the User Manual
Contents
1. add space to a source Drum Chamber If you need a little more reverb on the snare or kit than what a room is giving you but not a full blown plate the chamber splits the difference and sits down nicely in the mix Drum Plate Sometimes the snare or kit just needs a plate Here it is Drum Room Dryer recordings can still benefit from a little room sound on the snare or kit Used in the right amount it can make a good recording great without adding any apparent reverb Guitar Hall A small hall that is the perfect performance space for any acoustic string instrument Works well with electrics too when you want to hear the reverb Guitar Room Widen up electric guitar tracks or provide a little chorused ambience for acoustics Hall Dark If your source has a lot of sharp transients that are jumping out of the track using the other halls then this is the one to use This one is very smooth Hall Large This is the place for large orchestral works The hall is large enough to really let the low end unroll but with a short enough reverb time to retain clarity Hall Medium Brighter and a little less reverb time than the larger hall this one adds even more clarity to orchestral work This is the hall to use for vocal ensembles opera or spoken word Jazz Club Perfect club size space for any performance Just a hint of slap back to add a live feel Percussion Chamber Highly diffused chamber designed f2. clicking on the knob or fader Pro Tools Specific Keyboard Commands AUTOMATION CONTROL WINDOW Ctrl 4 Alt click Win or Ctrl 3 Alt click Mac SHOW AUTOMATION TRACK Ctrl click Win or Ctrl 36 click Mac Automation The TSAR 1 and TSAR 1R plug ins fully support automation But parts of the reverb becomes muted when parameters change in order to suppress noise artifacts zipper noise Do not use automation to modulate or gradually change parameters A constantly moving parameter can lead to the reverb being muted Mono and Stereo Operation The TSAR 1 REVERB plug in is a true stereo reverb and for best performance you should always use it with a stereo output even if you have a mono input But it does work in both stereo and mono How the different modes stereo mono and mono to stereo are selected depends on your host software In most hosts you can select these when you select the plug in In other cases inserting one the plug in on a mono track will usually make it use the mode while selecting it on a stereo track makes it use the STEREO mode System Requirements Supported sample rates 44 1 48 88 2 96 176 4 and 192 kHz in both mono and stereo Mac e G5 or Intel processor e OS X 10 4 or higher for the G5 processor e OS X 10 5 or higher is required for Intel processors Win Win Windows XP or higher PIII or better processor Any VST AU or RTAS compatible host application iLok USB key
3. ER Types are listed below SMALL 9 16 ms MEDIUM 30 70 ms LARGE 45 80 ms Diffusion Sets the amount of sme ar in the reverb Low diffusion leads to a more immediate sound sometimes with distinct reflections if the Density is low Set Diffusion to high to enhance the Low Diffusion High Diffusion sound of percussive sounds Although high diffusion often leads to a more natural sounding reverb it will also make the reverb take up a bigger place in the mix which sometimes result in a muddier sound If you for your application don t hear much difference between different settings of Diffusion you might as well leave it at Low Modulation Select between three different types of modulation RANDOM Designed to give a lush and uncolored reverb without any pitchy or chorus y effects The default setting for most purposes SLOW A more chorus like modulation with a slow modulation rate Suitable for extremely long reverb times and legato instruments FAST Same type of modulation as sLow but with a faster modulation rate All three types of modulation are based on randomization but RANDOM is just a bit more random than the other two Reverb Mix Sets the mix between the direct and effect signal reverb early reflections When using the TSAR 1 as a send effect the Reverb Mix should always be set at 10096 wet If you use it as an insert effect a setting between 15 40 is a good starting poi
4. TRUE STEREO ALGORITHMIC REVERB MODEL 1 USER S GUIDE FOR VST AU RTAS TSAR 1 REVERB and TSAR 1R REVERB Rev Oct 21 2010 Table of Contents Contact Details Installation and Authorization Background Introduction User Interface at a Glance Anatomy of a Reverb Reverb Parameters Predelay Reverb Time Density Reverb Tone High Cut Early Reflections Diffusion Modulation Reverb Mix Output Volume Input and Output Meters Parameter Display Presets Modern Presets Vintage Presets TSAR 1R Reverb Technical Stuff Key and Mouse Commands Automation Mono and Stereo Operation If you would like to get in touch with Softube please e mail info softube com Alternatively you could use the phone or send an old fashioned mail do you remember envelopes stamps and paper to Softube AB Web www softube com S t Larsgatan 10c E mail info softube com SE 582 24 Link ping Phone 46 13 21 1623 9 am 5 pm CET Sweden Support On the Softube website www softube com you will find answers to common questions FAQ and other topics that might interest you Support questions can be posted at http www softube com where we will help you as fast as we can 2010 SOFTUBE AB SWEDEN ALL PRODUCT AND COMPANY NAMES ARE TRADEMARKS OF THEIR RESPECTIVE OWNERS SOFT
