VSS3 Stereo Source Reverb
From the legendary System 6000 for PowerCore

The VSS3 Stereo Source Reverb for ProTools and PowerCore is a genuine and original reverb directly ported from the System 6000. The VSS3 algorithm was researched and fine-tuned by TC engineers for over a year, resulting in an exceptionally precise tool. Similar to the chaotic response of a natural room, the VSS3 reacts differently to identical signals.

Used for effects purposes, extensive modulation possibilities are offered for the creation of detuned or chorused sustain effects for e.g. vocal, guitar, piano or horns.

Inherent in the VSS3 algorithm there are almost 800 parameters, equaling an astronomical amount of combinations, and this impressive set of parameters has been condensed to a very substantial and pertinent user interface.

With the VSS3 you get a package of presets that have in many cases become industry standards. The sound of VSS3 can be heard on thousands of albums and films.

The PowerCore version of the plug-in can be used with any VST, AU or RTAS* compatible audio system.

The TDM version can be used with Pro Tools HD and HD Accel.

Main Features:
-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.


VSS Introduction

The VSS Mission
The objective of the VSS research was to make the best sounding and most realistic Reverb ever heard. To achieve this TC Electronic could have taken one of two different approaches:

-Study existing technology and come up with something that would be slightly better than the previous Reverbs
  from TC Electronic and competitors.
-Redefine and pursue the ideal Reverb.

TC Electronic chose the latter.

From very early on in the process it was clear that a lot of basic research had to be performed in order to obtain the necessary level of in depth knowledge of the nature of Reverb.

The actual, audible qualities of VSS
VSS has the rare ability to keep instruments and voices clearly defined in the musical landscape no matter how complex the signal is. This benefit is the result of the VSS' ability to avoid all unwanted modulation and keeping the signal in correct pitch.

The technique behind VSS
Though it has been obvious all along that a redefinition of reverb was not a matter of simply getting better converters and faster processors, the vision has only been made possible through the latest in digital processing technology.

Previous reverbs have a tendency to work and sound mechanical. The realism and natural sound of VSS is achieved by going very deep into detail. The digital domain is a simulation or a model of the "analog" real life. The success of digital simulations demands an extremely high level of detail and a huge amount of information. But the number of information alone is not enough. It has to be the right information. And this is basically where VSS differs from all previous reverbs.

The VSS is unique because it is a combination between 100% correct technology and a manually fine-tuning performed by the best "golden ears" in the world.

The Vision and the need for a new approach to Reverb
The objective of the VSS project was to create a Reverb technology that would mark the frontier of what is technologically and humanly possible to accomplish, and which would satisfy even the most extensive demands for true sonic realism.

The demands to VSS
The technological demands on the research project were straightforward, yet very challenging.

-The core had to be very flexible
-The core had to cover natural sounds
-The diffused field had to be capable of unprecedented smoothness
-Generation of real-room realism as well as imaginable, funky spaces
-The ability to generate a reverb as perfectly mono summing as an optimum recording of an acoustic room.
-Spaciousness (the ability to create a wide and natural sonic image and avoiding the massive "wall of reverb")
-Piano-correctness (the ability to keep the signal in 100% correct pitch, even when engaging extensive
  effects processing)
-Modulation free (the ability to keep the signal 100% free of sound deteriorating modulation).
-Add On Modulation (the option of adding modulation to the reverb tail in order to add life and "feel" to the sound)
-Accurate Early Reflections (the ability to simulate all relevant parameters (i.e. air-movements) of the ambiance
  of a real room - natural as well as super-natural)
-The technology had to be applicable to the real world.
-These are Reverbs that let you tell a story.

Source Reverb - the explanation, and the answer.
When elements of a mix are picked up individually, a chance exists to define exactly how each of them is to be heard. There is no reason to apply one Generic reverb to several single sources, unless they are supposed to present an identical position to the final listener, or if you have run out of aux sends.

When it is desirable to distinguish between single elements sharing more or less the same panning position, source based reverb should be a first choice. Subtle discrimination between reflection patterns of individual sources can make all the difference in the world when it comes to obtaining depth, expression and natural imaging.

Source Reverbs are able to generate multiple, complex early reflection patterns. If a microphone already has picked up some reflections, the reflections should be excluded from the simulated pattern by using the appropriate reflection decrease control in order to get the best result. Instruments or sources can alternatively share the same reverb input in groups, e.g. stage left, center and right, for a more complex and desirable result than a Generic, one-send reverb approach. For a graphical artist, the equivalent tool to Source reverb would be a 3D rendering system or Virtual Studio.

Source Reverb Pros
1st choice when input sources can be separated
1st choice with spot microphones
More depth and distinction obtainable in a mix
Adds character and definition to a source
For any format, but especially 5.1 and 6.1, localization and the size of the listening area may be improved compared to Generic Reverb types

Source Reverb Cons
Require more sends or direct feeds than Generic Reverb types
No advantage on composite signals
Not ideal for moving sources


System Requirements

Windows
PowerCore software 1.9.2 or higher
Windows XP
PIII 1GHz or faster
256MB RAM
VST compatible host application
System must meet requirements of the host application

Mac OS X
PowerCore software 1.9.2 or higher
MacOS X (10.2 or higher)
G4/G5 (800MHz or faster)
256MB RAM
VST or Audio Units compatible host application
System must meet requirements of the host application