FLUX Evo Channel Mixing Plugin User Guide

: June 16, 2024
: Flux

Table of Contents

FLUX Evo Channel Mixing Plugin
Product Information
Specifications
Introduction
General Settings
Bypass
Skin
Flow
- Module Settings
Analyser
- Analyser Switch
- Analyser Slider
Input
- Input Gain
- Drive
Phase
Equalization Module
Compressor
- Mode
- Hold
- FAQ
Q: How do I bypass the Evo Channel?
Q: How do I adjust the input gain?
Q: How can I correct phase issues in my audio?
Q: How do I remove unwanted low-frequency content?

FLUX Evo Channel Mixing Plugin

Product Information

Specifications

Product Name: Evo Channel
Manufacturer: FLUX:: Immersive
Date: 2023-02-06

Introduction

The Evo Channel is a versatile audio processing tool designed by
FLUX:: Immersive. It offers a range of features and settings to
enhance the audio quality and control in your productions.

General Settings

Bypass

The Bypass setting allows you to toggle the effect of the Evo
Channel on and off. When enabled, the audio signal will pass
through the channel unaffected.

Skin

The Skin setting allows you to choose the visual appearance of
the Evo Channel interface. Select from a variety of skins to
customize the look and feel of the plugin.

Flow

The Flow setting controls the routing of the audio signal within
the Evo Channel. Choose from different flow options to achieve the
desired signal path and processing order.

Module Settings

Analyser

The Analyser module provides visual feedback on the audio
signal. It helps you analyze the frequency spectrum and amplitude
levels of your audio.

Analyser Switch

The Analyser Switch enables or disables the Analyser module.
When enabled, the Analyser module will display the visual feedback
on the Evo Channel interface.

Analyser Slider

The Analyser Slider adjusts the sensitivity or zoom level of the
Analyser module. Use this slider to focus on specific frequency
ranges or to get a broader view of the audio spectrum.

Input

The Input module controls the input gain and drive of the audio
signal entering the Evo Channel.

Input Gain

The Input Gain setting adjusts the level of the incoming audio
signal. Increase or decrease the gain to achieve the desired input
level for further processing.

Drive

The Drive setting adds harmonic distortion and saturation to the
audio signal. Use this control to add warmth and character to your
sound.

Phase

The Phase module deals with the phase relationship between
different audio signals.

Phase Switch

The Phase Switch enables or disables the phase correction
functionality. When enabled, the Phase module will correct any
phase issues in the audio signal.

Phase Group

The Phase Group setting allows you to group multiple audio
channels together for phase correction. Apply phase corrections
simultaneously to all grouped channels.

Phase Correction

The Phase Correction control adjusts the amount of phase
correction applied to the audio signal. Use this control to
fine-tune the phase alignment between different audio sources.

Polarity Invert

The Polarity Invert setting inverts the polarity of the audio
signal. This can be useful for solving phase cancellation issues or
creating unique sonic effects.

Equalization Module

The Equalization module offers precise control over the
frequency response of the audio signal.

Low-Cut Switch

The Low-Cut Switch enables or disables the low-cut filter. When
enabled, frequencies below the cutoff frequency will be
attenuated.

Low-Cut Cutoff Frequency

The Low-Cut Cutoff Frequency control sets the frequency below
which the low-cut filter starts attenuating the audio signal.
Adjust this control to remove unwanted low-frequency content.

Low-Cut Slope

The Low-Cut Slope control adjusts the steepness of the low-cut
filter’s attenuation curve. Choose a steeper slope for more
aggressive filtering.

Low Shelf Switch

The Low Shelf Switch enables or disables the low shelf
equalizer. When enabled, frequencies below the cutoff frequency
will be boosted or attenuated according to the Low Shelf Gain
setting.

Low Shelf Cutoff

The Low Shelf Cutoff control sets the frequency at which the low
shelf equalizer starts boosting or attenuating the audio
signal.

Low Shelf Gain

The Low Shelf Gain control adjusts the amount of boost or
attenuation applied by the low shelf equalizer. Use this control to
shape the low-frequency response of the audio signal.

High-Cut Switch

The High-Cut Switch enables or disables the high-cut filter.
When enabled, frequencies above the cutoff frequency will be
attenuated.

High-Cut Cutoff Frequency

The High-Cut Cutoff Frequency control sets the frequency above
which the high-cut filter starts attenuating the audio signal.
Adjust this control to remove unwanted high-frequency content.

High-Cut Slope

The High-Cut Slope control adjusts the steepness of the high-cut
filter’s attenuation curve. Choose a steeper slope for more
aggressive filtering.

High Shelf Switch

The High Shelf Switch enables or disables the high shelf
equalizer. When enabled, frequencies above the cutoff frequency
will be boosted or attenuated according to the High Shelf Gain
setting.

High Shelf Cutoff

The High Shelf Cutoff control sets the frequency at which the
high shelf equalizer starts boosting or attenuating the audio
signal.

High Shelf Gain

The High Shelf Gain control adjusts the amount of boost or
attenuation applied by the high shelf equalizer. Use this control
to shape the high-frequency response of the audio signal.

Parametric Equalization Switches

The Parametric Equalization Switches enable or disable
individual parametric equalizer bands. Use these switches to
selectively apply equalization to specific frequency ranges.

Parametric Equalization Gain

The Parametric Equalization Gain controls adjust the amount of
boost or attenuation applied by each parametric equalizer band. Use
these controls to shape the frequency response in specific
frequency ranges.

Geek Settings

Compressor

The Compressor module provides dynamic range control for the
audio signal.

Mode

The Mode setting determines the behavior and characteristics of
the compressor. Choose from different compression modes to achieve
the desired dynamic control.

Hold

The Hold control sets the amount of time the compressor holds
its gain reduction after the audio signal falls below the
threshold. Adjust this control to shape the release behavior of the
compressor.

FAQ

Q: How do I bypass the Evo Channel?

A: To bypass the Evo Channel, simply enable the Bypass setting.
This will allow the audio signal to pass through unaffected by the
plugin’s processing.

