M-AUDIO WizooVerb W5 User Manual [ru]
WizooVerb W5
English
Die deutschsprachige V
Handbuchs fi
nden Sie ab Seite 79.
ersion dieses
WizooVerb W5
English
The information in this document is subject to change without notice and does not represent a commitment on the part of Wizoo Sound Design GmbH.
The software described by this document is subject to a License Agreement and may
not be copied to other media.
No part of this publication may be copied, reproduced or otherwise transmitted or
recorded for any purpose, without prior written permission by Wizoo Sound Design
GmbH. All product names and company names are TM or ® trademarks of their respective owners.
Producer Peter Gorges
IR Engine Christian Knufinke
AIR Engine Matthias Klag, Klaus Piehl
User Interface Michael Ruf, Rainer Schütze, Stefan Zündorf
HDIR Recording Ralph Kessler, www.masterpinguin.de
Sound Design Matthias Klag
GUI Design Michael Ruf
Installer Martin Honisch
Additional Programming Andreas Frömming
Project Management Lars Slowak
Product Management Michael Ruf, Matthias Klag
Manual Ralf Kleinermanns, Matthias Klag
Translation Tom Green
Manual Layout Uwe Senkler
Artwork MOtype
Wizoo and WizooVerb W5 are trademarks of Wizoo Sound Design GmbH. VST is a regis-
tered trademark of Steinberg Media Technologies GmbH. The Audio Unit logo and the
Audio Unit symbol are trademarks of Apple Computer Inc. RTAS is a registered trademark of Avid Technology, Inc. and its subsidiaries and divisions. Pentium is a registered
trademark of Intel Corporation in the U.S. and other countries. AMD is a trademark of
Advanced Micros Devices Inc. The Mac logo is a trademark used under license. Macintosh, Power Macintosh and Mac OS are registered trademarks used under license.
Microsoft and Windows XP are either registered trademarks or trademarks of Microsoft
Corporation in the United States and/or other countries. All other product and company
names are TM or ® of their respective holders.
Unauthorized copying, hiring and lending of this software is strictly prohibited. All specifications are subject to change without notice.
© 2005 Wizoo Sound Design GmbH
All rights reserved.
Made in Germany.
Heartfelt congratulations!
“WizooVerb is more than merely the world’s best reverb. It’s a milestone, a
landmark achievement. WizooVerb blurs the boundary between virtual
and real rooms. In fact, the awesome might of its creative powers blow
everything else away.”
Honestly—would you believe that kind of spin? You see—that’s precisely
my problem. How can I explain that WizooVerb is for real?
Let’s take it from the top: A year ago our developers cajoled me into attending the presentation of a “groundbreaking new reverb algorithm.”
My curiosity was negligible; my doubts weren’t: Does the world really need
another reverb? And if so, was the world begging for Wizoo, a no-name in
this field, to bring it to the table? In the face of such stiff competition and
rivals with legendary reputations? And even if the reverb was awesome—
who would believe us?
That was a year ago. Now the WizooVerb is here. So, what, you may ask,
prompted this about-face?
Well, firstly the reverb’s sound at that initial presentation was a jaw-dropping revelation! Not “promising” or “ok for starters,” not “less tinny” or
“denser than others”; it was simply a stupendous sensation in 3D sound.
No effect to be heard, only wonderful lifelike spatiality.
Though we were off to a very good start, we were unwilling to play it safe
and rest on these laurels.
We a spent a few more months with our noses firmly pressed to the grindstone. With everybody talking about impulse response reverb, we decided
to endow ours with the same.
When finally our reverb was tweaked to deliver both breeds of effect, there
was still a problem: Should they be commercial or internet freebies, virtually all available impulse responses have about as much in common with a
real room as a Big Mac has with real food. And none of them sounded near
as good as our algorithmic reverb. So, what to do?
English
We searched everywhere for an exceptional impulse response and actually
found an engineer who had spent three years of his life pursuing this particular grail and had already produced an unbelievable library. He had even
developed his own post-processing software. Doubtless, a demigod among
designers! And we managed to sign him on. Exclusively, of course, much
to the chagrin of the competition.
The product approached perfection. Now all we needed was somebody to
notice.
