SPAT - Audiowerk
Contents
1. n IS Ges SENE Setup p 23 1l ou anyar HII LE por por atr ene e geber ta i i i 2 2 2 LI pa SR SE SE z 1 te 14 14 14 T d t3 Ce a DI E i ese i SPAT SPAT Main section p 6 Display p 7 Perceptual factors p 8 Radiations p 9 Axis Omni p 10 Options p 11 Main Input Output section p 12 SPAT SOURCES Main section p 6 Fe o cn selected source Solo e KA ER Target Reverh 1 Doppler Air Ansnrption Clear Solo Drcp Mace Linj2 Perceptual Factors Source Presence Sure Brillar ce Suure Warn h prm FEN us um 400 Presence Wunning Envelop Acoustica criteria Bog 342 EDT 1515 Ex 14 598 Fen 210E ASM CENE O ezin OK RH IL D ce Si Dood SSE Perceptual factors p 8 Display p 7 Axis Omni filters p 10 Low Freq High Freq Low Gain zi High Gain Distanca Azimuth Yaw Relativedirection 180 BD Eeva icn Fitch 90 WR IL A5 0 0 0 30 90 WP 45 0 1 180 180 90 80 Radiation p 9 Input D M cB 0 00 dE Output Main Input Output section p 12 SPAT 1 MAIN SECTION The source tab is where sources parameters are set and visualized In essence input channels are actually fed to one or several virtual sources that are placed inside a virtual 3D acoustic space2. 2 140 A 104 gt gt A It n PANK R5 342 EDT L s Es 145 8 2400dE Aw Ap Den 0 0048 2 445 ALO 251s Desi 5 5705 Perceptual factors p 17 Room Response p 18 Input 0 00 cB 00 dE Output Main Input Output section p 21 18 SPAT 8 MAIN SECTION 50 Selected Reverb Selects and indicates the reverb engine currently being edited Three engines working in parallel and independently are available 51 Reverb On Toggles the currently selected reverb engine on or off Use this switch at de sign time to listen to one reverb in isolation Setup Selected reverb Em On 19 SPAT 9 PERCEPTUAL FACTORS Perceptual Factors Reverberan ce 100 Heaviness Liveness Freq High 2K 100 e 20 20K 500 w 2K 100 1 20 g 77 Hz TET 20K Acoustical criteria 500 t Al EDIT 1 Sis Es 14598 52 Reverberance Reverberance affects the amount by which the listener perceives the music to be prolonged by the reverb when the musical message suddenly stops The effect of this setting is also obvious when the source material is of percus sive nature Reverberance is tightly related to overall decay time of the mid frequencies which in turn is the time taken by the late reflections to vanish into silence 53 Heaviness Relative decay time of low frequency content relative to the reverberance 54 Liveness Relative decay time of high frequ
3. Desh dB Relative early sound at high frequencies RtHi dB Same as RT60 but in high frequency RtLow dB Same as RT60 but in low frequency Desl dB 11 SPAT 4 RADIATIONS 19 Distance Distance from the source to the center reference point listener position in meters Radiation 100 180 SJ 180 20 Azimuth Eevanen Pitch Angle between the source location and the listener p D B B BH Bu front reference axis in degrees Ip B 21 Yaw Angle of the source direction orientation relative to the listener source axis in degrees 22 Relative direction When engaged the source movement done with the mouse in the display are done in a way that the source always keep the same source listener orientation If not the source direction is constant 23 Elevation Elevation angle in degrees Please note that when the source is not located onto the base horizontal plane at listener ear level z o a small gauge is displayed on the right edge of the preview which gives the distance of the source to listener projected onto the Z axis for easier handling of elevation 24 Pitch Source direction orientation pitch angle in degrees Please pay attention to the fact that the graphic preview cannot not display pitch movements because of the 2D projection con straints 25 Aperture The aperture parameter relates to the sound cone projected by the virtual source in
4. Duplicate creates a new preset in the list from the selected one Edit gives access to the specific windows which allows to change preset name description key words Delete suppresses the selected preset Export creates a file reflecting the content of the preset bank 35 SPAT Import adds existing presets into the preset bank Ordering arrows orders the presets into the list The preset protection if engaged allows only its original modification author to uncheck and edit So you can protect your presets in a multi user configuration Protected presets can only be modified using the session of their creator If used in another user session they can only be imported or deleted 36 SPAT 20 CREDITS Spatialisateur and Spat are trademarks of Ircam and Espaces Nouveaux Design of digital signal processing algorithms and implementation in Max Jean Marc Jot Espaces Nouveaux Ircam Objective and perceptual characterization of room acoustical guality Jean Pascal Jullien Olivier Warusfel Eckhard Kahle Additional contributions by Gerard Assayag Georges Bloch Martine Marin v ronique Larcher Guillaume Vandernoot and Khoa Van Nguyen C development code Thibaut Carpentier Remy Muller additional contributions Gael Martinet Thanks to Xavier Chabot Eric Daubresse Gerhard Eckel Serge Lemouton Gilbert Nouno Laurent Pottier Manuel Poletti Leslie Stuck and Zack Settel for instructive discussions
