Signal Decay Demo Mac OS

• Signal Decay Demo Mac Os 8
• Signal Decay Demo Mac Os Download
• Signal Decay Demo Mac Os Catalina
• Signal Decay Demo Mac Os X

Measure things an analog oscilloscope cannot see !

BitScope DSO is much more than just oscilloscope software for your PC.

It provides a full range of test instruments in one easy to use software package. Integrated functions include:

• Blue Cat's DP Meter Pro (DPMP) is a unique audio analysis tool that combines very flexible and customizable audio meters with advanced side chaining control capabilities thanks to its MIDI and automation outputs. The metering capabilities of the DPMP plug-in let you control and monitor audio signals exactly the way you want: almost every aspect of the peak, RMS and crest factor meters can be.
• Signal Free runs in Kontakt (no play limit) or Free Kontakt player (15 minute play limit) version 5.3.1 or higher. Mac OS X 10.8 or higher. Windows 7 or higher. At least 4GB of RAM (8GB recommended), and 4GB of free drive space. Access to a stable internet connection for digital delivery.

MAC OS. Double click on the DMG archive to extract it. Right click on the PKG installer and click open. Follow the instructions to install the plug-in(s) WINDOWS. Extract the ZIP archive. Double click on the setup fle (.exe). Follow the instructions to install the plug-in(s) AudioThing – Outer Space Page 3. Sweetwater's Mac/PC Optimization Guides. Today's computers are fast enough and powerful enough to handle most audio projects. However, there are a number of steps and settings you can make to ensure that your computer is optimally configured for audio production.

• Digital Storage Oscilloscope
• Mixed Signal Oscilloscope
• Spectrum Analyzer
• Logic Analyzer
• Data Recorder
• Networking

DSO takes full advantage of BitScope's powerful mixed mode waveform and logic data capture capability and in BitScope models that support it, DSO adds arbitrary waveform generation (AWG) networked access for remote measurement and data acquisition as well as offline captured waveform replay and multiscope control, all accessed from the one PC software application.

DSO is PC software but it works like a test instrument not a word processor.

Control panels surround its large display in a single window providing instant access to all the parameters. There's no need to move overlapping windows or dig through nested menus to find the function you need.

Signal Decay Demo Mac Os 8

Most parameters may be changed by simply clicking a button or the parameter display itself. Sometimes you can select from multiple values or choose from several options. Right-clicking some buttons and parameters pops up context menus for fast selection.

For example the display frame rate on the REPEAT button. DSO dynamically redraws its display using high resolution images of captured waveforms, logic and spectra directly from BitScope's data buffers, and all in real-time. Whether it's deep one-shot mixed mode captures or dynamic analog waveform displays, DSO presents the available data immediately. And through the use of advanced DSP and data compression techniques it is possible to achieve display frame rates beyond 50 Hz.

DSO makes maximum use of BitScope's high speed deep buffer capture engine.

Powerful signal processing and waveform rendering mean you see the full picture, no jaggies, aliases or missing details.

Every frame is captured at full speed you can literally see any high frequency noise, artefacts or other distortion that may be present, just like the best high bandwidth analog scopes.

And because every frame is up to full capture buffer, you can zoom in to see the finest details, often with no interpolation or data recapture. Naturally DSO supports high resolution mixed signal and logic data displays as well.

In these modes you can set the sample rate explicitly and capture a full buffer allowing you to scroll and view deep captures in every detail.

DSO includes a built-in spectrum analyzer to see full spectra at the click of a button!

There are no complicated settings to adjust. The spectrum analyzer adapts automatically to the current DSO timebase, scale, volts/div and screen size to give you the optimum resolution power and/or phase spectrum for the waveforms currently on-screen.

You can even see both waveforms and spectra on screen simultaneously, updating live from analog inputs or scroll through a one-shot capture to view the spectrum at different points in the buffer. The analyzer uses a variable size windowed DFT processing engine so it works just fine for periodic and one-shot waveforms.

Depending your settings and your BitScope you can view spectra from DC to beyond 100 MHz! If you need to make precise time, frequency, magnitude or phase measurements, adjustable cursors work with the spectrum analyzer just they do with all the other DSO virtual instruments.

DSO allows you to easily switch from one display mode to another

For example you can flip between a mixed signal scope and full screen logic analyzer.