Q: How do I adjust the input gain?

A: Use the Input Gain control to adjust the level of the
incoming audio signal. Increase the gain for a louder signal or
decrease it for a quieter signal.

Q: How can I correct phase issues in my audio?

A: Enable the Phase Switch to activate the phase correction
functionality. Use the Phase Correction control to fine-tune the
phase alignment between different audio sources.

Q: How do I remove unwanted low-frequency content?

A: Enable the Low-Cut Switch and adjust the Low-Cut Cutoff
Frequency control to remove frequencies below the cutoff point.

Evo Channel
FLUX:: Immersive 2023-02-06

Table of contents

1 Evo Channel

6

1.1 Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

2 General Settings

10

2.1 Bypass . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

2.2 Skin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

2.3 Flow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

3 Module Settings

11

3.1 Analyser . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

3.1.1 Analyser Switch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

3.1.2 Analyser Slider . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

3.2 Input . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

3.2.1 Input Gain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

3.2.2 Drive . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

3.3 Phase . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

3.3.1 Phase Switch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

3.3.2 Phase Group . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

3.3.3 Phase Correction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

3.3.4 Polarity Invert . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

3.4 Equalization module . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

3.4.1 Low-Cut Switch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

3.4.2 Low-Cut Cutoff Frequency . . . . . . . . . . . . . . . . . . . . . . . . . 16

3.4.3 Low-Cut Slope . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

3.4.4 Low Shelf Switch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

3.4.5 Low Shelf Cutoff . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

3.4.6 Low Shelf Gain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

3.4.7 High-Cut Switch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

3.4.8 High-Cut Cutoff Frequency . . . . . . . . . . . . . . . . . . . . . . . . . 17

3.4.9 High-Cut Slope . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

3.4.10 High Shelf Switch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

3.4.11 High Shelf Cutoff . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

3.4.12 High Shelf Gain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

3.4.13 Parametric Equalization Switches . . . . . . . . . . . . . . . . . . . . . . 18

3.4.14 Parametric Equalization Gain . . . . . . . . . . . . . . . . . . . . . . . . 19

2

3.4.15 Parametric Equalization Center Frequency . . . . . . . . . . . . . . . . 19 3.4.16 Parametric Equalization Q . . . . . . . . . . . . . . . . . . . . . . . . . 19 3.4.17 Equalization Output Gain . . . . . . . . . . . . . . . . . . . . . . . . . . 19 3.5 Compressor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20 3.5.1 Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20 3.5.2 Threshold . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21 3.5.3 Ratio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21 3.5.4 Attack . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21 3.5.5 Release . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21 3.5.6 Auto Adapt. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21 3.5.7 Gain Reduction Display . . . . . . . . . . . . . . . . . . . . . . . . . . . 22 3.5.8 Compressor Output Gain . . . . . . . . . . . . . . . . . . . . . . . . . . 22 3.5.9 Wet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22 3.6 Touch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22 3.6.1 Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23 3.6.2 Amount . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23 3.6.3 Release/Range . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23 3.6.4 Frequency Range . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24 3.6.5 Listen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24 3.7 Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25 3.7.1 Output Gain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

4 Geek Settings

26

4.1 Compressor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26

4.1.1 Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26

4.1.2 Hold . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27

4.1.3 Release Minimum . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27

4.1.4 Dynamic Factor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27

4.1.5 Dynamic Velocity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

4.1.6 SC Lo Cut . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

4.1.7 SC Hi Cut . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

4.1.8 Knee (28) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

4.1.9 Peak Detection Amount (29) . . . . . . . . . . . . . . . . . . . . . . . . 28

4.1.10 Dynamic Ratio (30) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29

4.1.11 L.I.D.. (Level Independent Detector) (32) . . . . . . . . . . . . . . . . . 29

4.1.12 L.I.D.. Threshold (33) . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

4.1.13 L.I.D.. Maximum (34) . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

4.2 Touch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

4.2.1 Slope . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

4.2.2 Release . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

4.2.3 Bandwidth . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

4.2.4 Zero Crossing Threshold . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

3

5 Plugin Settings

32

5.1 Main Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

5.1.1 UI Refresh Rate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

5.2 I/O . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

5.2.1 Input / Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

5.2.2 Config . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

5.2.3 Layout . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

5.3 Processing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

5.3.1 Report Latency . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

5.4 Automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

5.4.1 Multithread . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

5.5 OSC . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

5.5.1 Enable . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34

5.6 Version Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34

5.7 User Manual / Credits . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34

6 Shortcuts

35

7 Preset Management

36

7.1 Preset Sections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36

7.2 Save . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36

7.3 Copy A / Copy B . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36

7.4 Morphing Slider . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37

8 Preset Manager

38

9 Specifications

41

9.1 Availability . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41

9.2 Processing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41

9.3 Hardware Requirements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41

9.4 Software License Requirements . . . . . . . . . . . . . . . . . . . . . . . . . . . 41

9.5 Compatibility . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42

9.5.1 Windows 10, in 64 bits only. . . . . . . . . . . . . . . . . . . . . . . . 42

9.5.2 macOS (Intel and ARM) . . . . . . . . . . . . . . . . . . . . . . . . . . 42

Appendices

43

A Release Notes

43

A.1 Build 23.07.50310 – All plugins . . . . . . . . . . . . . . . . . . . . . . . . . . . 43

A.1.1 New features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43

A.1.2 Bugs fixes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43

A.1.3 Known issues . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44

4

A.2 Build 23.1.0.50251 – All plugins . . . . . . . . . . . . . . . . . . . . . . . . . . . 44 A.2.1 New features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44 A.2.2 Bugs fixes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44 A.2.3 Known issues . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
A.3 Build 21.12.0.50123 – All plugins except TRAX and StudioSession . . . . . . . 46 A.4 Build 21.11.0.50107 (HEar, IRCAM Verb) . . . . . . . . . . . . . . . . . . . . . 46 A.5 FLUX:: Immersive – Plugins (including IRCAM Tools) 21.09 . . . . . . . . . . 47
A.5.1 Build 21.9.0.50083 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47 A.6 FLUX:: Immersive – Plugins (including IRCAM Tools) 20.12 . . . . . . . . . . 48
A.6.1 Build 20.12.0.49880 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48 A.7 Known Issues . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49

5

6

1 Evo Channel

7

Product Page | Shop Page
1.1 Introduction
EVO Channel – The Ultimate Channel Strip Redefined The philosophy of the analog Channel Strip, the essential element of all analog consoles, is about being efficient, fast, and making things sound great already from the start. EVO Channel is designed to be as efficient, fast and hands-on, adding the advantages of creative digital innovation in terms of workflow and sound, providing everything you need to stay in control of your sound!

