HyperSpace

What it is
HyperSpace is to be though of as a way to control the panning of sound using
various techniques and to let the user work with his/her favourite DAW to control the
spatialization of sound over any multi channel system ranging from 4 to 48 channels.
Since MIDI control data is being used to store the panning information it is easy to
edit and fine tune the movement and positioning of sound using standard MIDI
manipulation of data. It also becomes an integrated part of the project file and can
later be redistributed through another system with a completely different
configuration of loudspeakers and distribution technologies (for instance VBAP or
Ambisonic). In this way controlling panning of sound in large scale systems (up to 48
loudspeakers) becomes almost as straight forward as panning in stereo.
HyperSpace is built with Max/MSP the multimedia programming environment from
Cycling74 (www.cycling74.com) and the actual ambisonic encoding/decoding along
with some interface objects are part of the ICST objects for Max/MSP. The VBAP
distribution used in this version of HyperSpace uses Ville Pullkis VBAP object for
Max/MSP.

How it works
HyperSpace sits between the DAW and the outside world translating the MIDI data
representing the position of a channel of sound (also coming from the DAW) or
places the sound in space directly using various control functions. It also enables
use of some panning controls not normally found in DAWs. It is also very easy to use
it as a real time controller device for live diffusion of a piece of music as well as live
input from instruments. Data from HyperSpace can either be used "as is" in real time
or recorded into the DAW as MIDI data.

Basic operation
1. The menus and file I/O system

The File menu

New Project, will ask for a folder where the project should be stored and a name for
the project.
!!! IMPORTANT !!! As of now there can be no spaces in the project name! If you use
names with spaces the project will NOT be properly saved. Instead of spaces you
can use some delimiter character like the underscore. For instance
"My_new_project" will work but "My new project" will not.
Open Project, will open an already saved project. After locating the project folder
you should open the file without any extension (like.xml .midi etc) with the name of
your project. This file will normally be at the top of the folder.
Save Project, will save the current project in the same folder that was defined when
making a new project or the most recently opened project.
Close, will close the front-most window.

The Edit menu

There are two items in the file menu (grayed out items have no function):
Preferences, will open the preferences window. As of now preferences are used
only for wireless communication settings.
MIDI assign, will open MIDI assignment window (see assigning and using MIDI
controllers).

The Audio menu

Settings, will open the audio settings window where you can choose audio driver,
sample rate, buffer size etc.
Channel test, gives access to a routine for playing noise directly to the output
channels. This is good for checking that all channels are working but also for finding
the actual connection between a channel and the loudspeaker it is connected to.
Also usable for tuning of the sound system.
Panning test, will send a pulsating noise to the first input channel. This is good for
making sure that the panning is working correctly and that output channels are
properly set up.

The Devices menu

This menu gives you access to the different devices that you will need in order to
work. It includes the Panning Display, The Input Mixer, The Output Matrix, the
Speaker Configuration and the Preset Manager. These devices will be explained
later.
The Functions menu

This menu gives you access to the four trajectory generators along with the VST-
plugin settings for reverberation (if you have access to a software reverb in the VST
format).

Before you continue

to read this manual you should start by creating a new project. From the File menu
select "New Project", create a folder somewhere on your hard drive and when
prompted, give it a name like "My_test_project" or whatever. !!! REMEMBER !!! NO
spaces in the project name. OK?

2. The Jack server

In order to send sound from your DAW to HyperSpace you will need to use the Jack
server application. It is a free audio server capable of distributing audio streams in
any fashion among applications on your computer. It has no limits (other than CPU)
of the number of channels it can handle. You can download it from jackaudio.org.
After installing Jack and starting the server you should choose Jack as your audio
device both in your DAW and in HyperSpace. Remember however, always to start
HyperSpace before the DAW. The reason will be explained later.

