> Step by step

1. Up and running with Hyperspace CM

1 Hyperspace CM comes in VST, VST3, AU and AAX formats (32-bit and 64-bit) for MacOS 10.10 and Windows 8 or later. To get started, download the zip file from filesilo.co.uk/computermusic, or grab the folder from the print issue’s DVD. Launch either the Mac or PC installer and install the plugins.

2 Hyperspace CM requires a licence file. Head to https://unitedplugins.com/ HyperspaceCM/, register and download the file. To apply the licence, open the plugin and click on the red Activate message at the top. Then use the file browser to locate and use the licence file, then relaunch the DAW software.

3 Now load up an instance of the plugin. On the left of the top menu bar you’ll find input, output and wet/dry levels. In the middle is the preset browser. On the right are two memory slots (A and B) alongside three icons – output limiter, panic and bypass. Under the logo are three randomisation ‘dice’.

4 Hyperspace CM’s key parameters are colour coded to indicate their function. The blue controls are the main reverb parameters and include Time, Size and Predelay. The pink XY pad and Mode option set the character of the algorithm. Orange parameters influence the nature of early reflections and the reverb tail, and green influence dynamics.

5 To try out Hyperspace CM, we’ve included some tutorial files. To get started, load up the five drum kit audio files – they all start at zero – and load up an instance of Hyperspace CM on an auxiliary. From the preset menu choose Bright Hall from the Real Spaces – Medium folder and set the output mix to 100% Wet.

6 There’s no room sound with the drum kit and it sounds quite dry. The first thing we can do is use Hyperspace CM to add that space, and the easiest way to do that is use the Kit Overheads track. Assign a send to the reverb auxiliary and choose the desired level. Here it’s quite a moderate amount (about -15dB).

7 This adds some space and scale to the kit but feels like it’s getting in the way a bit. There are a few quick changes we can make to improve this. First, reduce the reverb time a bit and increase the predelay time – we’ve selected 40ms. Then increase the reverb damping – we’ve selected 50%.

8 Now let’s load up a second instance of Hyperspace CM on a second auxiliary. We’re going to use this reverb initially just for the snare. Select the Padded Cell preset from Real Spaces – Small. Send a moderate amount to the reverb (for us, that’s -6dB). This adds width and we can enhance that further by increasing the size. Here we’ve chosen 60%.

9 Finally, use the Filter and Tilt controls to adjust the overall EQ of the effect. We start by increasing the Filter, using its high-pass mode to remove some of the low mids. And last but not least, the Tilt can be increased or decreased (we’ve increased it), to fine tune the filter curve of the effect.