Here, for you, are some very useful tips and tricks + reviews from Gearspace and the AA FB page, meticulously collected by our kind power-user David Gary in one thread for our ENNA and TELGE plug-ins.
ENNA and TELGE are our answer to the now twenty year old problem of making an ITB audio source sound as authentic as an analogue production, without the need of the use of any external gear.
TUTORIALS
ENNA and TELGE enhancers bundle – Introduction, Setup and Tests
ENNA and TELGE Enhancer Plugin Bundle: Testing on various ITB-generated synth tracks
Highlights from reviews
1) Tried Enna on the mix bus, dialled it in very gently sounding nice. Bypassed it and instantly missed it; less focus and openness.
2) ALL I can say is “A MUST HAVE” in your final touch Mix or mastering. Stellar sound ITB indeed. Once you try it, can’t live without it period. Just one of those tools you have to add in your secret arsenal plugins.
3) Just tried it on a mix… the Enna on my melody bus is superb… really gets that shine and spread to make room for drums in Hip Hop… then ran by a parallel from my bus comp with Telge… and both going into my Bus EQ… just a tad bit adds that shine to pop out you mix…
4) The MIX knob is very important because it sets the balance between the DRY and the WET effect. At 50% is equally balanced as parallel effect.
You have then various ways to operate, with synths and single tracks you can keep MIX at 100% (full WET) or close to it, and tweak gently the INTENSITY as you prefer: this way of operate can sculpt heavily your source.
Otherwise, you can start with a MIX at 50% (equal DRY and WET passing through) and tweak more strongly (or gently, depends from your taste) the INTENSITY knob. This will be better for mix buss. This way will also respect more the original phase of the source.
Usually for the mix buss I like to use the MIX around 30-50%.
[EDIT] Another interesting way is to be “piercing as hell” caring only on the euphonic effect, and then placing Osaka Mix EQ or equivalent to surgically tame the busted frequencies. The resulting mojo can be surprisingly good.
ENNA and TELGE are quite different from the usual effects like i.e. EQ and COMP, then it needs some learning curve to be well understood and managed.
5) TELGE plugin is intended to be used as send/return effect rather than insert effect like ENNA. For this reason, we made separate instances.
Image taken from the manual.
Of course, you can then use it as you want. TELGE as an insert can be an interesting mild-distortion tube unit.
ENNA already features a MIX knob that allows to use it as pure insert or in variable-state parallel effect.
↪ reply: Exactly, closer to 30% than 50% with ENNA.
TELGE only in an AUX send.
6) The only compressor with Acustica technology I love is Brighton. Now with this particular tool London Acoustics really made such a powerful exciter and the only plugin in existence that can really improve the sound, not just rebalance it. What this thing can do to average midrange quality is outstanding. Enna doesn’t tolerate even pretty conservative levels that well. But when you feed it with correct level and set it out correctly, it is the best “make-my-track-sound-high-budget” plugin there is.
7) I tried Enna on synths. WOW. Just put it on some sparkly arps from Diva, A/Bing with a few other great saturators/enhancers, and it’s definitely doing its own thing. Telge, too–sounds amazing.
8) Using 1 instance of the plugin in a mix is a good idea, but it’s also nice to have the option to insert (i.e. you know it’s only one source). When mastering that send becomes cumbersome.
If you do a mastering version of Enna, please reduce the range of the Intensity dial, I’m moving it only 1 or 2 notches from zero.
↪ reply: I am actually using it with a much higher intensity, but with mix knob at only around 5% wet. I noticed that usually it reacts better this way with two songs I mixed today.
↪ reply: interesting method. Just tried it and it can work well.
Had to put gain utilities before (and after) ENNA to make sure the signal going in wasn’t too hot.
Thanks for the suggestion.
9) Just used this on an older track (on the master) and it was fantastic. Extra dimension. Dialled in more intensity and pulled back on the mix blend this time.
↪ reply: Yes, I find I get much better results this way.
↪ reply: Yeah, it’s certainly the better way to use it. I must have gotten lucky with the first couple of tests, a tiny nudge was just the trick! LA – the mix knob doesn’t affect the on/off special sauce button, does it?
↪ reply: No, the MIX knob is only for the enhancer part, the LA “special sauce” is just on-off
10) Q” Was it intended when you designed this bundle that best practice is to use ENNA and TELGE on the same source?
So, whatever source you have ENNA on as an insert you send just that source to an AUX send with TELGE in it?
Or is it your vision that you can use ENNA on one source as an insert (without sending to an AUX send with TELGE) and send another source (with no ENNA) to an AUX send using TELGE?
A: “ENNA on as an insert you send just that source to an AUX send with TELGE in it is the ideal path”, of course you’re free to break the “rules”.
11) Phenomenal set of tools for mastering. Exactly what I’ve been needing to make the sound pop and to create a truly engaging midrange.