5. The user can precisely control the location of the sources in the virtual acoustic space and adjust a number of parameters separately for each source Selected source Note a variation of this sub panel is displayed when viewing the reverb tab 1 Source Activates the source tab where source localization perceptual and acoustical parameters are set 2 Reverb Activates the reverb tab where the reverberation characteristics of the simulated acoustic space are adjusted 3 Setup Activates the setup tab where input source and output mappings are determined 4 Selected Source Selects the source currently active for editing which is highlighted accordingly in the visual space representation Each source has its own set of parameters which is completely independent of others while sharing the same reverbera tion engine s that depict the acoustic response of the simulated space these sources are place into Note The number of sources and mapping thereof is handled in the Setup tab 5 Source On Toggles the source on and off in the global output mix Used in conjunction with the solo button below this allows to switch rapidly between listening to each source in isolation for precise adjustments or tweaking settings and listening to all sources simultaneously which is essential to getting a good balance between the various sources and achieve a coherent mix 6 Source Solo Isolates the currently active source
6. effectively muting all other sources SPAT 2 DisPLAY This sub panel displays a to scale representa tion of the sources and speakers spatial local ization settings projected onto a 2D flat space Assessing the location of a point is easy with the aid of the circular grid scale drawn onto the background as a guide using a polar coor dinate system The spherical coordinate system used here requires the following three parameters to de scribe the position of a point in 3D space rela tive to the listener Distance to the centre reference point ex pressed in meters on a logarithmic scale Azimuth or the angle with respect to a ver tical line zero is in front in degrees Elevation in degrees Also the source orientation is available as yaw an pitch Zooming in and out of the display is achieved using the scroll wheel present on most available mice Note that when the current source is not at abase plane z axis a little display appears on the right explaining this z elevation for this 2D view context 7 Source A source represented by a yellow disk with its corresponding number Clicking on this disk makes this source active and highlighted allowing it to be moved and edited Alt clicking MacOS Alt option key and dragging on the yellow source disk changes its aperture See 21 Ctrl clicking MacOS Apple command key and dragging on the yellow source disk changes its yaw See 20 When two so
7. the acoustic space and is measured in degrees It determines wether the source will be very directive small aperture or omnidirectional large aperture inside the reverberant environment You can use this parameter to simulate the how a source will interact with its acoustical environment Each source has a set of two three band equalizers associated with it as described below 12 SPAT 5 Axis Omni FILTERS Low Freq High Freq Low Gain Med Gain High Gain Global Gain 26 Omni Toggles the equalizer associated with the omnidi rectional part of the sound radiated by the virtual source This equalizer mimics the global frequency response of the source just as a loudspeaker col ors the sound 27 Axis Toggles the equalizer associated with the on axis part of the sound radiated by the virtual source Most if not all commercially available loudspeak ers do exhibit a radically different frequency re sponse whether you re listening right in front or on the sides Setting a rather flat on axis equalizer curve and maybe cutting the treble and mids for the omni response would be a good starting point to emulate a real world speaker 28 Low Freq Low pass filter frequency cutoff of the currently selected equalizer Value can be quickly adjusted using the mouse by clicking and holding the value box or the vertical bar on the graphical frequency response display or exactly by clicking the value box and entering a
