# Busbar — User Manual

**Busbar** is a saturation plugin where every instance shares **one single
analog machine**. The supply is common: what goes through one channel is felt by
all the others.

Drop Busbar on as many tracks as you like. They do not become N independent
saturators — they become N channels of the same machine, drawing on the same
power rail and drifting on the same clock.

![The Busbar panel](images/panel-full.png)

---

## In two sentences

Every Busbar instance publishes how hard it is pushing. The sum of all those
demands makes a single shared rail sag, which lowers the saturation ceiling of
**every** channel at once — and one shared time base makes them all wobble
together instead of blurring against each other.

That is the glue of a real console desk, and it is the one thing a per-track
plugin cannot do, however good it is.

---

## Installation

### macOS

1. Download `Busbar-1.0.1-macOS.dmg`.
2. Open the `.dmg` and double-click the `.pkg`.
3. Follow the installer. The disk image and the installer are signed with an
   Apple Developer ID and notarized by Apple, so macOS opens them normally. The
   publisher shows as **Tony Cuny** — that is the legal name behind Xeni-Audio,
   which is what Apple puts on the certificate.
4. The plugin installs into `~/Library/Audio/Plug-Ins/` (VST3, CLAP and AU).
5. Restart your DAW and rescan your plugins.

### Windows

**With the installer (recommended)**

1. Download `XeniAudio-Busbar-V1.0.1-Installer.exe`.
2. Run it and follow the steps. The Windows installer is **not** signed — only
   macOS is — so SmartScreen may warn that the publisher is unknown: click
   "More info", then "Run anyway". A brand-new unsigned installer may also be
   flagged by antivirus software; that is a reputation warning, not a detection.
3. VST3 goes to `C:\Program Files\Common Files\VST3`, CLAP to
   `C:\Program Files\Common Files\CLAP\Busbar`.

**From the ZIP**

Unpack `Busbar-1.0.1-Windows.zip` and copy the `VST3` and `CLAP` folders into
the two locations above, keeping the folder structure.

### Linux

Copy `Busbar.vst3` to `~/.vst3/` and `Busbar.clap` to `~/.clap/`.

---

## The idea

Two forces are shared by every instance.

**1. Supply sag.** Each channel publishes what it *draws*. The sum makes one
rail sag, and the saturation ceiling of every channel comes down **together**.
This is why the whole mix moves as one body instead of six unrelated ones.

**2. Drift.** One time base for everyone. All channels undulate in step, rather
than as N decorrelated flutters that smear against each other.

Out of that comes the gesture that defines the plugin:

| | what it means | scope |
|---|---|---|
| **What it draws** | this channel's contribution to the shared load | published to everyone |
| **What it takes** | how much this channel follows the rail down | per instance |

A channel with **ANCHOR** engaged keeps loading the supply — so it still makes
everyone else dip — but does not dip itself.

> *The lead vocal must not duck. But it must make everything else duck.*

---

## The panel

The window is one column of four bands. Hover any control and the bar at the
bottom explains it.

### The header

![The header](images/panel-header.png)

| Control | What it does |
|---|---|
| **Preset** `<` name `>` | The machine preset. Carries the machine **only** — never a track's drive, mix, out or anchor. |
| **SAVE** | Saves the current machine under a name you type. |
| **A** / **B** | Two live memories of the whole desk. What you leave goes into the slot you leave, so switching back returns the edits you made there. |
| **UNDO** / **REDO** | Global. One press undoes the gesture across every instance, not just the window you are looking at. |
| **MATCH** / **All** | Level-matched bypass. See *The listening aids*. |
| **DELTA** / **All** | Hear only what the machine adds. |
| **BYPASS** / **All** | Bypass this channel, or the whole machine. |

### THE MACHINE — global

Everything in this band is shared. Change it here and it moves on every track.

**CHARACTER** — six voices, each modelled on a measured unit:

![The character row](images/panel-character.png)

| | modelled on | knee | in one word |
|---|---|---|---|
| `bus` | Black Box HG-2 | soft | wide, forgiving |
| `valve` | Culture Vulture | stiff | vocal, coloured |
| `silicon` | Looptrotter SA2RATE | stiff | fast, aggressive |
| **`reel`** | Rupert Neve 542 | medium | tape: odd harmonics, band narrowing and drift — **the default** |
| `iron` | LTL Silver Bullet | very stiff | dense, iron-fisted |
| `oxide` | Walters T805 | softest | rounded, gentle |

Choosing a character loads its shape. Editing any advanced control afterwards
moves you to `custom`, and the panel then tells you which character it came
from.

The six characters are **level-matched**: switching between them changes the
sound, not the loudness. (The matching is loudness-weighted — see
*The kick and the Drive*, which is the one case where that matters.)

**ADVANCED** opens the shape itself: bias, knee, tilt, the input transformer's
high-pass, bump and band narrowing.

![The advanced drawer](images/panel-advanced.png)

| Knob | Range | What it does |
|---|---|---|
| **SAG** | 0 … 1 | How far the shared rail dips under the total load. The product itself. |
| **DRIFT** | 0 … 1 | Depth of the shared wobble, in milliseconds. The number *is* the depth. |
| **DRIVE** (machine) | 0 … 2 | How hard the machine itself is set up, on top of each track's own dose. |
| **QUALITY** | ×1 / ×4 / ×8 | Oversampling. ×4 is the sane default; ×8 costs CPU for very little. |

### THE RAIL and THE LOAD

![The rail, the load and the park](images/panel-rail.png)

The copper bar is the rail, and it **gets thinner** under load — it does not
grow. Below it, the stacked load shows who is pulling, with your own share in
the lighter tone. You watch your own track dip *because of the others*.

Below that, the park: one lane per channel on the machine, each with its share
and its name. Click another lane to take its controls without leaving your
window; click your own to give them back.

### THIS TRACK

![This track](images/panel-track.png)

These four belong to this channel alone.

| Control | Range | What it does |
|---|---|---|
| **DRIVE** | 0 … 2 | The dose. How much of the machine this track takes. |
| **MIX** | 0 … 100 % | An **output** blend. ⚠️ A track at 0 % still loads the rail — it is part of the machine even when you cannot hear it. |
| **OUT** | −12 … +12 dB | Output trim, after the machine. Never an auto-gain. |
| **ANCHOR** | on / off | Still loads, does not sag. |

---

## The listening aids

The three pills are all cut in half. The **top** half acts on this track; the
**bottom** half, marked `All`, acts on the whole machine at once — without
touching anybody's own switch. Turn `All` off and every track goes back to what
its own button said.

**BYPASS** — compare with and without. Either way the channel keeps loading the
rail, so the other tracks sound the same while you compare. That is deliberate:
if muting one track changed the rail, the comparison you are making would change
the five others while you listen.

**MATCH** — makes bypass compare at **equal loudness**, so you judge what the
machine does to the sound and not how much louder it made it. On by default: an
unmatched A/B mostly proves you added gain. It neutralises your OUT trim and
nothing else — the sag is *not* compensated, because losing a decibel under load
is the effect, and hiding it would erase the product from its own comparison.

`MATCH / All` is what makes a whole-machine bypass honest from a single window:
without it, one track left unmatched is enough to skew the comparison, and
nothing on screen would tell you.

⚠️ Match only does something **while something is bypassed**. Pressing it on a
quiet panel changes nothing — that is what it is, not a fault.

**DELTA** — hear only what the machine adds. A monitoring mode, not an effect:
leave it on and you will render the difference instead of the mix. The panel
turns violet while it is engaged, so you cannot miss it.


![Delta engaged — the panel turns violet](images/panel-delta.png)

Bypass desaturates the two working bands to black and white while the pill
itself stays lit in red — so you can always see *where* the silence comes
from.

![Bypass engaged](images/panel-bypassed.png)
---

## Using it

### Start here

1. Put Busbar on every track you want in the machine — the drum bus, the bass,
   the guitars, the vocal.
2. Leave the character on `reel` and SAG around 0.5.
3. Set each track's **DRIVE** by ear. That is the only per-track control that
   shapes the sound.
4. Engage **ANCHOR** on the one thing that must not duck — usually the lead
   vocal or the kick.

### The kick and the Drive

On the stiff-kneed characters (`iron`, `valve`, `silicon`) pushed past
`Drive 1`, a kick loses some of its weight against the rest of the mix — up to
about **1.8 dB** of balance on `iron` at `Drive 1.5`.

This is not "the machine eats the low end". It is **the machine flattens
whatever peaks hardest**, and a kick peaks harder than anything else. The proof
is one line long: `oxide` costs the kick the same 1.8 dB — but it costs
everything else 1.78 dB along with it, so the balance does not move. The softest
knee sorts nothing; the stiffest one sorts.

**The fix is to lower the DRIVE on the kick track**, and only that track:

| Kick DRIVE | weight recovered |
|---:|---:|
| 1.50 | — |
| 1.25 | +0.29 dB |
| 1.00 | +0.58 dB |
| **0.75** | **+0.87 dB** |
| 0.50 | +0.94 dB |

Halving the drive gives back most of it; below that it flattens out.

> **The character is the sound of the machine. The Drive is the dose.** A kick
> needs a smaller dose than the rest — that is a property of its envelope, not a
> fault of the machine.

This is exactly why the drive is per track while the character is shared: the
machine imposes one sound on everybody, and each track chooses how much of it to
take. The kick takes less and keeps its weight, without anyone else changing.

⚠️ **Pushing OUT is not the same thing.** OUT gives back the *level*, not the
*shape*: the kick is still flattened, just louder — which reads as "as loud,
less weight". The drive acts on the cause.

### Anchors

An anchor is not a bypass. The channel still saturates, still loads the rail,
still makes everybody else dip — it simply does not follow the rail down itself.
Use it sparingly: two or three anchors in a mix is a lot, and if everything is
anchored there is nothing left to sag.

### Editing another track

Click any lane in the park to take that track's controls in your own window. A
violet `EDITING` band tells you where you are, and the change reaches the other
instance even if its window is closed. Click your own lane to come back.

Double-click a lane's name to rename it. The name is yours, not the DAW's, and
it travels to every other park.

---

## Presets, A/B and undo

A **preset carries the machine only** — character, advanced shape, sag, drift,
machine drive, quality. It deliberately does not carry any track's drive, mix,
out or anchor: recalling one must never flatten the balance of six tracks in a
single gesture.

The preset library is shared by every instance and lives on disk. Save one on
any track and it appears in every other window. The name in the header is the
machine's, so every window shows the same one.

**A / B** holds two live memories of the whole desk. **UNDO / REDO** is global:
one press moves every instance, because a change you made to the machine was
never local in the first place.

---

## Licence and demo

Without a licence key Busbar runs in demo: the audio mutes for a few seconds
every minute, on every instance at the same moment.

Paste your key into the licence field in the panel. One instance is enough —
the others notice within a tick and unlock with it.

---

## Troubleshooting

**All my instances say "1 instance on the rail".**
They are not seeing each other. This happens if the plugin was updated while a
DAW was still running with the old version loaded. Quit every host and reopen —
Busbar recovers a stale shared machine on its own once nothing is using it.

**A track shows up twice in the park after reloading a project.**
It should not, and does not from 1.0.0 onward. If you see it, the ghost lane
disappears within a few seconds.

**Resizing does nothing in Reaper on Windows (VST3).**
Reaper's VST3 host ignores the resize request. Use the CLAP build there — same
plugin, same shared machine, and the window resizes normally.

**The window will not take my keyboard when renaming a track (Linux).**
Busbar only takes keyboard focus while a name is actually being typed, and gives
it back on the way out. If your window manager is set to focus-follows-mouse,
keep the pointer over the plugin window while you type.

**Bitwig: the transport does not move while a plugin window is open.**
This is a Bitwig behaviour, not a Busbar one — it affects every plugin.

---

## What Busbar does not claim to be

Busbar is **not** a faithful emulation, and it is worth saying plainly.

The shared sag does not exist on any hardware: an outboard manufacturer
*designs* power supplies against exactly that, and two measured units showed
0.000 dB of inter-channel coupling. The drift, at the setting that sounds best,
is around a hundred times the specification of a tape machine.

It is a deliberate effect. That is also precisely what makes it hard to copy: a
plugin that models one box faithfully can never do this, because the thing being
modelled refuses to.

---

*Busbar — Xeni-Audio. Copyright 2026.*
