The most powerful PowerCore yet, PowerCore 6000 makes the same award-winning System 6000 algorithms used by high-end mastering studios and Oscar-winning sound designers available for your DAW. PowerCore 6000 includes classic reverb, vintage emulations and source-based reverb, and you have full access to MD3 multiband dynamics for no-compromise mastering, precision brickwall limiting and unsurpassed stereo to 5.1 conversion.
Software
Running with any Audio Unit or VST based DAW application, you’ll only have to use your creativity to get the sound that high-end mastering studios and Oscar-winning sound designers have been able to achieve from the System 6000.
The 7 pristine algorithms included with PowerCore 6000 are ported 1:1 from System 6000. Due to the fact that PowerCore 6000 and System 6000 share DSP/Ram hardware design, the algorithms are not emulations: they are the real thing.
The PowerCore 6000 plug-ins share the intuitive user interface known from System 6000, including the "Focus Fields" that allow you to place any parameter from any parameter page in one of six quick access fields in the bottom of the user interface.
PowerCore 6000 is preset compatible with System 6000 - seamless import presets made with System 6000, and use them immediately in your Logic Pro project.
Compatibility
PowerCore 6000 is compatible with Apple's Audio Units (AU) format.
This means that PowerCore 6000 plug-ins will run in all AU compatible host applications such as Logic, Soundtrack Pro, GarageBand and a number of film- & post applications.
PowerCore 6000 is compatible with all VST host applications, such as Nuendo and a number of film- & post applications and more.
PowerCore 6000 ships with PowerCore 3.2 software, compatible with Vista 32.
Hardware
Designed for serious studios and professional applications, the PowerCore 6000 is sure to deliver, and it will meet even the most demanding tasks and requirements. Even complex mixes are possible with just a laptop and the PowerCore 6000.
PowerCore 6000 uses the same DSPs you will find in System 6000. The unique combination of a floating-point Power PC with 8 Freescale DSPs ensures tight integration into the native world, while at the same time maintaining all of the advantages that DSPs offer, for pristine signal processing. This ensures the same high quality of processing as you’re used to from the hardware world.
PowerCore 6000 features an SRAM based memory design that supports high performance reverbs like the VSS3 Stereo Source Reverb, DVR2 Digital Vintage Reverb and NonLin2 Stereo Effects Reverb.
VSS3 STEREO SOURCE REVERB
From the System 6000
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.
VSS3 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 experience of scientists, and is a result of many 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 Main Page
The Main page is where the most important parameters of the VSS3 are grouped. 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, the most important parameters have been assembled 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.
The Early Reflections page
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 that you decide the fundamental character of the early reflection. For instance, the type could be 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.
The Modulation Page
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. 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.
The Reverb Page
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.
Focus Fields
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.
The main purposes of these features are:
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 having to switch pages all the time.
The Focus Field group is stored with the session as well as with presets.
MD3 STEREO MASTERING
Mastering Tools from System 6000
The MD3 Stereo Mastering package brings processing only known from the System 6000 to ProTools and PowerCore. This package presents professional production and mastering possibilities to the realm of DAWs, and integrates smoothly with serious music and film editing applications.
The MD3 Stereo Mastering package for ProTools and PowerCore includes two pristine algorithms, MD3 Multiband Dynamics and BrickWall Limiter.
MD3 Multiband Dynamics
Dual Mono and Stereo dynamics processing in three frequency bands. By offering a true side-chain split structure, MD3 is also capable of demanding mono material compression/limiting on two separate channels, not found in other multi-band dynamics processors. MD3 can be regarded as a high-end mastering tool. M and S components of a stereo signal can be processed separately and provide even more control making full use of the Spectral Stereo Enhancer.
Brickwall Limiter
If you are concerned about audio quality at the end listener, or have a desire to conserve talent, the BrickWall Limiter is the solution. While it cannot prevent destruction of dynamic range from happening at earlier stages in the production process, it does get rid of the signals known to generate distortion in consumer CD players, radio processors and data reduction codecs.
The PowerCore version of the plug-in can be used with any VST, AU or RTAS* compatible audio system. RTAS (ProTools) is supported via the VST to RTAS adapter from FXpansion (optional).
MD3 Stereo Mastering Main Features
Multiband Dynamics
- Four band Parametric EQ
- Three band Expander and Compressor
- Limiter and Soft Clip functions
- Use on Dual Mono sources or Stereo signals
- MS mode for advanced image controlling
- 48 bit, fixed point, hi-res processing
Brickwall Limiter
- Low distortion, precision Limiter
- Detects if signal is contaminated with 0dBFS+ peaks
- Prevents downstream distortion from being generated
- 3 times up-sampled processing
- 48 bit, fixed point, hi-res processing
NONLIN2 STEREO EFFECTS REVERB
From the System 6000
The NonLin2 Stereo Effects Reverb for ProTools and PowerCore is another great reverb directly ported from the System 6000.