Fig. 1 Creating connections in Jack

With the connection manager in Jack you can connect virtual channels between your
DAW and (for instance) Max/MSP simple by choosing a send port and then double
clicking a receive port. Start by creating as many output channels that you plan to
use in your DAW (you may have to create several multi channel buses) and then go
to Jack and connect them to the corresponding receiving ports. You can save your
connections in a Jack studio setup for later recall.

3. Set up sequence

The Jack server must be running first, otherwise your DAW and HyperSpace will not
be able to use it as an audio device. It is important that you then start the
HyperSpace application BEFORE you start your DAW. This is because the virtual
MIDI ports from HyperSpace that are used for data transfers won´t be visible to the
DAW unless the software is running much in the same way that Jack will not be
visible unless it it running first. Finally start the DAW and create a new project. In the
audio device setting choose Jack as your audio output device (you should do the
same in HyperSpace audio settings). Create the number of output buses that you
plan to use (remember there is a maximum of 32 input channels to HyperSpace).
Finally create the connections between the DAW and HyperSpace using the Jack
routing manager. In the following example we will use just one channel of audio so
pull in some sound a minute or so long.

4. Synchronization

Although it is not strictly necessary to run HyperSpace in sync mode it has some
advantages. First of all you can remote control your DAW (in a rudimentary way)
using MIDI machine control (MMC). This way you will not have to switch between the
apps all the time. Secondly you will see a readout of the time code in HyperSpace so
you know where you are in the music or soundscape. To set up synchronization
make sure your DAW is configured like in the example below.
Fig. 2 Sync setup in Cubase 4

Now switch to HyperSpace and press the play button (or press <space>). Your DAW
should start and you should see the time code displayed in HyperSpace. If not,
check your settings in the DAW. If you have access to a control surface for your
DAW then obviously that would be your choice of how to control the transport of the
DAW. However, it can still be helpful to see the time code in HyperSpace since it is
there you will be doing most of your work.

5. Setting up tracks
Now it´s time to prepare the tracks that will hold the panning data. Create a new
MIDI track below the audio track you just created. Make sure to set the MIDI in port
to "from MaxMSP 1" and the MIDI out port to "to MaxMSP 1". You are now ready to
record panning data from HyperSpace.
Fig 3 Setting up MIDI track for recording

When using more than 16 audio channels in the mix, MIDI track 17-32 will have to be
set to "from MaxMSP 2" and "to MaxMSP 2" 1-16 respectively.

6. Setting up the loudspeaker layout

Before you can start to spatialize your sound you will have to define how many
loudspeakers you have and how they are positioned. From the Devices menu select
"Speaker Config".
The speaker setup window will appear and from the preset drop down menu at the
top left you can choose from a number of predefined speaker configurations. If they
are not what you are looking for you can create your own layout which will be
explained later (see "creating loudspeaker presets").
Fig 4 Defining the loudspeaker setup

The numbering of the loudspeakers should correspond to your output channel

numbering. If it does not correspond you can patch channel routing using the Output
Matrix from the Devices menu (see below "The Output Matrix").

7. Creating control points and testing your audio setup

In the Devices menu choose "Panning Display" (if it is not already open) and click in
the display window anywhere inside the circle. Press "1" on the computer keyboard.
You will see a text saying "set no 1". Click anywhere in the circle to create a control
point. You can rename control points to give them more meaningful names by
choosing a control point (by clicking it) and then pressing the "rename" button. A
dialog box will prompt you to give the point a new name (instead of 1 2 3 etc).
However, the display tends to be cluttered rather fast if you use names and a lot of
input channels. In this case it is better to stick to simple numbers.
fig 5 Creating a control point

Before you can hear anything you will need to start the audio processing in
HyperSpace by clicking the "Audio ON/Off" toggle in the upper left corner in the main
window so it lights up.
Before proceeding you might want to make sure that your loudspeaker setup
matches the way your output channels are connected. To do so select "Panning test"
from the Audio menu. Now move the control point 1 by clicking and dragging it
around. Make sure the sound moves between the speakers as it should. If not you
will have to patch channels in the Output Matrix. There is another test routine that
will help you identify output channels -> speakers relations (see "the Output Matrix").
When finished turn of the Sound Test option (by selecting it in the Audio menu again)
and you are now ready to start working.

