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Chapter 13 Space Designer convolution reverb 240
Use Space Designer global parameters
Space Designer’s global parameters aect the overall output or behavior of the eect. See
Space Designer global parameters overview.
The tasks below cover the use of Space Designer’s global parameters.
Use the Space Designer Input slider
The Input slider behaves dierently in stereo congurations. (The slider does not appear in mono
or mono to stereo instances of the eect.)
m In stereo instances: Drag the Input slider to determine how a stereo signal is processed.
•
Stereo setting (top of slider): The signal is processed on both channels, retaining the stereo
balance of the original signal.
•
Mono setting (middle of slider): The signal is processed in mono.
•
XStereo setting (bottom of slider): The signal is inverted, with processing for the right channel
occurring on the left, and vice versa.
•
In-between positions: A mixture of stereo to mono crossfeed signals is produced.
Use Space Designer’s latency compensation feature
The complex calculations made by Space Designer take a small amount of time, which results in
a processing delay, or latency, between the direct input signal and the processed output signal.
Note: This compensation feature is not related to latency compensation in the host application;
it occurs entirely within Space Designer.
m Click the Latency Compensation button to turn it on, which delays the direct signal in the Output
section so that it matches the processing delay of the eect signal.
Space Designer’s processing latency is 128 samples at the original sample rate, and it doubles at
each lower sample rate division. The processing latency increases to 256 samples if you set Space
Designer’s sample rate slider to “/2.” Processing latency does not increase at sample rates above
44.1 kHz.
Use Space Designer’s Denition parameter
The Denition parameter emulates the diusion of natural reverb patterns. When used at values
of less than 100% it also reduces CPU processing requirements.
Natural reverbs contain most of their spatial information in the rst few milliseconds. Toward
the end of the reverb, the pattern of reections—signals bouncing o walls, and so on—
becomes more diuse. In other words, the reected signals become quieter and increasingly
nondirectional, containing far less spatial information. To emulate this phenomenon, use the
full impulse response resolution only at the onset of the reverb, then use a reduced impulse
response resolution toward the end of the reverb.