QUANTUM 2772 EVOLUTION Installation v. 2.0.

Quantum 2772 Evolution V2 (2.0.3) Installation Instructions:

Please Note: If you have previous versions of Quantum Evolution installed, this installer will install a new plugin version (V2)
that can be used side-by-side with V1. Older sessions will load with the V1 plugin to ensure that settings are recalled
correctly and are sonically identical.

Mac:

Download and run the v. 2.0.3 installer. The plugin will be listed as “Quantum Evolution V2” in your plugin lists.
If you have a previous Trial version on your system, you might need to manually remove the previous Quantum 2772 Evolu-
tion files from your VST and AU folders, and then run the update installer again. Make sure you only remove these Quantum
files and nothing else! These can be found at:

AU:
/Library/Audio/Plug-ins/Components/Quantum Evolution.component
VST3:
/Library/Audio/Plug-ins/VST3/Quantum Evolution.vst3
AAX (Pro Tools):
/Library/Application Support/Avid/Audio/Plug-Ins/QuantumEvolution.aaxplugin

W indows:

Download the v. 2.0.3 installer zip file.

VST Installation (non-Pro Tools):

Move the Quantum Evolution V2.VST3 to your current VST3 directory. This is usually found at:
C:\Program Files\Common Files\VST3
If necessary, replace/overwrite the previously installed trial version.

AAX Installation (Pro Tools):

Move the QuantumEvolutionV2.aaxplugin folder to your current AAX directory. This is usually found at:
C:\Program Files\Common Files\Avid\Audio\Plug-Ins
If necessary, replace/overwrite the previously installed trial version.

Version 2.0.3 release notes:

• Introduction of new filters, allowing faithful emulation of the 1990s hardware filter topology (bandwidth, RT60 Low, RT60
High) at multiple sample rates.
• Plugin GUI size is now freely draggable (bottom right-hand corner) and is saved for future instances
• Improved DAW preset management and stability across many DAWs. *Certain older DAW versions still display occasional
inconsistency.
• Automation of Freeze parameters (Fill and Kill) now added.

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1 Input Meters:

Displays RMS Levels of the Input (Dry) of the reverb.

2 Output Meters:

Displays RMS Levels of the Output (Wet) of the reverb. Note that output levels are a combination of direct, first reflection,
and reverb levels. The “clip” indicator will only light “red” when the internal gain staging of the DAW is digitally clipping, which
under normal 64-bit operating circumstances should be a rare occurrence. Due to the constructive nature of the reverb
algorithm, we recommend adjusting the send level of the signal being sent to the reverb as the reverb output can become
much louder than the input level.

3 Correlation (Corr.):

Controls the amount of stereo correlation (similarity) between the virtual microphones placed in the soundfield. A correla-
tion of 0 percent results in a wide, larger-than-life soundfield, but with a weaker center image. A correlation of 50 percent
results in a more natural, stronger center image, with less width. This control can also effectively be used to provide a sense
of depth and distance from the source. Note that correlation only affects the “reverb” portion of the algorithm.

Tip: If ultimate CPU efficiency is required, we recommend setting the Correlation to 0 percent. This can be especially effec-
tive on mono sources or sources that have a narrower stereo image.

4 Haas:

Unlike traditional panning, the “Haas” effect is a psychoacoustical principle often used to position sources in a stereo field in
a more natural way by slightly delaying one channel of the stereo source. With the Quantum 2772 Evolution we have used
the Haas principle to provide an effect which can subtly enhance the positioning and localization of certain stereo sources
within the reverberant field. The effect is largely source dependent, and while a range of 0 ms – 40 ms is offered, most users
will find a “sweet” spot between 10 ms – 20 ms.

5 LED Display Screen:

Displays the current parameters of the reverb program. Note that these values are also displayed under their respective
control dials.

6 Preset Menu:

Provides user-selectable presets suitable for a variety of program material. As outlined in the product overview, the core
presets of the “2772” algorithm are variations on a room size of 10^5 m3. Please note that the sound of the plugin is muted
for approximately one second when switching presets to ensure click-free operation.

