Studer Vista, Operating Instructions Manual

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Vista Digital Mixing System
3-44 Parameters
SW V3.3 Date printed: 05.08.03
ent acoustic scenes (sound spaces), multiple reverb channels can also be
used.
To summarize this operating style: It uses one or more VSP channels and
typically one Reverb channel for each acoustic space that is required.
Reverb Style In this setup, the VSP system is set up to work more as a conventional
outboard reverb device, except that it resides within the console DSP. No
patching is required. In this case, one VSP channel is associated with one
Reverb channel to create each single reverb device desired. Up to eight re-
verb devices can be created within a console (this is depending on the
amount of DSP available, and on that the correct VSP and Reverb channels
are set up within the configuration). Each of these VSP/Reverb devices are
fed from an AUX bus, and so work in a conventional manner, in that the
reverb is derived by simply turning up the appropriate AUX send control
from any input channel in the system.
Both setups may be used within a single console system. It is simply a
matter of operating style. There are no technical limitations that prevent
any combination of usages.
3.6.3 VSP Channel Controls
The following are the controls within the panner section of a VSP Chan-
nel. Only Controls that directly affect the VSP parameters are described
here. Please also refer to
chapter 3.4.3 .
Panner Mode (Pmod) Sets the panner into a mode that sets the overall panning algorithm used to
position the mono source in the desired direction. In all but the Amplitude
mode, a stereo microphone simulation is employed which will yield a more
diverse sound field.
•
Amplitude – (AMPL) – A standard panning algorithm that only
changes the amplitude of the signal to the various buses in relation to
the position of the panner. This operation is well known and is used in
all conventional panners.
• AB – An idealized version of the common setup using omni-directional
microphones. With this mode the sound stage is perceived as large, and
is useful for solo instruments, audience, and choir. The positioning of
the source is only established by changes in time delays.
• ORTF – An idealized version of the common cardioid microphone
setup according to angles and distances used for stereo miking. A more
accurate sound field is created through the manipulation of both ampli-
tude and time differences.
• Sphere (SPHE) – This mode emulates a spherical microphone as
shown in the picture (below). The spherical microphone has two cap-
sules mounted into a sphere having a diameter of about 18 cm. The
sphere incorporates different effects on the two channels, including am-
plitude, delay and shadowing of the high frequencies on the channel
which is not facing the source. This mode is only useful in two-channel
mode, and presents a very accurate sound field.
• HRTF – Mainly a cross-talk canceler using simplified HRTFs (Head
Related Transfer Functions). If the listener is positioned exactly in the
sweet spot of a ±30° speaker setup, an extreme panning position like
full left should effect the signal such that it will only be heard with the
left ear and cancelled out on the right. It may also be used for enlarging
the perceived width of a recording.