Hyperbar 3-Band Upward/Downward Dynamics: Operation Manual & Studio Reference Guide

Product Identifier: ca.boraas.Hyperbar
Build Version: 1.0.0f142
Device Classification: Creative Effects / Dynamics (Dynamics, Filter, EQ, Multiband, Mastering)
Rack Format: 4U Full-Width (collapsible to active 1U folded strip)
Supported Platforms: Reason 10.1+ (macOS Intel & Apple Silicon Universal, Windows 64-bit)
Author: Edward Boraas

1. Overview & Signal Flow

Hyperbar is a 3-band upward and downward dynamics processor (OTT-style multiband compander) built natively for the Reason Rack.

While a standard compressor only turns loud peaks down once they cross a threshold, Hyperbar works in both directions at once across three frequency bands (SUB, BODY, and AIR). It pulls quiet room decay, reverb tails, and low-level harmonic detail upward by up to +36 dB while clamping loud peaks downward by up to -24 dB (-48 dB at 200% overpressure). Between those two thresholds sits a configurable linear Deadband (0-48 dB) where mid-level dynamics pass at unity (1:1) without constant gain riding.

Figure 1: Hyperbar 3-Band Upward/Downward Signal Architecture & DSP Core

The Character Switches (Clean Mastering or Classic OTT Grit)

Classic digital OTT processors from the 2000s owe part of their signature sound to early DSP quirks: phase-cancellation notches at the crossover points, sub-bass waveform tracking distortion, and noise-floor hiss surging upward during pauses. Instead of locking you into either a clinical cleanup or permanent artifacts, Hyperbar puts three switches in the Engine & Spatial drawer so you can choose per patch:

X-OVER (SCOOP | STUDIO): Studio mode adds a 2nd-order all-pass phase-compensation network so the three bands sum completely flat (±0.000 dB). Scoop mode omits the all-pass stage, bringing back the classic crossover phase notch for a hollow, mid-scooped bite.
SUB DET (GRITTY | CLEAN): Clean mode uses a 12 ms anti-ripple peak-hold detector so deep 808s and sine subs stay smooth. Gritty mode tracks sub waveforms instantaneously, adding fast envelope-ripple harmonic saturation.
FLOOR (WILD | SMOOTH | TIGHT): A 3-way switch setting the upward expansion noise-floor gate:
- Tight (-55 to -67 dBFS, 12 dB soft knee): Clamps tightly for speech, vocals, and noisy stems.
- Smooth (default, -62 to -80 dBFS, 18 dB progressive knee): Clean mix and master bus leveling without audible noise pumping.
- Wild (-75 to -95 dBFS, 20 dB wide knee): Pulls quiet signals all the way down to -75 dBFS upward so long reverb tails and room tone bloom between notes.

2. Front-Panel Guided Tour (4U Upper Deck)

Hyperbar’s 4U front panel divides controls into two layers: the upper deck holds the macro controls and 3-band sight-glass meters for everyday mixing, while the lower Calibration Drawer tucks per-band depths, crossovers, and stereo imaging behind two expandable tabs (BAND DYNAMICS and ENGINE & SPATIAL, saved with your Reason song across patch changes). All primary gain (Heat, Thrust, per-band Gain, and band threshold faders), depth (Squeeze, per-band Crush and Lift), and Speed controls use non-linear S-curves that give you roughly 1.5x-2.2x finer resolution in the 10-to-2 o’clock sweet spot while still reaching full range at the extremes.

Hyperbar 4U Front Panel Layout — Figure 2: Hyperbar 4U Front Panel & Bay Architecture

2.1 Header Bar

BYP / ON / OFF Switch: 3-state power and bypass switch (clicking anywhere on the switchplate or labels toggles state).
Patch Browser: Recessed LCD readout with previous/next (▲ / ▼), folder browser, and save buttons for navigating all 39 factory patches.

2.2 Bay 1: Pre / Tone Shaping & Timing (`SPEED` & `HEAT`)

SPEED (0.73-18.4, default 3.67 : SLOW • OTT • FAST): Scales attack and release speed across all three bands together from 0.20x to 5.0x (a 25:1 range). At 3.67 (12 o’clock), envelope time constants sit at calibrated OTT baseline timing (Sub: 10.47 ms Atk / 80.44 ms Rel; Body: 4.91 ms Atk / 80.44 ms Rel; Air: 2.96 ms Atk / 37.65 ms Rel). Turn counter-clockwise toward 0.73 (SLOW) to slow envelopes up to 5x for smooth bus leveling or sustained reverb tails; turn clockwise toward 18.4 (FAST) to speed up attack and release up to 5x for fast rhythmic pumping.
HEAT (-18.0 to +18.0 dB, default 0.0 dB : -18 • +18 dB): Pre-crossover input drive into the 3-band compander. Pushing Heat up drives all three bands harder into downward Crush while pulling quiet details out of upward Lift. To prevent runaway volume jumps while you dial in drive, positive Heat automatically applies a -0.25 dB/dB post-compander trim (up to -4.5 dB at +18 dB).

