• The VSS3 Stereo Source Reverb is ported 1:1 from System 6000
• Available as a plug-in for ProTools and PowerCore
• The VSS3 algorithm is based on the yearlong experience of the TC scientists, and today it stands as a result of many 1000 hours of fine-tuning and trimming, making it extremely precise to work with
• Source specific early reflections for character and localization
• Maximum spaciousness, yet full mono compatibility
• Real-room realism and therefore chaotic response
• Extremely wide editing range and “story telling capability”
• Preset coverage from natural over pleasing to extraordinary
• Piano-correctness. Great results with or without modulation
• Extremely wide dynamic range
• Focus Fields for easy preset tweaking and navigation
• Inbuilt preset converter - seamlessly import VSS3 presets from System 6000
• More than 200 fully flexible presets available for music, film and post
• Saves processing power on the System 6000 for other tasks
• The plug-in parameters are divided into 4 different main pages: the Main page, the Early Reflections page, the Reverb Tail page and the Modulation page
• The PowerCore version works with VST, AU or RTAS* compatible audio applications. PC or Mac
• The TDM version supports ProTools HD and ProTools HD Accell

This plug-in requires PowerCore hardware.
Click here for PowerCore system requirements.

Top

The Main page is where the most important parameters of the VSS3 are grouped. First of all, it's here you have the possibility to load and save your presets. The up/down arrows in the preset field let you easily listen thru your presets to find the one you wish. With the VSS3 you get a wide range of presets, from natural over pleasing to extraordinary, and these included presets represent many years of experience.

With the VSS3 we have included a preset converter that will allow you to import presets from System 6000 VSS3 algorithms. The preset converter is extremely easy to use, and gives you access to a huge library of presets.

Beside preset navigation, we have assembled some of the most important parameters on the main page.

Decay, pre delay and hi decay times, as well as Hi cut are amongst the parameters, as well as the different types of levels available: from here, you have the ability to control the level of the early reflections, the reverb tail as well as the level of the dry signal.

Top

Early Reflections define the feel of the room, and the localization of sources within it, where the Reverb is the blurred sustain part (or diffused field) of the response. Early Reflection patterns of the VSS3 are based on a large number of reflections (40-100), and many are simulations of existing rooms, albeit in controllable versions.

With the source specific early reflections in the VSS3 you can add character to your sound material, and this also gives the ability to define and control the localization of a signal.

The extensive Early Reflection patterns of VSS3 give you the freedom to process any type of source in an optimum way: If the source is close mic'ed or synthetic, they can add credibility, dimension, localization and grid to it. If the source is already picked up by a distant microphone, best results may be obtained by turning down the Early Reflections.

On the Early Reflections page, you can find all the important parameters for the Early Reflections generated by the VSS3.

The most important parameter is the Early Type parameter. There are a number of different types and sizes covering a lot of different acoustic spaces that you need for music and post production.

It is here you decide the fundamental character of the early reflection. The type is for instance airport, car, street, bathroom or conference room.


The other parameters on the Early Reflections pages let you adjust the flavour of your early reflection type, e.g. the size, the color, the position or the left/right balance of the reflections.

Top

The VSS3 offers intense modulation facilities and to control these, the Modulation page gives you an extensive series of parameters. All these parameters are condensed into 2 easy to use modulation sections, where you control different assets of the modulation.

The first modulation section is called Reverb Modulation.

The reverb modulation type is a set of very complex LFO patterns that modulates various parts of the reverb, and these patterns are developed based on the many years of experience and knowledge of the TC crew. Reverb Modulation types are for instance Smooth, Perc, Wow, Vintage or Wild.


The space modulation part imitates the air movement of a room, and this is one of the things that make the VSS3 very good at simulating the complex patterns of natural rooms. You can adjust the modulation type's rate, width and depth.

The modulation part of the VSS3 has an in-built set of randomization methods. Every room in this world sound different from one second to the next, and with the "random" feature this is perfectly simulated.

Top

On the Reverb page you control the "blurred" sound that represents the diffused field of the response.

On this page you find all the important parameters of the Reverb, including setup of the crossover frequencies and decay time multipliers for the individual frequency bands.

The main parameter on the reverb page is the Reverb Type, and you have a number of options, for instance Smooth, Natural, Alive or Fast.

Depending on the Reverb tail type, you can adjust a number of parameters - for instance the width, the balance or the diffusion of the tail. You also have access to Lo/hi cut parameters as well as various filter controls.


VSS3 lets you control the decay time of the reverb tail at a very detailed level. In the decay/crossover section you can set decay time offsets in no less than four bands. The decay time you set here are offsets that correspond to the overall decay time setting.

Top

The Focus Fields feature let you place any parameter from any parameter page in one of six fields in the bottom of the U/I.


This feature has these main purposes:

1. Access parameters from any page, no matter which page you're currently at. Let's go for an example: if you are working with the modulation page, you can have access to parameters placed on the main page, for instance decay time or hi cut.
2. Place the most important parameters in the focus fields and save it with your preset. Whenever you open your preset, you will always have the most important parameters in the focus fields, and any factory preset will also have the most important parameters placed in the focus fields.
3. You get a better overview of parameters without switching page all the time.

The Focus Field group is stored with the session as well as with presets.

Top