Or perhaps you would like to see an analog X-Y plot or a time/frequency display.

The latter is an example of stand-alone transfer function analysis using BitScope.

Or maybe you need to see an analog view of a digital logic transition or explain to some students what the transform of a dirac impulse from the real world (ie, non-zero width) looks like.

All this and more is easy with BitScope and the virtual instruments in DSO.

BitScopes connect via USB, Ethernet (or RS-232 in older models). DSO handles them all*. When powered on DSO auto-detects which model is connected and configures itself accordingly. You can even control multiple connected BitScopes from the same PC using the DSO. Simply tell the DSO which BitScopes you want to control and it will find them, whether connected via USB right beside you or on the other side of the world via the Internet. And DSO uses a self correcting communications protocol to verify operation so you'll never miss a beat.

Stand-alone scopes are fine but running a scope on your PC has some significant advantages. For one thing, screen captures are a natural (they're all over this website for example). You can also run multiple scopes from the one PC or plug captured data into third party software applications and the built-in networking means you can use a lab scope from home or make a virtual visit to a client's test site from your office.

You can resize the application from 1024x768 on small screens right up to 1920x1200 and beyond on a high resolution widescreen monitor. The DSO automatically adjusts its display rendering to take advantage of the screen real estate; with a big screen you get to see more of the signal. Swole mates mac os.

With persistence, averaging, decay the possibilities for data visualization are huge.

Many people use Windows, but many students and professionals in science, research, engineering, and education also use Mac OS X or Linux as their workstation of choice. DSO is cross platform meaning it's compatible with them all. The features and version release dates are always the same.

Virtual Instrument Software

DSO is actually a set of integrated Virtual Instruments with a common graphical user interface that does not directly rely on the graphics provided by Windows or Linux. Instead each instrument has its own data handlers to pass waveforms from BitScope to its own signal processing for display via a shared internal waveform and data display engine.

In this way DSO can exploit BitScope's Virtual Machine Architecture to accelerate acquisition, optimize communications and process much of the data in BitScope itself and the end result is an integrated application that shows you exactly what you need to see from within your own familiar Windows or Linux PC environment. Updates with new instruments when available are just a download away. Check the release notes for information about updates. Blaster point mac os.

BitScope DSO runs on x86 systems running Windows or Mac OSX and Linux on x86 and ARM systems such as Raspberry Pi. Almost all new PCs and notebooks available these days are more than adequate to run DSO. Installation is not required (eg, you can run it from removable media) but installation is recommended. BitScope DSO is compatible with BS325, BS120, BS44x, BS30x, BS31x, BS100, BS50 and BS10. Any original BitScope (kits and BS22x) that has been upgraded is also compatible.

Three new reverbs from Arturia extend their growing collection of top notch effects.

by Rob Mitchell, May 2020

Arturia is the developer of a wide range of music software products, MIDI controllers, audio interfaces and hardware synthesizers. Perhaps they're best known for their collection of vintage synthesizer emulations which are included in the V Collection 7. SoundBytes Magazine has covered many of their products over the years. Just some of those reviews include Jupiter-8 V, Matrix-12 V, CZ V and their delay, filter, compressor and preamp emulations. For this issue of the magazine we will take a look at the new collection of products they call the Three Reverbs You'll Actually Use. It consists of three plugins, two of which are emulations of hardware reverbs while the third is an original Arturia reverb plugin. With these three new plugins they now have a well-rounded effects package named the FX Collection – Audio Effects You'll Actually Use.

To install you will need a PC or Mac with 4 GB RAM, 2 GHz CPU, 1 GB free hard disk space and an OpenGL 2.0 compatible GPU. The PC requires Windows 7+ and the Mac requires OS X 10.10+. Arturia software products are protected by the Arturia Software Center and they include a generous five software activations for each product. There is an offline activation method you may use as well.

To start out with, I will take a look at the Rev PLATE-140. It was modeled after the classic EMT 140 which was the world's first plate reverb. The original was very heavy, not to mention expensive. Arturia's version is a circuit-accurate recreation of that classic reverb along with its tube preamp, but without the weight and wallet-flattening price. Arturia didn't stop there however, as they've also emulated two other plate reverbs to bring you a total of three types to choose from. They don't mention exactly which models the other two types were modeled from, but each of these three types definitely has distinct sonic characteristics.