NonLin2 is an effect reverb, which differs from the traditional natural sounding reverbs. NonLin2 is capable of generating compact vocal ambience, percussive and dramatic drum sounds, reverse reverbs and completely new “twisted” effects. Featuring an amplitude envelope that is capable of rendering an untriggered gated reverb and a 'twist' parameter, which can radically alter the sound, this plug-in delivers a serious advantage over other gated reverbs.
The easy-to-tailor and compact room feel that this reverb adds to any lead vocal will set your mixes apart. As a producer or studio engineer, you'll be delighted by the creative power that this master tool delivers and it won't be long before you wonder how you coped without it.
The PowerCore version of the plug-in can be used with any VST, AU or RTAS* compatible audio system. RTAS (ProTools) is supported via the VST to RTAS adapter from FXpansion (optional).
NonLin2 Main Features
- A true System 6000 reverb for your DAW - It is available as a plug-in for ProTools and PowerCore. This is a 1:1 port of the algorithm. No emulation, no sampling - it's the real thing.
- VST, AU or RTAS*PC or Mac. You can use this reverb with your favorite DAW: PC or Mac, Logic, Cubase, DP, Live, etc.
- The TDM version supports ProTools HD and ProTools HD Accel.
- NonLin2 is a very nice complement to the VSS3, and together they make a great reverb solution that covers a lot of tasks.
- Envelope - other gated reverbs need to be triggered, for instance by setting a threshold level. Due to the envelope feature, NonLin2 doesn't have to be triggered and therefore you can work with any type of sound material. NonLin2 is perfect for drums, but any kind of audio material, e.g. vocals, will benefit from the NonLin2.
- Reverb with a twist - as the name indicates, the twist feature will add a funky twist effect to the sound.
- Saves processing power on the System 6000 for other tasks.
- Unique - because you need PowerCore hardware or a ProTools system to run the plug-in, this is something that is not available for everyone. It is a tool that you can use, making your music something special.
- Focus Fields for easy preset tweaking and navigation.
* RTAS (ProTools) is supported via the VST to RTAS adapter from FXpansion (optional). Read more about PowerCore Compatibility
** Note that the host application may put some limitations to the performance of the plug-in when compared to System 6000
Main Page
On this page you have the possibility of setting the most used parameters; for instance, your input and output level, as well as the wet/dry levels. The envelope is used to set the amplification curve of the reverb. Since it does not need to be triggered, it allows you to work with audio material of non-percussive character, like vocals.
If we take the Pre Delay parameter for instance, it determines the offsets of the output and the timing of the envelope generator. It is typically used to obtain depth and definition in a mix, or to align the effect with a musical beat. Delays within a 10-40ms range can often be used with great effect on percussive material. Dense vocal slap effects are typically created with a 70-150ms pre delay.
The Attack parameter can be adjusted to set the actual attack time, also called “build up”, of the reverb envelope. With a span of 0-500ms, there's lot's of room for playing around, but the range of the Attack is somewhat dependant on how you set the Hold and the Release parameters.
Tweaking the Hold parameter sets the hold time of the reverb envelope, or said in other words, it determines how long time the reverb envelope should be fully open. What you can do with this is for instance to create a typical eighties style response. This parameter is dependant on how you set the Attack and Release parameter.
Adjusting the Release parameter will effect the hold time or decay of the reverb envelope. If you set the release somewhere in the range 0-100ms you will get a nice eighties style response. If you're more into gated and unnatural effects, go for shorter release settings. This parameter is dependant on the settings of the attack and hold.
Reverb Type
Here you can choose between 20 different styles of reverbs - each of them having its own nature. The basic Reverb Style is subjected to the Envelope and Twist modifications. The style parameter should be seen as an algorithm selection inside the algorithm.
Different styles have different features with regards to density, diffusion type, spectral response, stereo image etc. Choose a style that fits your audio material, but be aware that differences will be more pronounced with low diffuse settings and twist ratios.
Focus Fields
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 serves 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 having to switch pages all the time.
The Focus Field group is stored with the session as well as with presets.
DVR2 DIGITAL VINTAGE REVERB
The DVR2 Digital Vintage Reverb is another great professional reverb ported from the System 6000. It is available as a plug-in for ProTools and PowerCore.
Much effort has been put into preserving the qualities of the original processor, including sweet modulation, spectral balance, spaciousness and saturation. But not only is DVR2 a precise EMT250 emulation, it also emulates its predecessor in the way parameters interact for different settings. DVR2 comes with customizable presets, focus fields for tweaking and navigation, and a built-in preset converter allowing seamless import of DVR2 presets from System 6000.
With the DVR2 for ProTools and PowerCore, it is now possible to save processing power on the System 6000 for other tasks - the choice is yours.
