ASAP Manual

Version 1.0.1 for Windows, Mac & Linux

Manual by Pierre Guillot

www.ircam.fr

Table of contents

1. Introduction
System Requirements
Installation
Authorization
2. Plugins
Spectral Remix
Spectral Crossing
Spectral Morphing
Spectral Clipping
Formant Shaping
Spectral Surface
3. Audio Settings
4. Command Line
5. Credits

Introduction

ASAP (AudioSculpt As Plugins) is a set of audio plugins that allows transforming the sound in a creative way. The user is
invited to play with the sound representation and the synthesis parameters in order to generate new sounds. The plugins
are based on the SuperVP audio engine developed by the IRCAM analysis-synthesis team.

Plugins:
 Spectral Remix Free: The plugin allows you to control the levels of preservation of the harmonic, noise and attack
components of the sound.
Spectral Crossing Premium: The plugin allows you to cross the amplitudes and the frequencies of a source sound and a
side-chain sound to generate a hybrid sound.
Spectral Morphing Premium: The plugin allows you to apply the spectral characteristics of a side-chain sound to a source
sound in order to transform its timbre.
Spectral Clipping Free: The plugin expands and compresses the energy of spectral components within a range of
thresholds.
Formant Shaping Premium: The plugin allows you to modify the vowels and play with the formant resonances of the
sound.
Spectral Surface Premium: The plugin allows you to draw shapes to apply gain filters locally on the sound spectrogram
(ARA extension).

ASAP is designed and developed by Pierre Guillot at IRCAM IMR Department.

SuperVP is designed by Axel Röbel (based on an initial version by Philippe Depalle) and developed by Axel Röbel & Frédéric
Cornu of the Analysis-Synthesis team of the STMS Lab hosted at IRCAM.
Copyright 2022 Ircam. All rights reserved.

System Requirements

MacOS 10.13 and higher (64bit - Universal Intel/Silicon)

Linux (64 bit)
Windows 10 and 11 (64 bit).

The plugins are available in the VST3, Audio Unit and AAX formats (with the ARA extension for processing that requires entire
audio information).

The plugin has been tested on MacOS, Linux & Windows with Reaper, Ableton Live, Logic, Cubase, Pro Tools & Studio One.

⚠️ ARA v2: The plugins that require audio random access, such as Spectral Surface, use the ARA v2 extension. Not all the
DAWs support the ARA extension and the AAX format is not yet compatible with the ARA extension. Here is a list of DAWs with
the ARA v2 support.

In Logic, ARA - MacOS M1 support is still under development (though you use it with Rosetta 2).

⚠️ On Linux the lapack package must be installed. We recommend using the package manager of your operating system to
download and install the corresponding package. For example, on Fedora 36  sudo dnf install lapack .

Installation

Decompress the ASAP package and use the installer on MacOS or Windows or the install script on Linux.

On Linux, in order to install the plugin manually, put dynamic libraries (*.so) in the default directory  /usr/local/lib/.vst3  for
all users, in  $HOME/.vst3  for the current user only or in your custom VST3 plugin directory.

Authorization

The Spectral Remix and the Spectral Clipping plugins are part of the IRCAM Forum free membership. The other ASAP plugins
are part of the IRCAM Forum Premium technologies bundle offering many tools, plugins, and applications to analyze,
synthesize, and transform the sound. The free membership allows you to use the demo version of these premium plugins.

To use the premium plugins without limitation, you must subscribe to the IRCAM Forum Premium, download an authorization
key from the IRCAM Shop, and authorize the plugins using this authorization key.
Open the authorization window from the interface of one of the ASAP plugins by clicking on the  Authorize  entry of the
dropdown menu button (H1) (or directly the  Demo  warning button). Click on the authorize button and select the file
Ircam_Authorization_Key.txt downloaded from the IRCAM Shop (or drop directly the file into the window).

Once the authorization key is validated (the process might take a few seconds), all the ASAP plugins can be used without
limitation (the operation enables automatically all the plugins), the  Demo  buttons disappear, and  Authorize  entry of the
dropdown menu buttons (H1) is disabled.

If the ASAP plugins are not authorized, the plugins run in demo mode. There is no time limitation for the demo but the audio is
muted periodically. During the mute period, the  Demo  button flickers and displays the text Mute.

