wizooverbW5 en und de.book Page 1 Monday, May 30, 2005 10:59 PM

WizooVerb W5

e Version dieses Die deutschsprachig ab Seite 79. Handbuchs nden Sie

English

wizooverbW5 en und de.book Page 2 Monday, May 30, 2005 10:59 PM
wizooverbW5 en und de.book Page 3 Monday, May 30, 2005 10:59 PM
wizooverbW5 en und de.book Page 4 Monday, May 30, 2005 10:59 PM
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 Knunke AIR Engine Matthias Klag, Klaus Piehl User Interface Michael Ruf, Rainer Schtze, Stefan Zndorf HDIR Recording Ralph Kessler, www.masterpinguin.de
Sound Design Matthias Klag GUI Design Michael Ruf Installer Martin Honisch Additional Programming Andreas Frmming 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 registered 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 specications are subject to change without notice. 2005 Wizoo Sound Design GmbH All rights reserved. Made in Germany.
wizooverbW5 en und de.book Page 5 Monday, May 30, 2005 10:59 PM
Heartfelt congratulations!
WizooVerb is more than merely the worlds best reverb. Its 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. English Honestlywould you believe that kind of spin? You seethats precisely my problem. How can I explain that WizooVerb is for real? Lets 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 werent: Does the world really need another reverb? And if so, was the world begging for Wizoo, a no-name in this eld, 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, rstly the reverbs 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 rmly pressed to the grindstone. With everybody talking about impulse response reverb, we decided to endow ours with the same. When nally 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?

wizooverbW5 en und de.book Page 6 Monday, May 30, 2005 10:59 PM
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 worlds best reverb spread like wildre. 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 cant 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 rst 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, heres wishing you lots of fun and success with WizooVerb. Yours sincerely, Best regards,

Peter Gorges

wizooverbW5 en und de.book Page 7 Monday, May 30, 2005 10:59 PM

Contents

1 About this Manual. 2 System Requirements and Installation. Running WizooVerb on a PC. Minimum requirements, PC. Installation on a PC. De-installation from a PC. Running WizooVerb on a Mac. Minimum requirements, Mac. Installation on a Mac. Setting up the Stand Alone Version. Wizoo Product Certication. Online Certication. Off-line Certication. 3 Getting Started with WizooVerb. The Control Features. Using Presets. 4 Basics. Methods of Generating Reverb. How WizooVerb Works. What Causes Reverberation?. Music and Reverb. Surround Sound in WizooVerb W5. 29 29

wizooverbW5 en und de.book Page 8 Monday, May 30, 2005 10:59 PM
5 Global Parameters. Input Section. Input. Width. Output Section. Dry/Wet. Width. 6 Presets Page. 7 Edit Page. Combining HDIR and AIR. Display and Functional Panels. Loading HDIR Models. Reverse. Early Reections. Directivity. Pre-Delay. ER/Tail Balance. Spread. ER/Tail Crossing. Render ER. Tail. Main Time. Low/High Freq. Low/High Time. Render Tail. Modulation. Envelope. Length. Attack Time. Decay Time. Attack/Decay Slope. Delay. Serial/Parallel. Pattern.
wizooverbW5 en und de.book Page 9 Monday, May 30, 2005 10:59 PM
BPM. Sync. Tempo. Divergence. High Damp. Feedback. Main Level. Time L/C/R/Ls/Rs. Level L/C/R/Ls/Rs. Gate. Side Chain Input. Threshold. Attack. Hold. Release. EQ. Frequency. Gain. Q.. 8 Impulse Responses. Loading Impulse Responses. Optimizing Impulse Responses. Removing Direct Sound. Trimming Silence from the Start. Adjusting Levels. Saving Impulse Responses. 9 Setup. Settings. CPU Load. Tool Tips. Knob Mode. Restore In & D/W. Auxiliary Controls. Save as Default.
wizooverbW5 en und de.book Page 10 Monday, May 30, 2005 10:59 PM
Output. Bass Management. Downmix. Certication. Routing. Device. Inputs/Outputs. Cong (PC only). Buffer Size (Mac only). Index of Parameters and Values.
wizooverbW5 en und de.book Page 12 Monday, May 30, 2005 10:59 PM
wizooverbW5 en und de.book Page 13 Monday, May 30, 2005 10:59 PM
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.
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 Installation on a PC 1 Switch your computer on. 2 Start Windows XP and ensure that you are registered as a system administrator. 3 Insert the program DVD into the computers DVD disk drive. 4 Open the PC folder on the program DVD, launch WizooVerb W5 Setup and follow the installation programs 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.
Running WizooVerb on a PC
wizooverbW5 en und de.book Page 14 Monday, May 30, 2005 10:59 PM
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 programs 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 nd 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.