The vintage reset function produces a sound very close to a well preserved EMT250, which is still a favorite on lead vocal in studios fortunate enough to own one. The high resolution parameters allow for lower noise, extension of bandwidth, and control of the amount of chorusing.
The PowerCore version of the plug-in can be used with any VST, AU or RTAS* compatible audio system.
DVR2 Main Features
- A true System 6000 reverb for your DAW - It's the real thing.
- Available as a plug-in for ProTools and PowerCore.
- An extremely precise EMT250 emulation. With the Vintage Reset function you can even emulate its artifacts
- Parameter interaction and editing range are emulated from the EMT250
- Choose between high resolution parameters with lowered noise floor or a vintage reset function for the EMT250 sound.
- Focus Fields for easy preset tweaking and navigation
- Built-in preset converter - seamlessly import DVR2 presets from System 6000.
- Save processing power on the System 6000 for other tasks.
UNWRAP STEREO TO 5.1 CONVERSION
Available for PowerCore and TDM
This full version mastering and film up-converter algorithm offers a high level of sophistication with unprecedented control and resolution. An abundance of parameters facilitates the conversion of stereo and LtRt sources to 5.1 while remaining faithful to the original mix’s width, timbre, spaciousness and other significant factors.
With its wealth of controls, UnWrap™ is a benchmark in film and music production. Whether you lack time to do a conventional 5.1 mix or a multitrack source simply doesn’t exist – UnWrap™ facilitates smooth and fast stereo to 5.1 up-conversion.
Once processed, the 5.1 output can be subsequently down-mixed to stereo again with no sonic penalties. Take a preset tour to spark your creativity, or start a new up-mix from scratch. Processing is double precision, capable of running at any sample rate between 44.1 and 96 kHz.
UnWrap™ includes customized up-conversion presets for film production and music mastering and comes with settings to complement it all.
Add to the default presets the ability to time-align all channels at sample precision, widen or narrow the image, control the amount of Center and LFE channel to be used, change filters and envelopes, and you begin to get an idea of the power of this plug-in.
UnWrap™ Main Features
- Transparent up-conversion from stereo to 5.1, and from LtRt to 5.1
- World’s primary high-resolution up-conversion algorithm
- Precision aligned outputs for subsequent down-mix
- EQ and contour styles for center and surround channels optimization and control
- Additive, perfect down-mix and PONR presets included
Details
From kitchen to cinema
Today's music has to be purposed for a number of different reproduction situations, from a mono kitchen radio over a home stereo to a full scale cinema surround system. Because no true down-mix or up-conversion standard exists, control of this important process can only be achieved by handling it at the mastering or mix studio; thus producing one type of master for every major target reproduction situation.
Re-mixing for multi channel
This method should always be chosen to fully exploit the true potential of 5.1 and beyond. It requires, however, that the original multi track audio source is still at disposal and the budget is available for performing an expensive and time-consuming full 5.1 re-mix. In a best case scenario you will end up with different mixes each presenting the full potential of the original audio source tailored to support individual reproduction formats.
Up-conversion
Up-conversion is conversion of a traditional stereo signal by means of a highly advanced algorithm in order to feed 5.1 reproduction equipment. Many reasons can exist for seeking a high quality up-conversion alternative to a true 5.1 re-mix:
- A multi track audio source never existed
- Original source tracks are not in a suitable condition
- Budget considerations prevent you from re-mixing
- A stereo soundtrack needs replaying using all the cinema channels
- Finally, there could be a more controversial reason with classic tracks: Maybe you don't really want Strawberry Fields or The Boxer submitted to new balancing and Y2K effects.
UnWrap
For situations where up-conversion is required, UnWrap™ is a great alternative to a full 5.1 re-mix. The world’s primary high-resolution up-conversion algorithm is now available as a production quality processor in a plug-in.
UnWrap™ preserves the qualities and resolution of the original mix extremely well. UnWrap™ is a double precision algorithm capable of running at any sample rate between 44.1 and 96 kHz. Applications typically include mastering, film production and broadcast conditioning.
Because up-conversion is not a one-size-fits-all process, UnWrap™ offers a palette of options to be used for different types of program material, thereby offering as much creative freedom as possible to the engineer performing this important task.
Basic conversion options
Some conversion options are of a profound nature. Therefore, it is imperative to distinguish between e.g. if the process is thought of as purely additive, if the ability to collapse to stereo again is important, or if an LFE channel should be derived or not.
Using the additive approach, UnWrap™ preserves the Left and Right channels bit transparent all the way down to the LSB of a 24 bit input. If, eventually, the original stereo-mix is required, it can be obtained using only these two channels.
If subsequent down-mix capability using all channels is essential, this too is an option. Either way, the LFE channel can be fully exploited, omitted, or anything in between, as can the center channel.