2.3 Bay 2: 3-Band Sight-Glass Dynamics Core (`SUB`, `BODY`, `AIR`)

Each of the three bands pairs a three-track Sight-Glass Meter (+6 dB down to -60 dB) with a vertical threshold bias fader:

Sight-Glass Meter Tracks (IN, DYN, OUT):
- IN (Left): Pre-dynamics band input level (L/R or M/S).
- DYN (Center): Bidirectional dynamics activity from the center zero line. Amber/orange bars descend from the top to show downward gain reduction (Crush), while cyan bars rise from the bottom to show upward expansion (Lift).
- OUT (Right): Post-dynamics, post-gain band output level.
Vertical Threshold Bias Faders (WEIGHT, BITE, SIZZLE, -18.0 to +18.0 dB, default 0.0 dB):
- Shifts both the upward and downward thresholds for that band together around pink-noise-calibrated baseline centers (-27.75 dB Sub, -27.00 dB Body, -25.70 dB Air).
- Raising WEIGHT (Sub), BITE (Body), or SIZZLE (Air) raises the band’s target window, pulling more low-level energy upward; lowering the fader pushes the band deeper into downward Crush.

2.4 Bay 3: Master Stage (2x2 Output Grid & Post-Limiter Metering)

Organized into a 2x2 rotary grid alongside stereo output peak meters:

SQUEEZE (0-200%, default 100% : 0% • 100% • 200%): Global compander depth macro scaling both upward Lift and downward Crush depths across all three bands simultaneously. From 0-100% (cyan halo), ratios scale up to classic OTT levels; pushing from 100-200% (amber-orange halo) enters overpressure mode, driving downward compression past ∞:1 into negative ratios (at 114.3%, around 2 o’clock) and doubling upward lift range.
CONTOUR (SMOOTH • OTT • PEAKY, -100% to +100%, default 0%, MIDI CC 72): Master ballistics contour dial positioned directly beneath SQUEEZE. Offsets the attack-to-release ratios across all three bands simultaneously without opening the drawer. Center (0%, 12 o’clock) preserves individual band contours; turning counter-clockwise toward SMOOTH (-100%) speeds up attack and extends release for dense, pinned sustain; turning clockwise toward PEAKY (+100%) slows attack and speeds up recovery for punchy transient crack.
BLEND (0-100%, default 100% : DRY • WET): Parallel dry/wet mix before the final output peak meters.
THRUST (-18.0 to +18.0 dB, default 0.0 dB : -18 • +18 dB): Master post-compander makeup gain feeding the output limiter stage.
Stereo OUTPUT PEAK dBFS Meters (L / R, +6 to -48 dBFS): True post-limiter stereo peak bar meters:
- 0.0 dBFS Calibration: 0.0 dBFS lights up to the top amber LED (segment 18, right under the golden 0 dB line), while levels strictly above 0.0 dBFS (+0.1 to +6.0 dBFS) light the 4 red Overpressure LEDs at the top of the ladder.
- Quick Clipper Check (MClass Maximizer Workflow): Because Soft and Hard limiter modes clamp output peaks at or below 0.0 dBFS, the meter snaps cleanly to the 0 dB line when limiting is active. Flip Limiter to Off in the drawer to watch how many red LEDs light up above 0 dB and judge how hard you’re driving the clipper.

2.5 Compact 1U Folded Strip

When folded in the Reason rack, Hyperbar keeps its header controls (BYP/ON/OFF and Patch Browser) at identical coordinates and exposes a 1U control strip mirroring the 4U left/center/right layout:

Hyperbar 1U Folded Strip Layout — Figure 3: Hyperbar 1U Folded Strip

Left: SPEED and HEAT input drive dials.
Center: Vertical SUB, BODY, and AIR bidirectional dynamics activity meters.
Right: SQUEEZE, BLEND, CONTOUR, THRUST, and stereo OUT peak meters.

3. The Calibration Drawer (`Band Dynamics` & `Engine & Spatial`)

Clicking the tabs along the bottom rail of the upper deck switches the lower bay between two open views (BAND DYNAMICS and ENGINE & SPATIAL). Clicking whichever tab is currently open (or clicking DRAWER CLOSED) closes the drawer. Because the drawer state is saved with your Reason song rather than per preset, switching or browsing patches never resets your open view.