wizooverbW5 en und de.book Page 19 Monday, May 30, 2005 10:59 PM
Off-line Certication 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 Certication menu tab. English 3 Enter into the Product Certication box the product certication code found on the enclosed card, and then click Ofine. 4 On the desktop of your music computer youll now nd the HTML le WizooVerb W5 Certication Request. Load it to your Internet-enabled computer and ensure that its Internet connection is up and running. 5 Double-click the le WizooVerb W5 Certication Request on your Internet-enabled computer. WizooVerb will now retrieve the certication form from the Wizoo server and open it in your web browser. 6 The certication server lls in the Product Certicate box. Though you should ll in all remaining boxes if possible, denitely ll in the boxes marked with an asterisk (*). 7 Click Submit to have your certicate sent to you. It is sent immediately to the indicated e-mail address. 8 Open the e-mail and load the attached le WizooVerbW5 to your music computer. 9 Double-click the WizooVerbW5 le you have loaded to your music computer to complete the certication process. Upon successful certication, WizooVerb W5s Certication panel on the Setup Page will display the message Valid full time license.
wizooverbW5 en und de.book Page 20 Monday, May 30, 2005 10:59 PM
wizooverbW5 en und de.book Page 21 Monday, May 30, 2005 10:59 PM
3 Getting Started with WizooVerb
In this chapter you will become acquainted with the user interfaces main features and learn how to load and store reverb programs.
WizooVerb W5s 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 ve 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 conrm 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: 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. Youll nd 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.

The Control Features

wizooverbW5 en und de.book Page 22 Monday, May 30, 2005 10:59 PM
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 youll also nd the Width knob; it serves to allocate input signals. You can blend the ve Surround channels L, C, R, Ls, and Rs or route each of the ve 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 eld. 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 congured in the setup it was in when this preset was saved. Because the Presets Page is many users rst choice of interface, it opens automatically when WizooVerb W5 is launched. The panel is divided into two areas:
wizooverbW5 en und de.book Page 23 Monday, May 30, 2005 10:59 PM
The Info window on the left displays information on the loaded preset name, reverb time, type, le 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. Lets 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 classies 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 les opens: Navigate to the subordinate folder in which you want to store the preset.

wizooverbW5 en und de.book Page 26 Monday, May 30, 2005 10:59 PM
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 W5s means and methods are quite different from the aforementioned procedures. It combines a highly advanced form of impulse response (HDIR; short for High Denition 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 response, 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. Thats why it features so prominently in WizooVerb. A special process is applied to analyze the impulse responses 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. Certied 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 exibility. Though AIR is not based on the conventional combination of delay and all-pass lter circuits, it offers all the advantages of the algorithmic method, including placing a far lighter load on computers.
wizooverbW5 en und de.book Page 27 Monday, May 30, 2005 10:59 PM
What Causes Reverberation?
Courtesy of this combination, WizooVerb W5 offers unprecedented processing options and surprising exibility, 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 Mglichkeiten, die spter noch weiter unten ausfhrlich erklrt werden.