The NAMM 2005 show was the breakthrough. Rumors about the world’s
best reverb spread like wildfire. Purists who were known to scoff at
$50,000 devices lay prostate before us, begging for an alpha version.
Now you enter the picture. Although Wizoo can’t hope to match the big
players’ publicity, and although your friends surely attempted to talk you
into buying a product sporting a better-known brand, you boldly decided to
go with the WizooVerb.
For that, we congratulate you and offer our heartfelt thanks. The rewards
for you will be great, because the WizooVerb more than makes good on the
performance promise: When you hear yours the first time, you will jettison
all your preconceptions about reverb.
Take our word for it. WizooVerb has brought tears of joy even to multiple
Grammy award-winning studio maestros. So break out the Kleenex!
On behalf of the team and everyone who had a hand in this miracle, here’s
wishing you lots of fun and success with WizooVerb.
Yours sincerely,
Best regards,
Peter Gorges
Contents
About this Manual . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
System Requirements and Installation . . . . . . . . . . . . . . . . . . 13
Running WizooVerb on a PC . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
Minimum requirements, PC . . . . . . . . . . . . . . . . . . . . . . . . . . 13
Installation on a PC . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
De-installation from a PC . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
Running WizooVerb on a Mac . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
Minimum requirements, Mac . . . . . . . . . . . . . . . . . . . . . . . . . 14
Installation on a Mac . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
Setting up the Stand Alone Version . . . . . . . . . . . . . . . . . . . . 15
Wizoo Product Certification . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
Online Certification . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
Off-line Certification . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
Getting Started with WizooVerb . . . . . . . . . . . . . . . . . . . . . . . . 21
The Control Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
Using Presets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
Basics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
Methods of Generating Reverb . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
How WizooVerb Works . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
What Causes Reverberation? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
Music and Reverb . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
Surround Sound in WizooVerb W5 . . . . . . . . . . . . . . . . . . . . . . . . . 29
English
1
2
3
4
7
Contents
Global Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
Input Section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
Input . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
Width . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
Output Section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
Dry/Wet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
Width . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36
Presets Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37
Edit Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39
Combining HDIR and AIR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39
Display and Functional Panels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
Loading HDIR Models . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
Reverse . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
Early Reflections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42
Directivity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42
Pre-Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43
ER/Tail Balance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43
Spread . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44
ER/Tail Crossing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44
Render ER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
Tail . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46
Main Time . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46
Low/High Freq . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47
Low/High Time . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47
Render Tail . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48
Modulation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50
Envelope . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51
Length . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52
Attack Time . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53
Decay Time . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53
Attack/Decay Slope . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53
Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54
Serial/Parallel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56
Pattern . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56
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5
6
7
Contents
BPM . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56
Sync . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57
Tempo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57
Divergence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57
High Damp . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57
Feedback . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58
Main Level . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58
Time L/C/R/Ls/Rs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58
Level L/C/R/Ls/Rs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58
Gate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59
Side Chain Input . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60
Threshold . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60
Attack . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60
Hold . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61
Release . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61
EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61
Frequency . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63
Gain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63
Q . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63
8
Impulse Responses
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65
Loading Impulse Responses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66
Optimizing Impulse Responses . . . . . . . . . . . . . . . . . . . . . . . . . . . 67
Removing Direct Sound . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67
Trimming Silence from the Start . . . . . . . . . . . . . . . . . . . . . . . 68
Adjusting Levels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68
Saving Impulse Responses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68
English
9
Setup
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69
Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69
CPU Load . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69
Tool Tips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70
Knob Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71
Restore In & D/W . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71
Auxiliary Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71
Save as Default . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72
9
Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72
Bass Management . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72
Downmix . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73
Certification . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74
Routing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74
Device . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75
Inputs/Outputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75
Config (PC only) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75
Buffer Size (Mac only) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75
Index of Parameters and Values
. . . . . . . . . . . . . . . . . . . . . . . . . . . . 77
2 System Requirements and Installation
You can run WizooVerb W5 on a Windows XP PC or an OS X Mac. The following sections will help you install and activate it.
Running WizooVerb on a PC
Minimum requirements, PC
❖ Pentium® IV (1.3 GHz)
❖ 512 MB RAM
❖ 100 MB free hard disk space
❖ Windows® XP
❖ VST 2.0-compatible host software with 5.1 surround support
As an alternative to the plug-in versions, you can also use the stand-alone version
of the WizooVerb W5, for example, if you want to speedily turn your laptop into a
reverb device sans host software.