8. the dry and wet signals and the reverb part cannot be mentally separated It is linked to the early reflections decay time Note this setting is distinct from reverberance in the reverb tab 17 Envelop Envelopment corresponds to the the perceived notion of how much the listener feels being surrounded by the ambient sound In a multichannel configuration one could describe this as the feeling of being wrapped inside the imaginary sound sphere that the listener pictures in his mind It can also be described as the energy of the early room effect with respect to direct sound 10 SPAT 18 Accoustical Criteria This sub panel displays the acoustical parameter values associated with the current settings They are provided for the more technically inclined users who already know how they can make use of them you can safely ignore them otherwise Please note this is an indicative feature only as these settings can not directly be changed here RT60 Reverberation Time in seconds measure of reverberation decay time namely the time taken by the reverb to drop below 6odB of attenuation EDT Early Decay Time in seconds time to decay to 6odB derived from a linear fit of the decay curve between o and 10dB It explains the very early evolution of a reverberation Es dB Early sound power of direct sound and early room effect Rev dB Late sound power of later reverberation ASW Apparent Source Width in dB
9. 41 Radius Specifies the radius of a disk in meters centered around the listener s head where the drop at tenuation is not taken into account and the sound level is kept constant with regards to distance This is not only useful to prevent any dramatic sound level peak when placing a source too close to the listener it also reflects real world behaviour quite accurately where sources do have a certain physical size unlike point sources that are commonly used to model far field acoustics This no drop zone is displayed as a transparent blue disk of matching radius on the preview 14 SPAT 42 Pan rev By default only early reflections are panned and the cluster reflections which form the diffuse part of the early rever beration are panned dead center Pan rev allows you to modify cluster panning thus imparting some directionality or perceived direction to the diffuse part of the sound 43 Early Width Controls the width of the sound projection lobe of the early reflections from a source in the virtual acoustic space in 15 SPAT 7 Man NPUT OUTPUT SECTION Output 48 Day Night degrees The minimum setting 1 gives a very di rectional source whereas 180 makes it omnidirec tional 44 Input Gain Adjust the level of the signal fed to the plug in in dB increments 45 Input level meter Shows the current level of the input signal after ap plying input gain in dB FS deciBel Fu
10. Ircam y FLUX SPAT Multiformat Room Acoustic Simulation amp Localization Processor High Freq 5657 Hz Source Presence Source Source Warrth Brillance H High Gain gt 0 30 3 0 00 dB 5 29 dB a Foom Presence rca m Running Envelop 5 _ lt m z To 0 E Reverb 1 by Distence Azimuth Yaw Relative directior Aperture FLUX ei aL a Hi E Elevation Pitch i DN 180 90 90 10 Wich 75 Desh 0 0008 0 1 T 76 Y De zem TA FTA AIA MIM IA 00048 Output Copy B CooyA Reall Introduction The Spat is a very powerful tool for spatialization It can handle both aspects of spatialization source localization and room acoustic simulation in a very homogeneous and coherent way A set of sources up to eight in this plug in may be linked in ste reo pairs are localized in a 3D space in the Source control tab Each of these source is connected to a room also called reverb Up to 3 rooms are available in parallel in order to simulate complex spaces coupled room acoustics Perceptual factors Vs Acoustical criteria In both sources edition and reverb edition controls are available as a set of perceptual factors Each of these parameters cor responds to a real world criterion that actually has proper significance in terms of hearing perception and not some obscure algorithm specific parameter translating more or less to some kind of aesthetic interpretati
11. and advice Ircam R amp D Director Hugues Vinet Collection Manager Frederick Rousseau Copyright 2010 Ircam All rights reserved IRCAMTOOLS Collection Manager for IRCAM Frederick Rousseau Collection Manager for Flux Gael Martinet IRCAMTOOLS SPAT VERB Copyright 2010 Ircam and Flux sound and picture development All rights reserved Flux Head software engineering Gael Martinet Developpers Gael Martinet Samuel Tracol Siegfried Hand Designer Nicolas Philippot Contributions Lorcan Mcdonagh 3
