Malcolm Toft: PUNISHR 500 Series Saturator

Malcolm Toft [Tape Op #26, #165] began his career as a recording engineer at the legendary Trident Studios in London in 1968, then went on to found Trident Audio Developments, creating the initial Trident A Range consoles and many others to follow. After leaving Trident in 1988, Malcolm founded Toft Audio Designs, then later Ocean Audio. Now, under his own name, one of his newest creations is the PUNISHR Analogue Harmonic Distortion Module. This unique 500 Series processor was conceived by engineer Nick Mitchell, designed by Malcolm, and hand-built in the UK. It contains four tone-shaping features, with three choices of distortion: SYM, ASYM, and IRON. SYM is a symmetrical mode, which engages both sides of the waveform to be clipped. ASYM, the asymmetrical mode, engaging only one side of the waveform to be clipped. IRON engages an iron transformer for saturation. SUM mode feeds the input to all three distortion circuits simultaneously. The bypassable EQ section includes ‘70s-inspired high and low-shelving EQs at 100 Hz and 8 kHz, each with a 15 dB boost or cut. Sweepable high- and low-pass filters (12 dB per octave slopes; also bypassable) cover 35 to 350 Hz and 1.5 to 20 kHz. The EQ PRE switch places the entire EQ/filter circuit pre or post the distortion circuits. Lastly, there is a continuously-variable Dry/Wet blend knob and helpful automatic gain leveling circuitry that makes A/B’ing saturated signals against the input signal a snap. It also comes with a handy “Starting Points” guide that suggests settings for six categories of sounds: 70s Tape, LoFi Weight, Bass Fuzz, Drum Break, Mix Presence, and Vocal Edge.

But how does the PUNISHR sound? I first tested it on a bass track using the quick guide setting for Bass Fuzz. I began adjusting the frequency settings with the low-pass filter knob and immediately heard interesting tone results. Then, I activated the IRON saturation knob, along with the already-active ASYM distortion, and together, it gave the bass some audible weight. The sweepable high-pass filter was super helpful in sculpting a desirable tone. What I found very interesting is that all the knobs seemed to interplay with each other. Sweeping the highs at specific frequencies interacted with the type of mode selected (SYM, ASYM, or IRON). Another useful feature is the Dry/Wet blend knob, enabling you to choose how much effect to add. On a kick or snare drum, this resulted in exciting tonal textures when subtly used. With the PUNISHR, a little goes a long way. For guitars, especially with overdrive tones, it works fantastically. I can dial in a precise frequency with the filters while adding coarse texture from the SYM distortion. The IRON transformer saturation was one of my favorites to add to guitars and bass.

The PUNISHR proves to be another innovative audio design victory for Malcolm Toft; it’s an ideal saturation tool for audio engineers, producers, or guitarists, especially given its 500 Series size and price point. (Note: the PUNISHR+ is a dual-channel version in a single rack space unit that adds front panel DI inputs and output attenuation.