3.1 Tab 1: `BAND DYNAMICS` (Per-Band Voicing)

Hyperbar Band Dynamics Calibration Drawer — Figure 4: Calibration Drawer Tab 1 (`BAND DYNAMICS`)

Exposes three side-by-side band bays (LOW DYNAMICS for Sub, MID DYNAMICS for Body, HIGH DYNAMICS for Air), each equipped with SOLO and MUTE buttons and five rotary trims:

SOLO & MUTE Buttons: Audition any band (or combination of bands) in isolation, or mute specific frequency ranges.
CRUSH (DOWNWARD, 0-200%, default 100%): Scales downward compression depth for the band (multiplied by the master Squeeze macro).
DEADBAND (WINDOW, 0.0-48.0 dB, defaults: 7.0 dB Sub, 11.6 dB Body, 5.3 dB Air): Sets the width of the neutral 1:1 linear zone between the downward Crush threshold and upward Lift threshold, defaulting to classic OTT Above - Below threshold gaps (7.0 / 11.6 / 5.3 dB). Tightening Deadband toward 0 dB clamps the signal into a tight window; widening it opens a natural pocket where mid-level transients breathe untouched.
LIFT (UPWARD, 0-200%, default 100%): Scales upward compression depth for the band (up to +36.0 dB maximum boost).
CONTOUR (SMOOTH/PEAKY, BALLISTICS, default 0.50): Skews the band’s attack-to-release ratio across a 9x span (0.33x-3.0x):
- Smooth (0.0, 0.33x): Faster attack and longer release for thick, pinned weight.
- OTT Center (0.50, 1.0x): Calibrated OTT baseline ratios (Sub: 10.47 ms Atk / 80.44 ms Rel [1:7.7]; Body: 4.91 ms Atk / 80.44 ms Rel [1:16.4]; Air: 2.96 ms Atk / 37.65 ms Rel [1:12.7]).
- Peaky (1.0, 3.0x): Slower attack and faster release so initial drum and pluck transients punch through before compression clamps down.
GAIN (OUTPUT, -18.0 to +18.0 dB, default 0.0 dB): Post-compander makeup gain for balancing the three bands before summing.

3.2 Tab 2: `ENGINE & SPATIAL` (Crossovers, Character, Stereo & Audition)

Hyperbar Engine & Spatial Calibration Drawer — Figure 5: Calibration Drawer Tab 2 (`ENGINE & SPATIAL`)

Divided into four functional sub-bays across the lower drawer:

Bay 1: Crossover & Sub Anchor

SUB SPLIT (Off 0 Hz Sub Bypass / 60-1200 Hz, default 88.3 Hz): Sets the 4th-order Linkwitz-Riley crossover frequency between Sub and Body. Turning Sub Split all the way counter-clockwise below 61 Hz (Off) engages a true 0 Hz Sub Bypass so Body and Air operate as a phase-coherent 2-band split down to DC.
AIR SPLIT (800-12000 Hz, default 2.50 kHz): Sets the 4th-order Linkwitz-Riley crossover frequency between Body and Air. If Sub Split is pushed above Air Split, Hyperbar automatically clamps the upper split at least 200 Hz above Sub Split so the Body bandpass never inverts.
SUB STEREO / SUB MONO Toggle Button: Folds the Sub band to mono before the compander and before the rear-panel SUB OUT jack, keeping bass phase-solid across both main and direct outputs.

Bay 2: Character & Engine Architecture

X-OVER (SCOOP | STUDIO, default STUDIO): Selects classic phase-notched crossover summing (Scoop) or phase-compensated all-pass flat summing (Studio).
SUB DET (GRITTY | CLEAN, default CLEAN): Selects instantaneous sub peak tracking (Gritty) or 12 ms anti-ripple hold (Clean).
FLOOR (WILD | SMOOTH | TIGHT, default SMOOTH): 3-way switch selecting Tight (-55 to -67 dBFS, 12 dB knee), Smooth (-62 to -80 dBFS, 18 dB progressive knee, default), or Wild (-75 to -95 dBFS, 20 dB wide knee) upward expansion floor.
LIMITER (HARD | SOFT | OFF, default SOFT):
- OFF: Unclamped floating-point output for external mastering chains (allowing the output meter’s 4 red LEDs above 0.0 dBFS to display peak excursion).
- SOFT: 2x-oversampled (at sample rates < 88.2 kHz) continuous soft knee starting at -3.52 dBFS (2/3 linear) and approaching 0.0 dBFS asymptotically without a hard clip corner.
- HARD: Zero-oversampled digital brickwall clip at ±1.0 (0.0 dBFS) for intentional digital crunch.
DOMAIN (L/R | M/S, default M/S): Selects Left/Right or Mid/Side stereo signal processing across the 3-band compander.