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7 Direct Level:

Controls the amount of direct level (dry) sent to the output of the plugin. By default, this level is set to 0 as we recommend
using the plugin in a “send” configuration under most circumstances. With the use of the original hardware, users were
often advised to operate the unit as an “insert” in order to avoid subtle phase discrepancies the signal might incur due to
various latencies; however this caution is no longer necessary when using the plugin with a modern DAW utilizing delay
compensation.

8 1st Reflection Level:

Provides a single 1st reflection or “slap delay” which can be utilized to provide a stronger sense of localization or special
effect. By default, the 1st reflection level is set to 0 in most presets. Unlike many other reverbs, we recommend that you
utilize this control sparingly and primarily for special effect. As outlined in the product overview, all of the essential early
reflections necessary for a natural representation of size and localization are contained as an integral part of the reverb
algorithm and do not have separate level controls (e.g. the early reflections are not separated from the tail).

9 Reverb Level:

Controls the amount of reverb level (wet) sent to the output of the plugin.

10 Direct Delay, 1st Reflection Delay, Reverb Delay:

Controls the amount the signal is delayed in milliseconds, ranging from 0 ms to 200 ms. This is similar to the “predelay”
control found on many reverb simulators and can be used to provide more “immediacy” and directness to a source. As there
is a certain amount of “predelay” built into the core reverb algorithm, the use of these delay controls might respond in ways
which are different than other reverbs. By default, these delay controls are set to 0. Please note that while adjusting these
controls there might be a small amount of “zipper” noise and artifacts due to phasing that is occurring as the signal is
delayed. Additionally, there is an approximate delay of .3 seconds until the desired delay setting is reached.

11 Bandwidth:

Controls the amount of high-frequency attenuation of the input source which is passed on to the reverb algorithm. Band-
width essentially acts as a gentle high-frequency roll-off control or “low pass filter.” Higher settings will retain a more natu-
ral phase response of the input source, while lower settings will result in more aggressive high-frequency attenuation which
can be useful in simulating large spaces such as a cathedral or cavern. As outlined in the product overview, the plugin will
null with the original hardware at a setting of 20 kHz (full bandwidth). We have redesigned the filter to be slightly more
“analogue” in sound at other settings, with less upper-midrange buildup and pre-ringing.

Tip: For more creative results and control, we recommend leaving the bandwidth setting at 20 kHz (full bandwidth) and
applying your own EQ and filtering both pre and post plugin.

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12 Density Mode:

Controls the reverb “density” in increments of 0 – 80 percent. By default, the reverb is set to 25 percent density, which is
the recommended density setting for natural modal density simulation of the room. In the original 1982 hardware, the
algorithm was fixed at this density level. Lower density settings yield more sparse, “open” reverbs, while higher density
settings result in “thicker,” more complex reverbs.

13 RT60 Low:

Controls the proportion of low frequency reverb decay time to main reverb decay time. As is the case in many large spaces,
low frequencies can often take a much longer time to decay than higher frequencies. With V2 plugin, these filter settings
closely match the 1990s blue hardware.

14 RT60 Main:

Controls the main reverb time (amount of time it takes the signal to decay approximately 60 dB) in increments ranging from
.1 second to 100 seconds. At settings greater than 100 seconds, the plugin will enter “Freeze” mode and two additional
buttons (“Fill and Kill”) will appear above the central LED Display. “Freeze” mode allows for an infinite loop of sound. When “Fill”
is engaged, sound from the input source will be added to the infinite loop. Likewise, “Kill” will clear the contents of the current
loop. Note that the RT60 Low and High controls are disabled in “Freeze” mode as there is a danger of feedback within the
system.

15 RT60 High:

Controls the proportion of high frequency reverb decay time to main reverb decay time. As is the case in many spaces,
higher frequencies often decay much faster than low frequencies due to air and material absorption. Unlike the bandwidth
control, the RT60 High control simulates the effects of high frequency attenuation several hundred times a second which
results in a much higher CPU load. If ultimate CPU efficiency is needed, consider setting both the RT60 Low and High
controls to 1. Note that at settings of 1 the plugin will null with the original hardware. With V2 plugin, these filter settings
closely match the 1990s blue hardware.

16 Info Tab:

Displays basic version and author information for the plugin.

17 Level Locks:

Toggles the “locked” or “unlocked” status for the Direct, 1st Reflection, and Reverb Levels. This is useful for browsing through
presets while maintaining consistent levels.

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