WiN: Team R2R | 83 MB | MAC: Team R2R | 66.5 MB

Dear Reality’s state-of-the-art algorithms have been a mainstay of 3D audio production for years. Now, for the first time, their spatial processing treasure chest has been made available in an all-in-one plugin for your DAW: dearVR pro. Say goodbye to expensi; M (ve middleware, unwieldy software bund/ – p H 6 . 6les and complex routing schemes. All the tools you need to create stunning, immersive 3D audio! $ : ] V w r R for virtual reality (VR) and augmented reality (AR) video, films and games are included ix P r & 9 @ z [ +n dearR % 1 R [ – m : ZVR prH q I No’s powerful yet fast and intuitive# F W 3 Q * interface.

Two modes of operation let you choose how to work. Simply drag your mouse around using the plugin’s g= 5 1 / rraphicJ 1 J Q Y @ 4 1 tal XYZ pad to positioa y D , ! xn a track’s sound anywhere in a 3D sounJ 4 0dstage – behind or in front of the listener, above or below their head, to the[ U 1 M left or right, closer or farther away. Or use separate sliders for adjusting the sound’s elevation, azimuthe S 6 N ^ ? { and distance from the listener. dearVR pro provides 46 vivid virtual acoustic environments, featuring true to life 3D imaging and depth, in which to place5 Z k 9 N / ( 4 an object’s sound and move it around in real time. Among the many selections to choose from are concert halls, car interioq – Z r 7 ~ #rs, vap ( 3 A s { Sriously sized rooms, and a church, cellar, stairc/ P 8 @ W ,ase, bathroom, booth, warehouse, arena, outdoor street and live stage& a : O A V H 3 E. Each environmeY m G } 9 6nt is instantly and independently recallable per plugin instance, letting you place each object’s sound in a diffe L a u K Gerent space.

You can change the shape, dimensions and texture of your selected virtual space using controls that adjust its size, damping, and& A J bQ W 2 X 9 KalanceM i 7 0 g l oI * s 7 Uf early reflectionV g 8 ? _s and diffs F ( U W i w *use reverb. In Realtime Auralio } % 9zation mode,= & 2 + ( 1 turn six knobs& \ [ D w K , to respectively adjust the di/ S \ Gstae a ) y *nce from the listener of the four walls, ceiling and floor in your virtual space; as you move yo! ; 8 . e { f 1 wur soY * K – Z B A ] zund arounj ? } o 0 l t – 6d to match an onscreen object’s movement, the delay times and directions of arz / V z @rival for early reflections bouncing off these virtualJ O C f @ I G O boundaries change – just like in real environments. An Occlusion control lets you adjust the sound of an object to realistically match its being blo Y E / p r =ocked by ac # 0 = ? ] #nother virtual object in line of sight to the listener. And if a track’s sound doesn’t move in perfect sync with its corresponding visual element, you can tweak its animation curve using separate scalm t +ing controls for azimuth and distance parameter ranges to make picture and sound match up flawlessly.

dearVR pro outputs the highest-quality 3D ak * d & s j f 1 *udio in seven delivery formats (including audio for 360-degree videos on YouTube and Facebook), meeting all the professional requirements foJ s 6 3 ( ( X [r any VR or AR production. Select 2-channel binaural format fo: 0 4 : p p % qr totally immersive playback using conventional headphones. Or choose 4-channel first order, 9-channel second order or 16-channel third order Ambisonics output in eitK C 0 6 \her AmbiX or Furse Malham (FuMA) format. The plugin’s 46 stellar virtual acousti{ 5 A C \ (c environments can ar % q = 1 6 s [ ~lso be used like conventional re\ , o z E 4 bverbs in 2D stereo mixes, dob z O @ | W C 2 :ubling their usefulness for music production.

For those who don’t need all the firepower dearVR pro offers, a streamlined version of the plugin – dea4 Y N vrVR music – is ax ] f A u y – 7vailable for entry-level applications. But for professionalsS s l K i 4 working in VR and AR who need no-comprom+ K – u vise, stG y Y e S ~ ]ate-of-the-art performance with all of the workflow advantages of a self-contained plugin, dearVRt $ z & p I 2 K pro is the ultimate solution.

dearVR pro – one-stop 3D processing for your DAW.

► FEATURc q } q ! k c eES

  • State-of-the-\ { C ^ O ~ s vart processing allows any multitra( Y p L q Q M {ck session to be mixed in 3D, deliveriK r / z 0 s . Wng a true to life immersive soundscape with bE 7 B : { H n –inaural or Amp ] 1bisonic plO \ % | @ ` b rayba$ j 9ck
  • No ancillary software or external routing is required – all pW X 2 ( n Nrocessors are contained in a single plugin
  • PositR a (ion and move an object’s sound in real time in a virtualW ? y D @ ! ) C w 3D environment using a graphical XYZ pad or separate sliders for adjusting the sound’s azimuth, elevao _ Btion and distance to the listener
  • Includes 46 vivid virtual acoustic el N !nvirQ } Aonments to choose from, each independently recallable per plugin instance
  • Controls for virtual environme5 u 8 + ? 8 q @ Rnts adjust their size; damping; balance of early reflections and diffuse reverb; and distance of walls, ceiling and floor tQ k so listener
  • Powerful Realtime AuralizatiW M 0 don mode continually changes the delay times and directions of arrival for early reflections as you move an object’s sound around in its v: , F V qirtual space
  • Occlusion control realistically adjusts the sound of an object being bl~ ; & 0 _ nocked by another virtual object in lined 1 U t } of sight to the listener
  • Separate controls scale parameter ranges for azimuth and distance to maintain perfect sync between audio and corresponding virtual obj* j # rects in motion
  • Outputs audio in eight different formats: 2-cs l X ,hannel binaural (for 3D playback using stak N 8ndard headphones); 4-channel first order, 9-channel second orq 0 1 $der and 16-channel third or& m e N w & +der Aa D ~ _ 8 Z G umbisonics output in either AmbiX or FurD 4 q j \se Malr C z 4 b rham (FuMA) format; and 2D stereo

 

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