Mixer and input stage

This section is related to Ch 1 and Ch 2 (stereo). It provides an LPF, an HPF a common Q and a comb filtering stereo section. You may choose from the filter routing selector the way the L and R signals (for that stereo channel) will be routed:

-L-R= LPF for L signal and HPF for R signal
-R-L= HPF for R signal and LPF for L signal
-Mono= Both LPF and HPF will apply for both signal (please note the 2 signals are not converted to mono, they will retain their stereo separation, simply both filters will apply to both signals)

The filter selection button will allow you to choose the routing between the LPF/HPF filters and the Comb filters:

Serial: LPF/HPF filters first that are fed in the comb section
LPF/HPF filters and comb section are independent and mixed at the filter out stage
LPF: Comb filters are not active. Only the LPF/HPF section is currently active.

Please note that the comb section is stereo, so the filter routing selector will retain LPF and HPF stereo assignment. You can use any combination you want with the 2 selectors.

The comb filter offers you control over gain, feedback, frequency and delay of the first reflection.


By clicking on the right drawner button you will open the LFO section. This is the section that will actually “move” the sound creating an incredible number of combinations thus forcing the sound to move always in a different way. The human ear is quite sensible to the harmonic content variation of the sound: using this section smoothly on your program, you will get the impression of a natural and live sound. Try to experiment it also with natural samples like strings, brass etc: once mixed in the program you will get a better sensation of all that little variations that occur when a player perform its instrument.

The section is composed of 4 independent LFO. Each LFO can control amplitude and speed while the waveform is fixed at sine cycle since this is the most smooth pattern for this kind of application.

You can choose which one of the 4 LFO will be assigned to the filter and comb section parameters and you can of course assign the same LFO for multiple parameters.

Please note that once the LFOs get assigned the Filter knobs will range depending the amplitude of the LFO assigned for that parameter.

It’s a good way to start with LPF full clockwise (full band) and HPF full counterclockwise (full band) and none or very little Q and check the amplitude motion of the LFOs assigned. Then you can trim filters for fine adjustment.

Comb filters actually affects less dramatically the sound since they add harmonics for phase sum and differences so you might start with little gain and feedback and then increase or decrease the values depending the LFOs actions, while frequency and delay will be chosen to spot the part of the sound you want to modify.

Q will affect dramatically the sound instead, so assigning an LFO to Q will be mostly suited for special effects. In most cases is better to set the assign to off. Note the the Q assignment will affect both stereo channels.


By clicking on the left drawner button the vectors window will appear. This section is designed mostly for real time control assigning a MIDI control change to the wheels, in this way you’ll be able to move the sound in real time and record your movements on a MIDI sequencer. This section is post filters and LFOs: this mean the signal gets affected by filtering modulations at first and then is controlled by the vector section.

Once the vector window shows up, you will see 2 more drawner buttons on top and at the bottom of the window. This 2 additional windows are labeled LFO (the top one) and Tracking (the bottom one): they actually belongs and affect the vector stage and they will be explained later in this section.

These two wheels actually act as vectors of the 2 stereo channels, crossfading in realtime the channels levels and pan to each others.

They work as follows:

Level wheel: It crossfades stereo ch1 with stereo ch2 fading the levels of the 2 channels at the opposite directions while their pan positions are unaffected.

Pan wheel: This wheel acts in a different way depending if the checkbox labeled “2--1” is checked or not.

-If the box is not checked this wheel exchange smoothly in realtime the stereo ch1 pan position with ch2 and viceversa.
-If the checkbox is checked the wheel acts as a single channel panner exchanging the relative pan in the channel itself (i.e. input ch1L will move toward R input ch1R will move toward L, but they will always remain into stereo ch1 while stereo ch2 will do the same thing). The Pan wheel in any case will not affect the signals’ level (as opposite of levels wheel).

Please note that the wheels must be enabled in order to work. The enable button is placed just under each wheel. When the button is on (LED gets red) the wheel is active otherwise is inactive (when the wheel is inactive also the its eventual MIDI assignment will not affect the vector stage, you may use the on/off button to compare for example a MIDI recorded moving sequence).

Q will affect dramatically the sound instead, so assigning an LFO to Q will be mostly suited for special effects. In most cases is better to set the assign to off. Note the the Q assignment will affect both stereo channels.


Just below Levels and Pan Wheels there is a section designed to control via MIDI some of the Matrix parameters. With the checkboxes enabled you will be able to control which parameters will be affected and which not by the MIDI messages.

The MIDI selection button will allow you to control these parameters using as source: Velocity, MIDI note or Aftertouch. You will choose from the MIDI ch number box the MIDI channel these message will respond to. Simply drag with the mouse over the box and choose a MIDI channel.

Please note that the channel you choose here does not affect the MIDI control assignment addressable to any of the Matrix pots and faders, but it will match this control section only. Using the learn button, the MIDI control assignment detects the incoming control change for the assigned pot as usual for all Pulsar devices.

