User manual ARBORETUM HYPERPRISM-DX

[. . . ] Hyperprism-DX for DirectX Plug-in compatible applications Digital Audio Signal Processing Software by Arboretum Systems Inc. This documentation current for Hyperprism-DX version 1. 5. 5, last updated 11/19/98. This Documentation may not, in whole or in part, be copied, reproduced or translated without prior written consent of Arboretum Systems. What's New in Hyperprism-DX v1. 5. 5: q q New Harmonic Exciter, Bass Maximizer and Tube/Tape Saturation effects Automatic uninstalling of older versions for easy upgrading. New in Hyperprism-DX 1. 5. 1: q q q q New Vocoder, Frequency Shifter, HyperVerb, M-S Matrix and Limiter effects. Improved Compressor, Pitch Changerand Filters for better sound and easier use. [. . . ] Low diffusion settings result in more discrete delayed repeats, while adding diffusion smears out the attacks of each repeat. Higher diffusion results in a smooth wash of sound, without identifiable reflected attacks. Brightness The brightness slider simulates the loss of high frequencies due to room reflections and atmospheric absorption. In practice, you can consider it a low pass filter applied continuously to the ongoing reverb decay. A setting of 0% will result in very dark sounding reverbs, with very little high-frequency energy. A setting of 100% will be very bright-all the high frequencies from the source sound will persist in the reverberant decay. Feedback Feedback, from 0% to 100%. Higher feedback settings lengthen the time it takes a give sound's reverb to decay to silence. A setting of 0% will result in the shortest possible decay for the algorithm, 100% feedback will linger almost indefinitely. Mix Wet/dry mix, in percentages from 0% (original signal only) to 100% (reverberant signal only). Go to Effects: [Filters][Modulators] [Delay and Reverb] [Stereo] [Misc Effects] [Table of Contents] Digital Reverberator Face Off During the development of the HyperVerb digital reverberator we spent some time analyzing common digital reverberators, as well as natural reverberation. This analysis, in addition to years of research, has helped us design a digital reverberator that, in certain respects, offers a significant improvement in sound quality over previous technologies. The two most important improvements are significantly increased echo density, and virtually no coloration in the late response, all while running in real-time on a modest processor (e. g. One or both of these deficiencies has plagued most digital reverberators since their initial development 30 plus years ago. The properties of high quality reverberation are very complicated, but for the purposes of this report we will limit the analysis to aspects that can be easily and objectively measured and that are commonly problematic with most digital reverbs. Of course the most important test is simply listening to the reverberator, though other tests can also be useful. For this reason you can also download impulse response recordings for a number of commercial reverberators (ftp. arboretum. com/pub/demos/reverb/) and listen to them as is or convolve them with actual sounds using a product like Sonic Foundry's Acoustic Modeler. Many of these files have large amounts of hiss and/or quantization noise. This is generally due to the impulse recording process and was not necessarily a deficiency of the reverberator. Since this only is a demonstration, such additional noise should not be too much of a problem. Also, since most reverberators can be made to sound "bad" if you tweak the parameters in a certain way, we tried use a generic hall factory preset for each reverberator in an attempt to make things as fair as possible. But since we are still biased with regard to this whole subject, we welcome you to create your own impulse responses so you can verify our results. All of the tests performed here are based on examination of each reverberator's impulse response. An impulse response was obtained by sending a one sample wide "click" into the reverberator and recording the output. Frequency domain and time domain plots can then be made from the impulse response. From these plots, it is then very easy to make qualitative and even quantitative comparisons based on echo density, coloration, amplitude envelope and other properties. [. . . ] Sample Rates Sample Rate values are indicated in Hertz (Hz), or "cycles per second. " For professional audio work always use the 44, 100 Hz (44. 1 kHz) setting, which is the CD-quality sample rate. 22, 050 Hz is considered acceptable quality for many interactive multimedia applications. Hyperprism-DX supports Wave files at all of these rates, and also offers 48 kHz recording as supported by your audio card and host application. Using a lower sample rate file will proportionally reduce your disk storage requirements, i. e. [. . . ]