SOUND PARTICLES Doppler Air Bundle PluginFox Instruction Manual
- June 12, 2024
- SOUND PARTICLES
Table of Contents
SOUND PARTICLES Doppler Air Bundle PluginFox
Product Information
Welcome to Doppler!
We have designed this plug-in to accurately model the behavior of moving
sounds. We strive for high accuracy and no compromises in our approach.
- We hope you enjoy using Sound Particles. If you have any questions or suggestions, please don’t hesitate to contact us. We appreciate feedback from our users.
- Nuno Fonseca, PhD CEO
- Email: [email protected].
Doppler
The Sound Source Section
The plugin uses a mono sound source. If you have a stereo or multichannel
track, all channels will be mixed into a mono signal, which will be used as
the sound source.
Environment
This section controls the passage of sound between the sound source and the
microphone. It includes attenuation (gain through distance) and EQ (frequency
response).
Microphone
Microphone Distance:
Specifies the distance between the microphone and the path of the moving
sound. Closer mics will result in more abrupt sounds.
Mic Type:
Choose the microphone setup you want to use. Different setups (e.g., stereo XY
vs stereo ORFT) provide different panning, simulating real-life situations.
Available virtual microphones:
- Microphone 1
- Microphone 2
- Microphone 3
Time & Gain
These sections control the timing information and the final gain.
Time to Peak:
Edit the time to peak within 3 possible time units (changed through the arrow
button).
The plugin has 3 modes of operation:
- Signal mode: Specify how long after receiving a signal (above -60dBFS) you want the peak to occur (e.g., 3.2 seconds after receiving the sound).
- Loop mode: Create a loop. If you use a 5 sec value, the sound will start, after 5 seconds, you get the peak, and after 10 seconds, the sound jumps back to the original position and starts a new movement.
- Timecode mode: Specify the exact position where you want the peak to occur (e.g., at instant 1:03:28.03).
Display
The display provides additional information to assist you with your task.
On the top area, you can see:
Your detailed product information and product usage instructions are ready.
Welcome Note
Welcome to Doppler!
Initially, Doppler was only a small feature of Sound Particles software – to
simulate moving sounds, you need Doppler. But sound designers really loved the
quality of the Doppler inside Sound Particles, using it on movies like “Cars
3”, “Ghost in the Shell”, and many others. I still recall the first time David
Farmer (“Lord of the Rings”, “The Hobbit”) told me that this was the best
software Doppler he had tried, which I replied “Really?!”. Although there are
other Doppler plug-ins, we have decided to do no compromises, and really model
the actual behavior of moving sounds with high accuracy, and that is probably
the secret of our approach. I really hope you enjoy using Sound Particles. And
if you have any question or suggestion, don’t hesitate to contact us. We
REALLY love to receive feedback from our users.
Nuno Fonseca, PhD
CEO
[email protected].
Doppler
Everyone knows the characteristic sound of a passing-by car, with its change of pitch and volume – that’s the Doppler effect, named after the name of the Austrian scientist Christian Doppler. Having a Doppler plugin is slightly different from having other “regular” audio effects, because of timing – you want that peak at a specific point – and as such, be prepared for a slightly different way of doing things. For instance, you will get an initial delay (a sound located 1 mile away will have a few seconds of delay on start), and you need this delay because you need to compress time later on… but let’s leave that on hold for now.
Our plugin simulates the behavior of a moving sound, captured by a virtual microphone, and in a virtual environment – imagine a big anechoic chamber, with a perfect speaker moving around, and a perfect microphone capturing the sound of it. As such, you control real-life parameters, like you would on a field recording.
With Doppler plugin, you will have 4 groups of parameters:
- Sound Source – the settings of the moving sound source (e.g. velocity)
- Environment – the settings of the environment/air (e.g. distance attenuation)
- Microphone – the settings of the microphone (e.g. position of the mic)
- Time and Gain – the time info (e.g. when do you want the peak) and gain
The big knobs are the most important parameters: speed of the sound source (higher values give more abrupt sounds); distance attenuation (do you want apply volume changes?); microphone distance (shorter distances create more abrupt sounds), and time-to-peak (how long to get that peak).
All of the parameters can be used for Automation.
Automation Warning:
“Source Speed”, “Acceleration” and “Time to Peak” SHOULD NOT be automated.
They only appear as automatable to allow their manipulation using control
surfaces. By changing these parameters in playback, they will reset the whole
doppler motion and induce sound jumps to obey the Time to Peak parameter.
The Sound Source Section
The plugin uses a mono sound source. As such, if you have a stereo or multichannel track, all channels are mixed into a mono signal, which will be used as a sound source.
- Velocity: How fast do you want the sound source to move? Higher speed means more abrupt sounds, while lower values make smoother transitions.
