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Full Range Mode
In Full Range mode, the attack and sustain intensity of a signal can be raised or reduced fast and efficiently with just two controllers.

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The nvelope is a powerful audio processor capable of making subtle or drastic changes to a sound by providing control over its attack and sustain characteristics. This is extremely useful for reshaping all sorts of individual tones, and is a wonderful tool in any mixing situation as well.

The nvelope operates independently of the specific level of a signal, and (unlike with compressors) you do not have to spend a lot of time trying to balance a set of complex controls to quickly get the results you seek.

Full Range mode is especially fast and easy to use, as all you need to do is dial in more or less attack and sustain by turning their specific controllers to the left (reduction) or to the right (increase).

Similar to a compressor and unlike in Dual Band mode, you can use the SC A controller to reduce the influence of low frequencies on the attack processing (higher frequency = less bass influence).

Dual Band Mode
This mode functions basically the same as Full Range, but it provides more tweakability by assigning the attack and sustain controls to individual frequency selectors.

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The unique Dual Band mode of the nvelope takes you to the next level of impulse shaping. The attack and sustain parameters become much more flexible by selectively processing a certain frequency range chosen by the user.

The Freq A controller now sets the start frequency for attack processing, while the Freq S controller determines the end frequency for sustain processing. The function of the Attack and Sustain controllers remains the same as in Full Range mode.

So it is pretty likely you'll find yourself using the Dual Band mode in any situation where you would like to adapt the way the nvelope processes more individually and on material which tends to produce unwanted artifacts in Full Range mode.

Generally speaking, Dual Band mode gives you more distinct processing options and the possibility to even cope with complex material like a summing bus.

EQ Mode
The nvelope can mutate into a mastering-grade two band equalizer with a high/low shelf characteristic and vastly overlapping frequency bands.

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A very nice side effect of the topology of the nvelope is that it can also be used as a shelving filter. This is achieved by temporarily deactivating its dynamics sections while keeping the filter stages active.

Freq H now sets the frequency of the high shelf filter, while Gain H determines the amount of cut (turn left) or boost (turn right) in this band. Similarly, Freq L sets the frequency of the low shelf filter and Gain L determines the amount of cut or boost.

Auto Gain
Should distortion or huge jumps in level occur as an unwanted side effect of the attack processing, the Auto Gain function will compensate and get the level right.

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Boosting the attack in Full Range mode can sometimes result in some pretty huge level peaks. These can make your processed signal sound uneven, and in the worst case they will create the nasty kind of distortion you don't want.

The nvelope solves this very conveniently with the Auto Gain function. This simple button makes the impulse shaper automatically compensate stronger level peaks, so this can be the solution for many level-related issues caused by the attack processing.

By the way, Auto Gain is typically not needed in Dual Band or in EQ operation and is therefore not offered in these modes.

True Emulation
The specific sound character of the hardware has been recreated in a complex process to match the analog model as close as possible.

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Transferring a complex analog hardware into digital code is not exactly trivial, especially if the model is a completely discrete design like the nvelope.

The first important task in a project like this is to fragment the electronic circuitry into separate functional blocks. These blocks are translated into software step by step after which they are united to become a functioning prototype.

This first result is measured very accurately and then compared to the hardware, which leads to an extensive and very detailed matching process. The work on the graphical user interface (photography, retouching, rendering) takes place at the same time.

The final stage is the calibration of the behavior of all the controllers in order to give the software the ‘feel’ of the real thing. Finally, the finished code is ported to different plugin interfaces (AAX/RTAS/VST/AU...) and packed into installation routines.

Oversampling
In order to achieve the best results also on lower sample rates, the nvelope plugin uses an increased internal resolution.

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The nvelope plugin benefits from higher sample rates in two ways: In the first place, it can react to changes in the source signal faster, which is of great importance for the impulse shaping process.

Secondly, it reduces aliasing artifacts and therefore brings the high frequency filter curves of the nvelope even closer to its analog counterpart.

The nvelope plugin employs the oversampling technique in order to enjoy these advantages even if lower sample rates are used. This means that the basic sample rate of a project is multiplied by a certain factor inside the plugin without the need to set the complete project to a higher frequency.

This method consumes a certain amount of CPU power, but the acoustic result speaks for itself. The nvelope plugin uses oversampling according to the following rules:

• Project sample rate lower than 50 kHz: 4x oversampling
• Project sample rate lower than 100 kHz: 2x oversampling
• Project sample rate higher than 100 kHz: no oversampling

Mousewheel Support
Setting parameters with the mouse can be pretty annoying – for this reason the controllers of the nvelope can be moved with the mouse wheel easily.

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You do not necessarily have to click and drag the controllers of the nvelope. Instead, try making your settings with the alternative mousewheel control without clicking on the specific controller first. The following shortcuts provide some further comfort:

Fine mode
VST: Shift + mouse wheel
AU: Shift + mouse wheel
RTAS/TDM: Ctrl/Cmd + mouse wheel

Standard setting
VST: Ctrl/Cmd + mouse click
AU: Alt + mouse click
RTAS/TDM: Alt + mouse click

Linear/Circular
VST: Alt