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Nuendo Surround Edition 1.5

The new version of Nuendo's Surround Edition will be available in Q2 of 2001 for PC as well as for MacIntosh computers. The update includes features like new reverb algorithms for the Octoverb, improved algorithms and the option to blend continuously between RMS and Peak characteristics for the Octocomp and new graphical interfaces. It is now also possible to automate each Plug-In of the Surround Edition.

The Surround Edition is a set of six software based plug-ins tools designed exclusively for Nuendo, Steinberg's premiere digital audio workstation. Offering up to eight channels of compression, equalization, loudness maximization, reverberation, and LFE management, the Surround Edition is the perfect choice for anyone with multi-channel mixing needs.

OctoComp: 8-channel single band compressor
OctoQ: High quality 7-band surround equalizer
OctoMaxx: Loudness Maximizer for surround
OctoVerb: Flexible 8-channel room simulation
LFE Splitter/Combiner

{2168.jpgr{bOctoComp: 8-channel single band compressor
If you have ever attempted to process a six-channel surround mix with three stereo compressors you'll most likely recall the experience with not very pleasing results as this is a very difficult, if not almost impossible job to do with conventional two channel devices. At first glance a quick way to remedy this problem would be to create a special link mode that includes all channels, but take a closer look and you will clearly see things are not quite that simple. For example, say the sound of an explosion is output exclusively through the LFE channel. The compressor would of course kick in, but its influence would also extend to the soft bowing of the string section on the same soundtrack, which would then result in a very undesirable dip in the overall level of the strings. In this case, deactivating the link for the LFE channel enables strong compression without influencing other tracks, an effect comparable to the performance of a multi-band compressor. Enter the OctoComp. Not only a great-sounding compressor, but with its unique Link and side-chain features as well as the ability to continuously blend between RMS and Peak characteristics it becomes an extremely versatile dynamics-shaping tool as well.

{2169.jpgr{bOctoQ: High quality 7-band surround equalizer
When mixing in surround having access to a surround EQ is a must have. Imagine how much time it will save you for example being able to boost all of the high frequencies of all channels simultaneously, or simple adjusting the response of the rear vs. the front channels independently. The OctoQ will just do that and even more with its two limiting filters, two shelving filters, and three fully parametric bands each of up to eight channels, and the special Link function lets you set several bands simultaneously if so desired. With this much control you might think you'd be dealing with a daunting array of parameters, but this is not the case as the OctoQ has a simple logically laid out interface that belies its power. Next to ease of use, quality is one of the high points of the OctoQ. Digital models, typically implemented as IIR filters, inherently suffer from a design-related disadvantage: They distort the bell curves of high frequencies helping perpetuate the myth that digital equalizers always sound harsh and metallic. The remedy for this undesirable response of a digital EQ is to simply correct the curves, though it does take a bit of sonic sleight of hand to achieve truly top-notch results. We achieve this by doubling the sampling frequency internally allowing the problem to be circumvented altogether. There is also a special Max Quality function that gives the processed audio a final, high-gloss polish enabling the OctoQ to easily hold its own in head-to-head comparisons with high-end equalizers. Try it yourself, compare the OctoQ to other digital EQ's, plug-ins, or even analog hardware devices and you'll immediately hear the difference.

{2170.jpgr{bOctoMaxx: Loudness Maximizer for surround
Loudness Maximization has in recent years become 'standard practice' for many mastering applications. For those unfamiliar this process boosts the perceived volume of a signal, called loudness, even after the signal has been already adjusted to its peak level. OctoMaxx is the surround version of Steinberg's popular VST based Loudness Maximizer, and happily the surround version is just as easy to handle as the stereo plug-in. As OctoMaxx is a combination of compression and limiting, using the Link function with the various channels can be very desirable. But as we mentioned earlier with the OctoComp, be sure to deactivate the link if you just want to maximize the loudness up front, or if the LFE channel's interaction with the music is causing a problem. OctoMaxx is a truly indispensable tool for punchy productions and aiding in the ongoing battle for the creating the loudest possible soundtrack.

{2171.jpgr{bOctoVerb: Flexible 8-channel room simulation
When it comes to creating realistic reverberation for surround simply using two separate stereo reverbs for the front and back rarely delivers satisfactory results. Realistic reverb emulation requires algorithms that can address all channels simultaneously, and being able to adapt the reflection patterns within the actual algorithms also plays a pivotal role. Also keep in mind that most common stereo reverb devices are very loosely modeled on reflections as they actually occur in nature where true natural reverb comes from all sides. The human ear can only perceive a two channel simulation as sounding "natural" if the reflection patterns are adapted to compensate for this lack of a three dimensional space, which of course the designers of stereo reverb devices or plug-ins have taken this consideration into account. But when using these two channel adapted algorithms for surround applications this type of compensation is rendered virtually meaningless as the reverb is now emanating from all sides. This is where OctoVerb with its two different reverb algorithms excels as it has been designed and adapted expressly for creating a realistic reverberated image for up to eight channel surround mixing.

Many years ago the term "True Stereo" was coined to describe realistic stereo, and as times have changed perhaps its now time to update that slogan to "True Surround", which we feel the OctoVerb truly delivers.

{2172.jpgr{bLFE Splitter/Combiner
In a surround mix the LFE channel is exclusively responsible for low-frequency effects, but despite what many users have come to believe, the main channels still continue to operate in full-range mode. In other words, the lower frequencies are not extracted and mixed solely to the LFE channel. If you own a sound system with smaller loudspeakers that require a subwoofer, and of course have it connected, the LFE channel will be put to good use. But during production it would be a grave error to anticipate these conditions since the parameters of what sound system it will be played back on later are unknown at this point. Which brings us to the golden rule for any surround production, which is to go for full-range in the main channels and reserve the subwoofer channel exclusively for separate effects.

OK, now that we've defined the rule, let's break it. One thing most consumer surround systems have in common is their diverse array of configurations which opens the door to a myriad of potential frequency related mistakes. For example, some surround systems use tiny main loudspeakers, which are not supported by the subwoofer since it is connected solely to the LFE channel. If you were to then mix some of the bottom end signals of the main channels in with the LFE channel, the soundtrack would immediately sound far superior on this type of system. However if you were to go overboard you might end up putting the crossover out of a job, and you certainly don't want to do that. To complicate matters, the inverse problem may also crop up. Parts of the LFE signal should be introduced into the main channels as it rarely consists entirely of just low-end frequencies, and if the signal contains higher frequencies then these as well must be split up between the main channels.

Clearly a clean separation using the LFE Splitter is necessary so that you don't end up with frequency cancellations when the subwoofer and main channels reproduce the same signal simultaneously. Its also a good idea to mix some of the bass signals to the main channels as you don't want the bottom end piped exclusively over the subwoofer simply because you can bet that somewhere down the line, someone will most likely have failed to connect it. When this happens, all the spine-chilling thunder you mixed in to underscore the dramatic on-screen action is history as the viewer is left with dead silence, which we are certain is not at all what you had in mind.
To prevent this from happening to your production the Nuendo Surround Edition features the LFE Combiner, the antithesis of the LFE Splitter.

With these unique LFE management tools, you will have the power to extract or introduce bottom end frequencies for any application. Once you've worked with these powerful Plug-ins you'll wonder how you ever managed without them.

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