In the UI, the upper-left provides a menu where you can import/export presets, change the display size, view a Welcome tutorial and open the user manual. To the right of that menu is the preset browser where you can sort presets by type or designer, and mark presets as favorites. You're also able to skim through presets (without opening the browser) by clicking the left/right arrows next to the preset name at the top of the display. The main controls are visible below the browser. From left to right there is a power switch, tube preamp control (adding a tube-like saturation to the audio), model setting (switches between the three types of plate reverb), decay setting, dry/wet mix, and a stereo width setting which only appears if you've loaded the plugin on a stereo track.

At the top-right is a double-arrow icon you can click that reveals some hidden controls at the bottom of the main display. This area of the plugin is called the Advanced Mode Control Panel. From there you can make adjustments to the pre-delay setting (adds delay to the sound before the audio hits the reverb), adjust a 12dB per octave high pass filter (range of 20 Hz to 700 Hz), add modulation (a chorus that is pre or post reverb) and contour the sound in the EQ section with its low and high shelf controls. Along the bottom of all three reverb plugins are some extra settings such as a panic button to shut down the reverb, undo, redo, parameter history and a CPU meter.

Next we will look at the Rev SPRING-636 which was modeled after the Grampian 636 spring reverb. Spring reverbs work in a similar way as the plate type, but they use a coiled-metal spring instead of a flat sheet. A transducer would be on one end of the spring and there would be a pickup on the other end of the spring coil giving it a vibrant sound all its own.

Signal Decay Demo Mac Os Download

Again we have a menu at the top-left that works in the same fashion as the plate reverb. From there you can import/export presets, change display size, view the Welcome tutorial and the user manual. The preset browser works the same way also. Below the browser on the left side of the main display is a power switch to enable/disable the plugin, and to the right of that switch is the input/preamp section. The Input control will give the audio an amount of overdrive/distortion, depending on how much you dial in. Two input models are included: MIC and AUX. If you don't want any of that type of overdrive added, you could just leave it turned fully counter-clockwise. The Overload light indicates the amount of signal overload that occurs.

The next three controls are fairly simple: Decay (reverb decay time), Width (stereo width, not on the original unit) and Blend (mix between the preamp signal and reverb signal). Above the Blend control is another setting that is used to adjust the output level, and a button next to it will link it to the Input control. If the link is enabled, every time you change the input setting the output control moves in the other direction. This can help when cranking up the input so the output isn't being overloaded with the signal.

At the top-right is a double-arrow icon that reveals some additional hidden controls. Once that hidden panel is revealed, you can adjust the amount of pre-delay and enable a low, high or band pass filter (with 6, 12 or 24/dB per octave slopes). The filter can be switched on or off, and filter cutoff and resonance controls are here as well. The next set of controls deal with the Tank settings. The tank in the original reverb units was an inner cabinet that had spring reverb components (springs and the transducers). What's great about this spring reverb plugin is that besides the original Gibbs tank, Arturia has added additional models including the Synthi-A spring and Space Echo reverb tank. The last section to cover for this reverb is the EQ. It includes a low and high pass filter as well as a fully parametric single-band EQ in-between the low and high pass. One additional item I wanted to mention here is that in the lower toolbar there is a Kick Volume setting which is like an Easter-egg feature as it's undocumented (in the version I reviewed at least). Spoiler ahead: If you click on the bottom-right of the display it will trigger a 'kick' to the unit as if you had accidentally (or maybe on purpose!) kicked/bumped a hardware spring reverb.

Last but not least is the most complex of the three reverbs: Rev INTENSITY. It is a digital algorithm reverb that was inspired by the classic digital reverbs made popular during the eighties. It has the most options out of the three plugins and isn't modeled after any one piece of gear like the others were. The menus at the top of the plugin function in the same manner as the previous two I've covered here. On the left side of the main display you're able to bypass the plugin with the power button. Next to that are pre-delay and distance controls. In Rev INTENSITY the pre-delay has one extra feature: it can be synced to the host. The Distance control adjusts the distance between the sound source and the listener. The Size control in the center adjusts the size of the space itself. The Damping setting uses a low pass filter on each reflection within the reverberation and will reduce the higher frequencies on each pass. The last two settings here are the Width control (adjusts the stereo width of the reverb) and a dry/wet control.