Bay 3: Spatial Suite

EXPANSE (0-100%, default 0%): Blends the 3-band detectors from 100% stereo-linked (0%) to independent dual-detector Mid/Side (or Left/Right) operation (100%). Raising Expanse lets upward Lift pull stereo room width and wide synth chorusing up on the Side channel whenever center vocal or snare hits subside.
HORIZON (-12.0 to +12.0 dB, default 0.0 dB): Post-dynamics stereo Side width trim paired with a 2nd-order high-shelf filter (2.2 kHz corner) on the stereo Side channel, active in both M/S and L/R Domain modes. Positive Horizon boosts widen Body and Air while clamping Sub Side boost at ≤ 0 dB so sub-bass stays phase-coherent; negative Horizon cuts narrow the stereo image across all bands.

Bay 4: Audition & Monitor

SOURCE (KEY/SC | PROGRAM, default PROGRAM): Switches the main output monitor between processed program audio and the post-Heat detector signal (Key/SC, either external SC IN when patched or internal key) unaffected by Blend or Thrust, so you can solo and tune crossover splits while dialing in frequency-dependent ducking.
CHANNEL (SIDE | MID | NORMAL, default NORMAL): Solos the stereo Mid sum or Side difference at the output stage.
MONITOR (LIFT+CRUSH | CRUSH | LIFT | NORMAL, default NORMAL): Solos the delta difference signal (wet - dry) for upward expansion (Lift), downward compression (Crush), or both combined (Lift+Crush) so you can hear what the compander is adding or removing.

4. Rear-Panel Modular Connectivity & Audio/CV Matrix

Flip the rack (Tab) to access Hyperbar’s 4U rear panel: 16 audio jacks, 14 CV modulation inputs with bipolar attenuverters, and a 24-jack (6x4) CV telemetry matrix.

Hyperbar 4U Rear Panel Layout — Figure 6: Hyperbar 4U Rear Panel (Audio Breakouts, 14 CV Inputs & 6x4 CV Dynamics Matrix)

4.1 16 Audio Jacks & Dynamic Remainder Bus

MAIN IN (L/R) & MAIN OUT (L/R): Primary stereo insert path (mono cables on L automatically normal to both channels).
SC IN (L/R) & SC THRU (L/R): External key input routed through its own matched 4th-order Linkwitz-Riley crossover so external triggers duck each band only where the key signal carries energy (for example, an 808 kick ducking Sub while leaving Body and Air untouched). SC THRU copies the incoming key signal directly to downstream devices with zero latency.
Direct Band Outputs (SUB OUT, BODY OUT, AIR OUT): Discrete stereo outputs tapped after each band’s compander and band gain stage.
REM OUT (L/R) (Dynamic Remainder Bus):
- Automatically sums whichever bands aren’t patched at the direct band outputs, and applies the Horizon Side-air shelf whenever the Air band remains part of the unpatched residual sum.
- Patching a cable into SUB OUT routes Sub to your external bass chain while REM OUT automatically carries Body + Air (with MAIN OUT continuing to carry the full 3-band sum).

4.2 14 CV Modulation Inputs (with Bipolar Attenuverters ±100%)

Every CV input includes a dedicated bipolar trim pot (-100% to +100%, center 0%):

Master & Crossover Row (6): HEAT, SPEED, SQUEEZE, BLEND, SUB XO, AIR XO.
Per-Band Crush & Lift Row (6): SUB, BODY, AIR (CRUSH) and SUB, BODY, AIR (LIFT).
Spatial Sub-Bay (2): EXPANSE and HORIZON.

4.3 24-Jack `6x4` CV Telemetry Matrix

Outputs unipolar control voltages (0.0-1.0 in Reason CV space, smoothed via a 200 Hz one-pole lowpass filter to prevent control-rate zipper noise) across six rows (SUB, BODY, AIR, stereo MID, stereo SIDE, and ALL) and four telemetry columns:

ENV Column: Post-dynamics band/channel amplitude envelope (0 dBFS = 1.0).
CRSH Column: Active downward gain reduction intensity (24 dB reduction = 1.0).
LIFT Column: Active upward expansion lift intensity (36 dB boost = 1.0).
TRIG Column: Instantaneous transient gate pulse (1.0 on sharp rhythmic attacks exceeding +4.5 dB crest differential, with a 20 ms minimum hold time).

5. Mathematical Reference & DSP Architecture

For engineers who want the exact numbers behind the faceplate: Hyperbar is written in standard ISO C++17 (dsp/) with zero host SDK dependencies in the signal path, running 64-bit double-precision state variables inside the crossover filters and 32-bit IEEE-754 floating-point audio buffers.

