Vienna Suite

Nine High-End Audio Processing Plug-ins

for 32 and 64-bit DAWs
VST (Win, OS X) / AU and RTAS (OS X only)
Optimized for SSE2 (Intel) and Altivec (PPC)

Introduction
SIMPLIFY – one word is the mantra that accompanies the Vienna Symphonic Library team every day. The
search for the best algorithms in audio processing in the digital domain is showing long-awaited and
surprising results.

In combination with the taste of the experts, trained from years of experience with the most sensible
sounds available in virtual orchestration, the Vienna Symphonic Library Development Team, Martin
Saleteg and George Yohng, have created a meticulously engineered plug-in bundle to produce musical
results in a wide variety of applications.

Intuitive handling of complex audio signals calls for new approaches to their design. As with the Vienna
Instruments, visual feedback for the well-known basic audio processes in the background is a great
feature for everybody involved in the evolution of sound from the first sketches to the final mix, serving
both newcomers and professionals.

Most of the plug-ins include tailor-made presets for Vienna Instruments which will give you a lot of
creative input for your soundscapes and provide quite a number of sonic solutions and ideas for both
individual instruments as well as complete mixes.

Our research was following musical guidelines, and the decision to let you benefit from our findings in
form of intelligible User Interfaces was easily made after the huge success of the Vienna Instruments.

Enjoy this new array of great-sounding yet CPU-friendly plug-ins for the everyday audio processing
requirements that are easy to operate, yet super-efficient.

Watch our Video Tutorials on-line and download your demo license from our products page at
www.vsl.co.at!

Vienna Suite 1.1. User Manual © 2009 Vienna Symphonic Library

Getting started

The ViennaKey

The ViennaKey is the USB protection device which will hold the license for your Vienna Suite. Instead of
the ViennaKey, you can also use another Syncrosoft eLicenser (e.g., USB protection devices by
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Steinberg or Arturia) to store your license. Please note that one Vienna Suite license has to be installed
on your USB protection device and the key has to be inserted in one of the USB ports of the computer
you’re using Vienna Suite on; otherwise, you will not be able to use Vienna Suite.

Registration

If you acquired your Vienna Suite at the VSL webshop, it was automatically registered to your user account
when you purchased the plug-in suite. If you purchased it at another webshop, please register your Vienna
Suite in your USER AREA. You will receive 3 activation codes via your e-mail address registered at our
website. You will need these codes to download your permanent Vienna Suite licenses from Syncrosoft. (You
can do this later if you own a ViennaKey with a valid demo license on it, but eventually you’ll have to do it
before the demo runs out.) If your music computer isn’t connected to the Internet, you can activate your
license on any other computer with an Internet connection.

Vienna Suite comes with 3 licenses. You need to download one License per eLicenser and computer, so
that you can use Vienna Suite on up to three computers at the same time. If you’re using a single
computer for your music, you don’t have to download all three licenses.

Attention: The Syncrosoft LCC has to be installed and your ViennaKey inserted into a
free USB slot before you can activate and run your Vienna Suite. You should
download your permanent licenses before the demo license on a ViennaKey expires.

Here’s a quick overview of the steps necessary for a successful installation:

1) Install Syncrosoft LCC and download your Vienna Suite licenses with the activation
codes you received via e-mail after your purchase/registration.
2) Install Vienna Suite – find the latest updates in your User Area’s Software Section.
3) Run the Vienna Suite Installer to copy the plug-ins into your plug-in folder.

Vienna Suite 1.1. User Manual © 2009 Vienna Symphonic Library

Syncrosoft License Control Center

To be able to run Vienna Suite, you have to install the Syncrosoft License Control software (LCC).
Please download the newest LCC software from Syncrosoft which is updated fairly often; older versions
will not recognize new products. Follow the Syncrosoft installation instructions to install the software and
drivers for your ViennaKey. 3

Attention: If you are using different computers for Internet and music, you will have to install
the Syncrosoft software on your Internet computer as well to be able to download the licenses.

As soon as the software is installed on your internet computer, you can start the Syncrosoft License
Control Center to download your permanent licenses.