Clicking on the bottom drawner it will open the tracking window. Dragging with mouse over the 2 split point, you will be able to draw the response curve for the Velocity, Notes or Aftertouch that will affect the parameters relative to the checkbox enabled in that moment.

This is a further source for sound variation in the Matrix device. Experiment it with Velocity for sounds with steep attack, Notes for simulating better the range of natural instruments or Aftertouch simply for an immediate control.

Note that the tracking curve may be also drawn in reverse curve so that for example lower velocity will rise the filter LPF etc.


By clicking on the upper drawner of vector section you will open a window containing a complete LFO control. This LFO is independent from LFO section and is more complete, since you can define waveform, fade in and sync mode as well (sync mode only works if MIDI is connected to Matrix, last note priority will trig the LFO).

This LFO can be assigned to Level Wheel control. In order to assign it you will have to move the selector button from man to LFO position. In this way you will not control the wheel manually anymore, while the LFO will automatically oscillate the relative channel’ levels. This adds another step to the complex global motion of your sounds. The LFO does not affect the routing that will be preserved as per routing section (explained in the next section).


By clicking on the bottom drawner button of Matrix surface, the assign and master window will slide out.
This section is the heart of the Matrix routings toward the external world. You can route all signal matrixed in the previous stages (including the delay section that will be explained later), creating complex movements in surround.

The output stage may work in 5.1 mode (suitable also for LCRS Dolby Surround applications) or in stereo mode. In this last option you will actually simulate a surrounding environment in stereo. The stereo mode operation is also very useful for LCRS mixes (requested in DVD authoring) after the 5.1 mix: a really time–saving application. As a matter of fact, just switching from 5.1 to stereo you will still get excellent result from your Dolby Surround encoder. If you don’t work in surround, the stereo mode will also give you a surround impression together with a complex sound motion.

The switch located between the master section and output assignment section, will set which mode you are going to work (5.1 or stereo). When working in 5.1 mode all matrix outputs will be active, generating discrete signals for Left, Right, Center, Surround Left, Surround Right and LFE (explained later on this chapter) channels.

When working in stereo mode only Left and Right outputs will be active while the surround assignments will act as follow:

-Sur Left= Left
-Sur Right=Right

Assign section 5.1 Mode.
The Assign section allows to address each of the 4 inputs to Left, Center, Right, Surround Left and Surround Right output. Note that you may assign a channel to multiple outputs (i.e. In1 to L and R, In2 to L, Sur L and C etc.) creating a complex matrix surround environment.

This is the final stage so the assign is post processing, if you mixed the channel in any prior stage (filter+comb etc.) the outputs assignment will retain the matrixed processing.


By clicking on the left drawbar button the LFE control section will appear. This section has been designed to provide deep low frequencies for the LFE channel.

-If you are working in 5.1 mode you will connect the LFE output to your subwoofer
-If you are working in stereo mode the LFE processing will appear at Left and Right outputs.

The LFE processor is based on a dedicated algorithm based on Tartini’s 3rd sound law were sub harmonics get created processing multiples of the differences of a chosen frequency. In this way you will get low frequencies at the speaker that are beyond the speaker frequency range.

This section provides 2 independent LFE processor where you will choose the basic frequency to be processed and with the fader you will adjust the amount of gain process.


The Delay section provides a direct enhancement to the output surround field allowing phase differences all along speakers thus generating a deeper impression into the 5.1 environment.
Since this processor is very memory consuming it has been provided for 3 different version of Matrix:
Matrix F:
This is the full version. By clicking on the upper drawner button the delay processor will appear.
In this Matrix version you will get 4 independent multitap delay.
You can choose for Left, Right, Surround Left and Surround Right channels to delay to the other three channel.

For example you can choose to bounce 40 Ms the Right Channel to the Left one, 230 Ms to the Surround Left and 100 Ms to the Surround Right. Then you can decide to bounce 50 Ms the Left channel to the Surround Left channel, 67 Ms to the Right channel and so on.
Combinations are infinite. With this processor you will be able to balance all delays perfectly on all channel adjusting the gain and feedback for each channel. You can also disable it by clicking on the green button each channel delay.
Beware that Matrix F is the most powerful version, but it’s very memory consuming, so you won’t be able to use many samplers, reverbs and delay plug-ins during the project.

Matrix M:
This version still provides a single multitap delay processor. This version is less powerful than the F version since you will able to adjust a quantity of signal to a single processor that will be bounced to the speakers you want.
The faders on the left determinate the amount of signal of the LR and surround outputs to be fit in the processor, that you will bounce the mixed signal to the corresponding outputs.
Note that either in the F or in the M versions the signal come at the delay processor after processing.
This version is less memory consuming than the Full version, but still you must be aware in using samplers and reverbs in your current project.

Matrix S:
This version is no delay processor provides, and it has been optimized, for hi-quality surround applications. It is addressed for example to stereo (or even mono) masters that need to be converted in 5.1 format. It needs a little practice, but excellent results have been obtained in this direction.


Matrix is really a new powerful tool. More applications are currently under testing and many new applications will be soon available along with newer and improved version of the software.