- Acceleration: If you want a sound moving at constant speed, leave this parameter at mid position. But if you want a changing velocity (accelerating or breaking), use this parameter, considering that positive values accelerate, while negative values break. Eventually, if you are breaking, you may result in a stopped sound source.
- Units: If you live in the US, you would prefer to see velocity in Miles Per Hour (MPH), distances in feet, temperature in °F. But if you live in the rest of the world, you would prefer Kilometers per hour (km/h), meters, °C. This switch allows you to choose the best units for the user interface – it doesn’t impact the sound.
- Direction: Do you want a sound moving from left-to-right, or right-to-left? If you want other movements, don’t worry, you may rotate the microphone (Mic Rotation knob) to have other directions (e.g. front to back on the right side).
Environment
This section controls the passage of sound between the sound source and the microphone, mainly attenuation (gain through distance) and EQ (frequency response).
- Distance Attenuation: Sounds located at a small distance should sound louder than sounds far away. But how louder? This parameter controls the attenuation that you get every time you double the distance. Although other parameters also control the dynamic range of the transition, this parameter can be used if you only want to change volume transition (keeping pitch and panning untouched).
- Air EQ: Air absorption doesn’t happen equally to all frequencies. Usually, high frequencies are attenuated first, when compared with medium or low frequencies. Use the Dry/Wet knob to control the amount of EQ due to distance.
- Temperature/Humidity: These two knobs control the temperature and humidity of the air, and will be used only for EQ. If you want perfectly accurate values for temperature/humidity, check later on this manual a table with many locations around the world, and their typical temperature/humidity values.
Microphone
This section controls the virtual microphone – position, direction and microphone type.
- Microphone Distance: How far is the microphone from the path of the moving sound? Closer mics will result in more abrupt sounds.
- Mic Rotation: In most situations, you want the mic to be placed perpendicular to the movement (0°), but from time to time, you may want special situations: a car moving front to back on your right side, etc. Watch the animation in the display as you change this value to see where the mic is pointing to.
- Mic Type: Which microphone setup do you want to use? By choosing different setups (e.g. stereo XY vs stereo ORFT), you get a different panning, like it would be in a real-life situation.
These are the available virtual microphones that you may choose from:
- Omni (mono)
- Cardioid (mono)
- Figure-of-Eight (mono)
- XY (stereo)
- Mid-Side (stereo)
- ORTF (stereo) – The default mic
- AB (stereo) – 2 omni’s separated by 1 foot.
- 5.1
- 7.1
- First Order Ambisonics (CAN, SN3D) – 4 channels
- Second Order Ambisonics (CAN, SN3D) – 9 channels
- Third Order Ambisonics (CAN, SN3D) – 16 channels
Time & Gain
These sections control the timing information (VERY IMPORTANT) and the final gain.
- Time to Peak: Let’s face it… Doppler is all about having that peak transition, and their changes in volume and pitch. This parameter defines when do you want that peak, i.e., the time position when the peak should occur.
Time to Peak can be edited within 3 possible time units (changed through the arrow button):
- Timecode (24 FPS)
- Seconds
- Feet + Frames
The plugin has 3 modes of operation:
- Signal (default unit: Seconds)
- Loop (default unit: Seconds)
- Timecode (default unit: Timecode)
With Signal mode, you specify, how long after receiving a signal (above -60dBFS) do you want the peak (e.g. 3.2 seconds after receiving sound). With Loop mode, you will get a loop. If you use a 5 sec value: the sound will start; after 5 seconds, you get the peak; and after 10 seconds, the sound jumps again to the original position, and starts a new movement.
If you select Timecode mode, you simply specify the exact position where you want the peak (e.g. I want the peak to occur at instant 1:03:28.03).
- Reset: Resets the Doppler – if you are in Signal mode, this resets the Doppler and waits for a signal, if you are on Loop mode, it resets the position of the sound source; if you are in Timecode mode, this changes its mode to Signal mode.
- Now: Changes to Timecode mode, and uses the current play head position as the time-to-peak value.
- Gain: The final gain of the plugin’s output.
Display
The display will show you additional information to help you with your task.
On the top area, you can see:
- The version of the plugin.
- A “Help” button will open this manual.
- The current time, which depends on the time mode, it could mean different things: In Timecode mode, it shows the same value as your DAW (some plugin architectures only update this value if you are playing); in Signal mode, it represents the time since a signal was detected; in Loop mode, it represents the current loop time.
- Status: “Waiting for signal”, “>> Moving >>” or “<< Moving <<”, depending on the status of the plugin.
- If there is an update available for Doppler, the message “New update available at my.soundparticles.com” will appear, and by clicking it you will be redirected to my.soundparticles.com to further get the new update.
- [Trial Version] (1) A message regarding the remaining time of the trial mode or (2) a message that the trial has expired.
