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When dealing with true surround source material, the choice of configu-

ration is simple--choose the 4-in or 5-in version. The algorithms are all

designed to treat the inputs uniquely. If the algorithm is a reverberator or

room, then each input will propagate into the space from the direction of its

virtual source. If the algorithm is a delay or effect, each input will be treated

by itself, and then possibly propagated into shared feedback paths.

But when dealing with stereo source material (the more typical case), some

thought must be given to the choice of configuration. The 4-in or 5-in con-

figuration may still be used of course, and the source material will be more

obviously placed in the front of the virtual space. In the case of a delay or

effects algorithm, not all voices will be activated. When the 2-in/multi-out

configuration is chosen, the input signals are also propagated to the surround

inputs (post level, post pan). This will sound different. A reverb may sound

more full. It will still be surround of course, but will not maintain the same

frontward localization. Delay and effects algorithms will now have all voices

activated and may be considerably more complex. There may be a small dif-

ference in gain for the same presets in the 2-in or multi-in configuration.

There’s no right or wrong in this choice. It’s up to the user which of these

configurations to use. But it is important to know how the sound will

change based on this choice.

All the DSP configurations are described below.

single stereo (Mono in)

A mono signal is split into a stereo signal.

single stereo

The left and right inputs are sent through a single virtual

machine.

dUal stereo (Mono in)

The left signal travels through one virtual machine, and the

right signal travels through a separate second virtual machine.

dUal stereo

Two stereo signals are processed independently by two virtual

machines.