12. angement setting choose the method to use for placement of the sources inside the audio space Possible choices are some will be grayed out depending on your output configuration Recursive Angular pairwise default Surround LRS Surround LRCS 27 SPAT Binaural Intended for stereo reproduction Prefer transaural output encoding when loudspeakers are to be used VBAP 2D Vector Base Amplitude Panning Allows for arbitrary placement of the speakers onto a horizontal plane Refer to http www acoustics hut fi ville for more information on this technique VBAP 3D Same as above but for a 3D speaker setup DBAP Distance Based Amplitude Panning Does not rely on any assumptions regarding speaker array or listener position which is good for avoiding sweet spots Refer to http jamoma org papers icmc2009 dbap pdf for more information B Format 2D A basic variant of Ambisonics Amongst Ambisonics strong points are a good stability of the audio image with respect to listener position free speaker positioning and independence towards the reproduction system used B Format 3D 2nd order Ambisonic 2D 2nd order Ambisonic 3D XY Stereo only M S Mid Side Stereo only A B Stereo only 81 Output Decoding Spat can encode its output in the following currently supported formats Pass trough i e no encoding default Transaural A method to reproduce binaural audio when using loudspeakers B F
13. arangement d Sterea Pairs Sources g JEAKETS Outputs Delays i Panning metro dm Output dec HRTF LI i D KA Reverb density 75 Inv Phase This little button labelled inverts the phase of the source applying a 180 phase shift 76 Input level meter Gives an indication of the signal presence and peak level for the corresponding input source 77 Stereo Pair Enable two successive inputs to be treated as a stereo pair displayed by a yellow vertical block overlapping the two inputs which make it possible to adjust their width in the stereo space 78 Source On Toggles wether the corresponding source is active or not muted 79 Output Arangement Depending on the number of I O channels you have selected in the setup menu accessed via the cog icon between the I O meters this drop down menu allows you to select the desired output arrangement amongst a choice of stereo and a variety of surround configurations with or without a sub woofer This setting is provided so you can operate the Spat on a subset of your surround channels should your project require this For example when mixing a film soundtrack it is mandatory that the center channel which is reserved for voice material be left empty The solution is to work with a so called virtual center equal energy in channels disabling processing by the Spat for the physical center channel 80 Panning Method Depending on the Output arr
14. e to appear 61 Early Distribution Early reflections distribution Determines the way early reflections are scattered in time inside the Early Min Early Max interval The default setting of o 5 corresponds to regularly spaced reflections above these are more grouped towards the Early Max value and vice versa 62 Cluster Minimum See 59 Early Min Please keep in mind the cluster is fed with the input of the early reflections processor section as is shown accordingly on the display 63 Cluster Maximum See 60 Early Max 64 Cluster Distribution 21 SPAT 11 DisPLAY See 61 Early Distribution 65 Direct signal The grey bar at the start of the reverberation pictogram represents the direct sound send at the input of the plug in In the time structure of the reverberation it is the first element that is heard 66 Early Overall representation of the early reflections distribution Vertical bars roughly indicate at what time locations horizon tally and levels bar height these early reflections occur 67 Cluster Overall representation of the cluster reflections distribution Vertical bars roughly indicate at what time locations horizon tally and levels bar height these early reflections occur 68 Reverb Shows a graphical representation of the reverberation tail part of the engine The decay curves of the high mid and low bands which are controlled by the decay time settings are superimp
15. ency content relative to the reverberance Describes the liveliness and movement associated with the reverb tail late reflections 55 Freq Low Sets the frequency below which decay time is determined by the Heaviness setting expressed in Hertz Hz Default value 180 Hz 56 Freq High Sets the frequency above which decay time is determined by the Liveliness setting expressed in Hertz Hz Default value 5657 Hz 57 Acoustical criteria See 18 20 SPAT 10 Room RESPONSE Room Response 58 Early Shape Cluster Governs the amplitude rise or igitar fall of early reflections The de fault setting of 0 5 corresponds to early reflections all having the same level This mimics an acoustical space where reflec tive surfaces are all located at roughly the same distance to the listener Below 0 5 early reflections decay with time above o 5 they rise with time Early reflections of decreas ing level would be typical of a space where most of the reflec tive surfaces are grouped at a range closest to the listener 59 Early Minimum Early reflections minimum time i e the time at which the early reflections start to appear in milliseconds This is the analogous of the ubiquitous pre delay setting found on most reverberation processors It represent the time between the direct sound and the first early reflection 60 Early Maximum Early reflections maximum time i e the time at which these ceas
