User manual SONY DIGIDESIGN PROTOOLS OXFORD REVERB PLUG-IN MANUAL

[. . . ] Oxford Reverb Plug-in Manual For Digidesign ProTools 1. Introduction. The Oxford Reverb plug-in is a highly flexible artificial reverberation generator, designed to complement existing Oxford applications in providing the professional user with highest technical and sonic performance coupled with high levels of artistic and creative facility. By avoiding fixed algorithms and providing user control of all parameters including comprehensive equalisation functions, the Oxford Reverb allows the professional engineer the powerful facility to build virtual spaces freely depending on artistic need, ranging from dry reflection ambiences, room and hall simulations, sound effects, all the way to wide open reverberant spaces with a very large range of possible texture and spatial character. 2. Installation and Authorisation. ProTools versions You will need to authorize your software by transferring the asset for your product to your iLok before use. CD purchases: you can do this by following the instructions on the inlay card supplied with your CD. Online purchases: you can do this by following the instructions sent in your order confirmation email after purchase. 3. Control Functions. The control functions are arranged in operational sections, comprising of early reflection settings, reverb tail settings and contribution mixing functions. [. . . ] The perception of large spaces can be alternatively constructed with relatively small Size settings by the application of large amounts of Feed along and Feedback. Whilst such sounds may produce less faithful emulations of real spaces, great sound effects and very dense general ambiences may be generated this way. Moderate duration early reflections built using fairly small Size settings and large amounts of Feed along with no feedback can be very useful for percussion ambiences, since they end abruptly and thus avoid creating intrusive `hubbub' from reverb run on. The effect of very large spaces with long reverb tails can be constructed with the early reflection processing alone by using large Size settings, moderate Feed along and large amounts of Feedback. Although such spaces will be less diffuse than reverb tail models (because they always contain cyclic reflections), they are still very useful for creating the impression of extremely large spaces and generating rich sound effects. The Stereo separation control mixes left and right signals together at the input of the processing. This is useful where the virtual space is required to be fixed regardless of input programme panning. But where the programme is a viable stereo source (either panned or natural) better placement within the reverb sound field will be achieved with higher separation settings. - - - - 5. 2. 2. Reverb tail set up. The major difference between the early reflection processing and the reverb tail is that the latter contains no geometrically based dimensional information. Being constructed of mutually unrelated terms, it is designed to generate almost characterless spectral diffusion and spatial dispersion. Therefore its main purpose is to reiterate the sonic character and spatial cues provided by the input programme and the early reflection processing, with the minimum of disturbance throughout its decay period. However nuances in the way this is achieved play important roles in the resulting texture, timbre and spatial quality we perceive in the reverberation effect. Rather than providing the user with either a fixed model or a limited selection of algorithms, the Oxford reverb offers full control over the parameters that most affect the sonic character of the reverb tail. This provides the user with the maximum creative facility. The first thing is to decide what drives the reverb tail section. Generally there is a mixture of two approaches to driving the reverb tail section we can consider. Either we want to carry the character of the early reflections into the reverb tail. Or we want to just add reverberation to the input signal so that the character of the input programme is carried into the reverb tail. In practice we almost always need a mixture of both of these depending on the desired result. The Tail Mix section of the GUI controls this function by providing the ability to mix, the output of the early reflections processing with the input signal and a delayed version of the input signal. Therefore it is possible to create a mixture of all three signals, any combination, or just a single source. The delayed input signal controlled by the Delay Comp function, is normally set in ER Track mode so that the input drive to the reverb tail largely coincides with the initial output signals from the early reflection section. [. . . ] Often we don't notice these aberrations when we are actually in the spaces, but when adding simulations to dry sounds in a post production environment their absence can be a real limitation to effectiveness. There is no hard and fast way to achieve successful results, as there are several possible approaches to the problem. The following are presented as helpful hints. The major room node responses should be obtained using the appropriate room shape and size within the early reflection set-up stage. [. . . ]