Press the play button or press <space>) or if you have no MMC connection, start
your DAW. You should hear the sound from the soloed audio and you can try to
move it around. If you don´t hear the sound (and if you don´t see a signal in the Input
Mixer (see below)) then you need to check your Jack connections.

Next click the play button again (or press <space>) to stop playback. Rewind the
DAW by pressing the << button below the play button (or press <left arrow> and the
<left arrow> again to stop the rewind).

To create more control points simply repeat the process using the number keys 1-9
for the first 9 channels. Then holding down <shift> while typing on the keypad you
can add any number of control points you need. If you work with a laptop and don´t
have access to a keypad you can use the "Create Point" number square in the main
window. Click and drag with the mouse to choose a number and then let go off the
mouse. A control point will be created for you in the center of the display window. If
you have access to an Apple Ipad and the TouchOSC application, creating control
points is even easier (see "Wirelessly controlling HyperSpace").

8. Recording and playing back of panning data

Now you are ready to record some movements. Begin by putting your DAWs first
MIDI track in record mode. Then do the same with the first channel in HyperSpace
main window by clicking the record ready button that corresponds to channel 1. Start
your DAW recording either from your control surface or the DAWs internal transport
controls or press the record button (or <tab> in HyperSpace. Note that there is a
slight impracticality in HyperSpace. When the display window is active (you have
clicked somewhere in the circular area) your keyboard shortcuts for the transport will
be disabled since the display function has it´s own set of shortcuts. This means that
you will have to select the main window (by clicking it) before using any keyboard
shortcuts and then select the display window, click and drag the control point etc. For
this reason you will want to have a bit of preroll space before the sound begins. If
you make it between 5-10 seconds you will have plenty of time to get set. As you
move the control point, data is recorded into the MIDI track of your DAW. Once you
finished recording, press the record button again (or <tab>) or stop the DAW
internally.
To replay what you just recorded, activate the play enable button of channel 1 in
HyperSpace (and deactivate the record button to make sure you don´t create a
feedback loop). Rewind your DAW and start playback. You should see the control
point of channel 1 move as it was previously recorded and you should hear the
sound moving accordingly. If this is not the case you should make sure you have
assigned the MIDI ports in/out correctly in your DAW (from Max/MSP 1/ch1 for input
and to Max/MSP 1/ch1 for output).

9. Editing of panning data

A smart thing about having panning data stored as MIDI is that it is easy to edit and
fine tune movements. This is normal procedure if you work only with your DAWs
panning abilities but then you are restricted to the multichannel formats provided by
the DAW. Moreover with a normal DAW mix, let´s say a 5.1 mix you can not "blow it
up" to for instance 7.1 without remixing it. Moreover no DAW on the market today
provides 3D panning and no DAW let you use even 16 channels surround not to
mention 48. With the VBAP or Ambisonic format you can go from 4 to 48 channels
using HyperSpace without touching your mix. Currently only the VBAP format is
used in HyperSpace (ambisonics will be implemented in the next version of the
software). Simply ask for the new output format, configure your loudspeakers and off
you go! The more loudspeakers you use the better definition of your mix you will
receive. In fact, at the time of this writing the actual limit of output channels could go
as high as 250 but you would need a very fast computer and a lot of money to use
that possibility.The very few other 3D software solutions that exists today use non
standard formats that can not easily be edited (if at all) and can not be translated to a
new playback situation. Not to mention that they provide little or no realtime control.

Hint! You can easily create a "movement library" of patterns that are likely to be
usable in more than one project for instance a circular movement. Simply record the
movement on a MIDI track and then export that part of the track (don´t forget to solo
the track during export) as a standard MIDI file. Later you can simply drag and drop
that file into a new project and alter it to fit. In Cubase for instance you can easily
change the timing of MIDI control data simply by time compressing or expanding.