In the lower-left is the modulation section which uses a delay/chorus with depth and rate settings. This can help give the reverb extra richness and depth. Over to the right is the Decay setting that will adjust the reverb tail to your liking, while the Freeze function will basically keep the reverb effect going forever, making time stand still in a way. The Feedback does exactly that, as it feeds some of the signal back into the input. Just be careful because it's a bit like when a microphone starts to feedback. So I recommend using it at lower levels until you get used to how it works. The last two settings here are for the Soft Clip and Reverb level. Soft Clip will add a bit of saturation to the signal while increasing the gain. The Reverb level adjusts the wet signal.

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Just like with the other two reverb plugins, to get to the Advanced panel you must click the double-arrows in the upper right. Once the advanced section is revealed you will see many other settings. First off, there are pre and post filters with cutoff and resonance controls (the pre is before reverb and post is after the reverb). These two filters are from Arturia's own Pigments synth plugin, and they include Low Pass, High Pass and Band Pass types with a choice of 6dB, 12dB, and 24dB per octave slopes.

Next up is an Envelope Follower that can use the internal audio input or an external side-chain as a source. It allows you to set modulation for certain parameters using the audio signal's volume shape. There are thirteen different target parameters to choose from for each of the four modulation amount controls. A simple compressor is also included that uses a constant ratio and a threshold control that ranges from -60 dB up to 0 dB. The Attack and Release settings can adjust how quickly the envelope follower starts to react to the input signal and the amount of time it takes before it stops. The last two controls here are for Gain (offsets the level of detected signal by the envelope follower) and Delay (delays the start time of envelope follower).

The last area of this plugin I will cover is the Function Generator. It is basically an MSEG (multi-segment envelope generator) with a rate control and up to 64 points you can add to define the shape. There are some presets included and you can save your own as well. It can target up to four destinations within the plugin just like the envelope follower. You could use it as a basic LFO with a sine or square wave shape, or define a more complex pattern (similar to sample and hold, etc.). One feature I'd like to have would be to save all of the settings you have within the generator as the preset, versus just the MSEG shape you defined.

Rev INTENSITY is a lot of fun to use and experiment with, but I leaned towards the Rev PLATE the most as I have always been a fan of plate reverbs. On the other hand, all of these plugins sound great to me and the price for each is not bad at all. Also, Arturia is known to have sales now and then. Furthermore, you may be eligible for discounts if you are already an Arturia customer. Each of the reverbs is available for $99 USD. You can get more information, audio examples and demo versions from the Arturia website here: https://www.arturia.com/products/software-effects/reverbs-bundle/overview

Signal Decay Demo Mac Os X

They are also part of the full Arturia FX Collection that retails for $399 USD:

MAC OS. Double click on the DMG archive to extract it. Right click on the PKG installer and click open. Follow the instructions to install the plug-in(s) WINDOWS. Extract the ZIP archive. Double click on the setup fle (.exe). Follow the instructions to install the plug-in(s) AudioThing – Outer Space Page 3. Sweetwater's Mac/PC Optimization Guides. Today's computers are fast enough and powerful enough to handle most audio projects. However, there are a number of steps and settings you can make to ensure that your computer is optimally configured for audio production.

• Digital Storage Oscilloscope
• Mixed Signal Oscilloscope
• Spectrum Analyzer
• Logic Analyzer
• Data Recorder
• Networking

DSO takes full advantage of BitScope's powerful mixed mode waveform and logic data capture capability and in BitScope models that support it, DSO adds arbitrary waveform generation (AWG) networked access for remote measurement and data acquisition as well as offline captured waveform replay and multiscope control, all accessed from the one PC software application.

DSO is PC software but it works like a test instrument not a word processor.

Control panels surround its large display in a single window providing instant access to all the parameters. There's no need to move overlapping windows or dig through nested menus to find the function you need.

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Most parameters may be changed by simply clicking a button or the parameter display itself. Sometimes you can select from multiple values or choose from several options. Right-clicking some buttons and parameters pops up context menus for fast selection.

For example the display frame rate on the REPEAT button. DSO dynamically redraws its display using high resolution images of captured waveforms, logic and spectra directly from BitScope's data buffers, and all in real-time. Whether it's deep one-shot mixed mode captures or dynamic analog waveform displays, DSO presents the available data immediately. And through the use of advanced DSP and data compression techniques it is possible to achieve display frame rates beyond 50 Hz.