❖ Surround-compatible audio hardware
❖ DVD ROM disk drive for installation purposes
❖ Internet connection (via any computer) to activate the software
English
Installation on a PC
1 Switch your computer on.
2 Start Windows XP and ensure that you are registered as a system ad-
ministrator.
3 Insert the program DVD into the computer’s DVD disk drive.
4 Open the “PC” folder on the program DVD, launch “WizooVerb W5
Setup” and follow the installation program’s instructions.
5 On the “Choose Plug-Ins” page of the installation program indicate if
you want WizooVerb W5 to be installed in VST 2 plug-in format.
13
2 System Requirements and Installation
6 On the “Choose VST-Plug-Ins Folder” page you can select the folder to
which you want to install the WizooVerb VST 2 plug-in.
The right choice of target folder for VST-2 plug-ins depends on your host program’s
settings.
7 On the “Choose Content Folder” page you can determine the target
folder for HDIR data and presets. If you do not use this option, the application will adopt the default directory path.
Upon completion of the installation procedure you will find the standalone version of WizooVerb W5 in the Windows start menu under “All Programs” > “Wizoo”. If the plug-in version was also installed, you can now
use WizooVerb W5 in every Surround-enabled, VST-2-compatible host program.
De-installation from a PC
If for some reason you later decide to remove WizooVerb W5 PC from your
system, you have two options for doing this:
❖ Select from the Windows start menu “All Programs” > “Wizoo” >
“WizooVerb W5” > “Uninstall” and follow the instructions on the
screen.
❖ Open the Windows Control Panel and double-click “Software”. Select
“WizooVerbW5” in the appearing list, click “Add or Remove Programs”
and follow the instructions on the screen.
Running WizooVerb on a Mac
Minimum requirements, Mac
❖ Apple PowerMac G4 1,42 GHz (G5 recommended)
❖ 512 MB RAM
❖ 100 MB available hard disk space
❖ Mac OS X 10.3.8
❖ VST-2-compatible host software with 5.1 surround support
14
Running WizooVerb on a Mac
As an alternative to the plug-in versions, you can also use the stand-alone version
of WizooVerb W5.
❖ Surround-compatible audio hardware
❖ DVD ROM disk drive for installation purposes
❖ Internet connection (via any computer) to activate the software
Installation on a Mac
1 Switch your computer on.
2 Start Mac OS X and ensure that you are registered as a system adminis-
trator.
3 Insert the program DVD into the computer’s DVD disk drive.
4 Open the “Mac” folder on the program DVD, launch “WizooVerbW5.
mpkg” and follow the installation program’s instructions.
Upon completion of the installation procedure you will find the standalone version of WizooVerb W5 in your system’s “Applications” folder.
In addition, the VST plug-in has been installed so that you can now use
WizooVerb W5 in a VST-2-compatible host program.
English
Setting up the Stand Alone Version
The stand-alone version of WizooVerb W5 converts your PC or Mac into a
high-end reverb unit—an especially handy option when using notebooks
on stage.
No special configuration of the Mac is required: the stand-alone version always sends and receives via the inputs and outputs of the audio hard-ware
selected in the Mac OS X ‘Sound’ System preferences.
In order to use WizooVerb W5 in 5.1 Surround mode, your audio hardware should be
equipped with six inputs/outputs. To learn how to use WizooVerb W5 as a simple
stereo reverb with just one pair of audio hardware inputs and outputs each, see the
“Setup” chapter starting on page 69.
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2 System Requirements and Installation
1 Launch the stand-alone version.
2 On WizooVerb W5’s user panel, click Setup and then the Routing
menu tab.
3 Select the desired driver for your audio hardware from the upper De-
vices list.
ASIO drivers are always your first choice for PCs because of their low la-tency. Your
only option for Macs is audio hardware offering Core Audio, which is also a low-latency solution.
4 Quit the stand-alone version and restart the pro-gram to actualize your
edited audio driver settings. The panel will now display all available inputs and outputs for the selected audio hardware.
5 Assign audio card inputs for routing audio signals into WizooVerb W5
by selecting the desired entries in the lists on the left.
