Operation Manual

PSP 84
Operation manual
PSP 84 Operation Manual 2
Acknowledgements
We would like to thank all our beta testers for their very useful comments and opinions.
Special thanks to Alan Branch, Eitan Teomi, George Daly, Hans Van Even, Joeri
Vankeirsbilck, Makoto Okabe, Mat Jarvis, Murray Seymour, Orren Merton, Peter Willems,
Piotr Madziar, Richard Winter, Sakis Anastopoulos, Sam Hocking, Scot Solida, Steven
Dunston, Tammo Trüper, Ted Perlman, Tomasz Wróblewski and Tomi Liimatainen for their
inexpressible support, inspiration and friendship.
Thanks to all our customers around the world for ideas and help in development of new plug-
ins.
By using this software you agree to the terms of any license agreement accompanying it. “PSP”, the
PSP logo, “PSP 84”, and “It’s the sound that counts!” are trademarks of PSPaudioware.com s.c.
“VST” is a trademark of Steinberg Soft – und Hardware GmbH.
All other trademarks are the property of their respective owners.
© 2002 PSPaudioware.com s.c.
ACKNOWLEDGEMENTS..................................................................................................... 2
END USER LICENSE AGREEMENT .................................................................................. 4
INSTALLATION ..................................................................................................................... 5
MINIMUM SYSTEM REQUIREMENTS ........................................................................................ 5
OVERVIEW ............................................................................................................................. 6
FEATURES ............................................................................................................................... 6
APPLICATIONS ......................................................................................................................... 7
INTERNAL ARCHITECTURE ............................................................................................. 8
DELAY LINES (DLY L, DLY R AND VCO)............................................................................. 8
FILTER (FLT) .......................................................................................................................... 9
SATURATION (DRV) ............................................................................................................. 10
MODULATION (MOD)........................................................................................................... 11
REVERBERATION (RVB) ....................................................................................................... 11
MAIN (MAIN)....................................................................................................................... 12
PSP 84 BLOCK DIAGRAM....................................................................................................... 13
CONTROLS ........................................................................................................................... 14
I. DLY (L/R) SECTIONS ....................................................................................................... 15
II.FLT SECTION ..................................................................................................................... 17
III. DRV/ENV SECTION ........................................................................................................ 18
IV. MOD SECTION ............................................................................................................... 18
V. VCO SECTION .................................................................................................................. 20
VI. RVB SECTION ................................................................................................................. 20
VII. MAIN SECTION ............................................................................................................. 21
VIII. OTHER .......................................................................................................................... 22
FACTORY PRESETS ........................................................................................................... 23
HOW TO USE PRESETS? .......................................................................................................... 24
EXTERNAL CONTROLLERS AND AUTOMATION..................................................... 26
SUPPORT ............................................................................................................................... 27
USER COMMENTS .............................................................................................................. 27

End User License Agreement

PREFACE: This End-User License Agreement (“EULA”) is a legal agreement between you
and PSPaudioware.com s.c. (PSP) for the PSP product accompanying this EULA, which
includes computer software and may include associated media, printed materials, and “online”
or electronic documentation (“SOFTWARE”). By installing, copying, or using the
SOFTWARE, you agree to be bound by the terms of this EULA. If you do not agree to the
terms of this EULA, you may not use the SOFTWARE.
The SOFTWARE is protected by copyright laws and international copyright treaties, as well
as other intellectual property laws and treaties. The SOFTWARE is licensed, not sold.
LICENSE: You may install and use a copy of the SOFTWARE, or in its place, any prior
version for the same operating system, on a single computer. The DEMO VERSION of the
SOFTWARE is NOT LICENSED FOR COMMERCIAL USE.
RESTRICTIONS: You may not transfer, modify, rent, lease, loan, resell, distribute, network,
electronically transmit or merge the SOFTWARE. You may not reverse engineer, decompile
or disassemble the SOFTWARE, or otherwise attempt to discover the SOFTWARE source
code. You are not permitted to copy the SOFTWARE or any of the accompanying
documentation.
COPYRIGHTS: All title and copyrights in and to the SOFTWARE (including but not
limited to any images, photographs, animations, video, audio, music, text, and “applets”
incorporated into the SOFTWARE ), the accompanying printed materials, and any copies of
the SOFTWARE are owned by PSP. The SOFTWARE is protected by copyright laws and
international treaty provisions. Unauthorized reproduction or distribution of the SOFTWARE
or documentation is subject to civil and criminal penalties.
DISCLAIMER OF WARRANTY: The SOFTWARE is provided “AS IS” and without
warranty of any kind. The entire risk arising out of the use or performance of the
SOFTWARE and documentation remains with user. To the maximum extent permitted by
applicable law, PSP further disclaims all warranties, either express or implied, including, but
not limited to, implied warranties of merchantability and fitness for a particular purpose, with
regard to the SOFTWARE, and any accompanying hardware. To the maximum extent
permitted by applicable law, in no event shall PSP be liable for any consequential, incidental,
direct, indirect, special, punitive, or other damages whatsoever (including, without limitation,
damages for loss of business profits, business interruption, loss of business information, or
other pecuniary loss) arising out of this EULA or the use of or inability to use the
SOFTWARE, even if PSP has been advised of the possibility of such damages.
MISCELLANEOUS: This EULA is governed by Polish law. Should you have any questions
concerning this EULA, or if you wish to contact PSP for any reason, please write to:
PSPaudioware.com s.c.
Dzikiej Róży 11/8,
05-500 Józefosław,
Piaseczno, Poland.
Installation
To install any PSP plug-in, run the installer and follow the installation instructions on the
computer screen. Please make sure that you select the appropriate plug-ins folder for your
host application.
VST hosts
VST applications (such as Cubase, Logic, Nuendo, and WaveLab) require VST plug-ins to be
installed into special folder. In most cases a VST application accepts plug-ins installed in the
Vstplugins subfolder under the main applications folder, for instance,
C:\ProgramFiles\Emagic\Logic Audio Platinum 4.8\Vstplugins. Some hosts, such as
Steinberg hosts, use a shared plug-ins folder.
If you want to use the PSP plug-in in more than one VST application, manually copy the
plug-in dll file, which has already been installed into the chosen folder, to the appropriate
VST compatible host application folder. For example, Cubase VST hosts VST plug-ins in its
Vstplugins folder. Cubase VST 5.0 can also host plug-ins in a shared folder called Shared
VST Plug-ins Folder. This folder is usually located at C:\ProgramFiles\Steinberg\Vstplugins.
In order to install any PSP plug-in in other VST compatible applications, you should refer to
the particular application's operating manual.
DirectX hosts
All DirectX applications (such as Sonar, Cool Edit, Samplitiude, SoundForge) allow you to
install plug-ins and documentation in which ever folder you like (e.g.
C:\ProgramFiles\plugins\) until it is a valid folder. Be careful not to use an empty folder path
to install our plug-ins. This may happen when the setup application can't find a default
installation path.
To uninstall PSP plug-ins, choose the automatic uninstall option and follow the instructions
on your computer screen.
Minimum System Requirements