Tip: The IRCAM Forum Premium webpage to subscribe to the IRCAM Forum Premium membership and the IRCAM Shop
webpage to download an authorization key can be accessed via the corresponding buttons in the authorization window.

Plugins

All plugins have a header section with the title of the plugin, a dropdown button (H1), and a settings button (H2).

The dropdown menu button (H1) allows you to change the graphic theme, modify the graphical scale (important: the scale is
shared by all the ASAP plugins), display the about window, open the project website or authorize the ASAP plugin.
The settings button (H2) shows or hides the Audio Engine (SuperVP) settings panel. See the Audio Settings section for further
information.

Spectral Remix

The Spectral Remix plugin allows you to control the levels of preservation of the harmonic, noise and attack components of the
sound.

The processing of the Spectral Remix plugin is based on two audio signal analyses allowing the separation of the audio signal
into three types of components whose levels can be adjusted during their recombination. The first analysis detects the
transients of the audio signal that characterize attacks (when the energy increases rapidly). The release time determines how
long the audio signal is still considered part of the attack after it has been detected. The audio signal not part of an attack is
processed according to a second analysis that classifies the spectral components as periodic (or harmonic) or noisy (or
inharmonic). The error determines the tolerance degree to classify the spectral components as periodic and a higher error level
increases the chance to classify a spectral component as harmonic. Controlling the levels of the components when
recombining them allows highlighting or hiding certain audio elements and characteristics such as background noise, vocals,
percussive sounds, and so on.

The harmonic remix factor knob (K1) controls the preservation of the harmonic components of the input signal in the
output signal (in percentage).
The noise remix factor knob (K2) controls the preservation of the noise components of the input signal in the output signal
(in percentage).
The harmonic/noise link button (K3) enables or disables the invert link between the harmonic factor and the noise remix
factor.
The harmonic-noise error level knob (K4) controls the classification of peaks as harmonic components or noise
components (in percentage).
 The harmonic-noise overall factor slider (K5) controls the overall preservation of the harmonic and noise components of
the input signal in the output signal (in percentage).
The attack remix factor knob (K6) controls the preservation of the detected attacks of the input signal in the output signal
(in percentage).
The release time of the attack components knob (K7) controls the release duration of the output signal after each
detected attack in the input signal (in ms).
The harmonic-noise/attack link button (K8) enables or disables the invert link between the harmonic-noise remix factor
and the attack remix factor.
The bypass button (K9) bypasses the plugin processing.

Spectral Crossing

The Spectral Crossing plugin allows you to cross the amplitudes and the frequencies of a source sound and a side-chain sound
to generate an hybrid sound.

The Spectral Crossing plugin processing combines two audio signals in the spectral domain using the cross-synthesis
technique. In the spectral domain, the audio signal is decomposed into frequency bands that each has phase and amplitude
information. For each frequency band, cross-synthesis multiplies and adds the phase information and amplitude information of
two audio signals before recomposing the result into a single signal in the time domain. Controlling the phase and amplitude
levels of each audio signal allows generating a hybrid audio signal by incorporating some spectral characteristics of one audio
signal with some spectral characteristics of the other audio signal. By using audio signals with common spectral characteristics,
it is possible to creatively interpolate and transform one sound into another by gradually mixing the phase and amplitude
components of the two audio signals with a direct or inverted with direct or inverted ratios.

The source amplitude factor knob (K1) controls the amount of the amplitude of the source signal used to define the
amplitude of the output signal (in percentage).
The side-chain amplitude factor knob (K2) controls the amount of the amplitude of the side-chain signal used to define
the amplitude of the output signal (in percentage).
 The amplitude link button (K3) enables or disables the invert link between the source amplitude factor and the side-chain
amplitude factor.
The power factor knob (K4) controls the amount of the power of both the source and the side-chain signals used to define
the amplitude of the output signal (in percentage).
The source frequency factor knob (K5) controls the amount of the frequency of the source signal used to define the
frequency of the output signal (in percentage).
The side-chain frequency factor knob (K6) controls the amount of the frequency of the side-chain signal used to define
the frequency of the output signal (in percentage).
The frequency link button (K7) enables or disables the invert link between the source frequency factor and the side-chain
frequency factor.
The global mix slider (K8) controls a linear transition between the source and side-chain amplitude and frequency factors
(in percentage).
The global mix direction button (K9) the inversion of the transition of the global mix for the amplitude and frequency
factors (in percentage).
The bypass button (K10) bypasses the plugin processing.