8

Figure 1.1: EVO Channel architecture

9

2 General Settings
2.1 Bypass
Global bypass, when pressed, the signal is routed directly from the inputs to the outputs. Value Range : Enabled/Disabled Default Value : Disabled
2.2 Skin
The look of the EVO Channel user interface. Value Range : Light/Dark Default Value : Light
2.3 Flow

Flow allow you to change the order of the modules in EVO Channel. Simply drag and drop a module to set your perfect signal flow.

10

3 Module Settings
3.1 Analyser
3.1.1 Analyser Switch
The spectrum analyzer origins from the Flux:: FLUX:: Analyzer and has been optimized for the EVO Channel. It gives you an accurate direct view of what’s going on in the different frequency domains of your audio. When switched on, the spectrum analysis is activated and displayed in the equalization view panel. The grey waveform correspond to your input signal (post gain/drive), the same as the input meter. The black one is the output signal (post output gain), the same as the output meter. Value Range : Enabled/Disabled Default Value : Enabled
3.1.2 Analyser Slider
Controls the amount of frequency detail of the curve. Move the slider to the left to get a more smoothed curved, and to the right to get more details. Value Range : No Value
3.2 Input
3.2.1 Input Gain
The input gain control trims the level of the signal at the input of EVO Channel. The meter shows both RMS signal (VU-Meter, blue) and peak signal (peak meter, green), from -24 to +18 dB range, referenced at -18dB. Value Range : -24.0 dB / +18.0 dB Colors : – Blue : RMS Value – Green : Peak Value Default Value : 0.0 dB

11

3.2.2 Drive
In EVO Channel a signal Drive is available direct at the input Gain for restoring and maintaining the vitality of the sound. The drive module has been specially designed to add a soft saturation and warmth to your audio tracks. Value Range : 0% / 100% Default Value : 0%
3.3 Phase
One of the most crucial parameters to take into account; Phase, or “The art of using multiple microphones on one and the same sound source”, a classic example is when setting up the sound for a drumkit. Controlling the Phase of microphones is universal and relevant both for studio and live use. In EVO Channel an Arbitrary and Linear Phase Rotation throughout the spectrum is provided, to accomplish the same natural thing as when physically moving a microphone, of course without adding any latency.

12

The phase must be enabled for all the drum tracks. Then set the same group number for all these tracks. It allows to enable and disable the phase for all the drums in one click (simply switch on/off for the phase in one of the tracks).

13

3.3.1 Phase Switch
The Phase is the result of Flux:: proprietary research, this unique algorithm allows linear phase correction with zero latency.
Activate the phase module on all of the tracks that were recorded at the same time and in the same room (multi- microphones tracking or live recording in exemple), and then use the slider on the different tracks until you get full control over the phase and everything sounds correct.
When enabled, the phase correction is turned on.
Value Range : Enabled/Disabled
Default Value : Disabled

14

3.3.2 Phase Group
Add an EVO Channel instance to a Phase Group. You can add an instance of EVO Channel to a group, all the members of the same group can then have their Phase enabled or disabled at one and the same time. To do so, add the instance to a group by selecting the group number for the desired group. Now when you then turn the phase switch on or off in any of the instances in the group, this will affect all instances that are members of the same group. Value Range : None/Group number Number of groups : 8 groups Default Value : Disabled
3.3.3 Phase Correction
Set the shift value used to correct the phase. Value Range : -180° / 180° Default Value : 0°
3.3.4 Polarity Invert
When enabled, polarity inversion is applied to the signal. Value Range : Enabled / Disabled Default Value : Disabled
3.4 Equalization module
One of the corner stones in a Channel Strip is a well-built, efficient and complete Equalizer. The EVO Channel EQ is a straightforward comprehensive 4-band equalizer with additional 6-24 dB Hi/Lo filters. The graphical interactive EQ curve is layered on top of the built in Spectrum Analyzer for hands-on editing with direct connection to the visual response. Built with our proprietary State-Space technology, like in Epure, the EQ section has been carefully tuned to preserve the optimal signal to noise ratio independent of the parameter settings preventing the signal from deteriorating when the gain is reduced. It’s an efficient sharp-edged surgical precision tool for the most demanding equalizing and filtering tasks conceivable.

15

Equalization module is divided in two parts : – A filtering part composed of a low cut, a low shelf, a high cut and a high shelf filter. – A parametric equalization stage made of four parametric EQs.