5. UBE IS A REGISTERED TRADEMARK OF SOFTUBE AB SWEDEN THIS SOFTUBE PRODUCT IS PROTECTED BY PATENT SE525332 AND PENDING PATENTS US2004 0258250 EP1492081 AND JP2004 183976 IF YOU BOUGHT THE PRODUCT FROM A DEALER will have to register it in order to transfer the license to your iLok account 1 Go to http www softube com register to transfer the license to your account You will need the License Code your iLok com User ID and your iLok USB dongle Follow the instructions on the web page IF YOU BOUGHT THE PRODUCT FROM SOFTUBE and have received the confirmation e mail the license will already be deposited in your iLok account 2 Make sure that you have the latest iLok drivers installed They can be found at http www ilok com 3 Log on to http www ilok com and transfer the newly received license to your physical iLok dongle 4 Install the software from the DVD or download the latest version from http www softube com installers If the product came in a box the DVD will contain installers for all Softube products but you will only be able to run those that you have acquired licenses for In some cases extra demo licenses are included when you buy a Softube product Background FOR A LONG TIME WE HAD A DREAM about creating the perfect reverb The most obvious requirement was of course that it should sound extremely good like a natural room and better The reverb tail should be classy and natura
6. and the latest iLok drivers DVD drive or Internet access for installation Please make sure that you always use the latest iLok driver It is not included in the Softube installer but can be downloaded from www ilok com TSAR 1 and TSAR 1R Reverb plug ins were made by Oscar berg Niklas Odelholm Torsten Gatu and Arvid Ros n 2010 Softube AB Sweden
7. ding reverbs Nm DARK REVERB MIX Time Instead of just altering the Reverb Time parameter from TSAR 1 this Time parameter adjusts an internal predelay the early reflections diffusion density and decay time All these Room parameters have been meticulously fine tuned to Studio give as natural sounding result as possible for DUTPURVOU every setting Use the Time parameter to decide which type of space you want to set your instrument in Don t be afraid of large halls If you get too much reverb with a high Time setting use the Reverb Mix or the send volume to decrease the amount of reverb Color Set the overall tonal character of the reverb BRIGHT is useful for strings and vocals or when you want to give the perception of a highly reflective room NEUTRAL for normal halls or studios and park for smaller spaces with a lot of acoustic damping Key and Mouse Commands All numbers in the GUI are clickable This allows you to easy select a setting by clicking on the wanted value Hovering above a label will turn the mouse pointer into a pointing hand Clicking on a value in the display will change the parameter to the previous setting the value within parentheses This is useful when you want to compare different settings Mouse UP DOWN Or MOUSE WHEEL Change a parameter such as a knob or a switch Keyboard Commands FINE ADJUST 3 Mac or Ctrl Win while changing the parameter value RESET TO DEFAULT Alt while
8. everb times With a BRIGHT Setting the high frequencies will decay more slowly and vice versa with the the DARK Setting Settings between NEUTRAL frequency and park will often have the most natural sounding reverb tails Bright Neutral The Reverb Tone will only affect the reverb tail not the early reflections Dark High Cut Sets high frequency attenuation for both the reverb tail and the early reflections A cut in the high frequencies often results in a more natural sound frequency time Early Reflections The early reflections give the listener a perception of the geometry and space Set the type of geometry with the ER Type switch and the blend between late and early reflections with Small Earlies Large Earlies the ER Mix If your material was recorded in a nice room with lots of early reflections you might not want to impose a new set of early reflections on the recording and you can thus lower the amount of earlies or completely turn them off Earlies Mix 7596 Earlies Mix 2596 For a close mike recording with very little ambience early reflections can be very effective in placing the recorded material in a space ER Type vs Predelay Since the early reflections have built in delays it is often necessary to adjust the Predelay according to the ER Type A large ER Type may need a longer Predelay than a small ER Type The approximate delay times for the three different
9. ions are not affected by the Predelay and by themselves have an inherent and independent delay you need to tune the Predelay so that it match the length of the early reflections to get a natural sound For the largest early reflections type a time of 40 80 ms can be useful See the Early Reflections section for more info Predelay as an Effect The Predelay is often used to achieve a rhythmic effect such as a slap back echo on a snare drum and then with much longer times about 80 250 ms A shorter Reverb Time with Diffusion and Density set to Low makes this echo more distinct Reverb Time Sets the decay time of the reverb tail A longer reverb time gives the impression of a room with more reflective sur faces If a long Reverb Time is used together Short Medium Long Reverb Time with a low Density you will get the sound of a large hall If you on the other hand have a short Reverb Time and high Density you will get the sound of a small tight studio Large Hall Setting A large hall has often both a long Reverb Time and a lower Density Set Reverb Time to 1 8 5 ms and Density to 25 40 6 With Early Reflections on LARGE and about 40 ms Predelay enhances this effect Room and Chamber Settings A shorter Reverb Time and higher Densities you get the sound of a room or a chamber A typical room has less than 1 s Reverb Time and a Density above 50 RT60 RT60 is a measurement of the time it takes for the reverb tail to deca