16. f the preset s author typically stereo all parameters but setup and dry wet mix useful in a mix setting when comparing and choosing presets Copy B Copy current settings to the second parameter slot B To try out a variation of the current settings without erasing the reference press this button switch to B and adjust your parameters of choice then switch or morph between A and B When copying a preset to a slot the morphing slider will automatically fly to the corresponding slot 98 Preset Name Displays the current preset name if any Clicking the associated button up amp down arrows brings up the preset manager 99 Morphing A B Gradually morphes parameters from A to B slots The parameter set associated with the current morphing slider position can be saved as a preset In addition when the morphing slider is in an intermediary position any edit made to a parameter switches the slider back to slot A or B which ever is closest to the current position 100 Automation Enabling the Automation control switch makes the morphing slider exposed and available for automation read When engaged keep in mind only the morphing slider value is used for automation and other parameter values are ig nored This behavior is intended and necessary to prevent any parameter conflicts that would otherwise occur As a consequence of this you need to make sure the Automation switch is engaged when mapping the morphing slider map
17. gnal content above this frequency vanishes faster 74 Modal Density Scales the modal density with respect to the current setting which is internal to the plug in engine and depends on other parameters such as reverberation time etc The modal density governs the frequency smoothness of the verb engine Increasing this setting reduces the graininess of the reverberation Adjust to taste depending on the source material and desired result 25 SPAT 13 Main NPUT OUTPUT SECTION See page 12 24 SPAT Setup Routing Stereo pairs width Subwoofer Main Input Output section 25 p 24 p 26 p 27 p 28 SPAT SETUP Setup p 24 Routing p 26 HITT AIA tga mani QIN Al rating prese Panning method CUTOUT decoding ARIF LJ LJ Li Jevarh density Main section p 26 E nptitaechsquanisik Aksal scaling ate Shands mr at PANAI pen mesini 2 mi NN 5 d no gn Dec Cureenz Va e 1 n La Untk Lumzund fh M o M Hades chien sar Stereo Pairs Wd Mis a Lad Far a a s rain TTE D 192 en Suummuuler Speaker 1 Speaker 3 Speaker 3 Speaker 4 Specker 5 Sprecher 6 HIZ IA 412 414 18 a o 12 12 OR EF N 12 ia 76 d ve 724 24 24 Hz D M dB ELLE Input Stereo Pairs width Subwoofer p 27 FTZ Output Main Input Output section p 26 SPAT 14 SETUP Output
18. he plugin where a test panel of listeners was presented with a test set of sounds constructed from several different variations of the reverb engine in ner parameters The listeners were then asked to rate each set onto a few different scales with perceptually and aesthetically meaningful names Using set of perceptual factor values to the many internal reverb engine parameters Gg As a general guideline we encourage you to learn the meaning of these pa rameters by carefully listening to the audible variations when adjusting them o9 We do provide a short explanation of each of them below but training your TT 120 oe Envelop ears is really the best way to be able to use these in context ever 12 Source Presence Source presence refers to the prominence of the direct sound with respect to the reverberated sound It is not just equivalent to a dry wet ratio and is influenced by other settings such as distance radius and drop factor T i 13 Source Warmth Org Eye Presence of the low freguency content part of the source Acoustical criteria 14 Source Brillance Presence of the high freguency content part of the source 15 Room Presence Prominence of the reverberation with respect to the source or in other words how much the room sound dominates the overall sound 16 Running Reverb This parameter controls the amount of perceived reverb when feeding a continuous music message where the overall sound is a tight blend of
19. ll Scale 46 Output Gain Used to trim the output signal and possibly avoid any overloading of the signal in the rest of the sig nal chain 47 Output level meter Shows the current level of the input signal after ap plying output gain in dB FS deciBel Full Scale Toggles between two interface schemes which as the name implies are best suited to high or low light environments respectively In a dimly lit studio environment switching to the nigthtime scheme with its darker color palette and lower contrast will minimize eye fatigue when doing long sessions 49 Setting Gives access to a sub menu where you can either select the I O configuration namely the input channel count followed by the output channel count for hosts that support dynamic I O configuration or display the credits page The exact I O combinations available depend on your actual audio hardware and host configuration 16 SPAT Main section Perceptual factors Room response Display Options Main Input Output section 17 p 16 p 17 p 18 p 19 p 20 SPAT REVERB Display p 19 Main section p 16 I EEE Source Selected reverb m amp On Options p 20 Inhnits Air Absaration Air Ball Freg 5o Perceptual Factors Reverberan ze Heavies ivencss NLIS HEJE NEIN BE Rear Respon Carly Cluster Freq Low Freq Higk KH Minimum Maximum Distribution 500 Sot Zb