wizooverbW5 en und de.book Page 31 Monday, May 30, 2005 10:59 PM
You can engage W5s Bass Management to audition the sonic image, as it would sound on a hi- Surround system. Bass management: The signals of the Surround speakers are added, low-pass ltered and routed to the LFE. The Surround speakers signal is also high-pass ltered in order to prevent excessive bottom-end boost. Bass management is an on-board feature found on most hi- Surround systems. The Surround loudspeakers included in home systems are too small to render low frequencies accurately. Whereas professional movie theater systems subwoofers are reserved exclusively for LFE, home system subwoofers are also used to enhance Surround speakers bass response. Youll nd out more on the use of LFE and Bass Management in the Setup chapter starting on page 69. WizooVerb W5 is the real deala pro solution thats a big help in conjuring high-end Surround sound.
wizooverbW5 en und de.book Page 32 Monday, May 30, 2005 10:59 PM
wizooverbW5 en und de.book Page 33 Monday, May 30, 2005 10:59 PM

5 Global Parameters

At the bottom of the panel in the blue area you can see displayed a set of global parameters that are accessible at all times. The two knobs on the left control input signals; the two knobs on the right control output signals. A knobs current parameter value is indicated when the pointer hovers over it. On the Setup Page under Restore In & D/W, you can determine if presets also overwrite the global parameters Input and Dry/Wet when they are loaded (see also the section Setup > Settings on page 69).

Input Section

In the Input section, you can control the level of the L, C, R, Ls and Rs signals. The VU meter located above indicates the input signal level.

[W2_Input

The Input section
wizooverbW5 en und de.book Page 34 Monday, May 30, 2005 10:59 PM
Input The Input knob lets you cut the level of the incoming signal. The signal remains unprocessed when the knob is turned all the way up. Usually you will work with peak input level. If WizooVerb W5s input is overloaded, this is generally attributable to one of the following causes: WizooVerb is employed as a send effect and several send signals combine to create a very powerful input signal. The energy level of WizooVerbs input signal and the generated reverb is so high that the signals dry/wet mix is overloading the output. In this event, back off the input level until the signal is no longer saturated. Width Width controls the spread of the ve input signals L, C, R, Ls and Rs before they are patched into the reverb. You have two modes to choose from: Negative values: The ve input signals are blended and routed proportionally to each channel. At the far left position, all ve channels receive the same signal. The further you twist the Width knob to the left, the more difcult it becomes to locate the sound source in the reverb signal. Positive values: The input signal of every channel is sent to its immediate neighboring channels until it is only audible there, whereby the original signal is spread. The further you twist the Width knob to the right, the bigger the sound source appears to be in the reverb signal.

Output Section

In the Output section, you can control the Dry/Wet balance and the reverbs Surround spread. The VU meter located above indicates the output signal level.
wizooverbW5 en und de.book Page 35 Monday, May 30, 2005 10:59 PM

[W2_Output

The Output section
Dry/Wet The Dry/Wet knob lets you determine the balance between the dry signal and the reverb effect. Working with this section requires you to make a very important distinction: Are you using WizooVerb as a send or an insert effect? Send: If you are using WizooVerb as a send effect, twist the Dry/Wet knob all the way to the right to Wet. This way, WizooVerb sends the reverb signal only, and does not duplicate the direct signal. Use the faders and send /return knobs on your hardware or software mixer to determine the desired effect depth. Insert: If you are using WizooVerb as an insert effect, you can adjust Dry/Wet freely to achieve the desired depth in the mix: The further you twist the knob from Dry to Wet, the further the signal moves into the reverb room.
wizooverbW5 en und de.book Page 36 Monday, May 30, 2005 10:59 PM
Width This Width knob controls the base width of the reverb in the Surround eld. The knobs psychoacoustic effect actually lets you change the perception of the rooms width: Negative values: The further you twist the Width knob to the left, the narrower the room becomes. It continues to contract between the speakers until only a mono signal is audible over all channels. Positive values: The further you twist the Width knob to the right, the wider the room becomes. It continues to expand even beyond the speakers limits. Use Width to place a narrow room in an outsized room, thereby creating additional space in your mix. This parameter does not inuence WizooVerb W5s down-mix compatibility.
wizooverbW5 en und de.book Page 37 Monday, May 30, 2005 10:59 PM

