Quantec’s Room Simulator is not intended for use as a general effects processor or ‘reverb unit’. In fact, ‘reverb unit’ is a term the designers abhor. The QRS algorithm, in continuous development since 1982, is based upon a careful analysis of how air actually moves in acoustic spaces. Rather than concentrate on producing artificial reflections, the Yardstick represents a new generation of Quantec Room Simulation, using 15 times the DSP power of the previous algorithm. A virtual room or ‘exterior space’ modelled by the Quantec algorithm sounds extraordinarily lifelike, regardless of programme material vocal, instrumental, ensemble or dialogue.

In post-production for film or TV, convincing automated dialogue replacement (ADR) is essential. With a conventional reverb unit, even industry-leading devices, this is time-consuming, involving lengthy editing the individual parameters available to match a to a scene. As the Yardstick’s simulations are so accurate, little or no adjustment is required: the whole process can be completed faster.

As well as beautiful simulations of large spaces, such as halls, the Yardstick also specialises in modelling smaller and/or unusual spaces. The internal Dialog Library includes a range of interior “domestic” spaces such as bathrooms, garages and cupboards, vehicle interiors, car parks, shopping malls, alleyways, tents, tunnels, and so on. “Natural” spaces include caves and various open-air environments.

The QRS algorithm is based on the concept of a “virtual room” containing “virtual speakers” and “virtual microphones”, the “position” of which may be varied. Models 2492 and 2493 are two-channel units whose virtual rooms contain two speakers and two microphones. Models 2496 and 2498 have multiple microphones, and this permits a stunningly realistic surround sound “upmix” to be created from a stereo programme. Model 2498 has been developed for use with audio already in multi-channel formats of up to 7.1, and the room model includes eight virtual speakers and eight virtual microphones.

This virtual room design philosophy readily lends itself to multi-channel synthesis. A mono input signal can generate a stereo signal with remarkable image depth, and the same principle allows a stereo signal to generate a multi-channel (eg: 5.1) sound field (on certain models). When used as a primary reverb unit for high-quality music recording, the results can be of such remarkable accuracy, leaving highly trained and experienced classical musicians unable to distinguish between recordings of a performance in a real space and an anechoic recording processed by the QRS algorithm.

The Yardsticks may be remotely controlled using MIDI, RS-232, USB 2.0 or Ethernet, the latter of which being particularly powerful and elegant, as it uses the Yardstick’s internal web pages for control. Simply enter an IP address into the web browser of any connected computer to gain access to the full range of unit parameters. Ethernet is also used to quickly update the unit’s firmware. Furthermore, using a Yardstick with a DAW equipped with MIDI tracks (e.g., ProTools, SADiE, CuBase, etc.) effectively provides total dynamic automation and recall of all QRS settings and parameters.

Engineers are usually surprised at how small the Yardstick is. With a height of 1U and a depth of 36 mm it can really help when rack space is at a premium. The unit includes a Universal PSU (85 to 265 VAC) and consumes 20 W or less (model-dependent)

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