DSO makes maximum use of BitScope's high speed deep buffer capture engine.

Powerful signal processing and waveform rendering mean you see the full picture, no jaggies, aliases or missing details.

Every frame is captured at full speed you can literally see any high frequency noise, artefacts or other distortion that may be present, just like the best high bandwidth analog scopes.

And because every frame is up to full capture buffer, you can zoom in to see the finest details, often with no interpolation or data recapture. Naturally DSO supports high resolution mixed signal and logic data displays as well.

In these modes you can set the sample rate explicitly and capture a full buffer allowing you to scroll and view deep captures in every detail.

DSO includes a built-in spectrum analyzer to see full spectra at the click of a button!

There are no complicated settings to adjust. The spectrum analyzer adapts automatically to the current DSO timebase, scale, volts/div and screen size to give you the optimum resolution power and/or phase spectrum for the waveforms currently on-screen.

You can even see both waveforms and spectra on screen simultaneously, updating live from analog inputs or scroll through a one-shot capture to view the spectrum at different points in the buffer. The analyzer uses a variable size windowed DFT processing engine so it works just fine for periodic and one-shot waveforms.

Depending your settings and your BitScope you can view spectra from DC to beyond 100 MHz! If you need to make precise time, frequency, magnitude or phase measurements, adjustable cursors work with the spectrum analyzer just they do with all the other DSO virtual instruments.

DSO allows you to easily switch from one display mode to another

For example you can flip between a mixed signal scope and full screen logic analyzer.

Or perhaps you would like to see an analog X-Y plot or a time/frequency display.

The latter is an example of stand-alone transfer function analysis using BitScope.

Or maybe you need to see an analog view of a digital logic transition or explain to some students what the transform of a dirac impulse from the real world (ie, non-zero width) looks like.

All this and more is easy with BitScope and the virtual instruments in DSO.

BitScopes connect via USB, Ethernet (or RS-232 in older models). DSO handles them all*. When powered on DSO auto-detects which model is connected and configures itself accordingly. You can even control multiple connected BitScopes from the same PC using the DSO. Simply tell the DSO which BitScopes you want to control and it will find them, whether connected via USB right beside you or on the other side of the world via the Internet. And DSO uses a self correcting communications protocol to verify operation so you'll never miss a beat.

Stand-alone scopes are fine but running a scope on your PC has some significant advantages. For one thing, screen captures are a natural (they're all over this website for example). You can also run multiple scopes from the one PC or plug captured data into third party software applications and the built-in networking means you can use a lab scope from home or make a virtual visit to a client's test site from your office.

You can resize the application from 1024x768 on small screens right up to 1920x1200 and beyond on a high resolution widescreen monitor. The DSO automatically adjusts its display rendering to take advantage of the screen real estate; with a big screen you get to see more of the signal. Swole mates mac os.

With persistence, averaging, decay the possibilities for data visualization are huge.

Many people use Windows, but many students and professionals in science, research, engineering, and education also use Mac OS X or Linux as their workstation of choice. DSO is cross platform meaning it's compatible with them all. The features and version release dates are always the same.

Virtual Instrument Software

DSO is actually a set of integrated Virtual Instruments with a common graphical user interface that does not directly rely on the graphics provided by Windows or Linux. Instead each instrument has its own data handlers to pass waveforms from BitScope to its own signal processing for display via a shared internal waveform and data display engine.

In this way DSO can exploit BitScope's Virtual Machine Architecture to accelerate acquisition, optimize communications and process much of the data in BitScope itself and the end result is an integrated application that shows you exactly what you need to see from within your own familiar Windows or Linux PC environment. Updates with new instruments when available are just a download away. Check the release notes for information about updates. Blaster point mac os.

BitScope DSO runs on x86 systems running Windows or Mac OSX and Linux on x86 and ARM systems such as Raspberry Pi. Almost all new PCs and notebooks available these days are more than adequate to run DSO. Installation is not required (eg, you can run it from removable media) but installation is recommended. BitScope DSO is compatible with BS325, BS120, BS44x, BS30x, BS31x, BS100, BS50 and BS10. Any original BitScope (kits and BS22x) that has been upgraded is also compatible.