6 Assign audio card outputs for routing audio signals out of WizooVerb
W5 by selecting the desired entries in the lists on the right.
In the PC version at the top right you’ll find the Config button; click it to access your audio card’s configuration menu.
In the Mac version you can select the buffer size directly via the Buffer Size
menu.
Note that when using the stand-alone version, you must first select an audio card and assign inputs and outputs.
16
Wizoo Product Certification
When using the Stand-alone-Version of the WizooVerb W5 the sound card
must first be selected and inputs and outputs allocated.
Wizoo Product Certification
Be it a demo or full version, every Wizoo product must be certified before
you can use it. Certification serves to confirm that you are a legal user and
to enable your Wizoo product for use on your system.
English
If you want to certify a demonstration version, please proceed as described below, but
do not fill in the box for the certification code.
There is no need to install special programs or hardware for certification
purposes. All you need is a web browser or an e-mail program with Internet access.
The easiest option is to certify using the stand-alone version of WizooVerb
W5. This precludes pesky problems with the host software.
All plug-in versions are activated when you certify the stand-alone version of WizooVerb W5. You can try certifying using a WizooVerb plug-in, but depending on the host,
you may not be able to type characters into the plug-in’s certification panel.
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2 System Requirements and Installation
[W2_Certification
Certify WizooVerb W5 using the Certification panel of the Setup Page.
Online Certification
If your music computer is Internet-enabled, please follow the instructions
below.
If your music computer is unable to access the Internet, please skip these instructions
and go directly to the next section entitled “Off-line certification”.
1 Connect your computer to the Internet.
2 Open the stand-alone version of WizooVerb W5.
3 In WizooVerb W5, click Setup and then the Certification menu tab.
4 Enter into the Product Certification box the product certification code
found on the enclosed card, and then click Online.
5 WizooVerb retrieves the certification form from the Wizoo server and
opens it on your web browser.
6 The certification server fills in the “Product Certificate” box. Though
you should fill in all remaining boxes if possible, definitely fill in the
boxes marked with an asterisk (*).
7 Click “Submit” to have your certificate sent to you. It is sent immedi-
ately to the indicated e-mail address.
8 Retrieve the e-mail and double-click the attached file “WizooVerbW5” to
complete the certification process.
Upon successful certification, WizooVerb W5’s Certification panel on the
Setup Page will display the message “Valid full time license”.
18
Wizoo Product Certification
Off-line Certification
If your music computer is unable to access the Internet, you can certify using another computer that is Internet-enabled:
1 Open the stand-alone version of WizooVerb W5.
2 In WizooVerb W5, click Setup and then the Certification menu tab.
3 Enter into the Product Certification box the product certification code
found on the enclosed card, and then click Offline.
4 On the desktop of your music computer you’ll now find the HTML file
“WizooVerb W5 Certification Request”. Load it to your Internet-enabled
computer and ensure that its Internet connection is up and running.
5 Double-click the file “WizooVerb W5 Certification Request” on your In-
ternet-enabled computer. WizooVerb will now retrieve the certification
form from the Wizoo server and open it in your web browser.
6 The certification server fills in the “Product Certificate” box. Though
you should fill in all remaining boxes if possible, definitely fill in the
boxes marked with an asterisk (*).
7 Click “Submit” to have your certificate sent to you. It is sent immedi-
ately to the indicated e-mail address.
8 Open the e-mail and load the attached file “WizooVerbW5” to your mu-
sic computer.
9 Double-click the “WizooVerbW5” file you have loaded to your music
computer to complete the certification process.
Upon successful certification, WizooVerb W5’s Certification panel on the
Setup Page will display the message “Valid full time license”.
English
19
3 Getting Started with WizooVerb
In this chapter you will become acquainted with the user interface’s main
features and learn how to load and store reverb programs.
The Control Features
WizooVerb W5’s central control element is its large, variable display. The
Page buttons at the top edge let you access different display pages. Most
have different functional panels that are accessed via the menu tabs at the
left edge.
At the lower edge of the display there are five parameter boxes. You will usually adjust their values using the knobs located below. Alternatively, you can
select values in the parameter boxes using the mouse, type in the target
value directly, and then confirm by pressing the ‰ key.