5.1 4th-Order Linkwitz-Riley Crossovers (24 dB/octave)

Each split point cascades two 2nd-order Butterworth biquad sections (Q = 1/√2 ≈ 0.7071) to form a 4th-order Linkwitz-Riley (LR4) filter pair whose lowpass and highpass power responses sum to unity (0.0 dB) at f_c:

|H_LP(jw)|^2 + |H_HP(jw)|^2 = 1

In Studio crossover mode, a matched 2nd-order all-pass filter is inserted on the lower path to align group delay across the upper split (f_High), yielding ±0.000 dB magnitude flatness across 20 Hz-20 kHz when all bands are at unity. In Scoop mode, the phase-alignment all-pass is bypassed to preserve the vintage 3-band phase-cancellation notch.

5.2 Dual-Threshold Compander & Adjustable Deadband

For each band k ∈ {Low, Mid, High}, the downward threshold T_down,k and upward threshold T_up,k are separated by the user-configurable Deadband width Δ_DB,k ∈ [0, 48] dB and shifted by the front-panel threshold bias fader B_k ∈ [-18, +18] dB:

T_down,k = T_0,k - B_k + 0.5 * Delta_DB,k
T_up,k   = T_0,k - B_k - 0.5 * Delta_DB,k

Baseline threshold centers T_0,k are calibrated for equal downward gain reduction on pink noise (-3 dB/octave):

SUB (Low): Center T_0,Low = -27.75 dB, Deadband Δ_DB,Low = 7.0 dB (Downward T_down = -24.25 dB, Upward T_up = -31.25 dB)
BODY (Mid): Center T_0,Mid = -27.00 dB, Deadband Δ_DB,Mid = 11.6 dB (Downward T_down = -21.20 dB, Upward T_up = -32.80 dB)
AIR (High): Center T_0,High = -25.70 dB, Deadband Δ_DB,High = 5.3 dB (Downward T_down = -23.05 dB, Upward T_up = -28.35 dB)

Given the smoothed log-domain detector envelope E_dB,k[n]:

Downward Compression (Crush, E_dB,k[n] > T_down,k):

G_down,k[n] = -min(48.0, D_down,k * S * (E_dB,k[n] - T_down,k) * (1 - 1 / R_down))

Upward Compression (Lift, E_dB,k[n] < T_up,k):

G_up,k[n] = +min(36.0, D_up,k * S * w_gate(E_dB,k[n]) * (T_up,k - E_dB,k[n]) * (1 - 1 / R_up))

Linear Deadband (T_up,k ≤ E_dB,k[n] ≤ T_down,k):
```
G_down,k[n] = 0 dB,   G_up,k[n] = 0 dB
```

Here S ∈ [0, 2] is the master Squeeze macro. Normalized knob position v ∈ [0, 1] maps to S via a gentle cubic S-curve centered at nominal 100% (v = 0.5, u = 2v - 1 ∈ [-1, 1]):

S(u) = 1.0 + 0.45 * u + 0.55 * u^3

Because the derivative dS/du = 0.45 + 1.65u² is 0.45 at noon versus 2.10 at the extremes, you get ~2.2x finer resolution across the 10-to-2 o’clock sweet spot. The per-band Crush (D_down,k) and Lift (D_up,k) dials use the identical cubic S-curve, while Heat, Thrust, per-band Gain, and the Weight / Bite / Sizzle threshold bias faders use a 1.5-power S-curve (18.0 * sgn(u) * |u|^1.5) for ~1.5x finer resolution around 0 dB. The smoothstep floor weight w_gate attenuates upward lift across the selected Floor knee: Tight (-55 to -67 dBFS, 12 dB knee), Smooth (-62 to -80 dBFS, 18 dB knee), or Wild (-75 to -95 dBFS, 20 dB knee).

5.3 Ballistics Scaling (`Speed`, Master `Contour` & Per-Band `Contour`)

Given normalized Speed input v_speed ∈ [0, 1] and bipolar deflection u = 2v_speed - 1 ∈ [-1, 1], the detent-free cubic S-curve exponent s(u) = 0.35u + 0.65u³ scales global ballistics by M_speed = 5^-s(u) ∈ [0.20, 5.0].

The main-panel Master CONTOUR control (normalized u_master ∈ [0, 1], display -100% to +100% with SMOOTH • OTT • PEAKY, default 0.5 / 0%) offsets all three band contours simultaneously:

u_eff,k = clamp(u_contour,k + (u_master - 0.5), 0.0, 1.0)

Coupled with per-band Contour ratio skew C_k = 3^{2(u_eff,k - 0.5)} ∈ [0.333, 3.0], effective attack and release times scale around the calibrated 1-pole baseline constants (τ_att,0,k, τ_rel,0,k):

tau_att,k = (tau_att,0,k / M_speed) * sqrt(C_k)
tau_rel,k = (tau_rel,0,k / M_speed) / sqrt(C_k)

Turning Contour counter-clockwise toward SMOOTH (C_k < 1) speeds up attack and extends release across all three bands for sustained thickness; turning clockwise toward PEAKY (C_k > 1) lengthens attack by up to √3x and shortens release by up to 1/√3x, shifting the attack-to-release ratio by up to 3.0x so transients punch through cleanly.