20. ndpoint rises when the source is accelerating and falls when decelerating This is the ambulance or police siren pitch going up then down when passing you by effect you are familiar with It will only be heard if you rapidly move the sources locations quite fast but thanks to the virtual nature of the Spat you can bypass Physics laws and manually inhibit it using this switch should it be a nuisance for the particular application you re dealing with 37 Air Absorption Simulates the frequency dependent absorption of air where high frequencies roll off quicker than low frequencies with respect to distance You ve most probably noticed this other real world phe nomenon when you re far away from a concert venue and only able to hear the bass and gradually start to hear the whole mix as you get closer 38 Clear Solo Clear all solo that have been previously engaged on sources 39 Drop Mode Owing to a fundamental law of acoustics and geometry namely energy conservation sound pres sure drops in level as one moves away from the source Choose Log2 for an acoustically accurate setting which corresponds to a Drop value attenuation every time the distance from the source is doubled logarithmic behaviour or Linear for a less radical drop law 40 Drop This value determines the value of the level attenuation in dB deciBels according to the selected drop mode Default is 6dB which is the physically accurate value
21. neralit is advis able to use your DAW surround mixer capabilities instead as these are global to your project 28 SPAT 85 Output Delays An output delay expressed in milliseconds can be inserted just before output to the speaker for example to compensate for a non standard speaker arrangement Please note that if you move a speaker in the source view the associated delay is automatically applied on the correspond ing output according to the speaker distance 29 SPAT 15 ROUTING Output routing preset 30 86 Subwoofer On Activates send of a speaker output to the sub woofer bus 87 Output level meter Output peak level meter 88 Output routing preset Gives quick access to commonly used output mappings 89 Output routing Here you can map any Spat speaker output to a physical output The plugin always ensures there is a one to one correspondence between Spats internal outputs and the plugin output channels and remaps channels automatically when necessary SPAT 16 STEREO Pairs WIDTH SUBWOOFER 90 Stereo Pair Width Sets the width of a stereo pair if previously defined in degrees 91 Subwoofer Speaker Gain This is the send level value from each of the Spat reverb outputs having the Subwoofer checkbock ticked expressed in dB deciBels 92 Slope Slope of the low pass filter section applied to the subwoofer buss in dB per octave 93 Cut Off Frequency Cut
22. off frequency of the low pass subwoofer section expressed in Hz Hertz default 110Hz This filter ensures only the frequencies reproducible with a subwoofer are sent to the corresponding hardware output 94 Subwoofer Global Output Gain Adjusts the overall gain of the subwoofer buss ES SPAT 17 Man NPUT OUTPUT SECTION See page 12 32 SPAT 18 PRESETS SECTION Save Reca 95 Save Saves a Snapshot of the current settings for future use Short description and assorted comments can be provided which comes in especially handy when sharing presets with other users when the preset is part of a large preset bank or to identify the author and source Entering a descriptive keyword is a good practice to be able to quickly sort your presets according to character the type of space they simulate e g hall room etc and the intended usage e g voice percussion guitar etc A preset can be locked to prevent any further editing To re save your preset under a new name open the preset manager by clicking the corresponding A B preset slot then select New enter a name for your preset and finally press Save 6 Recall Recall the settings from the currently selected preset overwriting any current settings of the plug in The sub menu which appears allows to recall at your choice all parameters all parameters but setup intended for when your particular speaker configuration is different from that o