Windows 98
256 MB RAM
PIII 600 MHz
High Color S-VGA 1024x768
VST or DirectX compatible host application
MacOS v. 8.6 or later

Mac OS X v 10.0 or later
256 MB RAM
G3 500 MHz
High Color S-VGA 1024x768
VST compatible host application
Overview
PSP 84 is a high-quality processor, capable of producing a wide variety of delay-based
effects. Two independent delay lines operating with variable sample rate and a precise tape
saturation algorithm with adjustable gain that allow for convincingly sounding simulation of
tape delay, including all the exciting effects resulting from tape speed instability. The
Filtration section, consisting of three 2nd order switchable resonant filter types, can be used to
process input, feedback or wet signal. The adjustable slope of the filter ranges from gentle,
which is useful for simulating high frequency absorption, typical for tape delay and wet signal
equalization, to extremely steep with high cutoff frequency peak making all the wild wah-wah
and resonance effects easily available. The Delay line sample rate and the filter cutoff can be
modulated by any of the 5 LFO waveforms that are automatically synchronized to the
sequencer tempo or envelope follower with adjustable sensitivity and attack/release.
Moreover, the PSP 84 contains the functional reverb unit with simplified setting, carefully
tuned to exactly reproduce the sound of classic spring and plate reverberators.
Features
• High quality, unique signal processing algorithms,