Now, click on the “Wizards – License Download” option to start downloading your license. A welcome
screen will appear. Click on the “Next” button to proceed with the installation.

The next page after the welcome screen asks you to enter your activation code which you received by
e-mail. You can copy and paste the whole code at once into the first field. Click the “Enter” button to
confirm. Once you’ve entered the activation code, your license details will show up in the license window
underneath the key entry fields. Click “Next” to go to the download page.

Vienna Suite 1.1. User Manual © 2009 Vienna Symphonic Library

 4

The download page asks you to connect your computer with the Internet for downloading the license. If
you aren’t already connected, please do so now. Once you’re connected, click the “Start” button to begin
downloading, and “Done” when the download was successful. If you have more than one USB eLicenser,
you can select the key your license should be stored on – e.g., for Cubase users it would make sense to
store it on the same eLicenser which contains the Cubase license.

Your ViennaKey now has its license installed and can be used to run your Vienna Suite permanently.

Vienna Suite 1.1. User Manual © 2009 Vienna Symphonic Library

Vienna Suite

General plug-in operation

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All plug-ins share some operational features. Here’s a description of those common controls:

<Ctrl> + Click (Windows), <Command/Apple> + Click (OS X) resets the selected control to its default
value.

Pressing <Shift> while dragging a control increases its resolution for fine-tuning adjustments.

Double-clicking on a control allows you to enter a numerical value using the computer keyboard.

Factory Presets lets you select one of the pre-configured settings for the plug-in, many of which are
specifically adapted for the Vienna Instruments.

You can Load and Save your custom presets on your computer, and exchange them with other users of
the Vienna Suite. Make sure to back up your custom presets regularly – you don’t want to lose them …

The default path for the Preset Folder is:

Windows XP:
Documents and Settings/[YourName]/Application Data/Vienna Suite Presets/[PluginName]
[YourName] is the name you’re logged in with at the computer.
Windows Vista:
[YourName]/Appdata/Roaming/Vienna Suite Presets/[PluginName]
[YourName] is the name you’re logged in with at the computer.
OS X: [Macintosh HD]/Shared Items/Vienna Suite Presets/[PluginName]
[Macintosh HD] is the name of the harddisk the operating system is installed on.

Plug-ins are only guaranteed to work at a host sampling rate of 44,100 Hz and higher. If the
rate is set to, e.g., 22,050 or 33,000 Hz, plug-ins may perform improperly or in a limited way.

Under some conditions, certain plug-ins will change the output signal’s phase, so that using
them, e.g., on a ‘send’ bus may not produce the expected result.

Vienna Suite 1.1. User Manual © 2009 Vienna Symphonic Library

Convolution Reverb
The primary goal of a convolution reverb is to sample real spaces, in order to simulate the acoustics of
the sampled space. A straight forward and simple example of capturing an impulse response would be to
set up a pair of microphones in a concert hall and to place the microphone in the centre of the
auditorium. Next, produce a very brief pulse of sound, and record everything that the microphone picks
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up, which includes both the original sound and the response of the room to it.

This recording of an impulse in a room or another location is used as a fingerprint of the room. As a
result, the processed audio will sound as if it were played in the same location.

Sample Development is an art – and this is also true for sampling rooms. We are proud to have great
partners on board who have contributed great sounding spaces in addition to the Vienna Impulse
Responses – and there will be many more available for download!

With the Vienna Suite Convolution Reverb, you can shape the sound of your own spaces with the many
options explained below, or you can make use of the versatile presets available!

Impulse Waveform Display: Displays the waveform of the loaded impulse response and the
envelopes of the impulse VOL, LP, HP, DECORR, PAN and EQ. All manipulations are non-
destructive and the waveform of the impulse is adapted automatically.