10. Working with snapshots

fig 6 Creating a snapshot

One way of using HyperSpace is taking snapshots. They are (as the name
proposes) "pictures" of a set of control points. After organizing your control points
(placing your sound channels in space) in a certain fashion, you can store this
"picture" as a snapshot simply by clicking the "snapshot" button and, when asked to,
give it a name. You can create any number of snapshots you want and as you add
more, the drop down menu below the "snapshot" button will fill up and eventually let
you choose your snapshot of desire.
You can set a default interpolation time that will move the positions in either a linear
or polar fashion. However, if you want each snapshot to have a specific interpolation
time and interpolation mode, just select the snapshot, set the interpolation time and
mode, and then press the "associate" button.

Snapshots can be a very efficient way of moving large numbers of sound channels in
a well ordered way. Also for live performances, snapshots are great for complex but
yet manageable ways of altering the sound image. You can also use the slider below
the snapshot menus to make manual interpolation between two snapshots. The drop
down menu at the left represents the "from" and the one at the right the "to"
snapshots.

Finally to remove a snapshot from the menu select the snapshot you want to delete
from the leftmost menu and then press the "remove" button.
You can recall snapshots from you DAW using MIDI program change. Insert a
program change number corresponding to the snapshot you want to recall anywhere
in your sequence. It is however recommendable to create a separate track for
program changes for the sake of clear organization. In fact, if you plan things well,
snapshots together with MIDI program change can replace all other MIDI data. It
depends on how complex mixes you intend to do.

If you intend to use many snapshots in your mix and want to use MIDI program
change numbers to recall them, a good idea is to add a number in the beginning of
whatever name you give your snapshots. This way it is easier to keep track of the
connection between a specific snapshot and it´s corresponding MIDI program
change number. Try to create a couple of snapshots and then select "Save Project"
from the File menu. Have a look in the folder you previously selected as your project
folder. You should now see a number of files with the project name you selected plus
various extensions like .xml .main .snaps etc... If you don´t see any files in your
folder you have used spaces in the project name. In this case you will have to
recreate the project with a new name without spaces. You can still use the same
project folder.

11. The wonders of trajectories

In the Functions menu select one of the four Trajectories generators.

One of the strongest parts of HyperSpace are the trajectories. They are basically
tools for creating automated movements of control points. There are four trajectory
generators and each of them contains seven different control methods. You can
open the trajectories main windows by clicking T1-T4 in the main window. The
control methods are:

1. Drawing
2-3 Point to point line mode
4. Circle
5. Spiral
6. Random
7. Lfo

Before a trajectory function will affect the movement of a sound you need to assign it
to one or more input channels (or control points if you prefer to think like that). You
do that by activating the Main output and choose a channel from the drop menu
below it. The value "Nil" means that the function is not assigned to any input
channel. The 2-D controllers named Scale and Offset allows you to manipulate the
movement in various ways. Try them out on a simple movement (like a circle) to
understand their effect.
There are also three auxiliary outputs that you can activate. This way you can
couple up to four channels (good for panning of stereo or four channel premixed
sounds) with different offsets in x (left-right) y (front-back) and z (elevation)
directions.
The Elevation envelope is used to control the height of the sound if you are working
with a 3-D setup. You can activate it with the toggle in the lower right corner.

In Draw mode you can draw a trajectory in 3 dimensions. In the square main
window you can define the XY movement of the sound and on top of that you can
add an elevation trajectory using the Elevation envelope.
You can alter the size and relative offset of your drawing with the Scale and Offset
squares.
On top of this you can set a duration for the movement and also scale that duration
using the "speed" parameter.
The "smooth" parameter controls the relative interpolation time between points in the
drawing. Finally you need to assign your trajectory to the channel (or rather control
point of your choice). There are also three auxillary channels that you can send the
same trajectory data to, altering scale and offset in all dimensions.
Furthermore you can choose to put the playback mode in one shot, loop, or
palindrome (looping forwards and backwards) mode. The Trajectory can be used in
trigger, gate or toggle mode. These modes are most usable when applying MIDi
control and will be explained later (see using MIDI controllers).