Depending on Page and functional panel, WizooVerb automatically assigns appropriate functions to the parameter boxes and knobs. The big
knob at the center is always assigned to the most important parameter. In
addition, you can grab and edit parameter values directly in the display on
some menu pages, for instance, in graphical editors and global settings.
Selection lists for all key operations appear at the right edge of the display to
facilitate the handling of WizooVerb W5. They make it easy for you to load,
store and delete data swiftly and easily. All lists may be organized in folders
and subordinate folders. Navigation is a piece of cake:
English
❖ To open a folder, double-click its name. You can also open folders by
clicking once directly on the folder icon.
❖ To quit a folder, scroll to the top within that folder and click the (..)
folder.
You’ll find a level meter on each side of WizooVerb W5 with controls located
below:
❖ The Input VU meter indicates the level of the unprocessed input signal.
The Input knob lets you adjust input sensitivity.
21
3 Getting Started with WizooVerb
❖ The Output VU meter indicates the level of the output signal, which
consists of the dry direct signal and/or the reverb signal. The Dry/Wet
knob lets you determine the mix or balance of the original and the processed (reverb) signals.
In the input section you’ll also find the Width knob; it serves to allocate input signals. You can blend the five Surround channels L, C, R, Ls, and Rs or
route each of the five Surround channels to its neighboring channels. The
output section also features a Width knob; it controls the base width of the
reverb effect in the Surround field.
For details on these functions see the chapter “Global Parameters” starting on
page 33.
[W2_Complete
Using Presets
A preset is a complete reverb program comprising the HDIR model as
well as all parameters: When you load a preset, WizooVerb W5 is configured in the setup it was in when this preset was saved.
Because the Presets Page is many users’ first choice of interface, it opens
automatically when WizooVerb W5 is launched. The panel is divided into
two areas:
22
Using Presets
The Info window on the left displays information on the loaded preset—
name, reverb time, type, file size, a description and the format of the corresponding HDIR model.
The preset selection list on the right affords you access to basic functions
such as loading, storing and deleting presets.
[W2_Presets_Close
Presets Page: The Info window and preset selection list
WizooVerb presets are ordered clearly and archived in folders. Loading, editing and saving presets is easy. Let’s give it a shot:
1 Click the “Halls” folder in the list to view presets contained therein.
Use the triangle at the upper edge to open the preset list and view longer names.
2 Simply click the “Classic Hall” preset to load it.
3 Now you can hear “Classic Hall” and edit key reverb parameters directly
on the Presets Page: Set Main Time to 6s in order to extend the hall and
set Pre-delay to 20 ms to add a short echo to the hall sound.
4 Feel free to change some of the entries on the left in the Info box. For
instance, you can select the entry that best classifies the preset in the
drop-down menus Type and Size, and type in a short description under
Application.
5 Now you can store the edited preset using the name of your choice. To
do this, click the disk icon at the upper edge of the preset list.
6 The standard dialog for saving files opens: Navigate to the subordinate
folder in which you want to store the preset.
English
23
3 Getting Started with WizooVerb
You can also generate subdirectories here to create your own filing system for presets.
7 Type in the name under which you want to store the preset, and then
click Save to store the preset.
WizooVerb presets are saved in the standard VST format with the file extension
“.fxp”.
8 Now the stored preset appears in the preset list. If you want to delete it,
simply select dial and then click the ⌧ button at the top of the list.
If at some point you want to rename a preset, select it, click the ⌧ button and immediately thereafter the , and enter the desired name.
[W2_Liste_Head
Located at the head of the preset list, the Triangle extends the display length
of, the button saves, and the ⌧ button deletes presets.
24
4 Basics
In the following chapter we will look at how natural reverberation is created and how it can be emulated. Armed with this basic knowledge, you
will be better equipped to understand the explanations of parameters provided in subsequent chapters.
Methods of Generating Reverb
Until recently there were only few ways of simulating reverberation. Electro-acoustical methods such as the traditional spring reverb and reverb
plate aside, there are only two processes of practical value that deliver a
sufficient level of sound quality:
❖ Algorithmic reverb (also known as digital reverb): Based on complex de-
lay and all-pass filter circuits, this method has been used since the ’80s
in all reverb devices and most plug-ins. Algorithmic reverb works in
real time and can be adjusted flexibly, but never sounds entirely natural
even with the most expensive devices and plug-ins.