Vienna Suite 1.1. User Manual © 2009 Vienna Symphonic Library

 Graphic Handles: doubleclick anywhere in the Impulse Waveform Display – a new handle will
appear for the selected envelope. This way, you can design your own envelopes and shape the
room to your liking.
Reverse (Envelopes): You can reverse all envelopes applied to your impulse response here.
Vol: Adjusts the Volume of the selected impulse response.
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LP: Adds a low pass filter to the impulse response.
HP: Adds a high pass filter to the impulse response.
Decorr: Adjusts the amount of decorrelation used on the impulse response. Only effective if the
general DECORR Slider (underneath) is up.
Pan: Position your impulse response.
EQ: Tune the sound of your impulse response with this high-quality Equalizer.
Reset: The chosen envelope displayed in the Impulse Waveform Display is reset.
All: All envelopes in the Impulse Waveform Display are reset.
Output Volume Slider: Determines the response’s output volume.

Impulse: Load impulses of your choice or choose from many presets.

Impulse Data Window: Shows the properties of the loaded impulse response:
channels / length / bit / Hz
Reverse (Impulse): Reverse your impulse response sample.
Auto Gain: Automatically normalizes the impulse response.
Dry: The amount of the unprocessed signal. The MUTE Button below will silence this signal.
Wet: The amount of the processed signal. The MUTE Button below will silence this signal.
Decorr: Advanced frequency-domain decorrelation algorithm. Using the decorrelation slider and
the decorrelation graph, you can bring life to dull, narrow impulses and create a lush, rich
reverb tail.
Predelay: The amount of time (in milliseconds) between the dry signal and the onset of the
reverb.
Start: Moves the starting point of the impulse response sample (displayed in seconds).
Length: Determines the length of the used impulse response sample (displayed in seconds).
Resample: Stretches the impulse response sample (0.25x – 4x).
Latency: By default the plugin has 512 samples latency, but if desired, latency can be adjusted to
a lower setting and even to 0 – with the exception of Apple Logic, which for technical reasons
needs a non-zero latency. For certain systems, a higher latency setting is preferable at very
low latencies of your soundcard, such as 64 or 128 samples. At a buffer size of 256 or 512
samples, the best performance can be achieved with zero latency.

Vienna Suite 1.1. User Manual © 2009 Vienna Symphonic Library

Equalizer
The Vienna Suite Equalizer operates like a standard EQ filter, but it is powered by highly sophisticated 64
bit processing algorithms. The filter response display provides comprehensive control and visual
feedback of the EQ curve being applied. Five fully parametric bands of EQ plus additional high and low
pass filters are completed with an integrated 120 band spectrum analyzer.
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We have included Factory Presets for many instruments contained in the wide array of Vienna
Instruments Collections, making it very comfortable to start your mixing session.

These Factory Presets are subdivided in so-called “Resonance Menu” Presets and “Character” Presets. In
the “Resonance Menus”, up to 5 frequencies were localized for the respective instrument / ensemble
which could be problematic in the mix. Simply activate the desired EQ filter band’s preset parameters by
clicking on it; now you can determine whether the disturbing resoncances of this instrument have been
filtered out. Also try combinations of several bands, and reduce or increase the attenuation as needed.
The idea is to get a better placement of the original, pure sound of the Vienna Instruments in a complex
mix without larger adjustments.

“Character” Presets work out an instrument’s or ensemble’s manifold sound possibilities. Here, the pure
sound of a Vienna Instrument is deliberately altered in different directions. These Presets multiply the
sounds of your Vienna Instruments Collection – a true fountain of inspiration!

Filter Response Display: Shows the response curve and frequency analysis for the current
settings. The (horizontal) frequency range is from 20 Hz to 20 KHz, the (vertical) amplitude
scale is in dB and is adjustable between 6 and 24 dB.
dB Scale: Lets you specify the vertical scale (dB) of the filter response display in 6-dB steps (6,
12, 18, 24 dB). Of course this doesn't change the sound itself.