Three new reverbs from Arturia extend their growing collection of top notch effects.

by Rob Mitchell, May 2020

Arturia is the developer of a wide range of music software products, MIDI controllers, audio interfaces and hardware synthesizers. Perhaps they're best known for their collection of vintage synthesizer emulations which are included in the V Collection 7. SoundBytes Magazine has covered many of their products over the years. Just some of those reviews include Jupiter-8 V, Matrix-12 V, CZ V and their delay, filter, compressor and preamp emulations. For this issue of the magazine we will take a look at the new collection of products they call the Three Reverbs You'll Actually Use. It consists of three plugins, two of which are emulations of hardware reverbs while the third is an original Arturia reverb plugin. With these three new plugins they now have a well-rounded effects package named the FX Collection – Audio Effects You'll Actually Use.

To install you will need a PC or Mac with 4 GB RAM, 2 GHz CPU, 1 GB free hard disk space and an OpenGL 2.0 compatible GPU. The PC requires Windows 7+ and the Mac requires OS X 10.10+. Arturia software products are protected by the Arturia Software Center and they include a generous five software activations for each product. There is an offline activation method you may use as well.

To start out with, I will take a look at the Rev PLATE-140. It was modeled after the classic EMT 140 which was the world's first plate reverb. The original was very heavy, not to mention expensive. Arturia's version is a circuit-accurate recreation of that classic reverb along with its tube preamp, but without the weight and wallet-flattening price. Arturia didn't stop there however, as they've also emulated two other plate reverbs to bring you a total of three types to choose from. They don't mention exactly which models the other two types were modeled from, but each of these three types definitely has distinct sonic characteristics.

In the UI, the upper-left provides a menu where you can import/export presets, change the display size, view a Welcome tutorial and open the user manual. To the right of that menu is the preset browser where you can sort presets by type or designer, and mark presets as favorites. You're also able to skim through presets (without opening the browser) by clicking the left/right arrows next to the preset name at the top of the display. The main controls are visible below the browser. From left to right there is a power switch, tube preamp control (adding a tube-like saturation to the audio), model setting (switches between the three types of plate reverb), decay setting, dry/wet mix, and a stereo width setting which only appears if you've loaded the plugin on a stereo track.

At the top-right is a double-arrow icon you can click that reveals some hidden controls at the bottom of the main display. This area of the plugin is called the Advanced Mode Control Panel. From there you can make adjustments to the pre-delay setting (adds delay to the sound before the audio hits the reverb), adjust a 12dB per octave high pass filter (range of 20 Hz to 700 Hz), add modulation (a chorus that is pre or post reverb) and contour the sound in the EQ section with its low and high shelf controls. Along the bottom of all three reverb plugins are some extra settings such as a panic button to shut down the reverb, undo, redo, parameter history and a CPU meter.

Next we will look at the Rev SPRING-636 which was modeled after the Grampian 636 spring reverb. Spring reverbs work in a similar way as the plate type, but they use a coiled-metal spring instead of a flat sheet. A transducer would be on one end of the spring and there would be a pickup on the other end of the spring coil giving it a vibrant sound all its own.

Signal Decay Demo Mac Os Download

Again we have a menu at the top-left that works in the same fashion as the plate reverb. From there you can import/export presets, change display size, view the Welcome tutorial and the user manual. The preset browser works the same way also. Below the browser on the left side of the main display is a power switch to enable/disable the plugin, and to the right of that switch is the input/preamp section. The Input control will give the audio an amount of overdrive/distortion, depending on how much you dial in. Two input models are included: MIC and AUX. If you don't want any of that type of overdrive added, you could just leave it turned fully counter-clockwise. The Overload light indicates the amount of signal overload that occurs.

The next three controls are fairly simple: Decay (reverb decay time), Width (stereo width, not on the original unit) and Blend (mix between the preamp signal and reverb signal). Above the Blend control is another setting that is used to adjust the output level, and a button next to it will link it to the Input control. If the link is enabled, every time you change the input setting the output control moves in the other direction. This can help when cranking up the input so the output isn't being overloaded with the signal.