In Line mode you can click in the main square to create linear movements in space.
Make sure you don´t keep the mouse down and drag around since then you will
create a LOT of points and the line trajectory tool will not like you. The other controls
are working as described above.

The Circle mode simply creates a circular movement defined by the frequency
parameter together with the other controls governing scale and offset. Positive
frequency values renders a clockwise movement while negative values creates an
anti clockwise movement.
The Spiral mode uses duration and frequency to define a spiral movement over
time.
At this point there is no elevation envelope implemented however you can use the
offset
parameter to place the spiral movement in height. Positive and negative frequency
values works as with circle

The Random mode moves the control point(s) in a random fashion in two modes.
Standard random or brownian motion. Using scale and offset the random movement
can be extended at the elevation plane as well.
The LFO mode simply applies two sine functions to the X and Y axis
(Z axis will be implemented shortly)

Finally, you can use more than one trajectory function at the time when working in
sequencer mode. However it may be a bit difficult to manage the timing of things. In
live mode on the other hand, you can use all sets of trajectories giving you a total of
28 pre programmable movements with full control of timing. Along with the Preset
Manager complex performances can be easily achieved.
Furthermore, since all of the trajectory parameters can be controlled by MIDI the
possibilities are even greater.

12. The Rotation Generator

At the bottom of the main window you will find the rotation generator. As the name
implies you can make sounds move in circular trajectories. Unlike the Circle function
in the Trajectories, the Rotation Generator only creates perfect circular movements
on a per channel basis. This means that you can have up to 32 independent circular
movements at the same time with different speed, diameter but only in one direction:
clockwise. If you want the movement to be counter clockwise you can simply reverse
the MIDI data in your DAW after recording it.
You start a circular movement by activating the green led for the channel (control
point) you want to rotate. Then set a rotation rate (smaller values give faster rotation)
and then press the "Run" button. If you want two channels to move in tandem, place
the control points in the relation you want them (maybe you want to rotate a stereo
sound with a constant distance between left and right channels) activate the green
leds for both channels and press "run". Now your stereo sound is moving at the rate
you decide with a constant relation between the channels. In a similar fashion you
can make any number of channels rotate in a co-ordinated fashion. If on the other
hand you want channels to move individually this is also possible. Simply activate a
channel and start it´s rotation. Let it continue to run and then deactivate the led.
Activate the next channel and start it´s rotation. Now you can change the rotation
speed without affecting the first rotation speed. Only those channels that have been
activated are affected by changes in speed. To stop all channels simultaneously,
activate the "Rotation enable all" toggle and then press "Stop".
You can now align all channels as you would like to have them as the rotation
pattern starts. When all channels are placed you can play "Run" again and all
channels will now move while still keeping their relative rotation speeds.

13. Assigning and using MIDI controllers

Another powerful feature of HyperSpace is that you can control the most important
software functions using one or more external MIDI controllers. For instance,
controlling up to 28 trajectories, 32 input faders and other functions, all in real time. If
you wish, this can of course be done just as well from your DAW. However, in order
to use MIDI control from the DAW you will need to sacrifice one MIDI channel that
will be dedicated to control data.

fig 7 Assigning MIDI controllers

In the Edit menu select "MIDI assign". Select a MIDI in port (corresponding to the
MIDI device you want to use) and then select the parameter you want to control.
Click to highlight the red "LED" to the left and move a controller (or play a note on
your keyboard). The LED will go out and your controller is now assigned. You can
check it by opening the corresponding trajectory function and make sure values
change as you move your MIDI controller. The setting you make will be saved along
with the project. To clear all assignments press the "clear" button. Note that only one
controller can be assigned to each function.

Each trajectory function has a menu where you can choose between Trigger, Gate or
Toggle mode.

Trigger mode starts the function and will let it run until you stop it manually (not by
MIDI). To stop a function you will need to open the corresponding Trajectory function
and press the red on/off toggle.