Vienna Suite 1.1. User Manual © 2009 Vienna Symphonic Library

 Volume Slider: lets you adjust the volume of the processed signal.
EQ Filter Bands: the five bands of the EQ that can be independently enabled and programmed.
The numbers and colours of the EQ Filters correspond to the numbers and colours of the filter
handles in the Filter Response Display. Click on the coloured filter band buttons to
enable/disable the corresponding filter.
Low Cut and High Cut: Fixed at butterworth Q (0.71), both High and Low Cut offer 4 filter slopes 9
for different slope (fall off) characteristics (12, 24, 36, 48 dB)
Gain: Adjusts the peak gain of the corresponding filter in a range from -24db to +24 dB.
Filter handle: Drag this handle to graphically adjust the filter’s boost/cut and/or frequency. When
adjusting the filter handle, <Shift> locks the frequency, <Alt> locks the gain. Double-clicking a
handle resets the respective band’s gain to the default.
Q setting: Adjusts the filter width of the corresponding filter band from 0.1 to 10. The smallest
setting of 0.1 will create a shelving EQ, whereas a setting of 10 will give you the smallest
possible filter width.
Use the Mousewheel (or press <Ctrl> + click and drag, on OS X: <Command/Apple> + click
and drag) to adjust the Q setting for the currently selected filter. The given filter handle has to
be highlighted.
Composite curve: Shows the overall response curve of the current settings in the Filter
Response Display.
Individual Filter Curve: Each individual filter’s response curve is displayed in the filter’s color
when selected.
Analyzer: Enable/disable a 120 band spectrum analyzer. If you’re going for even less CPU
consumption, the analyzer should be switched off.
Analyzer Display Mode: Choose between Input and Output signal display (pre/post EQ).

Vienna Suite 1.1. User Manual © 2009 Vienna Symphonic Library

Compressor
The Vienna Suite Compressor lowers the level of the input when it exceeds the threshold. The amount of
attenuation is determined by the Attentuation / Ratio and input level. When the input level goes above the
threshold, attenuation is added gradually to reduce distortion. Usually, the incoming signal is identical
with the input to the gain reduction stage. The compressor’s attack time determines how fast the
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compression is applied – this way you can sculpture the attack of your instruments, making them softer
or more aggressive. The release time determines the time it takes the compressor to decrease the
applied gain reduction. Depending on the length of the release time you can minimze the “sonic body” of
an instrument in comparison to the attack sound, or you can apply extremely short release times to
emphasize it.

The Vienna Suite Compressor can shape the controlling signal (aka “Sidechain”) to allow for even more
musical compression modes.

Threshold: is the level above which the signal is reduced. A low threshold means that a larger
portion of the signal will be processed.
Sidechain: Choose between Low Cut (120 Hz), High Cut (4 kHz), both at 12 dB/oct; and High
Boost (+6 dB at 4 kHz).
The Sidechain works exclusively with the internal sidechain filter.
Use low cut when the signal starts to “pump” due to high energy in the lower frequencies. Use
high boost when you want to get rid of excessive high-freqency-content, e.g. Voices with
strong “sss” and “shhhh”. Use the high cut when the signal's attacks begin to sound lifeless
and flat, especially when using fast attack times.
The settings in the Sidechain only affect the Compressor’s controls, NOT the signal itself!
Sidechain Solo: Solos the sidechain signal.

Vienna Suite 1.1. User Manual © 2009 Vienna Symphonic Library

 Waveform Data Display: Shows the input and output signals in real-time.
Attack: Sets the time the compressor needs to increase the gain reduction to reach the level
determined by the ratio. Values: 0.1 – 500 ms.
Release: The 'release phase' is the period when the compressor decreases gain reduction to the
level determined by threshold and ratio (or to zero, once the level has fallen below the
threshold). Values: 10–5000 ms. 11

Attenuation: Displays the current amount of compression applied to the signal.

Ratio: The ratio determines the input/output ratio for signals above the threshold. For example, a
3:1 ratio means that a signal overshooting the threshold by 3 dB will leave the compressor 1
dB above the threshold.
Opto: Activates the optical release simulation, resulting in a more “breathing” sound. Compared to
the same settings without Opto Mode, a little less compression will be applied to the signal.
Fat: Activates a process which makes the signal sound “thicker”, similar to tape compression.
When FAT mode is on, the sound is hard-clipped at 0 dB. With a certain configuration (when the
signal may exceed 0 dB), this may cause distortion in the attack segment. In this case, please
switch off the make-up gain or turn off FAT mode.
Make-up: Automatically compensates for gain loss in the compression based on the current
threshold, ratio and attack settings.
Output: Determines the signal’s output volume.