❖ Impulse response: This procedure is based on the recorded impulse re-
sponse of real rooms. Because the underlying mathematical processes
require oodles of computing power, it has only been in recent years that
computers were powerful enough to generate reverb in real time using
this principle. This breed of plug-in has been around since the late
’90s. Impulse response-driven reverb can sound wonderfully lifelike,
but editing options are very limited, and it requires lots of computing
power.
An impulse response is sort of an acoustical snapshot that captures the sound of a
room. The standard procedure is to send a sine signal through a speaker and sweep
it through the room whose sound you want to capture, and record the room sound
using microphones and digital equipment. Once the sine sweep is computed out of
the recording, the original room sound can be simulated via a set of mathematical
equations far too complex for mere mortals to consider.
English
25
4 Basics
Each of the two methods has its advantages. In WizooVerb, the two are so
closely intertwined that they afford you unheard-of options. And you are
free to choose the best of the bunch according to situation and desired result.
How WizooVerb Works
WizooVerb W5’s means and methods are quite different from the aforementioned procedures. It combines a highly advanced form of impulse response (HDIR; short for High Definition Impulse Response) with a proprietary approach to reverb generation (AIR, short for Acoustic Impulse
Rendition). As you will soon discover, these two new technologies complement each other remarkably well.
❖ A sophisticated standard for recording and processing impulse re-
sponse, HDIR ensures rooms are captured in all their sonic details.
HDIR outperforms conventional impulse response across the full
stretch of the recording and processing chain. That’s why it features so
prominently in WizooVerb. A special process is applied to analyze the
impulse response’s metadata, which WizooVerb W5 then uses to maximize sound quality and afford you comprehensive editing options. We
have coined the term “HDIR models” to describe the impulse responses integrated in WizooVerb.
Certified engineer Ralph Kessler invested years of research to develop HDIR. He
analyzed all the adverse effects that arise when recording and post-processing impulse responses, and developed special methods to eliminate them. He also succeeded in extracting metadata from impulse responses.
❖ Developed by Wizoo, AIR is a reverb-generating process that enables
select portions of impulse responses to be re-synthesized and then processed in real time. AIR generates reverb of hitherto unrivalled quality
and flexibility.
Though AIR is not based on the conventional combination of delay and all-pass
filter circuits, it offers all the advantages of the algorithmic method, including
placing a far lighter load on computers.
26
What Causes Reverberation?
Courtesy of this combination, WizooVerb W5 offers unprecedented processing options and surprising flexibility, as well as outstanding sound
quality.
The following of rule of thumb applies to WizooVerb: HDIR is the best choice when you
want to accurately replicate a real room (natural reverb). AIR is the preferred choice if
you want more editing options or need to conserve computer performance. Because
the principles behind the modes are so different, each offers very different creative
possibilities that are explained fully in the following chapters. In beiden Modi haben
Sie prinzipbedingt unterschiedliche kreative Möglichkeiten, die später noch weiter
unten ausführlich erklärt werden.
What Causes Reverberation?
Let’s review some basic acoustics.
When a sound source sends an acoustic wave out into a room, it is reflected as well as absorbed by the walls, ceiling and floor, as well as by all
the objects in the room.
Reflection: If the direct path between the sound source and listener is unobstructed, the direct sound arrives at the ear first. It is followed by early re-
flections that rapidly condense to form the tail. Reverberation can be divided into three phases, depending on the time of the reflections’ arrival.
Though one phase morphs smoothly and seamlessly into the next, each
can have a varying impact on our perceptions:
English
❖ Reflections up to about 20 ms are largely perceived as unpleasant color-
ing.
❖ Reflections up about 20 to 50 ms serve to create a sense of spatiality,
that is, a room.
❖ After about 50 ms, reflections usually have condensed to create the dif-
fuse tail.
Absorption: Sound loses energy with every reflection so that towards the
end the tail tapers off gently. The time elapsing between the direct sound
and the tail’s decay is called reverberation or reverb time.
27
4 Basics
In technically accurate terms, reverb time is defined as the length of time it takes for
the sound level to decay to 60 dB below the initial level.