5.4 2x-Oversampled Asymptotic Rational Soft Limiter

In Soft limiter mode, signals below 88.2 kHz pass through a 2x polyphase half-band oversampler into a C¹-continuous rational saturator with unity slope and bit-exact linear passthrough below the -3.52 dBFS (|x| = 2/3) knee:

f(x) = x                                                 for |x| <= 2/3
f(x) = sgn(x) * (2/3 + (|x| - 2/3) / (1 + 3*(|x| - 2/3))) for |x| >  2/3

Unlike a cubic polynomial clipper that flat-tops above |x| = 4/3, this rational curve approaches ±1.0 (0.0 dBFS) asymptotically as |x| → ∞, preventing hard-inflection foldback distortion on heavy sub-bass peaks.

6. Eight Studio Production Workflows

1. Vocal Glassy Air & Consonant Presence

Presets: Quick - Vocal Glassy Air or 04 Vocals & Top End/Hyperpop Vocal Maximizer
Setup: Insert Hyperbar directly on a lead vocal and dial Blend to 35-50%. High-band upward Lift pulls breath and consonant air forward, while downward Crush clamps harsh sibilance. Raise Horizon (+2.0 to +3.0 dB) in the Engine & Spatial drawer to widen stereo vocal doubles around a solid center lead.

2. Reese Bass & 808 Sub Sculpting

Presets: Quick - Bass & 808 Sub Lock, 02 Drums & Percussion/808 Sub Sculptor, or 03 Bass & Low End/Reese Bass Squeeze
Setup: Engage SUB MONO so everything below Sub Split (140-161 Hz) stays phase-locked in the center. Choose SUB DET: Clean for pure, ripple-free sub weight on 808s, or flip to Gritty on Reese basses to inject odd-harmonic growl that cuts through on small speakers.

3. Ambient Decay & Reverb Tail Resynthesis

Presets: Quick - Ambient Reverb Cloud or 07 Sound Design & FX/Ghostly Reverb Resuscitator
Setup: Place Hyperbar after a reverb on a sparse pluck, guitar, or piano track, turn Speed down toward Slow (1.46), and switch FLOOR to Wild. As notes ring out, upward Lift pulls the fading reverb tail up by up to +36 dB, turning quiet room decay into an evolving pad without smearing initial note attacks.

4. Peaky Drum Bus Punch & Transient Snap

Presets: Quick - Drum Bus Punch & Room or Quick - Snare & Clap Shaper
Setup: Turn the main-panel Contour knob clockwise toward Peaky (+50% to +75%). Initial kick and snare attacks punch cleanly through the slower attack window before fast release ballistics pull room tone, hi-hat shimmer, and ghost notes upward between hits.

5. Parallel New York / Overpressure Smash

Preset: 07 Sound Design & FX/Parallel Slam
Setup: Drive Heat hot (+6 to +9 dB) with Squeeze pushed into overpressure (140-160%) and Limiter set to Soft, then pull Blend back to 25-40%. The dry path preserves your natural uncompressed transients while the wet path tucks a dense floor of low-level sustain underneath.

6. Frequency-Selective Sidechain Ducking (No External Splitters)

Setup: Cable a kick or vocal trigger into rear-panel SC IN. Open ENGINE & SPATIAL and switch SOURCE to KEY/SC to hear the detector signal while tuning Sub Split (90-150 Hz). Switch SOURCE back to PROGRAM, open BAND DYNAMICS, set Sub Lift to 0%, and raise Sub Crush: the kick now ducks only the Sub band while Body and Air play continuously without full-band pumping.

7. Multiband Parallel Distortion via `REM OUT`

Setup: Patch rear-panel SUB OUT directly to a clean mixer channel (with SUB MONO enabled) and route REM OUT (Body + Air) through Scream 4 or Pulveriser before returning to a second mixer channel. You get phase-aligned multiband splitting and OTT dynamics from a single rack unit without Spider Audio Splitters.

8. Mix Bus Density & Side-Air Polish

Presets: Quick - Mix Bus Density Lift or 06 Mix Bus & Mastering/M-S Mastering Expanse
Setup: Keep X-OVER in Studio mode for ±0.000 dB phase-compensated summing, dial Squeeze down to 10-25%, and add +1.5 dB of Horizon and 25% Expanse. Quiet reverbs and stereo percussion lift gently into the mix without squashing master crest factor.

