Eos User’s Guide Audio Damage, Inc. Release 1.
The information in this document is subject to change without notice and does not represent a commitment on the part of Audio Damage, Inc. The software described by this document is subject to a License Agreement and may not be copied to other media except as specifically allowed in the License Agreement. No part of this publication may be copied, reproduced or otherwise transmitted or recorded, for any purpose, without prior written permission by Audio Damage, Inc. © 2009, 2011 Audio Damage, Inc.
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Introduction Thanks for purchasing Eos, the algorithmic reverb plug-in from Audio Damage. Eos consists of three highquality custom-designed reverb algorithms, made with the modern production environment in mind. Two different plate simulators and our own Superhall algorithm give you a broad palette of reverb, and the easyto-understand interface makes adjusting the algorithms to suit your track incredibly simple. Want a traditional dark plate reverb? Eos can do that.
Installation Important Note for OS X Users: If you used a previous version of Eos and are updating to version 1.1, please manually delete the VST and/or AudioUnit versions of Eos from your hard drive before installing version 1.1. The VST version is usually located at /Library/Audio/Plug-Ins/VST/Audio Damage/Eos.vst and the AudioUnit version is located at /Library/Audio/Plug-Ins/Components/Eos.component. Deleting the files prior to installation ensures a clean installation of the new version.
Operation Eos can be used in a mono-in/stereo-out or stereo-in/stereo-out context. Of the three reverb types in Eos, one, Plate One, always sums its inputs to mono and is tailored for mono-in usage. The other two types have stereo inputs. The reverberators create a stereo output signal even if the input signal is mono. The dry signal is always passed through without summing. Eos provides a number of presets to help you find settings appropriate for different instruments and contexts.
allowing you to set the pre-delay time more precisely. Eos’s pre-delay has a range of zero to 300msec, or 0.3 seconds. Size The SIZE control varies the apparent size of the simulated acoustic space or the simulated metal plate. As will be evident when you listen to it, rotating the SIZE knob changes the “bigness” of the reverberated sound. The range of this control is 1-60 meters, although this is a somewhat arbitrary scale. You can adjust the size in either of two ways.
to emulate small to large rooms as well as plates. Plate One lacks the metallic sound of most plate reverb and plate emulations, except at small Size settings. Plate One produces a sound with the enveloping impact of a plate reverb while remaining fairly colorless. Plate Two is similar to Plate One, but with stereo inputs instead of mono and a higher echo density. Use Plate Two on stereo mixes that may have cancellations when summed to mono, or when you desire the richest plate sound.
Modulation Rate and Depth The modulation RATE and DEPTH knobs apply time-varying changes to the delay lines within the reverberators. Modulation in a reverb serves two purposes. First, when applied in small amounts, it makes the reverb effect seem more realistic and less artificial since its timbre changes subtly over time. The modulation also breaks up any strong resonances in the reverberation network, reducing any tendency for it to sound metallic.
Reverb Frequency Multipliers The display near the center of Eos’s window that looks like a frequency-response graph controls several things. The shaded portions reflect filters that change the frequency response of the reverberators and hence the tonal quality of the reverb tail. The LOW MULT (short for multiplier) setting determines whether low frequencies are boosted or attenuated. This control has a range of 0.5 to two.
2000Hz; the HI CUT control has a range of 200-20000Hz. Change these settings either by clicking and dragging horizontally in the left and right areas of the frequency-response graph, or by clicking and dragging vertically on the LOW CUT and HI CUT values. It’s worth noting that reverb rarely needs to have a full 20kHz bandwidth. High frequencies tend to be absorbed by the surroundings (walls, carpets, curtains, etc.
frozen, somewhat like a looped sample. When you turn the infinite button off, the usual decay time is restored and the reverb fades out normally. Obviously the infinite control is suited to creating unusual effects and is not likely to be something you use every day (unless, of course, creating unusual effects is your daily work). Eos will process any signals arriving at its inputs when infinite is turned on. This means that the infinite mode works best with very sparse source material.
· To cancel MIDI Learn mode without assigning a controller, hold down the SHIFT and CTRL keys (SHIFT and CMD keys on a Mac) and click in any empty area in Eos’s window (i.e., don’t click on another control). The white box will disappear. · To remove a MIDI controller assignment from a control, SHIFT and CTRL keys, (SHIFT and CMD keys on a Mac) click on the control once so that the white box appears, then click again on the same control.