3.4.1 Low-Cut Switch
Enables the low cut filter. Value Range : Enabled / Disabled Default Value : Enabled
3.4.2 Low-Cut Cutoff Frequency
Cutoff frequency of the low cut filter. Value Range : 20Hz to sampling rate / 2 Default Value : 20Hz
3.4.3 Low-Cut Slope
Slope of the low cut filter. Value Range : 6dB/oct – 24dB/oct Default Value : 6dB/oct

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3.4.4 Low Shelf Switch
Enables the low shelf. Value Range : Enabled / Disabled Default Value : Enabled
3.4.5 Low Shelf Cutoff
Cutoff frequency of the low shelf. Value Range : 20Hz / 22050Hz Default Value : 100Hz
3.4.6 Low Shelf Gain
Target gain for frequencies below the cutoff frequency. Value Range : -24.0dB / +24.0dB Default Value : 0.0dB
3.4.7 High-Cut Switch
Enables the high cut filter. Value Range : Enabled / Disabled Default Value : Enabled
3.4.8 High-Cut Cutoff Frequency
Cutoff frequency of the high cut filter. Value Range : 20Hz to sampling rate / 2 Default Value : Sampling rate / 2

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3.4.9 High-Cut Slope
Slope of the high cut filter. Value Range : 6dB/oct – 24dB/oct Default Value : 6dB/oct
3.4.10 High Shelf Switch
Enables the high shelf. Value Range : Enabled / Disabled Default Value : Enabled
3.4.11 High Shelf Cutoff
Cutoff frequency of the high shelf. Value Range : 20Hz to sampling rate / 2 Default Value : 5000Hz
3.4.12 High Shelf Gain
Target gain for frequencies above the cutoff frequency. Value Range : -24.0dB / +24.0dB Default Value : 0.0dB
3.4.13 Parametric Equalization Switches
Enables the corresponding parametric equalizer. Value Range : Enabled / Disabled Default Value : Enabled

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3.4.14 Parametric Equalization Gain
Gain stage of parametric equalization. Value Range : -24.0dB / +24.0dB Default Value : 0.0dB
3.4.15 Parametric Equalization Center Frequency
Center frequency of parametric equalization. Value Range : 20Hz to sampling rate / 2 Default Value : Default value depends of the equalizer used.
· Low parametric equalizer : 200Hz · Mid-Low parametric equalizer : 500Hz · Mid-High parametric equalizer : 1300Hz · High parametric equalizer : 2500Hz
3.4.16 Parametric Equalization Q
Q value of parametric equalization. Defines the width of the EQ band. Value Range : 1.0 Q / 100.0 Q Default Value : 5.0 Q
3.4.17 Equalization Output Gain
A stage of gain at the output of the equalization module. Value Range : -12.0dB / +12.0dB Default Value : 0.0dB

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3.5 Compressor
In addition to controlling the signal dynamics, the compressor is often used for shaping the attitude of a sound. To use a compressor in a creative and artistic fashion it’s important that it’s easy to use and has the ability to create an interesting sound.
The EVO Channel’s compressor module is based on the Pure Compressor’s dynamics engine, and the same range of compression types are available in EVO Channel through the different modes available (each mode corresponds to a fine tuning of Pure Compressor). As some modes use a LID compression (Level Independent Detection) in parallel, a gain reduction may be processed even if the audio level is below the threshold.

3.5.1 Mode
The compressor module gives you up to 9 modes of compression.
Available modes :
· Start · Kick/Snare · Overhead · Drum Bus · Bass · Acoustic · Piano · Vocal · Mix
Default Value : Start

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3.5.2 Threshold
Threshold value of the compressor. Value Range : -42.0dB / +18.0dB Default Value : Depends on the Mode.
3.5.3 Ratio
Compression ratio parameter. Value Range : 1.0:1 / 10.0: Default Value : Depends on the Mode.
3.5.4 Attack
Attack value of the compressor. Value Range : 0.1ms / 1000.0ms Default Value : Depends on the Mode.
3.5.5 Release
Release value of the compressor. Value Range : 1ms / 10000ms Default Value : Depends on the Mode.
3.5.6 Auto Adapt.
When enabled, the compressor adapts its release time to the input signal depending on the audio signal, but won’t exceed the release time value. Value Range : Enabled / Disabled Default Value : Enabled

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3.5.7 Gain Reduction Display
Displays the gain reduction performed by the compressor. Value Range : 0dB / -24dB
3.5.8 Compressor Output Gain
Gain stage at the output of the compressor module. Value Range : 0.0dB / 24.0dB Default Value : 0.0dB
3.5.9 Wet
Wet parameter defines how much of the compressed signal is mixed with the original signal, for parallel compression. Value Range : 0% / 100% Default Value : 100%
3.6 Touch
Different types of material require different tools, whether it’s a vocal cut, drums, guitar, piano or something else, it requires the accurate specific treatment for the material. The Touch module in EVO Channel is a polymorphic section offering a variety of different processors designed to adapt to the requirements of the material, with seven different processing modes including a DeEsser, Expander and a Transient and Sustain Designer. With the adjustable signal flow in EVO Channel the Touch module can be inserted where it’s best doing its job, like having the DeEsser or Expander first in the flow, or the Transient designer after the compressor.

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3.6.1 Mode
Mode parameter defines the processor used by the touch module. Seven different modes are provided. Available modes :
· Transient Boost · Transient Kill · Sustain Boost · Sustain Kill · DeEsser 1 · DeEsser 2 · Expander
Default Value : DeEsser 2
3.6.2 Amount
The amount of signal processed by the Touch module. Value Range : 0% / 100% Default Value : 0%
3.6.3 Release/Range
There is a release parameter for the following modes :
· Transient Boost · Transient Kill · Sustain Boost

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· Sustain Kill · Expander Value Range : 1ms / 1000ms Default Value : 20ms The two deesser modes offers a range parameter, to limit the maximum gain reduction. Value Range : 0dB / 24dB Default Value : 12dB
3.6.4 Frequency Range
The Touch module works on a defined frequency range. Value Range : Minimal bound : 20Hz Maximal bound : Sampling Rate / 2 Default Value : Inferior bound : 3.9kHz Superior bound : up to Sampling Rate / 2 Range width : Depends on the sampling rate.
3.6.5 Listen
When enabled, you can monitor the actual signal setup with the frequency range. Value Range : Enabled / Disabled Default Value : Disabled

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3.7 Output
3.7.1 Output Gain
The output gain control trims the level of the signal at the output of EVO Channel. The meter shows both RMS signal (VU-Meter, blue) and peak signal (peak meter, green), from -24 to +18 dB range, referenced at -18dB. Value Range : -24.0 dB / +18.0 dB Colors : – Blue : RMS Value – Green : Peak Value Default Value : 0.0 dB