6 Presets Page

On the Presets Page, you can load, edit and store presets. If you read the chapter Getting Started with WizooVerb > Using Presets on page 22, you know how this is done. English Knobs 1 to 3 afford you direct access to the most important reverb parameters. These are described in detail in the subsequent chapter Edit Page, so a brief overview will sufce: Pre-delay delays the reverb signal by the amount of time indicated in milliseconds. Room Size determines the size of the room. Main Time curtails or extends reverb time. Slight changes to these parameters generally sufce to adapt a loaded preset to suit your wishes. Edit parameters may be assigned freely to knobs 4 and 5. Youll nd applicable settings in the Setup menu under Auxiliary Controls (see the chapter Setup > Settings on page 69).

wizooverbW5 en und de.book Page 48 Monday, May 30, 2005 10:59 PM
Render Tail When you click Render Tail, the HDIR models tail is replaced with a tail generated via AIR. The combination of an HDIR models early reections and an AIR tail may well be the most interesting application WizooVerb W5 has to offer. A tail usually lasts a lot longer than early reections, so Render Tail is also a great tool for lightening the heavy load that an HDIR room places on the CPU. The aforementioned basic parameters control the AIR tail as soon as you activate Render Tail. In addition, the display shows ve additional parameters that you can adjust using faders or by typing in target values. These parameters inuence the room model that our AIR technology is based on. On the right you can see a macro list offering a selection of many preset AIR tails. Simply click the desired macro in order to load it, and then you can edit any room parameters. If you want to hear the original tail of the HDIR model again in place of an AIR tail, simply click Render Tail using the mouse button to switch it off.

[W2_Render_Tail

Using Render Tail to generate a tail via AIR gives you more editing options.
Tail Delay Tail Delay lets you delay the start of the tail after the end of the early reections by as much as 200 milliseconds. Use this parameter when you want to slap an echo effect on the tail.
wizooverbW5 en und de.book Page 49 Monday, May 30, 2005 10:59 PM
Room Size Room Size changes the size of the virtual room that is generating the tail. This lets you adjust the tails dimensions to match the early reections dimensions. Though youre best off relying mainly on your hearing, there are some standard values we want to share with you: A Room Size of 100% equates with cathedrals and concert halls, 50% gives you a studio-size recording room. For values below that, were talking speaker cabins and phone booths. Ambience Ambience lets you nudge the sound source deeper into the room. The effect is comparable to bringing up the level of ambient or overhead microphones during the mix.
This parameter is ideal for making voices or instruments sound bigger.
Density Density inuences the density of the tails reection. The further you back off Density, the more clearly you can hear individual reections bouncing off the rooms walls.
A Density value of 0% yields the reection density of a canyon.
Color Color adjusts the timbre or tonal quality of the tail from dark to bright. At values of around 3,000 Hz the tail sounds dark; at about 6,000 Hz it sounds very natural; at 8,000 Hz it starts to sound remarkably bright.
wizooverbW5 en und de.book Page 50 Monday, May 30, 2005 10:59 PM

Modulation

As soon as you activate Render Tail, the Envelope menu tab disappears because the envelope is applicable to an impulse response only. The menu lists Modulation in its place. When this option is selected, three more reverb tail parameters appear in the display. These parameters are also accessed and stored via the tail macro in the list on the right. Note that a reverb tail can be modulated in real time only, which is why you can select Modulation exclusively in connection with Render Tail. So, what does reverb tail modulation do? Imagine the effect achieved by constantly changing a rooms size and youll get the idea. Delay times change along with the dimension of the room, and you will hear a slight change in the pitch of instruments whose signals sustain into in the reverb tail. This pitch change will be more or less audible depending on the instrument, whether it is making a musical or more of a noise-like sound, and the modulation depth setting. Though the reverb tail in AIR mode works ne without modulation, you can put this effect to creative use. The effect varies according to mode: Chorus: The pitch changes differently on all channels, which makes this modulation less conspicuous. In fact it frequently treats the signal to some real ear candy because the reverb tail sounds smoother and bigger. Use Chorus to do things like add girth to drums and vocals. Doppler: The pitch changes identically on all channels. This modulation is very conspicuous and well suited for special effects. Use Doppler to come up with surreal live rooms or to make an oil tank sound even more metallic.

