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Use Cases

Each starting point below begins from a fresh instance, with every stage MIX at zero.

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Vocals

Densification at short lengths thickens a voice and adds no audible room. Start with sheen near its default of 35 %, length under a second and Golden or Natural as the shape, and raise the Densification MIX until the voice thickens. dry top on the TONE tab hands the top end of the voice over to the densified field.

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Drums and Percussion

A short length thickens each hit and leaves no audible tail, and punch above zero keeps the attack forward. Longer settings with REFLECTIONS and SPACE raised give a drum bus a room that can be shaped stage by stage, with near level and near end setting how close the first walls are.

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Mixing and Mastering

At a low Densification MIX the densifier thickens a bus and adds no audible room. Keep the Space MIX low or at 0 and use the resonance smoother ([+] TAMER, amount around 50 %) to hold down resonant peaks, with mode on Center+Sides when the resonances sit in the centre of the image.

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Immersive Work

On a 5.1, 7.1.4 or 9.1.6 bus, the Dry object can sit at a point (spread 0 %) while Density, Reflections and Space each occupy their own region of the rig. Width and spread decide how far each one wraps around the listener; rotation turns the whole arrangement, and on a rig with height speakers, elevation and tilt (z) lift the tail overhead. Before anything else, choose the bed from the LAYOUT menu: in 5.1, 7.1, Atmos 7.1.4 and Atmos 9.1.6, output 4 is already a Sub. On any other rig ANTIVERB makes the output the bus names as LFE a Sub on its own, and when the bus names none, set the subwoofer output’s role to Sub under OUTPUT SPEAKERS.

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Sound Design

High counts, Chaos or Branching placement, long lengths and wide objects turn a short sound into a field that lasts as long as length (up to 8 s). direct at 0 removes the source from the Densification stage, leaving only the densified field, and a long hold with curve on Soft keeps the field at full density before it falls away.