Gate mode runs the function as long as you you keep MIDI note pressed. When the
key is released the function stops.

Toggle mode starts the function the first time the MIDI note is played and will run
until you press the same note again.

14. The Input Mixer

Select "Input Mixer" from the Devices menu. In the input mixer window you can see
incoming audio levels (in the top section) and adjust their levels with the faders. In
the lower section of the mixer you can see the levels of the signals coming out from
HyperSpace after panning. This in turn can be viewed in two modes; pre and post
the Output Matrix (see below). This is because HyperSpace will always output the
audio signal in accordance with the virtual loudspeaker setup you have made while
the Output Matrix may have re-routed the signal to fit your physical setup. You can
switch view with the "Meter Display" drop menu.

In the lower right corner you will find a set of knobs to adjust various parameters that
affect how the sound is projected in space.

Spread decides how much relative space the sound occupies i.e. how wide it´s
distribution in space is going from being placed in only one single loudspeaker
(Spread minimum) to being placed in all loudspeakers (Spread maximum). If you find
this hard to grasp just try it and your ears (and possibly meters) will explain it to you.

Smooth is the parameter that governs how relatively fast the sound is interpolated
when moving in space. If you set this parameter very low and use very fast
movements you may hear "zipper" noise. If you put it very high, the movements
becomes increasingly "blurred".

Reverb affects the amount of reverb that will applied to a sound as it is moving
farther away from the centre of space. This only works if you have loaded some
reverb plug-ins (see "using external VST-plug-ins").

Doppler applies the well known Doppler pitch shifting effect to a sound depending
on the speed of movement and distance from centre of space.

Distance affects the relative volume drop of the sound as it moves away from the
centre. With a minimum setting of the knob there will be know difference in volume
between the centre and the periphery. Note that there is also a volume drop when
moving a sound up (away from the "floor" level. This parameter can drastically
change the balance of a mix if changed between replay sessions, so keep a good
record of how you are using it.

Absorption simulates the drop off of high frequencies with increasing distance.

Note that the parameters when set with these knobs are global i.e. all incoming
audio channels will be equally affected by these settings.
However, if you wish to set values per channel you may do so using the
PerChannelEditor. Just press the button below the knobs to open this window:
Here you can make individual settings for each channel in your mix. Note that if you
make adjustments per channel and later make another adjustment with the global
knobs, these will override the per channel settings you made for the respective
parameter. To get them back all you need to do is switch to the PerChannelEditor
and slightly touch one of the faders so the settings are re-sent to all channels. Of
course all settings are saved with the project.

15. The Output Matrix

In the Devices menu select "Output Matrix". The Output Matrix enables you to
redirect the audio signals coming from the panning process to physical channel
outputs. Depending on your configuration (how many loudspeakers/audio channels
you are using), only parts of the Matrix will be used. For instance, if you are using a
32 in 12 out configuration, normally only the first 12 inputs and the first 12 outputs of
the Matrix would be used. It could of course be that you are using the first 12
channels on your audio interface for some other purpose and in that case maybe it
would be appropriate to send the inputs 1-12 to outputs 13-24 instead.

There is normally one Matrix setting associated with a specific loudspeaker setup. If
you make changes to the Matrix routing these will be saved for all loudspeaker
setups along with the project. If you want to have a custom Matrix setup saved
separately you can do so. First make the changes you need, press the "Store" button
(this will associate the Matrix settings with the current loudspeaker setup) and then
save it by pressing the "Save" button.

The output from the 2 (potential) VST plug-in reverbs are "hardwired" to input
channels 45-48. You will have to patch them as you find efficient to the output
channels of your setup. Normally you would place one reverb in the front and one in
the back in selected speakers but you are of course free to place them as you like.