Vienna Suite 1.1. User Manual © 2009 Vienna Symphonic Library

Limiter
The Vienna Suite Limiter maximizes the apparent volume within the available dynamic range by reducing
the distance between average program levels and their associated peaks. Too much limiting will make
your signal sound unnatural. Just the right amount of maximization will make your signal seem loud
without ever exceeding the available dynamic range. Processing at 64 bit floating point resolution, which
12
provides the highest fidelity with no added noise, the comfort of a real-time input/output waveform
display combined with an auto-mode for transparent maximization makes it very intuitive to operate.

Attention: In spite of the Vienna Suite Limiter’s excellent quality, exaggerated limiting will
result in unnaturally sounding signals.

Threshold: Sets the point at which the limiter starts to affect the input signal. Lowering the
threshold setting has the effect of raising the output gain of the signal. The average level of the
signal is increased while the limiter assures that the signal will not exceed the ceiling level.
Release: Controls how long it takes for the limiter to recover from attenuating the signal after it
has dropped below the threshold. Values: 10–5000 ms.
Auto: Disables the manual release slider and lets the limiter control the release time depending on
the input signal, resulting in the most transparent limiting possible.
Waveform Data Display: Shows the input and output signals as well as the attenuation graph,
which can be individually switched on and off with the buttons below.
If you need to reduce CPU load a bit, you can switch off the entire waveform display.
Attenuation: Displays the current amount of limitation applied to the signal.
Ceiling: Sets the maximum output of the limiter.

Clicking on the numerical peak displays above the meters resets the peak values.

Vienna Suite 1.1. User Manual © 2009 Vienna Symphonic Library

Master Equalizer
A precision tool for advanced application, the Master Equalizer is the de luxe version of the Vienna Suite
Equalizer. There are 3 filter types to choose from on 5 frequency bands and an additional high shelf filter
– as well as Low Cut and High Cut filters. The use of 4x oversampling makes internal calculations even
more precise. The filter response display is bigger, allowing a more detailed resolution of the frequency
13
spectrum. This Master Equalizer will need more CPU power than the standard Vienna Suite Equalizer and
is the first choice for delicate sonic tasks.

Filter Response Display: Shows the response curve and frequency analysis for the current
settings.
dB Scale: Lets you specify the vertical scale (in dB) of the filter response display in 6-dB steps (6,
12, 18, 24 dB). The sound will not be affected by this setting.
EQ Filter Bands: The EQ’s five bands which can be independently enabled and programmed. The
numbers and colours of the EQ Filters correspond with the numbers and colours of the filter
handles in the Filter Response Display. Click on the coloured filter band buttons to
enable/disable the corresponding filter.
Filter Types for the peaking filters:
Type A: the most versatile filter type, will give excellent results over the entire frequency range.
Type B: this filter can be more detailed in the mid and low frequency ranges.
Type C: common standard digital filter type.

Vienna Suite 1.1. User Manual © 2009 Vienna Symphonic Library

 Low Shelf / High Shelf Filter: Choose between two shelving types. Mode A behaves like a
“normal” shelving filter and allows for Q adjustment. Mode B is a special filter which yields a
better phase response and thus creates a more “musical” result, disregarding the Q settings.
Low Cut and High Cut: With an adjustable Q between 0.40 and 2.50, both High and Low Cut
offer 4 filter slopes for different slope (fall-off) characteristics (12, 24, 36, 48 dB)
Gain: Adjusts the peak gain of the corresponding filter in a range from -24db to +24 dB. 14

Filter handle: Drag this handle to graphically adjust the filter’s boost/cut and/or frequency. When
adjusting the filter handle, “Shift” locks the frequency, “Alt” locks the gain.
Q setting: Adjusts the filter width of the corresponding filter band. Use the Mousewheel (or press
“Ctrl”, click and drag, on OS X: “Command/Apple”, click and drag) to adjust the Q setting for
the currently selected filter. The given filter handle has to be highlighted.
Composite curve: Shows the overall response curve of the current settings in the Filter
Response Display.
Selected Filter Band Curve: Each individual filter’s response curve is displayed in the filter’s
color when selected.
Analyzer: Enable/disable a 120-band spectrum analyzer. If you’re going for less CPU
consumption, the analyzer should be switched off.
Analyzer Display Mode: Choose between Input and Output signal display (pre/post EQ).