• Up to 10 seconds of delay time per channel (depending on internal sampling
frequency),
• Continuous control over the delay time,
• Cross-channel feedback and independent channel settings with channel link mode,
• Tape saturation simulation with adjustable gain based on the algorithm used in our
mastering processors,
• Modulation section consisting of a LFO and an envelope follower, mixed in any
proportions, used for filter cutoff and delay line sample rate modulation,
• 5 click-free LFO waveforms and variable LFO channel phase offset,
• LP, BP, HP filter with adjustable cutoff and resonance,
• Flexible filter routing capabilities,
• Vintage reverberation module for faithful simulation of spring and plate reverb
characteristics,
• Parameter filtration for smooth and click-free operation,
• Support for sample rates of up to 192kHz,
• MIDI and VST automation of all parameters,
• Logic Control support,
• Pentium IV optimization,
• Over 60 presets for easy start.
Applications
The PSP 84 is primarily meant for applying to individual tracks within a mix and
experimenting with drum and synth loops. The included presets reveal its huge potential in
processing vocal, guitar and bass tracks. Though it can be successfully used for adding classic
sounding delay, its capabilities go far beyond that. The PSP 84 independent channel settings
and cross-channel feedback allow for creating animated delay effects that are more spatial and
cut better through the mix than a simple statically-panned delay. Resonant filters and a
modulation section that synchronizes to the host tempo, make it possible to create superb
auto-wah-wah effects, warm smoky dub sweeps, evolving ambient textures as well as to
easily shape the wet signal's spectral contents. The PSP 84 can create both pristine clean
sounding echoes or degenerate the signal to great extent - all depending on your needs -,
thanks to the variable internal sample rate allowing the pitch-twist effects, rich vocal doublers,
flangers and unsurpassed detune effects to be achieved. Guitarists that are not satisfied with
dry and cold sounding tracks recorded using direct-boxes will appreciate the saturation
algorithm, great for adding mild overdrive and harmonic contents enrichment. Last but not
least, the unique reverberation unit allows for adding space and warmth that most of the
native digital reverbs lack.
Internal architecture
Delay lines (DLY L, DLY R and VCO)
The core of the PSP 84 comprise of two parallel delay buffers (one for each channel),
operating with variable sample rate ranging from 0,5x to 2x of the host sample rate. There are
two factors that determine the actual (audible) delay time in the PSP 84:
• actual buffer length,
• internal sample rate,
The actual buffer length is set by the up/down buttons of the corresponding delay section or
by the invisible slider (please refer to the 'controls' section of this manual for further
explanation). It can also be expressed in rhythmic units (instead of milliseconds) as part of
one bar which allows for faster setting.
The Internal sample rate can be adjusted manually (manual knob in the VCO section) or
controlled by the modulating signal coming from the modulation block.
The easiest and probably the best way to explain how these two factors affect the audible
delay time is to highlight the analogy to a classic tape delay. A basic tape delay machine
(picture 1) is constructed in very similar way to an ordinary tape deck and consists of two
heads, one for recording and one for playback. The main difference is that the magnetic tape
is looped, e.g. after the audio has been recorded on the tape by the recording head it will be
played back after certain time (delay time). This time depends on how long it takes for the
tape to cover the distance between recording and playback heads, which in turn depends on
the distance itself and on the tape speed. These two factors are the exact analog equivalents of
PSP 84 actual buffer length and internal sample rate:
• head distance ~ actual buffer length,
• tape speed ~ internal sample rate.
The longer the actual buffer length (distance between heads) the longer resulting delay time.
The greater internal sample rate (higher tape speed) the shorter resulting delay time.
Picture 1: simple magnetic tape delay
It might seem that there is no point in having two ways of setting the delay time. This is not
true. Although both methods can be used to set the desired delay time (at least within a certain
range), they also affect other processing properties and are not equivalent. Changing the
actual buffer length in the PSP 84 is equivalent to moving the playback head to the new
position. This is done immediately and the result is that the buffer playback pointer (playback
head) jumps to another part of the audio that was recorded into the buffer. If you are familiar
with audio editing programs, you can think of it as of moving the playback pointer to another
position while the audio file is being played. Changing the internal sample rate (tape speed) is
very different from that because the playback is continuous. The Playback position does not
jump to another part of the recorded audio. Instead, the recorded audio starts to be played
back faster or slower. This results in its pitch to be altered too. If you increase the internal
sample rate, which corresponds to increasing the tape speed, sound is transposed up, and vice
versa. After the whole buffer has been played back, the pitch stabilizes because the audio is
being played back at the same speed as it was recorded.
In the digital domain the maximum frequency that can be reproduced is limited to half of the
sample rate (this is called the Nyquist frequency). That is why the side-effect of lowering the
internal sample rate is that the delayed signal is band-limited. This can be used to achieve
low-fi effects that are required for certain purposes.
The significant drawback of operating in the digital domain, that a sound engineer must be
aware of, is the aliasing phenomenon. It occurs when the original audio is being down-
sampled (what happens when the PSP 84’s internal sample rate is lower than the host sample
rate). If the sound that is being down-sampled contains frequencies greater than the new
Nyquist frequency (half the new sample rate), they become audible as unwanted artifacts.
Unfortunately some of the digital processing programs that are doing sample-rate conversion
somewhere in their signal path, do not care about the aliasing problem which becomes clearly
audible. There is no way to avoid aliasing in real-time applications. The only way possible is
to minimize its adverse effect by high frequencies attenuation so that it becomes much less
audible. The PSP 84 implements a 4th order low-pass anti-alias filter prior to the sample-rate
converters, that cures the aliasing problem to a great extent. However, it cuts some of the high
frequencies too, which may be unwelcome in certain applications where a crystal-clean full-
band delay is needed, such as hihat processing. That is why, when the PSP 84’s sample rate
conversion module (VCO) is switched off (which implies no aliasing), the anti-alias filter is
deactivated making full-band processing possible.
Every unit making sample-rate conversions (with the exception of down-sampling with an
integer ratio) has to implement some kind of interpolation algorithm. The simple techniques
of decimation and linear interpolation that are found in many commercial products, introduce
high harmonic distortion. The PSP 84 uses high quality multi-point interpolators both at the
input and output stage of the delay buffer. These interpolators have been designed to
introduce low distortion while keeping the CPU-usage at the reasonable level at the same
time. The result is a pristine clean sound all across the allowed internal sample rate range.
The hardware tape delay machines damp the recorded sound by a certain amount every one
tape lap. This makes the sound to be quieter with each repetition. The PSP 84 contains a
similar mechanism - feedback path. The feedback value defines the attenuation of the signal
and ranges from -oo dB to 0dB, which corresponds to one signal repetition and to lossless
infinite signal recirculation, respectively. In addition, the PSP 84 has controls that let you set
which part of the signal being fed back goes to the same channel and which to opposite. This