Program related conversion options
It has been TC's goal to provide presets that can make any kind of program material present itself better and more engaging in 5.1 than in stereo. From old to recent pop and rock music, from unique classical recordings to highly ambient modern tracks, from ultra dry to wet source material, UnWrap™ comes with settings to complement it all.
Add to the default presets the capability to time-align all channels at sample precision, widen or narrow the image, control the ratio of center and LFE channels to be used, change filters and envelopes, and you begin to get an idea of the power behind this plug-in.
UnWrap Main Page
The main page is where you control the most frequently used parameters. The input trims are provided to carefully match the L/R balance. The L/R Processing parameter determines how much the L and R front channels are processed and the LFE Processing parameter is used to configure how much LFE signal is derived from the input.
UnWrap Center Page
The center page gives you total control of the center signal. To better separate and optimize the center output, you have a full feature EQ at hand, and the contour control lets you choose between a number of different contour styles for different flavours of music. UnWrap's 48 bit EQ can work wonders on most signals and can be used to selectively suppress spectral ranges where the L/R width would otherwise get compromised, or to boost selected frequencies to strengthen the center anchor function.
UnWrap Surround Page
Surround Page
The surround page is where you control the two surround channels. As with the center page, you have a number of countour styles at hand, and the full feature EQ as well. On top of that, you have a number of decorrelation styles, each of them fitting different program material.
UnWrap Delay Page
At the delay page you can set a delay individually for each of the channels. You'd typically use delays:
- On the surround channels to ensure that sounds appear to originate from the front speakers
- On the center channel to compensate for its position
- On the LFE channel to compensate for speaker position or to advance/delay it for artistic reasons
- When the front channels are not assigned the same delay, please note that a subsequent stereo down-mix may not work well
UnWrap D-Mix Page
The down-mix feature allows you to check your UnWrapped 5.1 mix for stereo compatibility.
Four fields are used to tell how much audio to extract from Left/Right, Center, LFE and sLeft/sRight surround channels.
UnWrap Output Page
The output page gives you the ability to listen to each of the 5.1 channels individually, by using the solo or mute buttons. You also have total control of individual channel level settings as well as the overall output level
Bit Transparency
When 0% L/R processing is selected, input trims and output levels are at 0dB, the inputs are bit transparently cloned to the L front and R front outputs.
TAP FACTORY – MULTI-TAP DELAY
Transcend the Average Delay – A Tweaker’s Paradise
Let your creativity run wild with this delay/reverb hybrid. Easily design custom out-of-this-world effects that cross the borders between Ambience, Early Reflections, Reverb and Delay.
Based on System 6000 Reflector algorithm, Tap Factory makes customization of your sound a breeze and brings radical signatures to your productions. Tap Factory’s extremely intuitive and clean user interface allows you to make individual parameter settings for each of its 24 taps within seconds.
Tap Factory includes a bonus LE version that allows you to run multiple instances per DSP on current PowerCore systems and supports first generation PowerCore hardware.
Features
- Multi-tap delay with 24 taps capable of everything from Ambience, Early Reflections, Reverb and Delay effects.
- Based on System 6000 Reflector algorithm
- 9 seconds of delay time.
- Tap tempo/rhythm tap.
- Shade section: 3-band filter with diffusion.
- Intuitive user interface for single tap/group tap editing.
- Includes Tap Factory LE, supporting multi instances per DSP on 2nd generation hardware as well as 1st generation hardware.
Please note: Tap Factory requires PowerCore 3 or higher.
No questions available - feel free to add yours below!
Have a question? Our tech specialists are here to help you and
usually respond on the same business day!
Want answers now? Try our on-line chat, or
call 1-800-510-4385. (Our average hold time is less than 15 seconds!)
Already own this product?
Get tech support.
|
PC
|
Mac
|
|
- Windows XP or higher
- Desktop or laptop
- Pentium 4, 1.4 Ghz or better
- 512 MB RAM or more
6000, X8, FireWire and Compact:
- 400 MBit FireWire connector (IEEE 1394)
PCI mkII and Unplugged:
- A free PCI/PCI-X slot
PowerCore Express:
- A free PCI Express slot
Audio Units or VST compatible application such as Logic, Nuendo, Cubase, Ableton Live or Sonar
|
- Mac OS X 10.4 or higher
- Desktop or laptop
- G4, G5, or Intel (733mHz or better).
- 512 MB RAM or more
6000, X8, FireWire and Compact:
- 400 MBit FireWire connector (IEEE 1394)
PCI mkII and Unplugged:
- A free PCI/PCI-X slot
PowerCore Express:
- A free PCI Express slot
Audio Units or VST compatible application such as Logic, Nuendo, Cubase, Ableton Live or Sonar
|
Audio Plug-ins