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4 Geek Settings
These settings are available by clicking on the “Yves Jaget” icon.
4.1 Compressor
4.1.1 Mode
Default Value: ClF Slow 8 different detection modes are available:
· Solera: The Attack setting also controls the integration time for RMS detection. · Solera Feed Backward: The Attack setting also controls the integration time for RMS
detection which is done on the output of the processor. Note also that the Solera Feed Backward prevents to use the external side chain because it’s the processed signal which feed the side chain. · Classic Fast: The integration time for RMS detection is 10 ms with no direct relation with the Attack setting. · Classic Medium: The integration time for RMS detection is 40 ms with no direct relation with the Attack setting. · Classic Slow: The integration time for RMS detection is 80 ms with no direct relation with the Attack setting. · Classic Feed Backward Fast: The integration time is 10 ms for RMS detection which is done on the output of the processor. Note also that the Feed Backward mode prevents to use the external side chain because it’s the processed signal which feed the side chain. · Classic Feed Backward Medium: The integration time is 40 ms for RMS detection which is done on the output of the processor. Note also that the Feed Backward mode prevents to use the external side chain because it’s the processed signal which feed the side chain. · Classic Feed Backward Slow: The integration time is 80 ms for RMS detection which is done on the output of the processor. Note also that the Feed Backward mode prevents to use the external side chain because it’s the processed signal which feed the side chain.

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Note
These Feed Backward modes have been inspired by vintage hardware architectures. they create a sort of auto regulation of the processing which produces a naturally beefy sound. The output volume also control the feedback level.
4.1.2 Hold
Unit: ms Value Range: 0 ms / 500 ms. Default Value: 0 ms This parameter is the only one in the time related settings, that is independent per dynamic processor. The compressor and the expander may have different hold time.
Note
Used in the Expander section, this setting allows very precise gating of drum tracks. It can also be used for creative purpose on the other dynamic sections.
4.1.3 Release Minimum
Unit: ms Value Range: 0.67ms / 5000.00 Step: 0.01 Default Value: 1.30 ms Sets the minimum release value when in Advanced Mode.
4.1.4 Dynamic Factor
Unit: x Value Range: 0 / 3.0 Step: variable. Default Value: 1 Amplify or dim the extracted real time dynamic informations.

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4.1.5 Dynamic Velocity
Unit: % Value Range: 10 / 1000 Step: 1 Default Value: 50 % Sets the speed of variation on the dynamic informations.
4.1.6 SC Lo Cut
Unit: Hz Value Range: 20 to 24000 Default Value: 20 Filters out the low-end from the detection circuit.
4.1.7 SC Hi Cut
Unit: Hz Value Range: 20 to 24000 Default Value: 20000 Filters out the high- end from the detection circuit.
4.1.8 Knee (28)
Unit: dB Value Range: 0 to +24 Default Value: 0 Sets the smoothness of the transmission curve for the specific dynamic processing section. The curve is smoothed around the threshold value of the dB amount set with the knee value.
4.1.9 Peak Detection Amount (29)
Unit: % Value Range: 0 / 100 Step: 1 Default Value: 0 % Instant peak value can be added to the RMS signal feeding the detector section, making the dynamic processing more sensitive to audio transients.

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4.1.10 Dynamic Ratio (30)
Unit: % Value Range: 0 / 100 Step: 1 Default Value: 0 %
This setting relaxes the ratio applied to the processor section when the detected signal dynamic raises.
This setting literally opens the sound, increases the dynamic impression and keeps some crest by adjusting in real time the ratio of every dynamic processing section regarding both their current settings about ratio and the signal content (mainly dynamic range). To start understanding this setting and easily hear it, take a full mixed drum kit or a complete mix with punchy drums, set the compression threshold, ratio to get something near pumping or an aggressive compression.
Then increase the output gain to compensate the gain lost and then toggle between 0 and 100% of Dynamic Ratio. At 100 % you should hear more air in the sound, more transient and less compression impression; especially in terms of attack.
4.1.11 L.I.D.. (Level Independent Detector) (32)
Unit: % Value Range: 0 / 100 Step: 1 Default Value: 0 %
Allows process the audio signal independently of the sound level but regarding the signal dynamic range. It is mixed with the standard compression scheme.
Note
Take a piece of full mixed music, set the ratio to 3-4 and the compression will start working. Now set the threshold of the compressor to the maximum value, the compressor will stop working because the sound level will never reach the threshold. Then increase the L.I.D.. and you will see (and hear) the compression working again!!! Now decrease or increase the input gain (in Solera or before, as you want) and you will see that the compression will continue to work equally; it’s totally, completely independent of the sound level and depends only on Ratio, Knee and sound content. How can this be used? When you have too much dynamic in the sound, going for e.g. from -3, -6 dB Vu (or less) to +12 dB; If you want to compress the low levels you will hear the sound TMpumping when the sound reaches the High levels and the only thing to do with standard compressor

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will be to increase the threshold to rescue some airiness in the sound. But when doing that the compressor will not work any more on the low levels and you will hear some sound differences (in term density, live space, grain etcº ) especially when the compressor starts working. With Solera L.I.D.., adjust the threshold and ratio on the High levels to what you think OK, then increase the L.I.D.. (from 20 to 50 %) and listen now the low levels and especially the transition between Low and High levels. You can also start increasing the ratio to increase the effect. You’ll then notice that the compression will always be active but can still take care of High, loud levels (unless you set 100% L.I.D..) and make the compression very smooth and no more pumpingº In addition with the Dynamic Ratio function, you’ll be able to set a constant and very natural envelop that allows to increase low levels, low frequency and to keep important transients.
4.1.12 L.I.D.. Threshold (33)
Sets the gain range of the L.I.D. parameter.
· Up: Increasing of the L.I.D. action · Down: Decreasing of the L.I.D. action
The current L.I.D. Threshold value is reflected by two blue lines on the Dynamic Activity display.
For Compressor and DCompressor sections, the L.I.D. action is effective only when the orange Dynamic Activity (18) exceeds the area between the two blue lines. For Expander and DExpander sections, the L.I.D. action is effective only when the orange Dynamic Activity (18) stays inside the area between the two blue lines.
4.1.13 L.I.D.. Maximum (34)
When engaged, the threshold for the processing is determined by the maximum values from RMS/peak detection OR from the signal dynamic detection. The L.I.D. Threshold is still active, but the L.I.D. mix button is disabled.
Note
This feature allows the whole process to be more reactive to the signal content. It worth to be tried on drum tracks.