allows for creation of interesting stereo delay effects.
Filter (FLT)
The PSP 84 is not only capable of attenuating the feedback signal. It can shape its spectral
contents, making some frequencies to be attenuated more than others, thanks to the filter
section. Three filter types are available:
• low-pass,
• band-pass,
• high-pass.
All of them have been mathematically derived from analog 2nd order resonant filter
prototypes and, though not 100% equivalent, manage to keep most of their character. For each
filter type, cutoff frequency and resonance can be set. The resonance range let you shape the
filter slope from very soft, useful for gentle equalization, to steep with high peak around the
cutoff frequency, that makes the PSP 84 really scream. The Filter cutoff can be controlled by
the modulation section as well. The modulation depth can be both negative and positive,
letting the asymmetric LFO waveforms such as sawtooth to be inverted (up-saw becomes
down-saw). When modulation depth is not equal to 0, the manual cutoff knob controls the
center frequency around which the actual frequency oscillates.
The Filter section is not only limited to changing the spectral contents of the feedback signal.
There are three points within the PSP 84’s signal path, where the filter can be plugged:
• input (IN) - input signal before any other processing is filtered; filtration affects both
dry and wet signals and the filtered signal is recorded to the delay buffers. This mode
is the best for wah-wah effects and is identical to having wah-wah and delay
connected in series,
• feedback (FB) - both feedback and wet signals are filtered; the result is that the first
repetition is to be filtered and every next one is to be filtered more and more. This
mode is useful for simulation of frequency absorption coming from wall reflection as
well as for exciting resonant effects.
• wet (FX) - wet (processed) signal is filtered; this mode allows for degeneration-free
signal recirculation within the feedback path and controlling the output signal
spectrum only.
WARNING! The loud feedback may damage your speakers and ears! When the filter is
operating in FB mode the plug-in can easily become unstable. Always start with low feedback
and resonance values while in this mode and increase them gradually to achieve the desired
effect. It is a good practice to lower the plug-in output level too.
Saturation (DRV)
In order to make the tape delay simulation sound more convincing, the PSP 84 has an
advanced tape saturation algorithm. The saturation module is located just before the delay
buffer, so that the input signal, as well as the feedback signal, go through it. The only
adjustable parameter of this section is gain. It allows for setting the desired amount of
saturation - from mild harmonic contents enrichment to heavy overdrive and distortion. The
saturation algorithm is based on PSPaudioware.com research and experience in programming
the award-winning mastering processors, and its sound is warm and pleasant unlike most
digital overdrives, at least for low gain values.
The Saturation module is responsible for calculating the envelope follower signal too
(explained in the modulation section description later). This signal has nothing to do with the
saturation in fact, which may be a little confusing. The easy (and correct) way of thinking
about it is that both the saturation gain, and the envelope follower sensitivity controls have
been integrated into one knob. Turning up the DRV knob will increase not only the saturation
amount, but also the envelope follower sensitivity (and even, if the saturation block is off,
effectively allowing you to adjust it when you do not want to saturate the signal).
Modulation (MOD)
The Filter cutoff and internal sampling rate can both be controlled (at the same time) with the
signal that is generated by modulation section. This section consists of two main elements:
• low frequency oscillator (LFO),
• envelope follower.
The LFO is capable of generating the following waveforms:
• sinusoidal (SIN),
• pulse (SQR) with 50% pulse width,
• triangular (TRI),
• sawtooth (SAW),
• random (RND).
The waveforms that have discontinuities (SQR, SAW and RND), are low-pass filtered to
make the plug-in operation click-free. The random waveform is synced with the start of the
bar, if the host is capable of providing the plug-in with the necessary information about the
current song position. The LFO rate can vary within the range of 0.01 Hz to 15 Hz and can be
adjusted freely or host tempo related. The LFO waveforms that are generated for the left/right
channel do not have to be the same. In fact they can be phase-shifted which allows for very
interesting fat chorusing and panning effects when modulating the internal sample rate. The
RND waveforms behave in a different manner - if the phase offset is set to 0, the LFO signal
is the same for left and right channel; if it is not 0 then the plug-in generates two (usually)
different random numbers - one for each channel. The Filter cutoff is always modulated by
the left channel LFO signal.
The LFO signal can be mixed in any proportion with the envelope follower signal, making up
the final modulation signal. The Envelope follower analyses the input signal. Its value
depends on the weighted average of the absolute signal level, calculated for a certain time
window. The width of the window is adjusted with the 'speed' knob. Note that the envelope
follower sensitivity can be controlled by turning the DRV knob of the saturation block.
Reverberation (RVB)
Included with the PSP 84 comes the vintage reverb module, capable of simulation of spring
and plate reverberator types. Many commercial reverb units available attempt to simulate
virtual spaces through precise early reflection shaping and generation of a dense reverberation
tail. Unfortunately they often prove to be of little use in the mix, even if sounding convincing
when listened to in isolation. PSPaudioware.com made an attempt to meet the musicians and
engineers demand for a classic mechanical reverberators simulation by analyzing their
physical properties and implementing the reverb topologies that match those mechanical
constructions close. The results produced by the two reverb types are significantly different.
The Spring reverb creates a periodic tail, something that is usually considered unwanted by
reverb programmers. However, this is close to the actual way the spring reverb acts and it
turns out to sound surprisingly good in certain recording situations. The Plate reverb has a
denser and brighter tail being not as periodic as Spring – this is typical for physical plate
reverberators.
The reverb module can operate in two modes - processing only the wet signal or the output
signal, consisting of dry and wet signals mixed in the proportion set by the 'mix' knob. It has
an adjustable damping that effectively controls the reverberation time and the reverb amount,
which in fact allows for setting the internal mix proportion.
Main (MAIN)
The input signal can be either attenuated or amplified before further processing, by setting the
'input' knob. Since the PSP 84 contains non-linear elements (saturation) and an envelope
follower within its signal path, the input level does not only change the volume, but can also
affect the sound itself (its spectrum).
The dry and wet signal can be mixed in any proportions. The '-6dB method' has been used for
mix control, which means that in center position, when the proportions of the dry and wet
signal are both 50%, both signals are attenuated by -6dB. Though it may feel uncomfortable
that most of time the result of mixing is too quiet when compared to the level of the dry or
wet signal only, the point is that the PSP 84 is designed to deal with short delay times as well,
and the '-6dB method' becomes more convenient in this situations, when the alternative 'equal
power method' would cause clipping.
The outgoing signal can be attenuated or amplified allowing for final level adjustments.
The PSP 84 acts differently in bypass mode than most other plug-in processors do. Activating
this mode does not stop processing, but only copies the plug-in input to its output. All the
processing is still done in the background. Even though it eats up CPU resources, this seems
to be the only appropriate method for processors that have feedback in their signal path.
PSP 84 block diagram