Vienna Suite 1.1. User Manual © 2009 Vienna Symphonic Library

Multiband Limiter
The Vienna Suite Multiband Limiter offers precise level control of 4 specific frequency bands of your
audio signal. It can be used in the mastering process to control bass, mid-range or treble frequencies
independently of each other. A wide-band limiter (like the Vienna Suite Limiter) would respond to the
loudest parts of the audio signal regardless of their frequency. Another common use of frequency-
15
specific limiting/compression is de-essing. This allows you to control the sibilants of an audio signal
without affecting lower frequencies.

A specially designed crossover network guarantees a transparent signal flow and contributes to the
unique character of the Multiband Limiter. Please note that due to these crossover filters the Vienna Suite
Multiband Limiter can't be bit-transparent, even without any gain reduction applied.

The Multiband Limiter will allow you to get a maximum of perceived loudness on an individual track or the
entire mix while maintaining sonic clarity. The integrated output brickwall limiter will take care that your
output signal will not exceed the specified ceiling value.

Input Gain: Boosts or attenuates the incoming signal (max. +18 dB).
Opto Mode: activates the optical release simulation, resulting in a more “breathing” sound.
Compared to the same settings without Opto Mode, a little less compression will be applied to
the signal.
X-Over: 3 adjustable crossover points separate the frequency spectrum into 4 bands for
separate limiting.

Vienna Suite 1.1. User Manual © 2009 Vienna Symphonic Library

 Threshold: Determines the level above which the limiter will have an effect. Threshold can be set
with the red triangular slider to the left of the individual band meters by clicking and dragging
the mouse over the value box, or by double-clicking the value box and entering the value with
the keyboard (hit enter/return to confirm).
Gain: Boosts or attenuates the given frequency band. Gain can be set with the green triangular
slider to the right of the individual band meters by clicking and dragging the mouse over the 16
value box, or by double-clicking the value box and entering the value with the keyboard (hit
enter/return to confirm).
Inverse Threshold/Gain Box: Clicking this box and dragging the mouse downwards will lower all
thresholds while simultaneously increasing the gain for all bands, and vice versa. The easiest
and fastest way to use the Multiband Limiter.
Attack: Determines the time it takes for the limiter to react after the signal has exceeded the
threshold.
Release: Determines the time it takes for the limiter to return to zero after the input signal has
dropped below the threshold level.
Band Solo: Mutes the non-soloed frequency bands. Very useful for hearing what the limiter does
within a specific frequency band.
Band Bypass: Disables limitation for the selected frequency band.
Drive: Sets the input level of the output brickwall limiter.
Limiter (Brickwall Limiter): Maximizes the apparent volume of the output signal within the
available dynamic range by reducing the distance between average program levels and their
associated peaks. This additional wide-band limiter will not exceed the ceiling level assigned
(brickwall limiting). It gradually turns red the more limiting is applied.
Ceiling: Sets the maximum output of the Limiter. You can adjust the value by clicking and
dragging your mouse or double-click the value box to enter the value with your keyboard (hit
enter/return to confirm).

Attention: Filtering the signal through 4 separated frequency bands means that even without
dynamic adjustments, the output signal will not be bit-identical with the input signal!

Vienna Suite 1.1. User Manual © 2009 Vienna Symphonic Library

Exciter
If you are looking for that “glowing” Hollywood sound, the Exciter will create higher order harmonics from
the fundamental frequency signals present in the recording which do just that. Processed with 4 x
oversampling and unique distortion algorithms to completely eliminate aliasing, the result can be
monitored with a high frequency FFT spectrum analyzer.
17

Color Slider: Changes the musical coloration of the signal between even and odd harmonics.
Setting the slide to 100% will only add odd harmonics, whereas 0% will only add even
harmonics to your signal.
Frequency: Adjust the cutoff frequency for the Exciter to take effect. The signal part below the
chosen cutoff frequency will not be altered.
Drive: Sets the distortion level of the harmonics added by the Exciter.
Amount: Adjusts the mix between the unprocessed signal and the generated harmonics/over-
tones. This acts like a “send” channel: 0% equals the original signal, 100% adds the maximum
of the processed signal.