wizooverbW5 en und de.book Page 54 Monday, May 30, 2005 10:59 PM

[W2_Slopes

Boundless variety: You can sculpt Attack and Decay slopes to shape reverb curves to taste.
The Delay menu tab affords you access to the integrated Surround Delay. Located pre reverb in the signal chain, it can generate additional reections, echoes and complex rhythmic patterns. The display shows the delay routing, as well as the basic parameters Parallel/Serial, Pattern, BPM, Tempo and Sync. The Sync, Pattern and Tempo parameters are indicated only if they are in fact required; the remaining parameters are always accessible. The Parallel/Serial button lets you select between two delay algorithms: Parallel: The ve delays have xed assignments to the L, C, R, Ls and Rs channels. This allocation corresponds to the input signal fed to the delay as well as the positioning in the Surround panorama. The ve delays work independently and each is equipped with a discrete feedback circuit. Example: A signal patched into the front left of the panel is delayed and sent back to the front left and into the reverb, with feedback if desired. To ensure that the signal of a mono source with a xed assignmentfor example, a vocal track assigned to the center channelis not routed to merely a single delay, you can distribute the signal to the other delays via Divergence. The parallel delay is the best choice for generating single reections on the ve Surround channels. Serial: The ve delays are congured in series, that is, the rst delays output routes the signal to the second delays input, and so forth. The chains sequence is determined using a Pattern. The delays are assigned to the L, C, R, Ls and Rs channels, via which signals are sent and re-
wizooverbW5 en und de.book Page 55 Monday, May 30, 2005 10:59 PM
ceived. Say a delay is assigned to channel L. Accordingly, this delay receives its input signal from channel Ls input and sends its output signal to channel Ls output. This allocation also corresponds to their position in the Surround panorama. The feedback loop runs from the output of the last delay to the input of the rst delay in the chain. English Every delay receives an input signal from its assigned input as well as from the delay immediately preceding it in the given patterns signal chain. Example: The selected pattern is L-C-R-Rs-Ls, which means that delay R receives a signal from the front right and a delayed signal from delay Cs output. Delay L, in turn, receives a signal from the front left only for the purposes of this example. A feedback circuit runs from the last delay to the rst delay of the series, so the signal can be routed repeatedly through all delays in the pattern, in the indicated sequence. The selected Pattern conjures complex delay patterns that spread across the Surround eld. You can use the serial delay to create diverse rhythm patterns by synchronizing delay times with the song tempo. Note that due to this functions aforementioned properties, the distribution of signals across the panorama has an effect on the delay pattern. In addition, you can route the same signal to all delays in serial mode using Divergence.