L R
headroom L headroom R
input L input R
input gain input gain
<>IN filter
<>IN
flt mode flt mode

=IN =IN
antialias antialias
filter filter
feedback feedback
pan pan
saturator saturator
envelope
follower
rate rate
converter converter
mod
source
delay delay
buffer z-n feedback z-n buffer
mod gain
source
phase rate rate

shifter converter converter
<>FB flt mode <>FB

filter filter
=FB =FB
LFO
=FX =FX
flt mode flt mode <>FX

<>FX
rvb rvb
mode =OUT =OUT mode
=FX =FX
reverb reverb
output L output R
Picture 2: PSP 84 block diagram.

Controls
The PSP 84 front panel consists of:

• display,
• input level meters,
• controls.
The display is used to show continuous parameter's values (continuous parameters are
described below).
Input level meters (or headroom meters) indicate the peak level of the input signal. The Input
signal level can be adjusted with the INPUT knob.
Controls are used to change values of parameters. Parameters affect the way that the signal is
processed and thereby the sound. Each control has a parameter bound to it. If you change the
position of the control with your mouse (or MIDI control surface), the value of the parameter
that is bound to this control changes too. The opposite is true as well - if the value of the
parameter is changed by an automation event sent by the VST host, the position of the control
will be adjusted to reflect this change.
There are two types of controls used in the PSP 84:
• continuous controls - knobs and invisible sliders
• discreet controls - switches, buttons
Continuous controls are bound to the parameters that can have any value from an allowed
range, for example filter cutoff. Discreet controls are bound to the parameters for which only
a few values are allowed, such as filter type.
The PSP 84 front panel is divided into sections that correspond to the internal modules that
process the incoming audio:
• DLY L - left channel delay line,
• DLY R - right channel delay line,
• FLT - resonant filter,
• DRV/ENV - saturation module and envelope follower sensitivity,
• MOD - modulation signal source,
• VCO - delay line sample rate control unit,
• RVB - reverberator,
• MAIN - levels and mixing.
The FLT, DRV/ENV, MOD,VCO, RVB and MAIN sections can be switched off. We
recommend doing this for the sections that are not needed for current application, to save
CPU resources. The section is switched on/off by clicking on its name. The only exception is
the MAIN section that is switched by clicking on the BYPASS button.
DLY L and DLY R sections cannot be switched off and are always active (unless the plug-in
is turned off totally by the host application). Clicking on the name of the DLY section makes
the section the parent, while the opposite channel section becomes the child. The parent
section has the following two meanings:
• its delay time is shown by the display,
• when LINK is activated, the parent section settings are copied to the child section.
The LINK button allows the left and right channels to share the common settings. If link
mode is active, whenever the control position (and the value of the parameter bound to this
control) of one channel is changed, the opposite channel follows this change immediately.
There is no parent/child section while in link mode. To indicate this both DLY L and DLY R
sections are lit.
Most of the time the display indicates the delay time of the parent section. However, when the
position of the continuous control is changed, the current value of the parameter bound to this
control is shown on the main display for two seconds. After that it switches back and shows
the parent section delay time again. Since the values of the parameters bound to discreet
controls can be easily read from the control's position, they are not shown by the display.
The PSP 84 contains the following parameters, grouped in the sections:
I. DLY (L/R) sections

DLY L/DLY R - parent channel indicators/switches. The parent channel
delay time (expressed in ms or in rhythmic value, depending on which
mode is set), is displayed on the main display.
MODE - switches the delay time setting mode; the delay time can be set in
ms (TIME) using INVISIBLE SLIDERS and DOWN/UP buttons or in
tempo-dependent rhythmic value (NOTE mode), expressed as the
numerator and denominator, using DOWN/UP buttons. If the host
application is capable of providing the plug-in with tempo information, the
PSP 84 will get in-sync automatically when in NOTE mode and will follow
every tempo change. If you use a host that does not have such
functionality, you can still set the tempo manually by clicking on the main
display area and dragging left/right or up/down.
DOWN/UP:
- when in TIME mode used for setting the delay time in miliseconds. Press
shift or ctrl key to increase the step. Please note that the step depends on
the delay time RANGE set. The minimum step is 1/1000 of the current
range.
- when in NOTE mode used for changing numerator/denominator values.
The result is obtained by dividing the numerator by the denominator,
defining the tempo-related delay time expressed as the fraction of one bar.
Press shift or ctrl to decrease the value.
INVISIBLE SLIDERS - two sliders (one for each channel) located