10. l but yet lush and vibrant It should range all the way from sophisticated halls to a more modulated sparse and dreamy reverberation A reverb that surrounds the listener just as a real room does While experimenting with different novel reverb designs we realized that the biggest challenge would be to create a product that our users actually could learn how to use And that led us to the second requirement it need to be easy to use We didn t want a reverb with fifty parameters so complicated that no one ever dares to change anything and by that forces the user to use presets So once the algorithm was finished we started the work of getting it down to a few but meaningful parameters But don t be fooled by its simplicity its one of the most powerful reverbs ever released After the original reverb the TSAR 1 was finished we decided to go even further and make a natural sounding reverb with just three parameters and that became the TSAR 1R It has the same astounding sonic qualities as the TSAR 1 it s exactly the same algorithm but focuses solely on natural spaces And with only three parameters Time Predelay and Color getting a good reverb has never been easier TSAR 1 STANDS FOR TRUE STEREO ALGORITHMIC REVERB MODEL 1 and that s just what itis But Tsar is easier to remember than well whatever it stood for True Stereo Both the left and right channels contribute uniquely to the left and right outputs so the
11. nt Output Volume The Output Volume affects both the direct and effect signal Usually you can just leave it at O dB but if the output peak meter is going up in the reds it might be a good idea to lower the volume Input and Output Meters The meters on both sides of the display shows the input left hand side and output right hand side peak levels for both the left and right channel The meters have a red indicator at 0 dB Parameter Display The display shows the name of the parameter the value of the parameter as well as the previous value As soon as you start to change a parameter the display will light up and the former setting will be displayed within the parentheses While the display is lit up the former setting will not be over written By clicking on the parameter display you revert the setting to the previous value After one second without changing parameters the display will get dimmed again The presets are divided into two sections the modern and the vintage section The modern presets focus on application drums vocals orchestral sounds etc and the vintage presets mimic sounds from vintage units Modern Presets The modern presets have been designed with a 6 dB reference level ie with all faders set at OdB the send levels are set at 6 dB This corresponds to a Mix level of 2796 if the plug in is used as an insert Ambience Dark Opening up the low end is the most transparent way to
12. on High diffusion gives a smoother sound man 6 ied i but also a sound that takes more space in the mix Reveno ux Modulation Normal mode is RANDOM but you can set it to sLow or FAST for a more chorus y effect Reverb Mix The mix between the direct signal and the reverb signal including early reflections Output Volume Sets the output volume of everything including dry signal Predelay The amount of delay between the early reflections and reverb tail Time The time it takes for the reverb tail to decay Density Higher density gives a thicker smoother reverb with more reflections but also the impression of a smaller room Reverb Tone Adjusts the tonality color of the reverb tail High Cut Limits the high frequencies for both the tail and early reflections EACH REVERB DESIGNER HAS HER OWN WAY Of implementing the user adjustable parameters but many parameters are the same in most reverb designs and are today just as common in reverbs as bass and treble are in a guitar amp Predelay The Predelay sets the time between the dry signal and the reverb tail It is often used to achieve the impression of a large room by making the reverb tail arrive later A 34 ms predelay corresponds to the time it takes for the sound to travel 10 m In modern music production predelay is often used to achieve rhythmic effects often set at longer times An 8th notes slap back each in 120 bpm corresponds
13. or wood blocks bells or hand slapped percussion Sources Scoring Stage The sound of an A B mic d scoring stage Large and bright this is the space to use for orchestral production of all sizes for film or TV Studio A A large studio tracking room big enough for the whole band Well treated and very smooth particularly in the high end Studio B A smaller brighter tracking room ideal for the solo performer Synth Chapel Long bright and clear with some sizzle Huge size means huge bass as well in this one Synth Church Similar to the chapel but with a darker decay and more movement in the tail Synth Club Short and full of sizzle Use this when you want to highlight the source or excite the top end Vocal Chamber If you need a little more reverb on the vocal than what a room is giving you this chamber is a good alternative Vocal Church A nice long bright church ideal for solo vocals or spoken word The large predelay helps to retain clarity Vocal Plate Bright and dense This reverb is meant to be heard Vocal Whisper When used in small amounts this one brings the sizzle of the performance right up to your ear Vintage Presets In this set of presets we have tried to mimic the sound from old vintage units We chose to keep the brand names in the presets so that you see where we got the inspiration from 224 Small Concert Hall Spacious and expansive low density initially then b