23. on This is a feature unique to the Spat which is the result of substantial research and development work at IRCAM and Flux providing a relationship between these parameters and the plug in internal parameters Internally the plug in perceptual mapper translates the GUI parameters into a much larger set of parameters required for the actual reverb engine computations This way the complexities of the reverb algorithm internals are hidden from the user so one can make predictable and guided adjustments instead of having to resort to a poke in the dark approach adjusting settings at semi random trying to find some magical combination of parameters to obtain the desired result In parallel a display is detailing the acoustical criteria these parameters are more familiar for those who are well acquainted with acoustics and here instead will find the more commonly used terms SPAT Sources Reverberation Setup Preset section Preset managment Credits p 5 p 15 p 23 p 29 p 30 p 33 SPAT Sources p 5 e en a Schatz zs Ki S PT TITI worker nie wee awe Fr rw Ar brergton doc pence Way Eros ua D bavarb ie E c Fou rer Anen ge HI aa AC Sri S L Ac DORE s n SE er Om MA 248 Maise Der SEAS Naz vg TET Detone Reverberation p 15 fin Spy isa Artel hee Tedy Tarde Miriam Mean Ciera Mirimim Medm Fur ale L t AC Sb Ae za w n SS Desc 02041 NA Tt
24. ormat 2D A variant of Ambisonic encoding B Format 3D 2nd order Ambisonic 2D 2nd order Ambisonic 3D Surround LRS Surround LRCS 82 HRTF When the Binaural panning method is chosen one can select between a variety of head HRTF profiles which stands for Head Related Transfer Function In essence a HRTF models the way a listener s head modifies an incoming sound beam depending on its direction One can then measure and replicate the interaction of the head of a particular listener to recreate a sensation of 3D space Please keep in mind this technique is only applicable to the stereo case The default one available is the Kemar head a standard Manikin head Some others are available choose the HRTF library at install time Their numbers refers to the anonymous id of the listeners that have sampled their profile at IRCAM laboratories 83 Reverb Density Internally spatial variations are computed using a kind of 2D network of reverbs and this setting toggles between an 8x8 standard or 16x16 size high The choice of which sounds best is left up to you as this depends on the source material at hand although it must be emphasized that the high density consumes a little more CPU and that the color of the reverb can be altered by this setting particularly at some extreme parameter setting combinations 84 Speaker On Toggles the corresponding speaker output on and off which can prove useful for checking purposes In ge
25. osed in different colors and can rapidly be assessed and checked Also see 12 69 Room Size This is a meta parameter that takes care of varying several other parameters in order to quickly set the equivalent size of the virtual room adjusting early cluster and tail reverb parameters to match the room characteristics 70 Reverb Start Reverb start sets the duration between the direct dry source signal and the first late reflections or start of the reverb tail Please note its value can never go below that of the cluster minimum time as the reverb tail is fed with an signal derived from the cluster section 22 SPAT 12 OPTIONS ud Air Roll Freq 71 Infinite When activated decay time temporarily rises to infinity making the signal recirculate indefinitely in side the reverberation engine This is best suited for one off special effects such as deep freezing audio material or if you re looking to create something a little less conventional than a fade out for the end of your track 72 Air Absorption Simulates the frequency dependent absorption of air where high frequencies roll off quicker than low frequencies with respect to distance You ve most probably noticed this real world phenomenon when you re far away from a concert venue and only able to hear the bass and gradually start to hear the whole mix as you get closer 73 Air Roll Freq Roll off frequency for the air absorption simulation Si
26. ow features three preset banks e The Factory bank gathers presets that can t be edited by users e The User bank is dedicated to the users presets e The Global bank features presets for A B and morphing sections A single global preset includes A and B section content and the morphing slider position A Preset can directly be recalled into the preset section selected by the morphing slider position by double clicking on its name on the list The preset lists can be filtered This filter is applied to any preset information such as name description author comments or key words Epure Preset Manager Recall A Factory Global FLUX ID recalls the selected preset into the a corresponding section FLUX Low Drums B ux 26 07 2007 14 54 36 eeben 3 FLUX Hi Dn lux 26 0 7 15 04 21 RecalltoB 4 FLUX Hi Drums B UK 26 0 09 25 Recall B 5 FLUX LP R 2640 36 10 FLUX H penes e recalls the selected preset into the JA ohelving LOW Ux ZOL res 16 uplicate FLUX Shelving Hi UK 26 0 23 56 corresponding section 9 FLU FM Radio 7 11 44 54 l FLUX Telephone ux 4 11 44 34 1 A P Vow Ba v m 7 47 92 40 Copy A and Copy B A and Co B 2 FLUX Voice De Essing 5 0 17 11 3 RIAA ux 14 08 2007 09 34 35 buttons allow to easily create a variation around a preset Update allows to save the current settings for the selected preset New creates a new preset in the list