between DOWN and UP buttons used for setting the delay time in ms.
Simply click on them and drag your mouse while keeping the mouse
button down. They do nothing when operating in NOTE mode.
RANGE - changes the delay time range; the available ranges are:
• 100 ms,
• 1000 ms,
• 5000 ms.
Setting the range to be narrower allows for finer delay time setting. The
Range can only be set manually when the plug-in is in TIME mode. When
in NOTE mode, the range is automatically set to be as narrow as possible
with the actual delay time resulting from numerator and denominator
settings and the current tempo. In NOTE mode, the resulting delay time
may exceed the maximum allowed value of 5000 ms. If this happens the
display starts to blink and the actual audible delay time is set to 5000 ms.
FB - sets the feedback attenuation. This can be any value from -oo (no
feedback) to 0dB (lossless signal recirculation) with -6dB in the center
position.
FB PAN - controls the feedback panning for the channel. The signal can be
fed back to the same channel and to the opposite channel in the proportion
that is controlled by this knob.
DLY INV - inverts the wet (delayed) signal phase.
FB INV - inverts the feedback signal phase.
LINK - links the channels.

II.FLT section
FLT - activates/deactivates the filter section.
MODE - controls where the filter is plugged in within the PSP 84’s signal
path. There are three modes available:
• IN - input signal is filtered prior to any other processing,
• FB - both feedback and wet (effect) signals are filtered. This results
in the first occurence of delayed signal to be affected and each
consecutive repetition to be filtered more and more.
• FX - wet (effect) signal is filtered. In this mode the signal can
recirculate in the feedback loop unaffected (without degradation)
and only the wet signal, just before it is mixed with the dry signal,
is filtered.
TYPE - controls the filter type. Can be any of the following:

• LP - low pass resonant filter,
• BP - band pass resonant filter,
• HP - high pass resonant filter.
CUTOFF - filter cutoff frequency. When the cutoff modulation is not

equal to 0, then the value set using this knob is the center frequency around
of which the actual cutoff frequency oscillates. The allowed range is from
50Hz to 16kHz, with 1kHz in the center position.
RES - filter resonance. Sets the height of the peak at the cutoff frequency.
In 0 position there is no resonance at all, in maximum position the filter is
close to self-oscillation. Be careful when turning this knob up, particularly
when the filter is in FB mode, since higher resonance values may result in
instability.
MOD - cutoff modulation. The Filter cutoff can be modulated within the
range of -2...+2 octaves. This knob allows the modulation depth to be set.
If turned counter-clockwise from the center position, then the modulating
signal is phase-reversed, allowing for example to change up-saw waveform
into down-saw.
III. DRV/ENV section

DRV - activates/deactivates the saturation section.
DRIVE - has two bound parameters:

saturation gain ranging from 0dB to +24dB with +12dB in center position.
This affects the saturation depth. Please note that even if this knob is set to
0dB, there is some saturation unless the section is switched off.
envelope follower sensitivity. This is active even if the section is switched
off!
IV. MOD section

MOD - activates/deactivates modulation section. If it is switched off,
neither filter nor vco is modulated, even if the modulation depth controls
are set to the values other than zero.
MODE - switches the LFO rate setting mode:

• FREQ mode - the LFO rate is set in Hz using the FREQ knob,
• NOTE mode - the LFO rate is expressed in tempo-related rhythmic
value using DOWN/UP buttons for setting numerator and
denominator. This is very similar to the NOTE mode of the delay
sections. If the resulting LFO rate exceeds the allowed range of
0.01Hz - 15Hz, the display starts to blink.
DOWN/UP:
• in FREQ mode - these buttons changes the LFO waveform,
• in NOTE mode - they set the numerator and denominator values
(press shift or ctrl to decrease the value).
WAVE - clicking on the corresponding symbol changes the LFO

waveform. Clicking on the already active waveform symbol restarts the
LFO. There are 5 LFO waveforms available:
• sinusoidal,
• pulse with 50% width (square),
• triangular,
• sawtooth,
• random (synced to the bar start if the VST host is capable of
sending current song position information).
When in FREQ mode, the LFO waveform can be set using the DOWN/UP
buttons as well.
FREQ - sets the LFO frequency when in FREQ mode. The range is
0.01Hz to 15Hz with 3Hz in the center position When in NOTE mode, this
knob's position is automatically adjusted to show the actual LFO rate,
resulting from numerator and denominator values and current tempo.
PHASE - controls the phase offset between the LFO signal for the L/R
channel within the range of -90 degrees to +90 degrees. Only the VCO can
be modulated for each channel independently. The filter is common for
both channels and is always modulated by the left channel modulation
signal.
SOURCE - sets the proportion of the LFO and ENVELOPE FOLLOWER

signals, comprising the final modulation signal.
SPEED - integrated control of the ENVELOPE FOLLOWER

attack/release time. It changes the width of the time-window for which the
average absolute input signal value is calculated. The allowed range is 100
ms to 1000 ms.
V. VCO section
VCO - activates/deactivates the section. If this is off, then the delay lines
are operating with the same sample rate that the host does. Antialias filters
are then deactivated too, allowing for full band-width processing.
MANUAL - manual control of delay line sample rate within the range of
0.5x - 2x of the host sample rate.
MOD - delay line sample rate modulation. If the LFO phase is not equal to
0, then each channel delay line is modulated separately by its own
modulation signal.
VI. RVB section