On the left side, you can see:
- The path of the sound source. You will only see the blue ball when the sound source is around 100 meters/300 feet of the microphone. If the sound source is further away, you only see the “>>>>>” signals to indicate the direction (“>>” vs “<<”) and the current position (left side of the mic vs right side).
- Gain plot, a graph that shows how abrupt will be in terms of dynamic range (between 2 seconds before peak and 2 seconds after peak), with a dB value (the level difference that happens on the 2 seconds before peak).
- The mic distance and rotation
- Pitch plot, a graph with the pitch variation, with a semitone value (the pitch change between 1 second before e after the peak).
- EQ plot, a graph of the frequency response (20 – 20.000 Hz) at 100 meters (green) and 1000 meters (blue).
On the right, before the VUs, you will see some additional information:
- Pre-Delay: The amount of time it will take for the sound to start playing in the output, due to the propagation delay of the far-away initial position of the sound.
- Speed: the current speed of the sound source.
- Left - > Right / Left <- Right: An indication if the sound if moving left-to-right, or right-to-left.
- Gain Change: The amount of level change, in dB, between the last 2 seconds before peak.
- Pitch Change: The amount of pitch change, in semitones, during the periods between one second before peak, and one second after.
- Start: The initial position of the sound source.
- Position: The current position of the sound source.
- On the right side, you have the VU Meters:
- Input VU, with the level of the mono mixdown of all input channels
- Output VU, with the level of each output channel. The number of channels shown on the VU correspond to the number of outputs of the plugin. If you use the plugin as Stereo, but you select a 5.1 mic, you will only see the 2 output channels.
To clear the clip lights, simply press the VU.
Initial Delay:
Imagine that you have a speaker mounted in a car, playing your sound, and you
want to capture the result (Doppler) using a microphone. If the sound starts
playing 1 mile away, of course the sound will take almost 5 seconds to arrive
on the mic (remember the thunders vs lightning?). The plugin works in the same
way. Also, if the speaker/car takes 8 seconds to arrive to the mic position,
those 8 seconds of audio material will be compressed into 3 seconds (8 seconds
of audio material, compressed into 3 seconds of playback, equals 5 seconds of
initial silence).
Yes, we could avoid this initial delay gap, using other approaches (using a pitch-shifter that re-creates audio material, etc.), but all those approaches would have an impact in sound quality.
Time Modes
When creating a doppler sound, probably the most important aspect is to define when do you want the peak to occur. To help users getting the perfect timing, Doppler includes a “Time To Peak” parameter, which controls exactly when do you want the peak to occur.
Doppler plugin has 3 modes of operation: “Signal”, “Loop”, or “Timecode”.
With “Signal” mode, the plugin starts counting time as soon it gets sound from the input. For instance, if you have “Signal” mode and a “Time To Peak” value of 2 seconds, it means that the peak will occur 2 seconds after receiving signal. If you are using your DAW in Loop mode, the plugin will automatically reset time on the loop transition. Also, during release (after the peak), a period of 1 second without sound at the output, resets the system, allowing the plugin to process new later sounds. You can also press the “Reset” button (near “Signal” mode button), to manually reset the signal detection. After that, Doppler will check for an input signal to fire a new doppler sound.
With “Loop” mode, the plugin works in loop, starts at zero, peaks at “Time to Peak” seconds, finishes at twice the “Time-to-Peak” seconds, and restarts. This mode is more propriate for initial adjustments, when you are looking for the best parameters, and you want to hear the doppler over and over again. With “Timecode” mode, the plugin uses the DAW timecode to know where the peak should occur. If you specify a “Time to Peak” of 10 seconds, that means that the peak will occur at the same time (absolute time). With “Timecode” mode, the plugin can only fire 1 doppler motion (if you have a Doppler in an audio track, you will only get 1 doppler motion, corresponding to the timecode specified). The “Now” button (located near the “Timecode” button), allows you to manually tell the plugin the time of the peak.
Timecode vs. DAWs limitations:
- The Timecode mode, in some DAWs, may not work properly due to the limitations of the architecture of the workstations.
- Many DAWs only provide timecode information during playback, preventing Doppler from obtaining the current position of the cursor when DAW is stopped, or during offline render/bounce. As such, if the “Now” button is disable, it means that Doppler is not able to get timecode information.
- Some DAWs (like Logic Pro X) do not provide Time Offset information to plugins. As such, Doppler will consider the start of the project as 00:00:00:00, showing time differences between the timecode of the DAW and timecode of Doppler.
“Signal” or “Timecode” – although, in most situations, it doesn’t matter much, there are a few situations where one of them would be more appropriate than the other.
- If you slightly change the position of your audio clip, with “Signal” mode, the peak will also slightly change (because it depends on the input signal). With “Timecode”, the peak will stay on the exact position. For instance, you may use “Timecode” to define the peak position based on an image/frame (video track), and then move the audio clip just to change which part of the clip should be at the peak.