The diagram shows the delay routing scheme and illustrates the inuence of the Divergence parameter.
wizooverbW5 en und de.book Page 56 Monday, May 30, 2005 10:59 PM
At the left edge of the screen you can see the three menu tabs for selecting the Surround delays individual parameter panels. Common: Here youll nd parameters that apply equally to all ve delays. These are Divergence, High Damp, Feedback and Main Level. Times: Set times for the ve delays on this panel. The BPM box in the display lets you set the time indicator to note values. Level: This panel lets you set individually the output levels of the ve delays before they are sent to the reverb. The Power button at the bottom left of the display switches the entire delay on and off. Finally, at the right edge of the display youll nd a macro list to which you can load preprogrammed delay patterns or store your own delay congurations. To quit the Delay panel, simply click the Back button. Serial/Parallel Select the Surround delay algorithm; your choices are Serial and Parallel.
Pattern This parameter is available in parallel delay mode only. Use it to determine the sequence in which the signal is routed to the delays. BPM BPM lets you set the time to note values. The delay time is then determined by the selected note value and the reference tempo.
wizooverbW5 en und de.book Page 57 Monday, May 30, 2005 10:59 PM
Sync Activate Sync if you want to adopt the host applications tempo. Sync is available only when BPM is activated. The stand-alone version does not interface with host applications, so you wont nd this button in this version. Tempo is determined by the value indicated manually under Tempo. Tempo Tempo appears only when BPM mode is enabled. The program requires a reference tempo to compute delay times on the basis of note values. Enter the reference tempo here manually. If you chose Sync, the program adopts the host applications tempo, and this tempo can no longer be changed in the text box. Divergence Divergence blends the L, C, R, Ls and Rs signals. When this knob is set to 0, every delay receives its assigned input signal. As you turn the knob up, each delay receives an increasingly larger proportion of the signals originally assigned to other delays. When Divergence is maxed out, all delays get the same signal. This feature comes in quite handy: Even when processing monaural signals, which are limited to one channel within the panorama, all delays can be provided with the signal. High Damp The delays feedback loop sports a low-pass lter that lets you simulate the high-frequency loss incurred with repeated echoes. Set High Damp to a threshold frequency; frequencies above it are dampened in the feedback loop. The value applies equally to all delays. English

[W2_EQ

You can adjust the fully parametric 4-band EQ via knobs, as well as directly in the view of the EQ curve.
wizooverbW5 en und de.book Page 63 Monday, May 30, 2005 10:59 PM
Frequency Cutoff frequency (Shelf Low/High) and center frequency (Mid 1/2) of the lter band. Gain English
Amount of lter band amplication/attenuation. Q Q-factor of the lter bandavailable in the fully parametric midrange Mid 1/2 bands only.
wizooverbW5 en und de.book Page 64 Monday, May 30, 2005 10:59 PM
wizooverbW5 en und de.book Page 65 Monday, May 30, 2005 10:59 PM

8 Impulse Responses

The Import Page lets you load, audition, edit and save conventionalthat is, non-HDIRimpulse responses. It offers standard functions, as well as editing tools far beyond the norm. Instant gratication: You have sampled a room or want to use an impulse response off a CD or the Internet? No problem! As soon as you have loaded an impulse response into WizooVerb W5, you can hear and use the resultant reverb without further ado. Very handy when youre pressed for time or probably wont want to use the impulse response again in your productions. Even if you have merely loaded an impulse response to a Wizoo Verb plug-in, all you have to do is save the current song within the framework of your host software. As soon as you open the song later, WizooVerb W5 will automatically load the appropriate impulse response. Optimize now and save for later: The editing functions Dir, Trim and Gain let you optimize a loaded impulse response. These tools allow you to bring its sound quality up to par and at the same time prepare it for use with WizooVerbs AIR functions. If youre satised with the results, you can save the optimized impulse response and later load it directly from WizooVerbs User list. To make the most of what WizooVerb has to offer, make a habit of optimizing impulse responses with the editing functions and saving them as User impulse responses! English
wizooverbW5 en und de.book Page 66 Monday, May 30, 2005 10:59 PM

[W2_Import

On the Import Page you can load, optimize and save conventional impulse responses.
Loading Impulse Responses
The Import Page display is arranged by function in the following areas: On the left youll nd buttons for Stereo mode as well as Dir and Trim functions. On the right you can see a le selection list serving to load impulse responses. WizooVerb W5 is able to load pulse responses in WAV and AIFF formats. The les for the front and rear channels must always be stereo les that merge two channels into a single le (Interleaved format). The le for the center channel can be mono or stereo. If you have a pulse response on hand for the center channel, you can simply use it in mono. If you dont have this kind of pulse response, you can use, say, the front pulse response to generate a center signal. F: To load the front pulse response, click the desired le in the selection list on the right. R: To load the rear pulse response, press and hold the key, and the click the le. C: To assign a center pulse response, press and hold the key, and then click the desired le.