RVB - activates/deactivates the reverberation section.
MODE - lets you apply reverberation to the wet signal (FX) only or to the
final output signal (OUT) (after the dry signal has added to the processed
signal).
TYPE - switches between two classic (mechanical) reverb types. SPRING

simulates the spring reverb. In this case the reflections density does not
increase with the time and reverberation pattern is periodic. PLATE
recreates the plate reverberator characteristics that are brighter than a
spring reverb and the reflections density increases with time.
DAMP - controls the reflection damping, effectively determining the

reverberation time.
AMT - sets the internal proportion of the dry and wet signal. Please note,
that this is internal to the reverb section so the dry signal here can mean
either the PSP 84 wet signal (if the reverb mode is FX) or its output signal
(if the reverb mode is OUT).
VII. MAIN section

MAIN - unlike all other section indicators, this one cannot be switched by
clicking on it. It only shows whether the unit is in bypass mode or not. Use
BYPASS switch to control this.
INPUT - controls the input signal attenuation/amplification.
MIX - sets the proportion of dry (unaffected) and wet (processed) signal in
the output signal.
OUTPUT - attenuates/amplifies the output signal.

BYPASS - activates the bypass mode. When bypass is on, all the
processing is still done in the background even though the PSP 84’s output
signal is the same as its input signal.
VIII. Other
There is an additional INVISIBLE SLIDER located on the main display
area used to set the BPM tempo manually if the host is not capable of
providing the plug-in with tempo information
Clicking on PSP 84 logo brings up the BACK PANEL showing the

registered owner name and version information.
Factory presets
The PSP 84 has been equipped with a large number of factory presets that allow for an easy
start and will show you some of the plug-in’s exciting capabilities. Switching between presets
is usually smooth and click-free. Unfortunately, some VST hosts do not have controls for
navigating through the presets one by one by pressing up or down buttons, instead they only
allow you to choose the presets from the drop-down list. In this case a short processing break
may occur.
The PSP 84 contains the following presets:
• 1 4 Feedback,
• 1 4 Feedback LP,
• 1 4 Feedback->C,
• 1 4 Single,
• 1 4 Single LP,
• 1 4-1 8 Feedback->R,
• 1 6-1 12 Feedback,
• 1 4-1 8 X-talk,
• 1 8 Feedback,
• 1 8 Feedback BP,
• 1 8 Single,
• 3 16 Feedback,
• 3 16 Feedback HP,
• 3 16 Single,
• 3 16-1 8 X-talk,
• 1 8 1 12 Feedback,
• 1 12 Feedback,
• 1 4 Bounce,
• 1 8 Bounce,
• Synesthesia,
• Doubler Rough,
• Doubler Stereo,
• Doubler Verb,
• Mental Illness,
• Flanger Light,
• Spitsbergen,
• Splasher,
• Takeawalk,
• Satori,
• Gasherbrum Four,
• Seti,
• Hollow,
• Sarawak,
• South Pole,
• Deja Vu,
• Panner,
• Shimoni Caves,
• Hissteria,
• Nanobot,
• Dub Hit,
• Claustrophoby,
• Warm Slapback,
• Wow Tape,
• Loose And Lazy,
• Dropper,
• Transmitter,
• Inertia,
• Dylatation,
• Rain Forest,
• Helium,
• Angry Birds,
• Drum Filter,
• Drunken Tape,
• Haunted Playground,
• Overload,
• Psyched,
• Pink Is Dotty,
• Subotnickalodeon,
• Into The Sunset,
• Piano Case.
How to use presets?
Using presets in Cubase, Nuendo or WaveLab

To use our presets under Cubase, Cubasis or Nuendo, just click on the preset arrows to try the
programs one by one. Alternatively, you can open the preset list to choose a preset from. To
use presets under Wavelab, just click on the PRESETS box and select a preset from the list.
Using presets in Logic

To use presets under Logic just click on the PROG01 text box. The preset list will appear.
Click on the name of the preset to load it.
Using presets in other VST

Refer to your host application's manual for details on using internal VST presets. There are
still some VST applications (such as Paris or WaveBurner) which don't support internal VST
presets. In that case we recommend users to share presets between users.
Using presets in DX host

There is no standard way of implementing the presets is Microsoft DirectShow (part of
DirectX) specification. However, some companies made an attempt to enhance DirectShow to
support presets. The PSP 84 implements the IStaticFilterPreset interface, introduced by Sonic
Foundry, that has become a standard and is supported by most DX compatible host
applications. However, since it is possible that your host does not support this interface, we
advise you to refer to the host's manual or use the host manufacturer support service to check
this. You will not be able to use the PSP 84’s predefined presets if your DX compatible host
does not support the interface mentioned. Note that you will be able to save and load your
own presets, though. The lack of the IStaticFilterPreset implementation does not affect any
other PSP 84 functionality.
External controllers and automation

