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Fruity Convolver (Convolution, Convolution Reverb & Linear Phase EQ)
Dry Adjusts the level of the dry signal (0 to 100%).
Input stereo separation Turn left to maximize stereo separation of the input or right to create a mono input.
Wet Adjusts the level of the wet signal (reverb / convolution) sound (0 to 100%).
Normalize Loudness normalization. This is useful to maintain a consistency across impulses as there can be dramatic differences in gain between them.
Wet stereo separation Enhance or reduce the stereo effect in the wet output.
Delay Adds a delay to the first reflection from the impulse. NOTE: Fruity Convolver puts any set or detected delays to good use, using the time afforded by the delay lower CPU load. Many reverb impulses have a period of silence at the start, the time taken for the sound to reflect off the closest surface to the microphone/s. Fruity Convolver will detect these delays and will use the extra time to reduce its CPU load also.
Self-conv The impulse is convolved with itself before being convolved with the input. This creates a similar effect to putting a reverb on the impulse.
Stretch Uses high quality resampling to change the length & pitch of the impulse. NOTE: This is not timestretching so the frequency of the impulse response is shifted lower with stretching and higher with time-compression. It usually sounds right, unlike time-stretching on the impulse with constant pitch from the editor functions that often results in phasing artifacts.
Eq Balance between the Equalized and Normal impulse response.
KB Input Select to enable keyboard shortcuts in the impulse & EQ editors.
Updating Animates while the plugin is processing changes to settings. There may be a short period of silence when the convolution algorithm updates. Note: Don’t touch the delay, stretch, self convolve or eq controls if an interruption to the sound will be an issue (live performance for example).
Impulse Editor Window
Fruity Convolver’s Impulse Editor is based on Edison, so see Edison’s help for features not covered here. The main controls and options needed to use Fruity Convolver’s Impulse Editor are:
Load Impulse Click the Browse impulses button (shown green above) and drag Impulse files from the Browser and drop on the Editor Window.
Left-clicking Shows the location of the currently loaded impulse response.
Right-clicking Shows FL Studio’s default impulse response folder.
Shift + Up / Down Arrow keys Will step up/down the Browser list and will load the impulse response into the most recently focused Fruity Convolver.
Alternatively click the disk icon and use the Windows file browser to locate your own impulse responses.
Envelopes Several standard envelope controls are accessible along the bottom of the window that act on the Impulse sound. From left to right –
Pan To edit the Pan envelope.
Volume To edit the Volume envelope.
Stereo Separation To edit the Stereo Separation envelope.
All-purpose envelope Can be assigned to playback velocity/direction and various other functions.
Editing envelopes After selecting the desired envelope type, Right-click in the ‘Impulse Editor Window’ to add points, and Left-click to move points and tension markers. Right-click points to open a context menu that will allow you to delete points or change the curve type.
Trigger impulse (spark icon) Click this icon to create a ‘click’ impulse to create impulses from plugin effects (see a video tutorial here):
1. Load two instances of Fruity Convolved in the FX slots above and below the effect to be captured.
2. Make sure the plugin has a fairly loud dry signal passing through so the recording Fruity Convolver can reliably detect the onset of the impulse sound. This is used to compute predelay.
3. Press the record button on the lower Fruity Convolver that will perform the impulse recording.
4. Press the Trigger impulse control. The recording Fruity Convolver will capture the impulse until the signal level falls to zero and automatically stop.
To make impulses from external hardware devices we recommend using the Sine-wave sweep method discussed below. Although in this case you can record the sine-wave sweep as it is played through the equipment, no need for microphone rigs.
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