wizooverbW5 en und de.book Page 67 Monday, May 30, 2005 10:59 PM
Optimizing Impulse Responses
All three boxes must be lled in with les before the result can be stored as an.irm le. Once you have loaded an impulse response, its waveform is displayed. Immediately below it youll nd the Clear button, which removes the impulse response, and the Save button, which stores the impulse response and adds it to the User list. English
The impulse response may require some polish, depending on how well or poorly it was recorded and processed. With the Dir, Trim and Gain functions, you can accomplish this in a jiffy Dir, Trim and Gain are non-destructive editing tools; the original impulse response is not overwritten when you put them to use. Removing Direct Sound With the benet of the Dir button, you can tell WizooVerb W5 whether or not the impulse response contains direct sound, and to remove it automatically, if necessary and desired. This buttons status is very important because alongside shaping the sound of the reverb, it inuences the impulse responses level and thus its interaction with our AIR technology. A strong impulse at the beginning of the waveform is generally a telltale sign that an impulse response contains direct sound. This causes undesirable cancellations when the wet and dry signals are blended. If a loaded impulse response contains direct sound, denitely remove it by activating Dir. WizooVerb W5 will then analyze the impulse response, adjust its level and remove direct sound automatically. If you are unsure about the direct sound content, you can switch Dir on and off as often as required or desired to hear the result of the optimization process with and without Dir. Like Trim and Gain, Dir is non-destructive, so there are no adverse effects to contend with.
wizooverbW5 en und de.book Page 68 Monday, May 30, 2005 10:59 PM
The comments accompanying impulse responses normally indicate whether or not they contain direct sound. If this info is provided and you set Dir correctly before loading an impulse response, you will achieve the same effect as processing it after loading. Trimming Silence from the Start Impulse responses are frequently preceded by superuous silence before the rst impulse kicks in. Use Trim to cut these blank bits automatically. You can undo this at any time by deactivating Trim again. Adjusting Levels The big pot at the center serves as a Gain knob. If necessary, use it to adjust the impulse responses level manually.