7. Factory Preset Library (39 Presets)

Hyperbar ships with 39 factory .repatch presets (all tagged with Reason 13+ Browser .rsmeta metadata): 11 root-level Quick Starters plus 28 categorized presets across 7 numbered folders:

7.1 Root Quick Starters (11 Presets)

Quick - Modern HyperOTT Slam: Modern phase-coherent OTT flagship (Studio crossover, M/S domain, 50% Expanse, +1.5 dB Horizon, Sub Mono On).
Quick - Record Transfer (Classic OTT): Tribute to classic freeware digital 3-band OTT (Scoop crossover, Gritty sub, Wild floor, 88.3 Hz / 2.50 kHz splits).
Quick - Competent City (Original OTT): Tribute to the classic DAW-native multiband OTT preset (Studio crossover, Clean sub detector, Smooth floor).
Quick - Vocal Glassy Air: High-band vocal air boost (High Lift 200%, +1.8 dB Sizzle bias) with mid-band leveling.
Quick - Bass & 808 Sub Lock: Clean sub-bass sustain and mid-growl focus (Sub Split 161.2 Hz, Clean sub detector, Sub Mono On).
Quick - Ambient Reverb Cloud: Wild-floor room and acoustic decay extraction (Speed 1.46, Squeeze 76%).
Quick - Snare & Clap Shaper: Fast-recovery transient crack (Speed 14.61, Peaky Mid/High Contour).
Quick - Drum Bus Punch & Room: Parallel drum bus glue (Speed 2.54, Squeeze 30%, Peaky Mid/High Contour).
Quick - Dynamic HF Air Exciter: Top-end sheen and de-essing above 4.06 kHz (High Lift 200%, High Crush 160%).
Quick - EDM OTT Master Wall: Heavy neuro and synth resampling (Heat +1.8 dB, Speed 7.32, Scoop / Gritty / Wild).
Quick - Mix Bus Density Lift: Subtle mastering bus lift (Squeeze 10%, Speed 1.60, Studio flat summing).

7.2 Categorized Subfolders (28 Presets)

01 Factory Essentials (3): Aggressive Breakbeat Crusher, EDM Big Squeeze, Gentle Mastering Glue.
02 Drums & Percussion (4): 808 Sub Sculptor, Drum Bus Energizer, Hi-Hat Shimmer & Sizzle, Snare Crack & Room.
03 Bass & Low End (4): Acid Squelch Densifier, Reese Bass Squeeze, Sub Thump & Low Anchor, Zero-Split True Sub Monofier.
04 Vocals & Top End (5): De-Breath Vocal Polisher, Dual-Mono Vintage Vocal Slam, Hyperpop Vocal Maximizer, Intimate Whispers & Breaths, Vocal Air & Presence.
05 Synths & Keys (4): Pluck Resynthesizer, Supersaw Wall of Sound, SynthClarity - (by noiseShadow), Warm Rhodes Sustain.
06 Mix Bus & Mastering (3): Broadcast Density Enhancer, M-S Mastering Expanse, Transparent Multiband Leveler.
07 Sound Design & FX (5): Ghostly Reverb Resuscitator, Granular Texture Extractor, Parallel Slam, Stereo Horizon Diffuser, Wild Noise Sifter.

8. Audio Specifications

Specification	Value / Tolerance
Audio Processing Resolution	64-bit double-precision internal crossover filters; 32-bit IEEE-754 float audio path
Crossover Topology	4th-Order Linkwitz-Riley (24 dB/octave cascaded Butterworth biquads)
Crossover Ranges	`Sub Split`: 60-1200 Hz (< 61 Hz = 0 Hz true sub-bypass); `Air Split`: 800 Hz-12 kHz
Summing Magnitude Flatness	±0.000 dB (20 Hz-20 kHz) in `Studio` mode
Compander Depth Range	`Squeeze`: 0-200% (100% nominal); `Crush` (Downward): 0-200% (to -24 dB, -48 dB at 200%); `Lift` (Upward): 0-200% (to +36 dB)
Threshold Centers & Bias	Pink-noise-matched defaults: `Sub` -27.75 dB, `Body` -27.00 dB, `Air` -25.70 dB (±18 dB bias faders)
Deadband Width Range	0.0-48.0 dB per band (`7.0 / 11.6 / 5.3 dB` OTT defaults)
Ballistics Scaling	`Speed`: 0.73-18.4 (`3.67` noon baseline, 0.20x-5.0x range); Master `Contour`: -100% to +100% (`SMOOTH • OTT • PEAKY`); Per-band `Contour`: 0.33x-3.0x attack/release ratio skew
Gain Stage Range	`Heat`, `Thrust`, and per-band `Gain`: -18.0 to +18.0 dB
Output Limiter Modes	`Off`, `Soft` (2x-oversampled < 88.2 kHz, -3.52 dBFS asymptotic rational knee), `Hard` (0.0 dBFS clip)
Output Peak Metering	Post-limiter stereo peak ladder (+6 to -48 dBFS); `0.0 dBFS` at top amber LED, 4 red Overpressure LEDs above `0.0 dBFS`
Audio Latency	0 samples (zero latency across all modes)
Supported Sample Rates	44.1 kHz to 192.0 kHz
SDK Compatibility	Reason Jukebox SDK 4.6.0 (Reason 10.1+ through Reason 14+)