16. The Preset Manager

In the Devices menu select "Preset Manager". The preset manager lets you store
settings on a global level. It will include all settings for the Trajectory generators
(parameters, on/off state etc) along with some settings in the Panning Display (such
as selected snapshot) along with MIDI port settings in the MIDI assign window. You
can use the drop menu to store, update, insert, remove or clear your presets.
To store a preset, select a location using the number box on the right side and then
select "Store" from the drop menu. You will be prompted for a name of the preset.
To recall a preset, select it from the drop menu on the left. There are two recall
modes: Instant recall and triggered recall. Instant mode means that the preset is
activated in the same moment that you select it. In triggered mode the preset is
selected but is not activated until you press the <CR> (Carrige return) key on the
computer keyboard.

17. Creating your own loudspeaker setup

HyperSpace comes with 11 predefined loudspeaker setups. These setups cover
some of the most commonly used settings but of course they don´t cover all possible
scenarios. To create your own setup there are a few things you need to know:

2-D vs. 3-D setup

The implementation of VBAP used in HyperSpace needs to be set in either 2-D (all
loudspeakers at the same level) or 3-D (loudspeakers on at least two different levels)
mode. The first 4 presets (Square, 5.1, Hexagon and Octagon) are predefined as 2-
D setups and the rest 5-11 are 3-D setups. If you are going to make a 2-D setup you
should choose one of the first four presets and modify it to your needs. If you are
using 3-D then you should choose one of the presets 5-11.
IMPORTANT! If you need to add or change the number of speakers in the
configuration you must select one of the output modes 6,8,12,16,24,32 or 48. These
numbers refer to the maximum number of speakers in a setup. You should always
choose the number of speakers closest to the actual number of speakers in your
sound system. For instance, if you are working with 10 loudspeakers you should
choose the 12 speakers preset. Use the drop menu at the right of the preset menu to
select the number of speakers you will use in your configuration.

Adding loudspeakers

The Speaker configuration works pretty much the same as the Panning Display. To
create a new point, click in the display, press a number key (or shift-keypad number)
and click in the display where you want to place the loudspeaker. You can freely
position speakers anywhere in the space. If you need to remove speakers, simply
click on the loudspeaker and hit the <backspace>.

When you are finished and all speakers are set press the Store button in the upper
right corner. you will be prompted for a new name of this setup. First you will be
asked to save the actual configuration data in a file that needs the .xml extension at
the end of the name. Then you will be asked to save the file containing the preset
names. This file doesn´t need an extension.
Avoid using spaces in the name or things will not work!!

For your changes to actually take effect after editing and storing a speaker
setup, you need to select it from the preset drop menu again.

Note that speaker setups are not saved along with each project. Instead you will
have to save it separately. The default name of the file containing the configuration
data resides in a file called "speaker_setups.xml" and needs to be in the same folder
as the HyperSpace application. Along with this file there is another called
"setup_names" containing data for the preset menu. This file also needs to be in the
same folder as the application. If you want your new setup configuration to be
automatically loaded when you launch HyperSpace you must give it the same exact
name (speaker_setups.xml and setup_names) and make sure they are saved in the
same folder as the application. However, if you want to you can place these files
anywhere on your hard drive but then you will have to manually load them after
HyperSpace has been launched. If you decide to overwrite the original configuration
files it would be a good idea to make a backup of the original in a safe place before
doing so.

If you have changed the number of speakers in the configuration you also need to
change the Output Matrix for this setup. Open the Output Matrix and add or take
off he number of output channels that you have added (or taken off) in the
loudspeaker setup. Store the changes and save your project. The next time you
open your project your new matrix settings will be loaded.

Keyboard shortcuts (in main window)

<Space> Start/Stop sequencer

<Tab> Record On/Off
<Left Arrow> Fast Forward
<Right Arrow> Fast Rewind
<Up Arrow> Snapshot step up
<Down Arrow> Snapshot step down
<plus> keypad Preset step up
<minus> keypad Preset step down
<CR> Trigger preset (if in trigger recall mode)

Keyboard shortcuts (in Panning display and Speaker Config windows)

<1-9 > Create controlpoint

<shift>+keypad Create controlpoints 10-32
<A> Select all points
<Backspace> Delete point(s)