M-Audio Price List
Terms & Conditions ---VAT & all Govt. Levies are extra as applicable. Warranty - 1 year carry-in warranty. Product Brief Features PCI Cards Delta 1010 10-In/10-Out PCI with MIDI and Digital I/O With Breakout Box Delta 1010 LT 10-In/10-Out PCI Card Delta 66 Professional 6-In/6-Out Audio Card with Digital I/O. Delta 44 Professional 4-In/4-Out Audio Card Audiophile 2496 Professional 4-In/4-Out Audio Card with MIDI I/O Audiophile 192 4-In/4-Out Audio Card with Digital I/O and MIDI with 192KHz sampling fequency USB Interfaces Mobile Pre 2.in/2-0ut with Preamp Audiophile USB 2 Input / 2 Output USB Audio Interface with MIDI I/O Transit USB 2-in/2-out for laptop Fast Track USB Guitar & Vocals on your PC Fast Track Pro 4 x 4 Mobile USB Audio/MIDI Interface with Preamps. FireWire Interfaces FireWire 1814 18-in/14-out FireWire Audio/MIDI Interface w/ ADAT Lightpipe FireWire 410 4-In / 10-Out FireWire Mobile Recording Interface Pro Fire Lightbridge *NEW* FireWire Audiophile 4-in/6-Out Audio Card with Digital I/O and MIDI FireWire Solo 4 Input / 4 Output Firewire Audio Interface with MIDI I/O SynchroScience (DJ Gear) Xponent Totally Automated DJ gear with Torq SW Conectiv *NEW* 4X4 USB DJ Audio Interface with Torq SW Conectiv Bundle with Vinyl *NEW* 4X4 USB DJ Audio Interface with Torq SW with Vinyl X-Session Pro *NEW* DJ Mixer With USB MIDI Controller X-Session DJ Fader Digital Production Station Project Mix I/O Control Surface with Motorized Faders and 18 x 14 Audio Interface. NRV10 *NEW* FireWire mixer which incorporates a 10 I/O interface and an analogue mixer Handheld Portable Recording Devices Micro Track 2496 Professional 2 channel mobile digital recorder Micro Track 10db pad *NEW* Earphones IE-10 *NEW* IE-20 XB *NEW* IE-30 *NEW* Consumer Revolution 5.1 High definition 5.1 surround sound card Revolution 7.1 High definition 7.1 surround sound card Podcast Factory Complete Podcasting package with Microphone & Software Guitar Products Jam Lab USB Guitar interface for Digital recording GuitarBox *NEW* 100 drum patterns & Guitar tuner built in GuitarBox Pro *NEW* Black Box Guitar Recording System with built in Preamp,efefcts & Tuners Black Box Pedal Board MIDI Interfaces USB Midisport 1x1 1-in/1-out USB Bus Powered MIDI Interface USB Midisport 2x2 USB Midisport 4x4 USB Uno 1-in/1-out USB Bus Powered MIDI Interface Controller Surfaces iControl Trigger Finger 16 -Pad MIDI Drum Control Surface Keyboard Controllers Oxygen 8 v2 *PRICE DROP* 25-key MIDI keyboard, Oxygen 49 *PRICE DROP* 49 key USB MIDI Controller EUP 13200
Oxygen 61 *PRICE DROP* 61 key USB MIDI Controller Axiom 25 advanced 25-key USB mobile MIDI controller features semi-weighted action Axiom 49 advanced 49-key USB mobile MIDI controller features semi-weighted action Axiom 61 advanced 61-key USB mobile MIDI controller features semi-weighted action MidAir 25 *NEW* 25 key wireless MIDI controller MidAir 37 *NEW* 37 key wireless MIDI controller MidAir *NEW* Okey ultra thin mobile MIDI controller Ozone USB Audio MIDI mobile workstation Ozonic 37-Key FireWire Audio/MIDI Interface and Controller. KeyRig 49 Keystation 61es 61e is a 61-note USB keyboard with velocity-sensitive, semi-weighted keys Keystation Pro 88 88-Key Hammer-Action USB Bus-Powered Master MIDI Controller. Keystation 88es An 88-key, semi-weighted action USB MIDI controller Keyboards ProKeys 88sx digital stage piano with semi-weighted action and USB MIDI controller ProKeys 88 ProKeys 88 is the premium digital stage piano Evolution MK-425C UC-33c eKeys37 eKeys49 (UK and FOB HK only) Microphones Nova Large Capsule Cardiod Microphone Pulsar Professional Cardiod Instrument Microphone Pulsar 11 Aries Professional Condensor Vocal Microphone Luna Professional Condenser Mic Professional Condensor Microphone Solaris Professional Condenser Mic Large Capsule Multi Pattern Condensor Microphone Sputnik Tube Mic Pre Amps & Converters CO2 Audio Buddy 2 channel Microphone Preamp DMP3 Tampa Octane Reference Monitors Studiophile - BX5a - Pair 70W Bi-Amplified studio monitor Studiophile - BX8a - Pair 130W Bi-Amplified studio monitor Studiophile - SBX Subwoofer 120W Studio Subwoofer Studiophile - LX4 2.1 2.1 reference monitor system Studiophile - LX4 5.1 Expander System Studiophile AV40 4", 20W Professional Reference Monitors Studiophile AV20 2" Professional Reference Monitors Studiophile DX4 BX10s *NEW* EX66 (single) 200 watt reference monitor Studio Pro watt per channel professional audio monitor Studio Pro 4 (Silver Consumer DX4) 18 watt per channel professional audio monitor Digidesign Pro Tools Pro Tools M-Powered M-Audio Compatible world class production & editing SW Pro Tools M-Powered-Academic Digidesign Factory Bundle Digidesign Factory Pro Bundle Hybrid *NEW* Strike *NEW* Software Session Key Rig (Int'l Version) Drum & Bass Rig (Int'l Version) TimewARP 2600 iDrum iZotope: Spectron