27. ped to a control surface hardware knob or slider On the opposite when not engaged the plug in will listen for any parameter automation except the morphing slider 33 SPAT 19 PRESET MANAGEMENT From the Plug in interface A B Sections A plug in features two preset sections A amp B Clicking on the slot of a specific section reaches the shared preset bank From the preset management window you can select the preset you want to recall in the specific preset section Save Save replaces the selected preset by a new one under the same name featuring the current settings If you want to keep an existing preset without your new modifications just select an empty place into the preset list enter a new name for this modified preset featuring the current settings and press Save Recall Once a preset is selected from the preset list it must be explicitly loaded into the section A or the section B by using the recall button A preset is effective only after it has been recalled Double clicking on the preset name from the list reloads the preset into the selected slot AB Slider This horizontal slider has no unity nor specific value display It allows to morph current settings between two loaded presets A double click on one side of the slider area toggles between full A and full B settings The results of an in between setting can be save as a new preset 34 SPAT From the Preset Management Window The Preset Management Wind
28. urces are associated in a stereo pair this yellow disc is surrounded by a yellow circle 8 Aperture Represents spatial width and direction of the source signal part which determines the preferred directivity See 25 9 Speaker Speaker location and direction Each speaker can individually be moved by clicking and dragging and reset to its default position with a right click Speakers can also be hidden by right clicking anywhere in an empty space Please note the number and characteristics speakers are respectively adjusted in the Setup sub menu and tab 10 Radius Represents the the no drop zone See 40 Drop as a transparent blue disk of corresponding radius 11 Full Size Display Toggles between standard display as a sub panel and a full size display which is more convenient when very precise set tings are need or when doing intensive source localization automation for example SPAT 3 PERCEPTUAL FACTORS This parameter group holds settings affecting the way the reverb sound is perceived by the listener As explained previously these are not simply names E NER stuck onto any internal parameter dictated by the inner workings of the algo Perceptual Factors principal components analysis PCA and optimization techniques we then built an algorithm which reverses the process and automatically maps a given Source Source rithm Warmth Brillance Instead a true perceptually oriented approach was used in the design of t
29. value with the keyboard 29 High Freq High pass filter frequency cutoff of the currently selected equalizer 30 Axis Omni Curves Actual frequency response curve of the currently selected equalizer expressed in dB deciBel Click and drag one of the three square points with your mouse to quickly change the gain of the corresponding band or one of the two vertical bars to adjust the transition frequencies of the bands 31 Low Gain Gain applied to the low frequency band of the currently selected equalizer 32 Med Gain Gain applied to the medium frequency band of the currently selected equalizer 33 High Gain Gain applied to the high frequency band of the currently selected equalizer 34 Global Gain Overall gain applied to the currently selected equalizer 15 SPAT 6 Options Options Target Reverb 35 Target Reverb Drop down menu indicating the currently selected reverb engine Clicking this menu allows you to choose between the three available engines each one having its one independent set of param eters For example you could combine two or three reverbs in order to simulate a complex room ar chitecture made up of different spaces with completely different sizes and materials or to achieve special effects 36 Doppler Toggles Doppler effect handling on and off The Doppler effect is a well known wave propagation phenomenon where the height of a sound perceived from a listener sta
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