Vienna Suite 1.1. User Manual © 2009 Vienna Symphonic Library

PowerPan
A very useful tool for stage positioning of instruments, featuring real-time audio angular analysis. By
collapsing the stereo image of an audio signal, you will not lose any of its information (which happens
with “ordinary” balance faders that simply lower the volume of one side of the signal). And there’s extras,
too: independent Phase Inversion for the left and right channels, and Channel Swap.
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Display: This shows the signal’s acustical position in the stereo field – the two handles L and R let
you adjust stereo width and position.
Pre Balance: Adjusts the left or right channel’s volume at the plug-in’s input.
Post Balance: Adjusts the left or right channel’s volume at the plug-in’s output.
Center: Positions the audio signal in the stereo field.
Width: Determines the width of the stereo signal. 100% means full stereo width of the source.
Volume: Boosts or attenuates the output signal.
Phase: Individually inverts the phase of the left and right channels.
L/R Swap: Exchanges the left and right positions of the stereo signal; also displayed in the pan
view.
Pan Law: Determines how the signal level is affected by panning. Without compensation, the
combined loudness of the left and the right signal will be higher if a channel is panned to the
center than if it is panned to one side. The Pan Law allows for attenuation of the signal when it
is panned to the center. – The optimum value depends a lot on the input source.
Adjustable from 0 to -6 dB (0 dB actually turns off constant power panning).

Vienna Suite 1.1. User Manual © 2009 Vienna Symphonic Library

Analyzer
Always convenient: This analog modeled 120-band spectrum analyzer comes with a fast and accurate
display, an auto mode for automatic range management, and a note display that locates the loudest
sounding frequency in your input signal.

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Max/Min: Sets the range of the display in dB.

Precision: Sets the steepness of the analyzed filter bands. Increasing precision will yield a more
accurate readout of frequencies.
Attack: Determines the time it takes the Frequency Display to react to the audio signal. Choose
between fast, medium, slow and Newton (which emulates the gravity on this planet).
Release: Determines the time it takes the Frequency Display to drop to zero. Choose between
fast, medium, slow and Newton (which – again – emulates the gravity on Earth).
Display Mode: Select how the frequency spectrum should be displayed; choose between Bars
and Graph.
Input Selection: Choose from left, right, left+right (m, the mono middle, without stereo parts)
and left-right (s, the combined stereo signals, without mono middle parts) audio signal.
Auto: Will automatically adapt the graphic display in order to increase the accuracy of the analysis
for low-level incoming signals.
Hold: Keeps the highest peaks of all 120 frequency bands displayed. Double-clicking the display
will reset the Hold function.

Vienna Suite 1.1. User Manual © 2009 Vienna Symphonic Library

We hope that this manual was a helpful companion for getting to know our plug-ins. However, if you have
any further questions don’t hesitate to visit our Internet Community or send an e-mail to our Support.
Also, please check out our Video Tutorials which will provide you with further details about Vienna
Instruments and our software products. 20

And now – enjoy Vienna Suite!

Your Vienna Symphonic Library Team

This software contains copyrighted elements of the following third parties:

(C) 2005–2008 SIA Syncrosoft

(C) 2003–2008 Alberto Demichelis,
(C) 1995–2005 Jean-Loup Gailly and Mark Adler,
(C) 1998–2008 Glenn Randers-Pehrson,
(C) 1996–2008 The FreeType Project,
(C) 1998–2000 Thai Open Source Software Center Ltd and Clark Cooper,
(C) 1998–2000 Clark Cooper,
(C) 2001–2008 Keith Packard,
(C) 2001–2008 Carl Worth,
(C) 2001–2006 Expat maintainers,
(C) 2002 University of Southern California.

Moreover, parts of this software were licensed from Magnus Jonsson.

The aforementioned parties disclaim all warranties with regard to this software and thus cannot be held
liable for any special, indirect or consequential damages, arising out of or in connection with the use or
performance of this software.

Vienna Suite 1.1. User Manual © 2009 Vienna Symphonic Library