Energy loss increases as the frequency rises, so reverb time is shorter for
high frequencies. The reverb gradually loses brightness, becoming quite
dark at the end of the tail. Hence the room’s absorptive properties not only
influence the duration but also the tone of the reverb.
Factors influencing our perception of the size and state of the room are
also important. Key factors include:
❖ Reverb time: It is instrumental in shaping our perception of the room’s
size because we associate long reverberation times with big rooms.
❖ Early reflections: On closer examination, early reflections’ loudness and
the time it takes for them to condense play important roles.
So, what does all this have to do with WizooVerb? Plenty: WizooVerb W5 is
not only based on these principles, it also makes use of them in unprecedented ways:
❖ WizooVerb W5 offers a remarkably intuitive approach to editing the
structures of natural reverberation.
❖ All of WizooVerb W5’s processing options are attuned specifically to the
listener’s perceptions.
The following chapters provide an in-depth introduction to these processing options and their effect on the listener’s subjective perceptions.
[W2_ER_Tail
The anatomy of a reverberation: Early reflections + tail
28
Music and Reverb
Music and Reverb
HDIR models are particularly rich in detail and realistic. Rather than creating artificial reverb like conventional effects, HDIR actually replicates
rooms with stunning accuracy. For this reason, it delivers the best results
when the style or genre of music matches the room it would actually be
performed in.
An example should clarify this point: WizooVerb W5 lets you “play” drums
in a classical concert hall. Like in reality, though, the results may disappoint because concert halls were built for orchestras rather than drums!
Every HDIR model in WizooVerb W5 is patterned after a specific room and
for a specific type of performance. To achieve swiftly satisfying results, get
into the habit of selecting suitable models. If you can’t find what you’re
looking for in the HDIR archive, you can create a room of your own devising thanks to AIR technology.
Surround Sound in WizooVerb W5
WizooVerb’s True Surround capability, as well as its support of LFE signals
including bass management facility, affords you an entirely new approach
to shaping Surround sound. What’s more, the included HDIRs and AIR
algorithm offer special features that make working with Surround sound
so much easier for you.
English
True Surround’s end-to-end support of 5.1 Surround from the input to output considerably facilitates Surround mixing.
❖ True Surround: The reverb signal factors the position of the sound
source within the Surround panorama into the sonic equation. For this
reason, W5 is equipped with the 5.1 inputs required to enable genuine
Surround panning at the reverb’s input.
29
4 Basics
Case in point: Most conventional Surround reverbs consist of a combination of several mono and/or stereo algorithms. Even if a plug-in features
5.1 inputs, the signal generally has to be mixed down to mono or stereo so
that all channels get the same reverb treatment. WizooVerb W5, in turn,
works like a real room: Simply place a sound source at any desired position
and W5 provides a natural-sounding reverb signal on all channels.
Regardless of which type of signal you use in the panorama—mono or stereo—W5 always delivers flawless Surround reverb, including correct signal localization. W5 can also lavish reverb on the entire 5.1 signal. When
mixing, you no longer need to fret over routing issues and are free to focus
fully on where you want to place a signal in the Surround field.
Beyond that, you can feed stereo signals into W5 via the L and R inputs at
any time, which lets you capitalize on the stereo down-mix option and use
W5 as a stereo reverb.
❖ Down-mix: This term describes the process of mixing a multichannel
recording down to fewer audio channels. 5.1 is also a format designation: W5 lets you mix down from 5.1 to 2.0, that is, from Surround to
stereo.
To learn how to activate Stereo Downmix, read the “Setup” chapter starting
on page 69.
Genuine 5.1 Surround sound requires the support of the LFE channel. You
can set up WizooVerb W5 so that an LFE signal is generated from the reverb’s five Surround channels L, C, R, Ls, and Rs.
❖ LFE: This term designates the 0.1 channel and stands for Low Fre-
quency Effects. It is used predominantly for low-frequency sound effects in movie theaters, for example, explosions or thunder. As ever
more music is being released in 5.1 Surround format, LFE’s application
range is sure to grow and gain currency in music productions.
The input’s dry LFE signal is blended with the LFE signal generated via
Dry/Wet in the same way that conventional processors let you blend dry
and wet signals. This capability comes courtesy of the HDIRs and the AIR
algorithm’s true bass response.
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