14. right channel doesn t only affect the right channel but also the left side Unlike many other reverbs which might have a two different engines for the left and right sides or just one engine with different outputs for the left and right sides a true stereo reverb needs four unique engines to process the audio This is true stereo and this is what the rsAR 1 engine does Algorithmic Reverb Even if there are tons of convolution reverbs out there and anyone with a simple piece of software can create their own set of impulses there are nothing that compares to a well designed algorithmic reverb An impulse response is indeed a very good finger print of a room s acoustics and does a good job in mimicking a sampled space if you have a completely dry recording You ll get all the echoes tails and coloration of that room An algorithmic reverb is on the other hand designed to add space or ambience to a recording without coloring the dry signal and without interfering with the already recorded ambience The ability to tailor the reverb to co exist with the recorded ambience is one of the strengths of an algorithmic reverb and one very strong reason to why you will always need well designed algorithmic reverbs User Interface at a Glance Early Reflections Type The early reflections give the user a sense of the room dimensions Early Reflections Mix The mix between the early reflections and reverb tail E DIFFUSION MODULATION FAST Diffusi
15. to a 250 ms predelay Reverb Time Decay Time This is the time it takes for the volume of the reverb tail to drop 60 dB A real world analogy for the reverb time could be how much the walls of a room reflect the sound A big room with much acoustic treatment has shorter reverb time than a stone wall church of the same size Density Size Diffusion Shape These parameters are used to adjust the sound of the reverb tail A room with a large size often have longer time between reflections than a small room and the sound of the reverb becomes less dense Low density reverbs are very handy if you need a reverb with a long tail that doesn t take up too much energy in a mix Diffusion alters the build up of the reverberation and can have a dramatic effect on percussive sounds Early Reflections The early reflections are the very first echoes that reach the listener and help the listener to decide the size of the room Predelay Sets the time between the dry signal and the reverb tail The early reflections gray in the illustration are not affected by the Predelay setting 0 ms 50 ms 200 ms Predelay For a natural sound there should not be a distinct gap between the initial echos either from early reflections or from the dry signal and the Predelay Depending on the the character of the dry signal and the Early Reflections Type the Predelay should usually be set below 50 ms Predelay and Early Reflections Since the early reflect
16. uilds to a smooth reverb tail 224 Large Concert Hall A large empty concert hall with long rolling waves of reverberation 224 Plate Smooth and sweet great on percussion 224 Room A medium room chamber type ambience Ambience LRG Ambience MED Ambience SM Carefully tuned and shaped these add a subtle presence without sounding too wet AMS Ambience Similar to the Ambience preset of the old AMS RMX16 reverb Great on vocals Church Dark Hall Dark Stage These are medium sized spaces with a warmer and more natural ambience than the vintage simulations Great for spoken word Digital Snare Rock Toms Similar to a very rare and expensive SONY reverb from the early 1980s Great for snare and toms EMT Hall Similar to the EMT 250 digital reverb great on anything EMT Plate Similar to an early EMT mechanical plate reverb Rich lows and sparkling highs Gate Gate Kick Gate Snare Three gated reverb effects one general purpose one optimized for kick drum and one for snare drum Plate Small A tight plate type reverb very dense and fairly bright TSAR 1R Reverb THE TSAR 1R REVERB USES THE SAME ISARA x a M TRUE STEREO ALGORITHMIC REVERB algorithm as its big brother but is controlled by just three reverb parameters Predelay The Predelay has the same function as the TSAR 1 Reverb but is limited to 200 ms maximum delay time which is more than enough BRIGHT for natural soun
17. y 60 dB The time specified in the display is an approximate RT60 measurement since the actual RT60 time also depends on the Tone Density High Cut and Diffusion controls As usual use your ears instead of depending on numerical displays Density Sets the density thick ness or smoothness of the reverb tail A low Density is similar to the sound of a large space while a high Density corresponds to a small space Sparse Low High Density Low Density Reverbs To avoid coloration and muddy ness in a mix it is often good to use a less dense reverb On a non percussive or legato instrument such as strings or voice a sparse reverb will often sound clearer than a dense reverb Less dense reverbs take up less energy in a mix and is often easier to use even if they may sound a bit unnatural on its own Density vs Size Use a high density reverb to get the sound of a small space and a low density reverb to get the sound of a large space Plate and Chamber Settings To get a sound similar to that of a vintage plate or an echo chamber you will often need higher density reverbs Gated Style Reverbs A gated reverb is an effect where you gate the reverb signal with the dry signal as side chain to achieve an abrupt cut off of the reverb tail You can mimic this sound by setting Reverb Time to its shortest value and Density below 20 Reverb Tone Use the Tone control to adjust which frequencies that have the longest r
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