User manual ARBORETUM HYPERPRISM-MMP

[. . . ] Hyperprism-MMP Manual Table of Contents Copyright ©1999 by Arboretum Systems, Inc. This documentation may not, in whole or in part, be copied, reproduced or translated without prior written consent of Arboretum Systems. Hyperprism-MMP for MacOS Premiere Plug-In compatible applications Digital Audio Signal Processing Software by Arboretum Systems Inc. This documentation current for Hyperprism-MMP version 1. 5. 5, last updated 10/27/98. 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-MMP v1. 5. 5: q q q q q q New Harmonic Exciter, Bass Maximizer and Tube/Tape Saturation effects Frequency Shifter and HyperVerb now included in Hyperprism-MMP Improved Low Pass, High Pass Filters; no more distortion! [. . . ] Note that there is no direct mono-to-stereo processing under the AudioSuite format. But you can easily work around this limitation by copying any mono selection to an adjoining track, then selecting both regions for stereo processing. The H-DAS Stereo Hall Reverb requires two-channel input or a DAE error message -7450 will result when you attempt to process. Also note that Hyperprism stereo AudioSuite effects require the following settings: Use in Playlist (not Region) and be in Multi-Input Mode. Go to Effects: [Filters] [Modulators] [Delay and Reverb] [Stereo] [Misc Effects] Go to Table of Contents: [Hyperprism-MMP] [Troubleshooting] [About Digital Audio] 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. Echo density, often referred to as density or diffusion, can be defined as the number of "echoes" occurring per second. For example, an impulse response where the energy is concentrated at a few samples (i. e. . most samples are zero) will have a low echo density, whereas an impulse response with energy spread out in time (i. e. [. . . ] Bit-Depth & Dither In addition to multiple sample rates, you may be working with either 24-, 16- or 8-bit files. Unfortunately, lower bit depth and sample rate settings can compromise the audio quality of your sound files. Lower sample rates lose high frequency response, and 8-bit storage causes a reduction of your sound's dynamic range, resulting in noisier, "grainy-sounding" audio, especially during softer passages. If you are creating 8-bit audio (for example, for multimedia or Internet distribution), you will get best results if you do all your signal processing at 16-bits and 44. 1 or 48 kHz, and then create an 8-bit file at the end of the process. [. . . ]