Every PSP 84 parameter can be automated, provided that your host application supports it.
Many of the VST and DirectX compatible commercial sequencers and multitrackers available
are capable of recording and sending automation information. However, some hosts contain
limitations, such as a restricted number of automatable parameters per plug-in or low
automation resolution, that can make automation difficult or impractical. If you encounter any
problems with automating the PSP 84 parameters, always refer to your host application
documentation for details.
Besides VST and DirectX automation, the VST version of PSP 84 can be controlled via
MIDI. This can be used for real-time control of the plug-in using any MIDI control surface
that is capable of sending MIDI Control Change (CC) messages. Once the PSP 84 has been
activated in your host application by plugging it anywhere in the audio path, the new MIDI
port (usually named PSP 84…) becomes accessible:
The plug-in’s engine and user interface respond to the messages that are sent to any MIDI
channel of this port (it operates in OMNI mode). Furthermore, MIDI automation can be used
to overcome problems, arising when the number of automatable parameters is limited by the
host application.
The PSP 84 has been designed, developed and tested to work properly with Logic Control
from Emagic. Plug-in parameter values can be changed in real-time using LC faders and
Vpots. The parameter names and their values appear on Logic Control’s display, making
navigation easy and convenient.
The MIDI Control Change (CC) numbers assigned to PSP 84 parameters are fixed. Please
refer to the table below for detailed information:
Parameter CC no Parameter CC no Parameter CC no

Dly Link 106 DlyR Range 63 Mod LfoMode 75
DlyL Den 60 DlyR Time 79 Mod LfoNum 76
DlyL DlyInv 50 Drv Gain 52 Mod LfoOffset 31
DlyL Fb 23 Drv On 102 Mod LfoRate 30
DlyL FbInv 27 Flt Cutoff 46 Mod LfoWave 29
DlyL FbPan 25 Flt Mod 44 Mod On 103
DlyL Mode 56 Flt Mode 54 Mod Source 41
DlyL Num 58 Flt On 90 Rvb Amt 88
DlyL Range 62 Flt Res 47 Rvb Damp 87
DlyL Time 78 Flt Type 45 Rvb Mode 85
DlyR Den 61 Main Bypass 89 Rvb On 105
DlyR DlyInv 51 Main In 20 Rvb Type 86
DlyR Fb 24 Main Mix 21 Tempo 55
DlyR FbInv 28 Main Out 22 Vco Manual 48
DlyR FbPan 26 Mod EnvSpeed 53 Vco Mod 49
DlyR Mode 57 Mod LfoDen 77 Vco On 104
DlyR Num 59 Mod LfoInit 35
Support
If you have any questions about the principles or operation of our plug-ins, please visit our
web site www.PSPaudioware.com where you can find the latest product information, free
software updates and answers to the most frequently asked questions.
You can also contact us by e-mail: support@PSPaudioware.com We will gladly answer all of
your questions. As a rule we respond within 24 hours.
PSPaudioware.com s.c.
Dzikiej Róży 11/8 Jozefoslaw
05-500 Piaseczno
Poland.
ph. +48 601 96 31 73
fax.: +48 22 711 25 69
http://www.PSPaudioware.com
contact@PSPaudioware.com
User Comments
We welcome any opinions and comments related to PSP 84. We would also be grateful if you
shared with us your experiences using PSP 84. For example, if you’ve created a useful preset,
let us know.
Please, contact us at: contact@PSPaudioware.com

Operation Manual

Uploaded by

Document Information

Original Description:

Original Title

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Operation Manual

Uploaded by

Copyright:

Available Formats

PSP 84

END USER LICENSE AGREEMENT .................................................................................. 4

USER COMMENTS .............................................................................................................. 27

End User License Agreement

Minimum System Requirements

MacOS v. 8.6 or later

• High quality, unique signal processing algorithms,

Picture 1: simple magnetic tape delay

PSP 84 block diagram

input gain input gain

flt mode flt mode

phase rate rate

<>FB flt mode <>FB

flt mode flt mode <>FX

Picture 2: PSP 84 block diagram.

The PSP 84 front panel consists of:

The PSP 84 contains the following parameters, grouped in the sections:

I. DLY (L/R) sections

INVISIBLE SLIDERS - two sliders (one for each channel) located

DLY INV - inverts the wet (delayed) signal phase.

FB INV - inverts the feedback signal phase.

LINK - links the channels.

TYPE - controls the filter type. Can be any of the following:

CUTOFF - filter cutoff frequency. When the cutoff modulation is not

III. DRV/ENV section

DRIVE - has two bound parameters:

IV. MOD section

MODE - switches the LFO rate setting mode:

WAVE - clicking on the corresponding symbol changes the LFO

SOURCE - sets the proportion of the LFO and ENVELOPE FOLLOWER

SPEED - integrated control of the ENVELOPE FOLLOWER

VI. RVB section

TYPE - switches between two classic (mechanical) reverb types. SPRING

DAMP - controls the reflection damping, effectively determining the

VII. MAIN section

INPUT - controls the input signal attenuation/amplification.

OUTPUT - attenuates/amplifies the output signal.

Clicking on PSP 84 logo brings up the BACK PANEL showing the

The PSP 84 contains the following presets:

How to use presets?

Using presets in Cubase, Nuendo or WaveLab

Using presets in Logic

Using presets in other VST

Using presets in DX host

External controllers and automation

Parameter CC no Parameter CC no Parameter CC no

You might also like