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4.2 Touch
4.2.1 Slope
The Slope sets the number of frequency-dependent components controlling the slope of the frequency response. One component, referred to as 1 (First- Order), gives a 6 dB/Octave slope, adding a second component, referred to as 2 (Second-Order), gives a 12 dB/Octave slope etc. The higher the Frequency Order is, the steeper the slope of the frequency response becomes. Value Range: 6 / 12 / 18 / 24 – dB Per Octave Default Value: 6 dB/o
4.2.2 Release
Adjusts the release time for the transient processing envelope. Value Range: 0.00 ms / 500.00 ms Default Value: 0.00 ms
4.2.3 Bandwidth
Value Range: Static BW/Dynamic BW/Flat Sum Default Value: Static BW Static bandwidth provides a constant Q factor, no matter of the gain factor of the filter. It’s computed by having a constant bandwidth at +- 3 dB from 0 dB. Dynamic bandwidth provides a dynamic Q factor, dependent on the gain factor of the filter. It’s computed by having a constant bandwidth at +- 3 dB from peak levels of the filter. Flat Sum is a more traditional way of computing the Q factor. The bandwidth is constant for the gain factor divided by two.
4.2.4 Zero Crossing Threshold
The Zero Crossing refers to the amount of time the signal crosses the point of an amplitude of zero. It gives an indication on transient detection, as they tend to produce bursts of zero crossing.

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5 Plugin Settings
Clicking the cogwheel symbol opens a window with a range of general settings and a direct access button to the user manual.

5.1 Main Setup
5.1.1 UI Refresh Rate
Max refresh rate of the plug-in’s UI.

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5.2 I/O
5.2.1 Input / Output
I/O Config and Layout is not always available, though it is always displayed, it can only be edited in some configurations and formats.
5.2.2 Config
Current I/O configuration, is only available in certain VST hosts; typically hosts with limited capabilities for handling multichannel configurations.
5.2.3 Layout
Available I/O routings based on current I/O configuration. Layout is available for editing if more than two input channels are available. If the Layout is changed from the default value, an asterisk * is displayed next to the Layout information in the Input section.
5.3 Processing
5.3.1 Report Latency
Enables/Disables the latency reporting to the host.
5.4 Automation
5.4.1 Multithread
Enables/Disables Multithread Automation.
5.5 OSC
OSC is available in EVO Channel.

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5.5.1 Enable
Enables/Disables OSC control and mapping of the plug-in’s parameters.
5.6 Version Information
Plug-in version and build-number information.
5.7 User Manual / Credits
Quick link to the User Manual. Plug-in creation credits.

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6 Shortcuts

Shortcuts have been added to further enhance the user interaction and improve the workflow.

Where
EQ Display EQ Display EQ Display EQ Display EQ Display EQ Display Compressor Mode

Shortcut
Mouse Click + Alt Mouse Move + Ctrl Mouse Move + Shift Mouse Move + Ctrl + Shift Wheel + Ctrl Wheel + Shift Mouse Click + Alt + Shift

Description
Reset to default value Q change only Gain change only Frequency change only Q change only Gain change only Reset all compressor parameters to the default value of the Mode

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7 Preset Management
EVO Channel, as well as all other Flux:: plug-ins, provides two preset slots referred to as slot A and slot B, which provide access to two sets of parameter settings simultaneously. In addition to just recall the settings for each of the slots individually and alternate between their settings, a morphing slider is provided offering the possibility to morph between the slots and their corresponding settings. When clicking on one of the preset slots, the built in preset manager appears.

7.1 Preset Sections
EVO Channel provides two preset sections referred to as section A and section B, offering simultaneous access to two full sets of parameter settings. Clicking the A section (bottom left) or the B section (bottom right), or clicking the arrow in the Current Selected Preset display, opens a new window accessing the built-in preset manager.
7.2 Save
Save replaces the selected preset by a new one under the same name featuring the current settings. If you want to keep an existing preset without your new modifications, just select an empty place into the preset list, enter a new name for this modified preset featuring the current settings and press Save. Recall Once a preset is selected from the preset list it must be explicitly loaded into section A or the section B by using the recall button. A preset is effective only after it has been recalled.
7.3 Copy A / Copy B
The current parameters of a section are copied to the other one. The section A or B is re-initialized with the current values and the morphing slider is parked at 100% of the corresponding section.

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7.4 Morphing Slider
Morphs the parameter values of both parameter sections, it has no unity or specific value display; it provides morphing of the current values from both of the parameter sections (A & B). A double-click on one side of the slider area toggles between the two parameter sections. The actual result of the morphed parameter settings can be saved as a new preset.

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8 Preset Manager
The preset manager contains two preset banks, the Factory bank contains factory presets, this bank is not available for saving of presets but any of the presets can be loaded into a preset slot and then saved into, the User bank, where all user presets are saved.

In the preset manager, any preset can be loaded into a preset slot by double clicking on the name of the desired preset in the actual preset list, the preset will then be loaded into the preset slot corresponding to the position of the morphing slider.
· Additional controls in the preset manager · Recall A loads the selected preset into the corresponding slot. · Recall B loads the selected preset into the corresponding slot.