Spectral Morphing

The Spectral Morphing plugin allows you to apply the spectral characteristics of a side-chain sound to a source sound in order
to transform its timbre.

The Spectral Morphing plugin processing combines the spectral characteristics of two audio signals using the source filter
technique where an audio signal is used as a filter of another audio signal. In the spectral domain, the audio signal is
decomposed into frequency bands that each has phase and amplitude information. For each frequency band, the source filter
technique multiplies the amplitude information of two audio signals and preserves the phase information of the source before
recomposing the result into a single signal in the time domain. The spectral envelope is an intermediary spectral representation
of the audio signal by a curve that envelops the frequency and intensity information. This representation is used to control the
preservation of the timbre and the energy of each audio signal before mixing their spectral information. By using a voice sound
as the side-chain on an instrument sound as the source, spectral morphing can be used to make the instrument speak.
 The source envelope button (K1) enables or disables the True Envelope representation for the source signal (the spectral
envelope optimized for the voice processing) instead of the Linear Predictive Coding (the generic spectral envelope).
The side-chain envelope button (K2) enables or disables the True Envelope representation for the side-chain signal (the
spectral envelope optimized for the voice processing) instead of the Linear Predictive Coding (the generic spectral
envelope).
The source timbre factor knob (K3) controls the timbre preservation of the source signal (in percentage).
The side-chain timbre factor knob (K4) controls the timbre preservation of the side-chain signal (in percentage).
The timbre link button (K5) enables or disables the invert link between the source timbre factor and the side-chain timbre
factor.
The source energy factor knob (K6) controls the time varying perceived energy modulation of the source signal (in
percentage).
The side-chain energy factor knob (K7) controls the time varying perceived energy modulation of the side-chain signal (in
percentage).
The energy link button (K8) enables or disables the invert link between the source energy factor and the side-chain energy
factor.
The global mix slider (K9) controls a linear transition between the source and side-chain timbre and energy factors (in
percentage).
The global mix direction button (K10) the inversion of the transition of the global mix for the timbre and energy factors (in
percentage).
The bypass button (K11) bypasses the plugin processing.

Spectral Clipping

The Spectral Clipping plugin expands and compresses the energy of spectral components within a range of thresholds.
The Spectral Clipping plugin is a spectral domain expander and compressor. The audio signal is decomposed into the
frequency domain, then the amplitude information of each frequency band is modified according to an energy range before
recomposing the audio signal into the time domain. If the amplitude of the frequency band is less than the minimum value of the
energy range, then the amplitude is zero. If the amplitude of the frequency band is greater than the maximum value of the
energy range, then the amplitude is clipped at this value. The minimum value of the energy range cuts off all spectral
components with an amplitude below this threshold, and can be used for silent level sounds such as background noise. The
maximum value of the range compresses all spectral components with amplitude above this threshold and can be used to limit
high energy peaks such as high-pitched bird calls.

The low energy clipping threshold knob (K1) defines the energy below which the spectral components of the signal are
muted (in decibels).
The high energy clipping threshold knob (K2) defines the energy above which the spectral components of the signal are
limited (in decibels).
The energy range clipping threshold slider (K3) defines the energy range below which the spectral components of the
signal are muted and above which the spectral components of the signal are limited (in decibels).
The energy compensation button (K4) defines the normalization factor to compensate for the loss of energy due to
clipping.
The bypass button (K5) bypasses the plugin processing.

Formant Shaping

The Shaping plugin allows you to modify the vowels and play with the formant resonances of the sound.

The Spectral Shaping plugin contains two formant resonators. A formant resonator is a three-band resonant filter (a set of 2nd
order filters) and each band filter is defined by a center frequency, a bandwidth, and a gain. The relation of the parameters of
the band filters is used to generate the vowel resonances (such as E, A, I, O, and U). Thus, a formant resonator can be used to
change the spoken vowels of a voice or to vocalise instruments such as a drum set. The plugin has two formant resonators
allowing interpolation between one formant and another to smooth transitions or creation of original filtering.
 The interpolation knob (K1) defines the transition between the left formant filter (100L) and the right formant filter (100R).
The left filter presets dropdown menu (K2) allows you to select a predefined formant bank to use.
The left filter coefficients number fields (K3) define the center frequency (in hertz), the gain (in decibels), and the
bandwidth (in hertz) of each of the 3 formants of the filter.
The right filter presets dropdown menu (K4) allows you to select a predefined formant bank to use.
The right filter coefficients number fields (K5) define the center frequency (in hertz), the gain (in decibels), and the
bandwidth (in hertz) of each of the 3 formants of the filter.
The bypass button (K6) bypasses the plugin processing.

Spectral Surface

The Spectral Surface plugin allows you to draw shape filters on the sound spectrogram and to control the gain.

The Spectral Shaping plugin allows drawing surface filters using rectangles and polygons on the spectrogram of the sound. The
spectrogram is a time/frequency representation of the audio signal where the amplitude of the frequencies is represented by
colour variations. A filter surface increases or decreases the amplitude of the frequency components of the audio signal in time
and frequency according to a shape drawn on the spectrogram. A filter surface is also defined by a time fade and a frequency
fade that smoothes the transition at the edges of the shape. The sound representation and the effect interface, made possible
thanks to the ARA plugin extension, allow the creation of very complex and precise surface filters to reduce or increase specific
parts of the spectral components of the sound. The effect can be used to compensate for annoying artefacts in the sound as
well as to transform the sound creatively.

Important: As the plugin uses the ARA extension, it must be loaded as the first plugin of the effect chain of the track and it will
take the role of the audio source of the regions. Thus, the plugin offer an alternative representation of the track and its region
that is synchronised with the DAW and that allows modifying the audio playback process.
Some of the plugin interactions can be performed using keyboard but the DAWs might intercept some of the keyboard inputs,
please report any issue. On Reaper, we recommend enabling the plugin option "Send all keyboard input to plugin".

Spectrogram

For each region in the track, a region is created in the plugin and its content is displayed as a spectrogram. The analysis
properties of the spectrogram are shared with the rendering audio engine. The colors of the spectrogram depend on the
graphical theme of the plugin that can be modified using the main dropdown button (H1). Toggle the spectrogram resampling
quality button between low and high to optimize the rendering for your edition mode.

Low: renders a sharp spectrogram suitable for high zoom and useful for the wand tool.

High: renders a smooth spectrogram suitable for medium and low zooms and adapted to the quill tool.

Display

The plugin offers 3 display modes that can be modified by clicking on the corresponding button at the right of the time bar.

All: displays all the tracks and regions with an instance of the plugin in their effect chain.

Selection: displays all the tracks and regions with an instance of the plugin in their effect chain, and that are currently
selected.

Plugin: displays only the track or the region that corresponds to this specific instance of the plugin (this mode depends
on the ARA integration by the DAW and is not available in Cubase).

Zoom

The plugin provides the ability to zoom into time and frequency ranges to improve the representation of the spectrogram and to
facilitate the edition of the surface filters.

Time

Click and drag up and down on the time ruler to zoom in and out of the time range.
Double-click on the time ruler to zoom on the entire time range.
Click with  ⇧ Shift  and drag to the left and right on the time ruler to shift the time range backwards and forwards.
Click with  ⌘ Cmd  (Mac) or  Ctrl  (Linux/Windows) and drag on the time ruler to select a time range to zoom to.
 Click with  ⎇ Option  (Mac) or  Alt  (Linux/Windows)n the time ruler to show a floating window that allows to textually
specify the zoom range .
Click on the time bar to shift the time range backwards and forwards.
Double-click on the region header to zoom on the region's time range.
Scroll vertically with  ⇧ Shift  over the spectrogram (or scroll horizontally) using the mouse-wheel to shift the time range
backwards and forwards.
Scroll vertically over the spectrogram using the mouse-wheel to zoom in and out of the time range.
Use the pitch-zoom over the spectrogram to zoom in and out of the time range.

Frequency

Click and drag left and right on the frequency ruler to zoom in and out of the frequency range.
Double-click on the frequency ruler to zoom on the entire frequency range.
Click with  ⇧ Shift  and drag left and right on the frequency ruler to shift the frequency range backwards and forwards.
Click with  ⌘ Cmd  (Mac) or  Ctrl  (Linux/Windows) and drag on the frequency ruler to select a frequency range to zoom to.
Click with  ⎇ Option  (Mac) or  Alt  (Linux/Windows)n the frequency ruler to show a floating window that allows to
textually specify the zoom range .
Click on the frequency bar to shift the time range backwards and forwards.
Scroll vertically or horizontally with  Ctrl  over the spectrogram using the mouse-wheel to zoom in and out of the
frequency range.
Scroll vertically with  Ctrl  and  ⇧ Shift  over the spectrogram using the mouse-wheel to shift the frequency range
backwards and forwards.
Use the pitch-zoom with  Ctrl  over the spectrogram to zoom in and out of the frequency range.

Transport

The plugin provides a set of interactions and shortcuts in order to control the audio playback (the plugin transport is also
synchronised with one of the DAW).

Playback

Click on the time bar, loop bar or spectrogram to move the playhead to the mouse position.
Click on the region header to move the playhead to the beginning of the region.
Press the  space  bar to start and stop the audio playback.
Click on the and button to start and stop the audio playback.
Click on the button to enable or disable the automatic scrolling of the time range during playback.
Press the  p  key with no surface selected to enable the sonar and generate the audio pre-rendering around the mouse
cursor (the audio playback must be stopped and the mouse button must be released). If one or more surfaces are selected,
it generates an audio pre-rendering of the selected surfaces with their corresponding gain and fades (the audio playback
must be stopped).

Looping

Click on the button to enable or disable the playback loop.

Press the DAW's shortcut for the "Loop" to enable or disable the playback loop. Please, report if the shortcut doesn't
correspond.
Click and drag on an empty area of the loop bar to select a new loop range.
Click and drag on the left or the right border of the loop range of the loop bar to respectively shift the start or end of the
loop range.
Click and drag with  ⇧ Shift  and the loop range of the loop bar to shift the loop range of the loop backwards and
forwards.
Click with  ⇧ Shift  on the region header to use the region's time range for the loop range.

Filter
The surface filters can be drawn and edited directly on the spectrogram using the mouse and the keyboard inputs. Moreover,
the properties of the selected surface filters can be controlled in the settings panel (H2).

All the modifications can be undone with  ⌘ Cmd + z  (Mac) or  Ctrl + z  (Linux/Windows) or reapplied with  ⌘ Cmd + ⇧ Shift
+ z  (Mac),  Ctrl + ⇧ Shift + z  (Linux/Windows) or  Ctrl + y  (Linux/Windows) or using the and buttons.

Selection

The surfaces can be selected with a rectangular lasso by clicking and dragging on the spectrogram. Click with  ⇧ Shift  on a
surface to add/remove it to/from the selection. Or use the shortcut  ⌘ Cmd  (Mac) or  Ctrl  (Linux/Windows) +  a  to select all of
them in the active region.

The selected surfaces can be grouped or ungrouped with the respective shortcuts  ⌘ Cmd + g  and  ⌘ Cmd + ⇧ Shift + g 
(Mac) and  Ctrl + g  and  Ctrl + ⇧ Shift + g  (Linux/Windows) or by right-clicking on the surfaces and selecting the
corresponding item in the popup menu.

Press the  p  key to generate an audio pre-rendering of the selected surfaces with their corresponding gain and fades (the audio
playback must be stopped). If there is no selected surface, the sonar generates an audio pre-rendering around the mouse
cursor (the audio playback must be stopped and the mouse button must be released).

Creation

The plugin offers four modes for creating surfaces that can be selected by clicking on the corresponding button on the header
section:

Rectangle: Click with  ⌘ Cmd  (Mac) or  Ctrl  (Linux/Windows) and drag on the spectrogram to create a rectangle
surface filter. Release the mouse button to end and validate the rectangle surface.

Polygon: Click with  ⌘ Cmd  (Mac) or  Ctrl  (Linux/Windows) on the spectrogram to create a new polygon surface filter
and add new points to it. Press  ⏎ return  or click without any modifier on the spectrogram to end and validate the
polygon surface.

Wand: Press  ⌘ Cmd + ⇧ Shift  (Mac) or  Ctrl + ⇧ Shift  (Linux/Windows) over the spectrogram to display the
preview of the wand surface filter based on sound energy. Click with  ⌘ Cmd  (Mac) or  Ctrl  (Linux/Windows) on the
spectrogram to create the wand surface and extend it with new points. Press  ⏎ return  or click without any modifier on
the spectrogram to end and validate the wand surface. All spectral components whose energy is between the energy at the
mouse position and a defined threshold will be included in the wand surface. The threshold can be set using the popup
that appears when hovering over the wand button for half a second.

Polygon: Quill: Click with  ⌘ Cmd  (Mac) or  Ctrl  (Linux/Windows) and drag on the spectrogram to create a quill
surface filter with a defined bandwidth. Use  ⇧ Shift  to force an horizontal line. Release the mouse button to end and
validate the quill surface.

The shortcut  e  switches between the four surface creation modes.

Edition

The plugin allows moving and resizing the selected surfaces directly on the spectrogram:

Press  ⌘ Cmd + c  (Mac) or  Ctrl + c  (Linux/Windows) to copy the selected surfaces in the clipboard.
Press  ⌘ Cmd + v  (Mac) or  Ctrl + v  (Linux/Windows) to paste the copied surfaces of the clipboard at the current time
position. It can be done in different audio regions.
Press  ⌘ Cmd + d  (Mac) or  Ctrl + d  (Linux/Windows) to duplicate the selected surfaces harmonically. Each action
creates a new copy of the selection shifted and stretched in frequency to match a harmonic ratio with the original selection.
Click and drag on a selected surface filter to move all the selected surface filters.
Click and drag with  ⌥ Cmd  (Mac) or  Alt  (Linux/Windows) on a selected surface filter to duplicate all the selected surface
filters and move them.
⬛
Click on the     of the selection and drag to stretch or reduce all the selected surface filters.
 ⬆️ ⬇️ ⬅️
Press the    ,    ,     and  ➡️
  keys to move all the selected surface filters up, down, left and right respectively.
Double-click on a surface to enable point editing and click-drag on a point to move it.

The plugin displays a set of four knobs next to selected surfaces that allows modifying their gains and their fades:

Click and drag on the gain knob to modify the gain (between -120dB and +12db) of all the selected surface filters.
Double-click on the gain knob to reset the gain of all the selected surface filters to 0dB.
Press  m  to mute (reset the gain to -120dB) or unmute (reset the gain to 0dB) all the selected surface filters.
Click and drag on the time fade knob to modify the time fade of all the selected surface filters.
Double-click on the time fade knob to reset the time fade of all the selected surface filters to 0ms.
Click and drag on the frequency fade knob to modify the time fade of all the selected surface filters.
Double-click on the frequency fade knob to reset the frequency fade of all the selected surface filters to 0Hz.

The plugin offers a settings panel that can be displayed using the settings button (H2) and that allows to precisely control the
gains and the fades of the selected surfaces:

The gain slider and the gain number field control the gain (between -120dB and +12db) of all the selected surface filters.
Time:
The 🔗 button enables or disables the preservation of the time length of the selected surfaces.
If the time length preservation is enabled, the start time field shifts the selected surface filters so that the selection
start corresponds, otherwise the start time field stretches or reduces the selected surface filters so that the selection
start corresponds.
If the time length preservation is enabled, the end time field shifts the selected surface filters so that the selection end
corresponds, otherwise the end time field stretches or reduces the selected surface filters so that the selection end
corresponds.
The length time field increases or reduces the selected surface filters so that selection end corresponds.
The fade time defines the time during which the gain gradually increases or decreases relative to the edges of the
surface to reach its target value.
Frequency:
The 🔗 button enables or disables the preservation of the frequency length of the selected surfaces.
If the frequency length preservation is enabled, the start frequency number field shifts the selected surface filters so
that the selection start corresponds, otherwise the start frequency number field stretches or reduces the selected
surface filters so that the selection start corresponds.
If the frequency length preservation is enabled, the end frequency number field shifts the selected surface filters so
that the selection end corresponds, otherwise the end frequency number field stretches or reduces the selected
surface filters so that the selection end corresponds.
The length frequency number field increases or reduces the selected surface filters so that selection end corresponds.
The fade frequency defines the frequency range during which the gain gradually increases or decreases relative to the
edges of the surface to reach its target value.

Import:

The plugin offers to use JSON files containing audio analyses generated with the Partiels application to create regions. This can
be useful to create a filter based frequency analyses such as the fundamental frequency analysis or the voice/unvoiced
frequency analysis. Select the region and press  ⌘ Cmd + i  (Mac) or  Ctrl + i  (Linux/Windows) and select the JSON file using
the file browser (or drag and drop the JSON file into the region).
The Import…. dialog window allows you to select the channel of the analysis results to use, the direction (high to create a
surface from the analysed frequency to the highest frequency and low to create a surface from the analysed frequency to 0Hz)
and if the surface should be continuous (if so, when the data values stop, the surface covers all the spectrum until new data).

Rendering

The audio rendering settings are controlled in regions section of the settings panel and works in a similar way to the standard
plugins at the exception that each region can have its specific sample rate (that corresponds to the sample rate of the
associated file). If several regions are selected in the audio, modifying the audio rendering settings applies to all the selected
regions.

Audio Settings

⚠️ These settings of the audio engine are dedicated to researchers and advanced users for testing and experiment. Modifying
the values might lead to audio artefacts, in this case, we recommend using the default values. Moreover, these parameters
should not be modified during playback, otherwise, you might encounter audio glitches and crackles.

The window type (S1) used to perform the analysis and synthesis. Window types with higher frequency resolution imply a
lower dynamic range (Hamming) and reciprocally, window types with lower frequency resolution imply a higher dynamic
range (Hanning or Blackman).
The window size (S2) used to perform the analysis and synthesis. Larger sizes increase the frequency resolution but
decrease the time resolution and reciprocally, smaller sizes decrease the frequency resolution but increase the time
resolution.
The fundamental (S3) corresponds to the maximum fundamental frequency for which the analysis will be optimal. The
frequency is five times the frequency bandwidth defined by the FFT size (thus this value is also proportional to the window
size).
The window overlapping (S4) used to perform the analysis and synthesis. Higher factors increase the time resolution and
can be used to compensate for large window sizes.
 The command line (S5). The button copies an adapted version of the command line to be used with the SuperVP
command line tools in the system clipboard. See Command Line section for further information.

Command Line

Use the command line button (S5) to copy the adapted version of the command line to be used with the SuperVP command
line tools in the system clipboard. You can then directly copy the command line in the terminal or in any text editor.

Here is an example of the adapted command line of the Spectral Remix plugin:

supervp \

-S"path_to_input_audio_file" \

-Z -Afft -Np0 -M46.437500ms -oversamp 4 -Wblackman -P1 -icps 1200 \

-vu_res 1 \

-vu_remix 1.000000,1.000000 \

-vu_errlev 1.000000 \

-td_ampfac 0.100000 \

-td_relax 100.000000 \

"path_to_output_audio_file"

The command-line corresponds to the configuration of the SuperVP audio engine of the plugin when the button has been
clicked and can be used to apply the same transformation on other sound files using the SuperVP command-line tools. Replace
the text  path_to_input_audio_file  with the path to an input audio file and the text  path_to_output_audio_file  with the
path to an output audio file and run the command from the terminal or the shell executor. When an extra parameters file (such
as  path_to_formant_file ), the text to replace with the path is followed by the content of the file displayed between
parentheses.

Important: The SuperVP command line tools must be installed on your machine.

The command-line system can be used to easily process a single audio file or even for batch processing a set of audio files. In
this case, the plugin is used to experiment and to offer a preview of an effect with a specific configuration and automates the
creation of the command-line.

Note: If the SuperVP command line tools is not installed on your machine or if you want to perform batch processing with
several plugins, many plugin hosts (such as Reaper) offer a batch processing system.

Credits

ASAP is designed and developed by Pierre Guillot at IRCAM IMR Department.

SuperVP is designed by Axel Röbel (based on an initial version by Philippe Depalle) and developed by Axel Röbel & Frédéric
Cornu of the Analysis-Synthesis team of the STMS Lab hosted at IRCAM.
Nunito Sans Font by the Nunito Project Authors
Audio Unit PlugIn Technology by Apple Computer, Inc.
VST PlugIn Technology by Steinberg Media Technologies
AAX PlugIn Technology by Avid Technology, Inc.
ARA SDK by Celemony Software GmbH