- If you position your play cursor inside your clip, and start playing from there, the doppler peak will shift in “Signal” mode (since a signal was detected later), but not on “Timecode”.
- If you want several dopplers to be fired on the same track, you must use “Signal” mode, due to its ability to reset after detecting a 1 second silence after peak. With
“Timecode”, only 1 doppler motion can be fired. Eventually, you may have several plugins on the track to fire several dopplers motions.
Presets
| Source Speed| ****
Accel.
| Distance Attenuation| Microphone Distance| ****
Mic
| Mic Rotation| Time to Peak
---|---|---|---|---|---|---|---
Car
(ORTF mic)
| 80.5 km/h 50 mph| ****
0 (inf)
| ****
3 dB
| 6.1 m 20 ft| Stereo (ORTF)| ****
0º
| ****
4 sec
Car
(AB mic)
| 80.5 km/h 50 mph| ****
0 (inf)
| ****
3 dB
| 6.1 m 20 ft| Stereo (AB 1 ft)| ****
0º
| ****
4 sec
Car 2
| 80.5 km/h 50 mph| ****
0 (inf)
| ****
3 dB
| 24.4 m 80 ft| Stereo (ORTF)| ****
0º
| ****
4 sec
Far Away Car
| 128.7 km/h 80 mph| ****
0 (inf)
| ****
3 dB
| 6.1 m 20 ft| Stereo (ORTF)| ****
0º
| ****
4 sec
Race
| 241.4 km/h 150 mph| ****
0 (inf)
| ****
4 dB
| 4.9 m 16 ft| Stereo (ORTF)| ****
0º
| ****
4 sec
Jet
| 804.7 km/h 500 mph| ****
0 (inf)
| ****
2 dB
| 45.7 m 150 ft| Stereo (ORTF)| ****
0º
| ****
7 sec
Bullet-like
| 804.7 km/h 500 mph| ****
0 (inf)
| ****
4 dB
| 1 m
3.3 ft
| Stereo (AB 1 ft)| ****
0º
| ****
2 sec
Old Man Driving
| 51.5 km/h 32 mph| ****
0 (inf)
| ****
3 dB
| 91.4 m 300 ft| Stereo (ORTF)| ****
0º
| ****
4 sec
Break and Park
| 128.7 km/h 80 mph| ****
-4 s
| ****
3 dB
| 24.4 m 80 ft| Stereo (ORTF)| ****
0º
| ****
4 sec
Left side, back to
front
| 80.5 km/h 50 mph| ****
0 (inf)
| ****
3 dB
| 24.4 m 80 ft| Stereo (ORTF)| ****
90º
| ****
4 sec
Additional Notes
Knobs
- Drag the knobs to change their value.
- Dragging up or right to increase their values; dragging down or left to decrease their values.
- Use Shift or Control or Command key (cmd / ⌘) during dragging, to fine tune its value.
- Use alt/option + click, to reset to its default value.
Avid S6 Support
Doppler (AAX) plugin can have their parameters controlled through various
control surfaces, included AVID S6.
Check for updates
If the plugin is running on a computer with internet access, it is able to
detect if a newer update is available, informing the user of the existence of
a new update, by showing a blinking phrase on the top of the display.
To achieve that, Sound Particles Doppler tries to access a simple XML file located at https://www.soundparticles.com.
SOUND PARTICLES DOPPLER DOES NOT SEND ANY INFORMATION FROM THE USER ONTO THE INTERNET.
Support
If you detect a bug, if you got a crash, if you believe something is not
perfect, or even if you have ideas for future versions, don’t hesitate, and
email us at [email protected].
We REALLY want to hear from you. Sometimes a bug lives on for too much time,
simply because we haven’t detected ourselves and we didn’t receive any
feedback from the affected users. Besides that, your feedback is very
important for us.
“Help us help you”
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- If any stipulation of this EULA should be or become invalid, either completely or in part, this shall not affect the validity of the remaining stipulations. The parties undertake instead to replace the invalid stipulation with a valid regulation that comes as close as possible to the purpose originally intended.
- TERMINATION: This EULA will terminate automatically if you fail to comply with its terms and conditions. In such event, you must destroy all copies of the Product and all of its component parts (including the software) and cease and desist from accessing any Products.
- This Agreement shall be governed and construed by the laws of Portugal. The United Nations Convention for the International Sale of Goods shall not apply. The exclusive place of jurisdiction with respect to all disputes based on or in connection with this Agreement shall be Leiria, Portugal. However, Sound Particles reserves the right to sue the Licensee at the Licensee’s place of residence or place of business.
Should you have any queries concerning this EULA, please write to this address:
Sound Particles S.A
IDD, Rua da Carvalha, 570,
2400-441 Leiria
Portugal.