revolution
Drum bus from the recording session
WEB

Midnight Shower Midnight Shower - Late Riser
Bass amp from the recording session
WEB

This plug-in is a Nebula library and requires Acustica Audio Nebula 4 or newer. It will not work with Nebula 4 Player. It is available in sample rates of 96, 88.2, 48 and 44.1 kHz. It's compatible with both Windows and Macintosh computers, in VST2, VST3, AU and AAX formats.

M-Phasis

Fuseroom M-Phasis

M-Phasis comprises two modules: Rec and Repro. We modeled it after the bias circuits of one of the best, 2-track 2" tape machines ever made by a famous Swiss manufacturer.

REC and REPRO

In the years, we've used a plethora of tape emulations and, with a bit of luck, quite several tape machines. One of the most underestimated parts of the whole magic involving tape is the particular EQ curve that the calibration circuits offer: the REC head calibration, with tape bias and high-frequency compensation, and the REPRO head calibration, with its low- and high-frequency curves. These circuits are an integral part of the calibration process that any tape operator had to tune, to allow the tape machine to really 'sing'. Our favorite tape plug-in emulations offer a great sound but lack these controls or they do not do these controls justice. Sometimes the resulting sound is too dark, too bright, undefined, and lackluster. This makes it easy for us to say "it is just not working" and move on to another plug-in, possibly missing out on a great opportunity and spending the time to find a solution that is just sub-optimal. This has nothing to do with the quality of the plug-ins we use: it is a faulted process inherent in the way we use tape plug-ins, In-The-Box. This is why we wanted to extrapolate the calibration circuits alone, with their peculiar EQ curves, in a completely, 100% clean digital model, that we can use with ANY tape plug-in. This is why we decided to create M-Phasis. You can use its two instances before (with "TO REC") and after (with "TO REPRO") your tape plug-ins... or even by themselves, without going into any tape emulation. Even a single instance of M-Phasis can completely 'feel like tape' because of the genius curves and peculiar re-balancing that we are so used to (believe it or not) from commercial music releases that span over 60 years and counting. Why use M-Phasis and not a normal, digital, clean EQ? Because of its simplicity and because the curves match 1:1 one of the best 2" 2-track tape machines ever made. Two knobs, authentic curves, zero added harmonic color to integrate with any coloration/saturation/tape plug-in you want to use.

Audio Examples

Lucky Machine Lucky Machine - Who Cares?
Vocals, Keyboards: J. Gary Thompson, Guitars: Jeremy Little, Bass: Joey Venden Praete, Drums: Joe Presutti

Men-Kau Men-Kau - Overgrown
Songwriting and Production: Men-Kau

Sleeps Under Beams Sleeps Under Beams
Guitar take from one of their songs
WEB

Sunday Mayhem Sunday Mayhem
Drum bus from one of their songs
WEB

This plug-in is a Nebula library and requires Acustica Audio Nebula 4 or newer. It will not work with Nebula 4 Player. It is available in sample rates of 96, 88.2, 48 and 44.1 kHz. It's compatible with both Windows and Macintosh computers, in VST2, VST3, AU and AAX formats.

Mindscape

Fuseroom Mindscape

Mindscape features three modules: Depth, Detail, and Bass. It works on single tracks, busses, and finished mixes and was especially aimed at soundscapes and soundtracks that require a cinematic, epic, and out-of-your-speakers feeling to match the demanding requirements of a modern video game, TV series, and movie scoring. It works great for sound effects, foley art, and atmospheric, ambiance compositions, as well.

This library was born from a project by Alberto Rizzo Schettino. Amid several tracks he was asked to compose as underscoring for a TV series, he found himself trapped between the fast workflow and turnaround requirements and the physical analog and digital hardware he was utilizing to get the sound he wanted. Learning from this experience, Alberto decided to turn his favorite three signature-sound combinations of settings and gear into a plug-in.

Bass

From earth-shattering to unsettling, from massive to warm. There might be nothing 'correct' about the way this module introduces bass into your tracks but 'correct' is a term Mindscape does not care much about. It is all about sound. This module is capable of lifting tracks in a cinematic, massive sense and can be the answer to instruments requiring attitude, from electronic grooves to low strings sections.

Depth

Creating a deep, fascinating soundstage is always one of the most demanding tasks for anyone working with virtual instruments, virtual orchestras, and scoring tasks of any genre. Oftentimes, even the simplest sound library can sound majestic, given the right soundscape settings. This is where the Depth module helps design an immersive sound that rivals, even in stereo, the most 3D, multi-channel systems. It's a faithful capture of some 'secret tools' used in cinematic entourages to achieve the most captivating depth of field.

Detail

When dynamic range is needed, every trick is allowed if it means the possibility of capturing the listener's attention. You set a pace, let the audience sink in it, and then surprise it with a calibrated burst of energy: be it special effects, foley art, or a special orchestral articulation. The Detail module acts as a simple but reliable exciter towards areas of the frequency spectrum in which the world of cinematic music is always attentive.

Audio Examples

Alberto Rizzo Schettino - The Outskirts Alberto Rizzo Schettino - Decommissioned Data Center
Songwriting and Production: Alberto Rizzo Schettino
WEB

Alberto Rizzo Schettino - Nuclear Party Alberto Rizzo Schettino - Campfire Pirates
Songwriting and Production: Alberto Rizzo Schettino
WEB

This plug-in is a Nebula library and requires Acustica Audio Nebula 4 or newer. It will not work with Nebula 4 Player. It is available in sample rates of 96, 88.2, 48 and 44.1 kHz. It's compatible with both Windows and Macintosh computers, in VST2, VST3, AU and AAX formats.

Nebula Skin for CDSM N-TEN-AT4

Fuseroom Quantam

This is the skin we made for the amazing library by CDSoundMaster, the 'N-TEN-AT4' which is inspired by one of the best British analog equalizers ever made.

This skin requires the library N-TEN-AT4 by CDSoundMaster, which is a Nebula library and in turn requires Acustica Audio Nebula. The developer of the library is not associated with this product.

FAQ

- Do you offer refunds?
We do not offer refunds on our digital purchases. All sales are final.

- Is there any demo available?
We currently have no downloadable demos of any kind. Sorry if this is an inconvenience for you.

- I make plug-ins, like you. Can we trade?
For the moment we only share our products through their sales. We have no choice but to recover our expenses to pay for royalties and time put in the development of these products, plus we will re-invest all extra revenues for the development of future products. Thank you for your understanding.

WE TAKE REQUESTS

If you have a specific piece of gear that you would like to have transformed into a library or a plug-in, feel free to let us know by using the form below. We work on commission: you can finance the project and get your own library, for private use or for subsequent public release. If you endorse and sponsor the project (including cases in which you temporarily provide us with the analog gear, for us to capture) you can get royalties on it in case the plug-in is sold to the public.

Questions?

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