At the top-right is a double-arrow icon that reveals some additional hidden controls. Once that hidden panel is revealed, you can adjust the amount of pre-delay and enable a low, high or band pass filter (with 6, 12 or 24/dB per octave slopes). The filter can be switched on or off, and filter cutoff and resonance controls are here as well. The next set of controls deal with the Tank settings. The tank in the original reverb units was an inner cabinet that had spring reverb components (springs and the transducers). What's great about this spring reverb plugin is that besides the original Gibbs tank, Arturia has added additional models including the Synthi-A spring and Space Echo reverb tank. The last section to cover for this reverb is the EQ. It includes a low and high pass filter as well as a fully parametric single-band EQ in-between the low and high pass. One additional item I wanted to mention here is that in the lower toolbar there is a Kick Volume setting which is like an Easter-egg feature as it's undocumented (in the version I reviewed at least). Spoiler ahead: If you click on the bottom-right of the display it will trigger a 'kick' to the unit as if you had accidentally (or maybe on purpose!) kicked/bumped a hardware spring reverb.

Last but not least is the most complex of the three reverbs: Rev INTENSITY. It is a digital algorithm reverb that was inspired by the classic digital reverbs made popular during the eighties. It has the most options out of the three plugins and isn't modeled after any one piece of gear like the others were. The menus at the top of the plugin function in the same manner as the previous two I've covered here. On the left side of the main display you're able to bypass the plugin with the power button. Next to that are pre-delay and distance controls. In Rev INTENSITY the pre-delay has one extra feature: it can be synced to the host. The Distance control adjusts the distance between the sound source and the listener. The Size control in the center adjusts the size of the space itself. The Damping setting uses a low pass filter on each reflection within the reverberation and will reduce the higher frequencies on each pass. The last two settings here are the Width control (adjusts the stereo width of the reverb) and a dry/wet control.

In the lower-left is the modulation section which uses a delay/chorus with depth and rate settings. This can help give the reverb extra richness and depth. Over to the right is the Decay setting that will adjust the reverb tail to your liking, while the Freeze function will basically keep the reverb effect going forever, making time stand still in a way. The Feedback does exactly that, as it feeds some of the signal back into the input. Just be careful because it's a bit like when a microphone starts to feedback. So I recommend using it at lower levels until you get used to how it works. The last two settings here are for the Soft Clip and Reverb level. Soft Clip will add a bit of saturation to the signal while increasing the gain. The Reverb level adjusts the wet signal.

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Just like with the other two reverb plugins, to get to the Advanced panel you must click the double-arrows in the upper right. Once the advanced section is revealed you will see many other settings. First off, there are pre and post filters with cutoff and resonance controls (the pre is before reverb and post is after the reverb). These two filters are from Arturia's own Pigments synth plugin, and they include Low Pass, High Pass and Band Pass types with a choice of 6dB, 12dB, and 24dB per octave slopes.

Next up is an Envelope Follower that can use the internal audio input or an external side-chain as a source. It allows you to set modulation for certain parameters using the audio signal's volume shape. There are thirteen different target parameters to choose from for each of the four modulation amount controls. A simple compressor is also included that uses a constant ratio and a threshold control that ranges from -60 dB up to 0 dB. The Attack and Release settings can adjust how quickly the envelope follower starts to react to the input signal and the amount of time it takes before it stops. The last two controls here are for Gain (offsets the level of detected signal by the envelope follower) and Delay (delays the start time of envelope follower).

The last area of this plugin I will cover is the Function Generator. It is basically an MSEG (multi-segment envelope generator) with a rate control and up to 64 points you can add to define the shape. There are some presets included and you can save your own as well. It can target up to four destinations within the plugin just like the envelope follower. You could use it as a basic LFO with a sine or square wave shape, or define a more complex pattern (similar to sample and hold, etc.). One feature I'd like to have would be to save all of the settings you have within the generator as the preset, versus just the MSEG shape you defined.

Rev INTENSITY is a lot of fun to use and experiment with, but I leaned towards the Rev PLATE the most as I have always been a fan of plate reverbs. On the other hand, all of these plugins sound great to me and the price for each is not bad at all. Also, Arturia is known to have sales now and then. Furthermore, you may be eligible for discounts if you are already an Arturia customer. Each of the reverbs is available for $99 USD. You can get more information, audio examples and demo versions from the Arturia website here: https://www.arturia.com/products/software-effects/reverbs-bundle/overview

Signal Decay Demo Mac Os X

They are also part of the full Arturia FX Collection that retails for $399 USD: