Q&A with Pulsar Smasher developer François Reme

How did you first get into plugins?

“The three of us – François Reme, Niccolo Comin and Vincent Travaglini – have been musicians since we were kids. Niccolo and I are pianists, and Vincent plays the guitar.

“I remember meeting Vincent 10 years ago. I was playing in a residence with one of my bands at a venue, and there was this guy sitting on a table with his laptop. At that time Vincent was developing the FG-X for Slate Digital. When I saw that, I thought I had to do something like that too! We became friends, then we decided to set up Pulsar some seven years later. I think for the three of us, it’s really this intersection between art and science that motivates us!”

And how did the company develop from there?

“When we created Pulsar, we’d been making plugins for companies like Arturia and Slate Digital for about ten years. We wanted to raise the quality bar but, more importantly, to have a stronger and more human connection with musicians and engineers. But we had to start from scratch; we didn’t even have 100 contacts to send our first plugin to!

“Now I feel more like a perfectionist jeweller than a software developer. We do this job with passion, and I think people are sensitive to that. Well, they are sensitive to the quality of the products, but also to the people behind them.

“Over time, we’ve built up a pretty clear idea of what makes a plugin a good tool. It’s an irreproachable sound quality and algorithms that rock in all possible settings on any source. Then the plugin must be easy to use in terms of ergonomics, and with many functions but only a few but very intuitive parameters.

“This vision is based on a 10-year experience

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of creating and using audio software. I think that’s what makes our products so appreciated.”

Tell us about your plugins?

“We have three. Pulsar Mu is an emulation of a well-known mastering compressor. We are not allowed to tell you which one for trademark reasons, but I think you will be able to recognise it! The sound of this compressor is unique. It has a unique Topology Preservation Technology, a push-pull tube amp, and a gain reduction circuit that polarises very particular tubes. It’s really a jewel of warmth and it glues your mix like no other compressor on the market. The added saturations are really unique. What more can I say except that you have to listen to it?”

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“Algorithms that rock in all possible settings on any source”

“We also have a delay called Echorec. If you’ve ever tried the original machine, it has a really a magical feel. It’s a thick, organic delay, and you’re instantly transported into a Floyd record. On the machine, you can tap the disc with your fingertips while playing; it’s like a crazy delay, it’s unbelievable. We put this into the plugin, so you can play with the magnetic disc, and it enables you to explore really interesting sound textures.”

“And finally, of course, we have Pulsar Smasher. It’s a modified emulation of a 1176 compressor, in ‘all-buttons-in’ mode. We discovered this modification by chance while working on a full 1176 algorithm we were developing for a client. So the Smasher isn’t really an 1176 anymore, but you understand that marketing is always about machines that make you dream! Still, it can take the world’s most pitiful-sounding bus and make it blow up, and it will also inflate your bass, and other sounds.”

What are your five favourite plugins made by other companies?

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“Arturia’s FX Collection is totally unbelievable for the price, and I’m not just saying that because we worked with them! Fabfilter’s Pro-Q 3 is definitely the fastest way to EQ a track! Soundtoys Decapitator is the ultimate colour box. Waves H-delay might not have the most character, but it does allow you to achieve excellent results in no time. Finally iZotope’s Ozone is the ultimate surgical tool for mastering, great to use in conjunction with more colourful tools… like Pulsar Mu!”

What would you like to see developed in terms of music technology?

“For me, some products have really changed the way the studio works. When you hear Freddie Mercury’s vocals, you understand that doing this in 1975 really required being a fantastic singer. Today, if you know how to use Revoice and Melodyne, and if you know how to compose a vocal arrangement, you can achieve an incredible result, and this from your room at your mum’s place. So I guess I’d like more of this kind of software that makes history!”

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What advice do you have when it comes to music production

“Take as many decisions as you can during the tracking. The most precious thing is the time you have with fresh ears, as a composer, as well as an engineer. Make choices quickly, and don’t worry if you can’t go back, you shouldn’t regret it, it’s always cool!”

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What advice do you have from working in the industry?

“There are some plugin makers who are sure they know everything about how people work, but there are as many ways to work as there are artists actually. I remember a workshop with Murcof. This guy only worked with freeware, and a pair of M-Audio speakers worth $200 a pair and, honestly, he’s one of the most unique-sounding electronic music artists I know. So don’t listen to the experts too much and do things your own way.”

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