Versatile. Powerful. At basic settings such as only using the THD and ‘Magic Circuit’ on Enna and Telge in parallel (Bluecat’s Patchwork is perfect for this, simply set up a parallel chain with -3 going in and -12 going out) I’m getting a hugely significant improvement in how powerful and punchy I can make the music.
12) Here the suggested safe degree-angles for mastering: 
Image taken from the manual. Note that from this first version, shown in the image, we updated the ENNA interface, adding a ‘1/3’ button that allows the user to adjust the INTENSITY more precisely, which is useful for mastering.
↪ reply: I think you could also roughly swap the Intensity and Mix safe degree angles and get good results for mastering.
↪ reply: We respected the machines behaviour. With the arrow is more than usable for mastering AND more than usable for mix.
Again, this is the best combination for the both duties, then why shorten one in (little!) advantage of the other?
For example, the INTENSITY movement with the arrow is less than 0.3 dB each step in the highlighted degrees of the pictures. Quite good for an analog gear.
Once set the INTENSITY the FOCUS and MIX are then tweakable with a very good resolution.ì
13) The plugins are made (is clearly stated on the manual and presentation) expecially for the ITB generated synths kind of tracks.
Because we found that, instead, the soft synths lack that band to be convincing enough.
The fact that a lot of people is using Enna and Telge also for mixing and mastering has pleasantly surprised us because it could be a sign that is an overall good product.
14) Still loving this plugin over here. I initially thought that because Telge has to be used on a send that I would gravitate towards using Enna mostly, but it’s actually been the other way around–because Enna is so super sensitive to gain-staging and doesn’t have an input trim, I just have Telge on a send in my template and send the synth or combined synth/guitar bus there, sounds amazing. It really just brings things to life in a way that makes the mix go so much faster.
But yes, this is exclusively for higher mids and highs–very curious about the next product in development!
EDIT: To me it’s quite different compared to the PA HG-2 and VSM-3–especially with VSM-3 (or Acustica Crimson) you can get close in the high mid-range, but it’s still a different animal. Best to demo and see how it reacts to whatever kind of material you’re working on though–for me, I tend to not use VSM-3 much, and HG-2 gets brought out mostly to toughen up kick drums or maybe 808s on really aggressive stuff. For me, closest to Enna and Telge is the always amazing Spectre from Wavesfactory, used aggressively and in parallel–but still not exactly the same sound. I love, love, love Spectre but still find Telge to be the best solution for a quick send from the music bus. YMMV!
15) So, I just about finished a tricky K Pop style mix and this sale came up. I grabbed these 2 and added them to the mix. Of course, it sounded bad…overcooked by that point. But I could hear what I had to do.
I started all over again. Put these 2 on tracks/busses appropriately, played about with intensity, levels etc and got the raw ITB tracks and vox to sound like they were recorded analogue.
After that, all the little ITB mixing tricks we so often do just weren’t necessary. The thing already sounded like a record. The mix fell into place with just a few choice aquas, nebulas and one or two others, like Crave and IK Tapes.
Your plugs are the best pre mixing analogifiers I have. Mixing with aquas and nebula afterwards was a joy – a little of them went a long way.
Thanks LA! This is how mixing should be!
16) Q: I was wondering about Telge. LA suggests the use of it on the fx bus. But there is also a mix knob on it. Is using the mix knob not similar as routing it true an fx bus?
Or where is the mix knob for when it is on a fx bus? I suppose it needs to be on 100% in that case? So where is the mix knob for on Telge?
A: As FX buss set it at mix 100%
As insert, you will decide.
The mix knob was an addition asked from some mastering customers.
The buss send /return is better than insert, in a mixing case, because you can route several tracks in a single Telge instance.
On Enna 2 and Telge 2
1) I forgot how good is Enna and Telge 🙂
It’s explosive and oversampling is very nice addition. This bring anything to life!
BTW. I found that Telge is (among other things ) a really wonderful filter for the reverb !
2) These are both so good. A little bit goes a very, very long way. Especially Telge. E&T are for people who can’t “hear” Acqua pres. Color and texture for days.
3) Q: “Hi! I have a question about Enna2, please.
First, I absolutely love Enna and Telge. They’ve made a huge difference in my tones.
So… we have Intensity, Focus, and Mix to the left of the Active switch. After I mess with Intensity and Focus to find out what I want, and then perhaps only dial about 10% of it in with the Mix knob, does this mean I’m only getting 10% of what the Active switch does? Or is everything to the left of Active in series with Active?
I’d like to know that I’m getting 100% of the Active effect even if I’m not at 100% on Mix.
A: According with the manual, page 7, there are 4 separated stages in the signal path of this plugin, then even if you set the enhancer stage to the 10%, the “Active” button stage will be always at its 100% (when activated, of course).
Image taken from the manual.
(credit to AA users from Facebook & Gearspace)
***These are just guidelines. Free to explore further.