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· Update, saves the current settings into the selected preset. (Available in User Bank only) · New, saves the current settings into a new preset. (Available in User Bank only) · Duplicate creates a copy of the selected preset and saves it to the list. · Edit allows for changes to the preset meta properties. (Available in User Bank only) · Delete, removes the selected preset. (Available in User Bank only) · Export, creates a file reflecting the content of the current preset bank. · Import, allows for import of a preset bank file by adding the imported banks content to
the content in the current preset bank.
When saving or editing a preset, an option to protect the preset is presented. The preset protection, if engaged, only allows the original preset author to uncheck and edit the preset. This means that you can protect your presets in a multi-user configuration. Protected presets can only be modified using the session used for their creation. If used in another user session they can only be imported or deleted.

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9 Specifications
9.1 Availability
EVO Channel is available in: AU / VST / VST3 / AAX Native/ AAX AudioSuite / Waves WPAPI * AAX Native & AAX AudioSuite in Pro Tools 11 and later
9.2 Processing
EVO Channel provides : · Up to 16 channels Input/Output in AAX/AU/VST/VST3. · Up to 8 channels in WPAPI for Waves Soundgrid. · 64-bits internal floating point processing. · Sampling rate up to 384 kHz.
9.3 Hardware Requirements
A graphic card fully supporting OpenGL 2.0 is required. · macOS : OpenGL 2.0 required Mac Pro 1.1 & Mac Pro 2.1 are not supported. · Windows : If your computer has an ATi or NVidia graphics card, please assure the latest graphic drivers from the ATi or NVidia website are installed.
9.4 Software License Requirements
In order to use the software an iLok.com user account is required (the iLok USB Smart Key is not required).

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9.5 Compatibility
All major native formats are supported
9.5.1 Windows 10, in 64 bits only.
· VST (2.4) · VST3 (3.1) · AAX Native · AAX AudioSuite · Waves WPAPI
9.5.2 macOS (Intel and ARM)
All versions from Sierra (10.12) to latest. (Compatible with previous versions but not supported)
· VST (2.4) · VST3 (3.1) · AU · AAX Native · AAX AudioSuite · Waves WPAPI

AAX Native & AAX AudioSuite in Pro Tools 11 and later

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A Release Notes
A.1 Build 23.07.50310 – All plugins
A.1.1 New features
· Support Pro Tools new track formats
A.1.2 Bugs fixes
· All plugins – Nuendo – VST3 – crash when stereo plugins are instantiated on multichannel tracks (StereoTools, …)
· All plugins – Pace protected plugins fail to scan on Da Vinci Resolve mac · All plugins – Popups wrong metrics when changing screen · All plugins – Presets not imported · All plugins – VST3 – Nuendo – WIN (UHD360) – Wrong window size init · All plugins – VST3 – WIN (UHD630) – REAPER – GUI refresh issue when in single
window mode · All plugins – GUI issue with AMD graphics on windows – flickering issue · All plugins – AU – Plugins parameters are reset when bouncing in Reaper · All plugins – VST2 – no multichannel with the plugins 23.X in Reaper · All plugins – VST – Resizing the GUI does not update the floating window size in Nuendo
on Windows with UHD630 graphics · Bittersweet – VST3 – crashes on Pyramix on instantiation · StereoTool / EVO Channel – VST3 – No goniometer / analyzer in Wavelab · Elixir – Not available as 32 channels in Reaper · EVO series – AAX – Dark Mode wrong GUI init · EVO series – remove unused and duplicated presets · EVO Channel – VST3 – spectrum smoothing slider crashes Studio one · EVO Channel / EVO Eq – VST3 – Analyzer not working in Ableton Live · EVO Channel / EVO Eq – scale eq control always reload on auto mode · EVO Eq – weird release on meter · EVO In – GUI refresh issue when toggling night/day mode · EVO Touch – Zero Crossing Threshold label missing in the geek panel

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· EVO Touch – frequency band selector does not always recall the good settings on session reload
· EVO Touch/ EVO Channel – Frequency range slider is hard to handle · Pure Serie – VST3 – Attack value max 80ms · Pure Comp – Crash when loading “Bass guitar” preset · Pure Limiter – VST3 – advanced mode does not turn on advanced settings · StereoTool – VST3 – vector scope not working in Ableton Live on Windows · StereoTool – Not working in Final Cut Pro · TRAX – Crash using oversampling with sessions set at 2FS or higher · TRAX Tr – not usable in Protools anymore (build 50123)
A.1.3 Known issues
· All plugins – VST – GUI issue in Izotope Ozone and RX · All plugins – AAX – Preset manager – Default preset is not applied to parameters at
plugin instantiation · Elixir – Latency not properly compensated after changing stage parameters value in VST
and AudioUnit · TRAX tr – Learn function returning wrong values · VerbV3 – HOA 3rd order not working properly
A.2 Build 23.1.0.50251 – All plugins
A.2.1 New features
· New plugins Evo Compressor, Evo Touch and Evo EQ. · VST3 support · ARM support for AAX, AU and VST3 · Plugins are now resizable · Elixir now supports 32 channels · Alchemist, BitterSweet, Epure, Pure Compressor, Pure DCompressor, Pure Expander,
Pure DExpander, PureLimiter, Solera, Syrah now support 16 channels
A.2.2 Bugs fixes
· All plugins – Preset Manager – Update user preset do not work
· All plugins – Preset manager – Crash or freeze when saving a preset
· All plugins – UI may be black on Intel UHD 630 graphical cards