9. Reason Remote & MIDI CC Implementation Chart

Property Name	Remote Internal Name	MIDI CC	Range / Options	Default
`heat`	`Heat`	CC 13	-18.0 to +18.0 dB	0.0 dB
`speed`	`Speed`	CC 14	0.73-18.4 (0.20x-5.0x)	3.67
`squeeze`	`Squeeze`	CC 15	0-200%	100%
`master_contour`	`Master Contour`	CC 72	-100% to +100% (`SMOOTH • OTT • PEAKY`)	0% (`0.50`)
`thrust`	`Thrust`	CC 16	-18.0 to +18.0 dB	0.0 dB
`blend`	`Blend`	CC 17	0-100%	100%
`limiter_mode`	`Limiter Mode`	—	`Off`, `Soft`, `Hard`	`Soft`
`xover_low_mid`	`X-Over Low/Mid`	CC 21	0 Hz (`Off`) / 60-1200 Hz	88.3 Hz
`xover_mid_high`	`X-Over Mid/High`	CC 22	800-12000 Hz	2500 Hz
`sub_mono`	`Sub Mono`	—	`Stereo`, `Mono`	`Stereo`
`crossover_mode`	`Crossover Mode`	—	`Studio`, `Scooped`	`Studio`
`sub_detector_mode`	`Sub Detector Mode`	—	`Clean`, `Gritty`	`Clean`
`upward_gate_mode`	`Upward Gate Mode`	—	`Tight`, `Smooth`, `Wild`	`Smooth`
`spatial_domain`	`Spatial Domain`	CC 71	`M/S`, `L/R`	`M/S`
`expanse`	`Expanse`	CC 12	0-100%	0%
`horizon`	`Horizon`	CC 70	-12.0 to +12.0 dB	0.0 dB
`sc_listen`	`Sidechain Listen`	—	`Program`, `Key/SC`	`Program`
`channel_mode`	`Channel Mode`	—	`Normal`, `Mid`, `Side`	`Normal`
`audition_mode`	`Monitor Mode`	—	`Normal`, `Lift`, `Crush`, `Lift+Crush`	`Normal`
`drawer_open`	`Calibration Drawer`	—	`Closed`, `Band Calibration`, `Engine & Spatial`	`Closed`
`low_thresh_bias`	`Low Thresh Bias`	CC 18	-18.0 to +18.0 dB	0.0 dB
`low_upward_depth`	`Low Upward Depth`	CC 23	0-200%	100%
`low_downward_depth`	`Low Downward Depth`	CC 24	0-200%	100%
`low_deadband`	`Low Deadband`	—	0.0-48.0 dB	7.0 dB
`low_contour`	`Low Contour`	—	0.33x-3.0x (`Smooth / OTT / Peaky`)	1:7.7 (`0.50`)
`low_gain`	`Low Band Gain`	CC 25	-18.0 to +18.0 dB	0.0 dB
`low_solo` / `low_mute`	`Low Band Solo` / `Mute`	—	`Off`, `On`	`Off`
`mid_thresh_bias`	`Mid Thresh Bias`	CC 19	-18.0 to +18.0 dB	0.0 dB
`mid_upward_depth`	`Mid Upward Depth`	CC 26	0-200%	100%
`mid_downward_depth`	`Mid Downward Depth`	CC 27	0-200%	100%
`mid_deadband`	`Mid Deadband`	—	0.0-48.0 dB	11.6 dB
`mid_contour`	`Mid Contour`	—	0.33x-3.0x (`Smooth / OTT / Peaky`)	1:16.4 (`0.50`)
`mid_gain`	`Mid Band Gain`	CC 28	-18.0 to +18.0 dB	0.0 dB
`mid_solo` / `mid_mute`	`Mid Band Solo` / `Mute`	—	`Off`, `On`	`Off`
`high_thresh_bias`	`High Thresh Bias`	CC 20	-18.0 to +18.0 dB	0.0 dB
`high_upward_depth`	`High Upward Depth`	CC 29	0-200%	100%
`high_downward_depth`	`High Downward Depth`	CC 30	0-200%	100%
`high_deadband`	`High Deadband`	—	0.0-48.0 dB	5.3 dB
`high_contour`	`High Contour`	—	0.33x-3.0x (`Smooth / OTT / Peaky`)	1:12.7 (`0.50`)
`high_gain`	`High Band Gain`	CC 31	-18.0 to +18.0 dB	0.0 dB
`high_solo` / `high_mute`	`High Band Solo` / `Mute`	—	`Off`, `On`	`Off`