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· All plugins – AU/VST3 – Preset manager – Default preset is not applied to parameters at plugin instantiation
· All plugins – AAX – Crash with OSC when changing fx slot in Pro Tools · All plugins – AU – Logic Pro – Automation of boolean/integer parameters broken · All plugins – AU – Plugins crash in Da Vinci Resolve · All plugins – DaVinci Resolve – VST – UI is truncated · All plugins – Streamlabs – Plugins do not work · All plugins – Licensing issue in DaVinci Resolve and GarageBand · Alchemist – The range parameter works only for the 1st band · BitterSweet – Not possible to tweak the Output gain after unlinking it · BitterSweet – Output gain not reloaded properly when the link is disabled · BSPro – some modes are not accessible due to GUI issue · Epure – macOS – Bad graphic scale initialization at 2&4FS · Evo Channel – Meter reference is not saved · Syrah – Crash when selecting preset “Static fast compression” · TRAX Tr – When the link is activated, the Formant slider does not have the expected
audio effect · TRAX Tr – ProTools – Issue in AudioStudio when the modulation is enabled · VerbSession/VerbSession Studio Session and BSPro StudioSession – Pyramix – VST crash
when instantiated · Verb/Verb Studio Session – Crash when reloading session having 2 instances
A.2.3 Known issues
· All plugins – VST – GUI issue in Izotope Ozone and RX · All plugins – AAX – Preset manager – Default preset is not applied to parameters at
plugin instantiation · Elixir – Latency not properly compensated after changing stage parameters value in VST
and AudioUnit · TRAX tr – Learn function returning wrong values · VerbV3 – HOA 3rd order not working properly

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A.3 Build 21.12.0.50123 – All plugins except TRAX and StudioSession
Bug fixes · All plugins AudioUnit – GUI issue with Hdpi displays on macOS Monterey · All plugins VST – Plugin scan freeze in Wavelab 11 on Mac M1 machines · All plugins VST – Crash in Adobe Audition on macOS · All plugins VST macOS – Fix crashes with Ableton live · Elixir – Automation is not read for toggle parameters. · Elixir – Crash when clicking on the settings button on Session version · Elixir – Several fixes on the UI · Elixir – Windows AAX – Refresh issue with two instances in ProTools · HEar – Bypass is working in AAX · HEar AAX – Crash when doing offline bounce on macOS · HEar AAX – Crash when editing the matrix on macOS · HEar AAX – Stereo – Change on Matrix are not applied until we change the preset · HEar AudioUnit – Ableton crashes when inserting a second instance
A.4 Build 21.11.0.50107 (HEar, IRCAM Verb)
NOTE: CURRENTLY NOT COMPLIANT WITH ABLETON LIVE MACOS Improvement
· HEar – 5.1.4 & 5.0.4 now available Bug fixes
· HEar – Fix meters refresh issue · HEar – No verb on some presets · HEar – Protools crashes when doing offline bounce on macOS

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A.5 FLUX:: Immersive – Plugins (including IRCAM Tools) 21.09
This release includes updates for all FLUX::Immersive plugin processing products with the exception of EVO Channel, Epure, IRCAM Trax, Studio Session.
NOTE: CURRENTLY NOT COMPLIANT WITH ABLETON LIVE MACOS
Major optimizations
· Apple computers Big Sur (new M1 chips) AU validation
· Important updates to the Ircam Verb + Session · Overall better handling of multichannel track setups such for Atmos. (Ircam Hear, Verb
and more) · Automatic detection of track format / channel order for DAWs when possible.
A.5.1 Build 21.9.0.50083
Bug fixes
· Apple computers Big Sur (new M1 chips) AU validation failing · Empty GUI when close/reopen plugin – Windows 10 – UHD630 graphics · AudioUnit in Reaper – do not process audio when offline bounce · Default preset not loaded correctly on instantiation of Verb + Verb Session · Evo.Channel on Retina – Input and Output Sliders badly scaled · Incompatible AudioUnit issue in Apple Final Cut Pro · Plugins: Recall Preset Flags (e.g. “All but setup”) recall always everything · Preset Manager – UI issue with small plugins when a preset has been created · Ircam Verb Session reload in VST with audio interruption · VST Plugins Session not correctly reloaded if it integrate an IO configuration change · Verb session – Dry/wet not applied in offline render · Verb v3 Atmos crash on AAX · Verb: AU validation failed on Apple M1 · Verb: LFE not disabled by default on ProTools · Verb: Recall Preset may be not correct with double click inside the preset manager · Verb: disabled channel is not re-injected according to dry/wet parameter (100 % wet
means muted) · Verb: init issue with Nuendo · AAX – Some plugins – Crash on Mac / No GUI on Windows · Overall reliability / stability fixes. · Plugin size not correct · Potential plugins crash when opening UI

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A.6 FLUX:: Immersive – Plugins (including IRCAM Tools) 20.12
This major release includes updates for all FLUX::Immersive products with the exception of IRCAM Spat V3 legacy product. Please refer to Spat V3 – Spat Revolution crossgrade options.
Major optimizations
· HiDPI / Retina support + display enhancements and fixes · Page Table unification for Avid Control, S1, S3, S4, S6 and S6L. · OSC Control for plugins. · IRCAM Verb support for Dolby Atmos, Multichannel support up to 16 channels · IRCAM Hear – Multichannel stability improvement, Now up to 10 channels. (Dolby
Atmos 7.1.2) · IRCAM Tools – Audio I/O Matrix and Multichannel enhancement · Most plugins support of 8 channel. · 16 channel support for Bittersweet Pro, Evo In and Evo Channel
A.6.1 Build 20.12.0.49880
Bug fixes
Core:
· BSPro – Latency report issue (AAX) · IRCAM TRAX Tr – Latency report issue · IRCAM Verb – Wrong initialization value for Reverb density · IRCAM Verb -Dry signal still goes out in disabled channels when wet is 100% · All Pure Dynamics PI + Alchemist – Wrong Thresholds initialization values · AAX “monolithic” are broken like Hear, TRAX etc… · Almost all AAX plugins don’t reload parameters from 47856 version session. · Pure Limiter – Diff feature bypassed the input gain. · Pure Limiter – Inverted sidechain filters. · Any plugin except Evo Channel – Research Presets resets when click on a preset. · Evo channel – Wrong values when reloading touch section.
UI:
· Current preset name disappear on re-opening GUI or session

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A.7 Known Issues
· Wavelab “Sample rate not supported” when a plugin is inserted on a clip, track or output section.
· TRAX Tr – Learn frequencies display wrong values (AAX only). · Hear – Internal config labels change when modify LFE input config from routing matrix. · When using OSC on a plugin in Pro Tools, a chrash will occur if you change/move FX
insert slots

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