Neoverb Documentation - Neoverb Documentation

Publish date: 2024-05-04

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Neoverb: A Reverb That Listens

Reverb is a crucial element in any music. The original purpose was to give sounds recorded in the studio’s dry audio environment a sense of acoustic space. Over the years, reverb has also become a special effect that may or may not relate to physical spaces.

Neoverb takes a new approach to creating and editing reverb, and excels in five main ways:

At iZotope, it’s no secret that we design products we want to use for ourselves. Neoverb has become the go-to reverb for many of us, and we’d be honored if it becomes part of your music.

Neoverb Overview

Although Neoverb offers unprecedented ease of use, it also offers extreme depth so that you can create unique, personalized sounds. You’ll edit your sounds using these main elements.

Shortcuts

Alt+Click returns most controls to their default positions. Double-clicking within most controls or labels opens a text field where you can type in a specific value.

Overview

Welcome to Neoverb! This chapter includes information on authorizing the plug-in, and inserting it into your project.

Authorization

iZotope Product Portal

The quickest and easiest way to manage installation and authorization of iZotope products on your system is through iZotope Product Portal. Click here for more information about installing and using iZotope Product Portal.

Trials, Demos, and Manual Authorization

If you launch Neoverb without having authorized it using Product Portal, the Authorization window will appear. The Authorization window allows you to:

Trial Mode

Trial mode allows you to evaluate Neoverb over a 10 day trial period. The trial period begins when you first open Neoverb in a DAW/NLE. The Authorization window will display the number of days remaining in your trial period. Click the Continue button to exit the Authorization window.

Demo Mode

After your 10 day trial period expires, you have the option to operate Neoverb in Demo mode. To continue evaluating Neoverb in demo mode, click the Demo button.

Demo Mode Limitations

Neoverb will periodically output silence when operating in demo mode.

Manual Authorization

To disable Trial or Demo modes, you must authorize the product with a valid serial number. We offer three authorization methods for Neoverb: Online Authorization: Authorize on a computer online. Offline Authorization: Authorize on a computer offline. iLok Authorization: Authorize using iLok.

More Authorization Help

Inserting Neoverb: Channel vs. Bus

There are three main ways to insert Neoverb in your project:

  • Bus insertion: For the traditional application of simulating an acoustic space, insert Neoverb in a reverb bus. To add reverb to a particular channel, insert a send (usually post-fader) that sends signal from each channel to the reverb bus. The send level determines how much reverb gets applied to the sound, which places the sound closer or further away in the stereo field. When used as a bus effect, the reverb is usually 100% Wet, because the channel fader provides the dry sound.
  • Channel insertion: To add a particular reverb effect to an individual mixer channel, insert the reverb in a channel insert.
  • Clip insertion: Some programs allow applying to individual clips within a track. This is ideal for adding something like a reverb splash to a single snare hit.
  • Tip

    In some DAWs, the clip needs to be as long as the reverb decay.

    Power consumption considerations. Realistic-sounding reverb requires extremely complex processing that taxes your computer’s CPU, so use Neoverb in a bus when possible. For example, if you want reverb on four tracks of background singers, send the tracks to a reverb bus saves more CPU power than inserting a reverb on each track.

    Tip

    If you need to insert individual reverbs in multiple channels, most DAWs can “freeze” or “transform” tracks into a much less power-hungry audio track that incorporates the effect’s sound, but disconnects the effect from the CPU. If you need to make further edits, you can usually “unfreeze” the track, make your changes, and then freeze again.

    Start Your Reverb Right

    Reverb Assistant is the first iZotope assistant that works in real time to give you a starting preset that works for your music. It’s not only a wonderful introduction to Neoverb, you’ll likely use it even after you become a Neoverb expert. It’s liberating to tell Neoverb what kind of sound you want, and a few seconds later—there it is. In lieu of using Reverb Assistant, you may wish to get started by browsing Neoverb’s presets.

    Reverb Assistant

    Reverb Assistant will help you dial in a sound, usually in well under a minute.

    Overview

    This section describes how to edit each of Neoverb’s various modules. Areas that aren’t relevant to the edits being covered are grayed out. The order of edits is in the approximate order in which you would edit a preset to customize it to your needs.

    Basic Edits

    Basic Controls

    Engine Quick Edits

    Engine Quick Edits

    Tip

    Many engineers use a plate reverb sound on vocals.

    Creating Your Own Neoverb Presets

    With Neoverb’s Reverb Assistant, Blend Pad interface, and the included presets, you should be able to get a great sound without having to adjust too many parameters. However, if need be you can also customize Neoverb’s advanced parameters within each reverb engine using the Advanced Panel. The following shows the Advanced Panel after opening it. To close it, click on the left-arrow toward the panel’s right.

    Advanced Panel

    Sync to Host Tempo

    Three of the time-related parameters can synchronize to the host tempo. Click on the associated Note button to toggle a control’s calibrations between time and rhythmic note values. The note values for the two Time parameters include all rhythmic values from 128th notes to eight measures, including triplet and dotted values. Pre-Delay includes all rhythmic values (including triplet and dotted) from 128th notes to eighth notes, as well as quarter-note and quarter-note triplet values.

    These parameters can by synced to host tempo

    To supplement the parameter descriptions, we’ve also used the Spectrogram module from iZotope’s Insight 2 program to show graphically how these parameters change the sound. This makes it much easier to understand how reverb parameters alter a signal. The spectrogram displays the amount of audio energy by plotting time along the bottom (X-axis), amplitude by height (the Y-axis), and frequency by the depth (Z-axis).

    Space, Time, and Size

    These three controls are interrelated and work the same way for the three reverb engines. Space is a macro control that adjusts both the Time and Size parameters. After finding a general setting with Space, you can then adjust Time and Size individually to edit the sound further. Space controls the full range of Size, so setting Space to minimum or maximum also sets Size to minimum or maximum, respectively. Additionally, Space automatically adjusts Time relative to Size, so that the ratio of Time to Size remains constant.

    As a result, the Size and Time settings specified in the Advanced Panel determine how the Space control behaves when the Advanced Panel is folded up. This is handy if you run the Reverb Assistant, call up a preset, or edit the Advanced panel and obtain the sound you want. If you later decide you want the space to sound larger or smaller while retaining the space’s sonic character, simply adjust the Space control. Note that the Space control’s range varies for the three reverb engines.

    Programming the Reflections Engine (Blue)

    These are the initial echoes that a sound creates when it first hits surfaces like walls. As a result, they sound more like discrete echoes than the “wash” of sound that occurs later, as the reverb decays. Because sound travels at approximately one foot per millisecond, the maximum time of 250 ms is equivalent of being in a room where the distance from the nearest reflective surface to the sound source is approximately 250 feet.

    Reflections Controls

    The following image shows the early reflections that result from minimum parameter settings for Space, Time, and Size on the left, and on the right, the early reflections that result from the maximum values for these same parameters. The bottom axis shows time in seconds, so you can see that the early reflections are very short, and don’t last long.

    Reflections Illustrated

    Diffusion (0 to 100)

    With high diffusion, the reflections are more numerous, and clustered together more tightly. With low diffusion, there are fewer reflections, and they’re spread further apart. The following image shows a signal with low diffusion on the left, and high diffusion on the right. You can see that the right image looks smoother (note how the divisions between the colored bands aren’t as pronounced); it also sounds smoother.

    Diffusion Illustrated

    Angle (0 to 100%)

    Angle changes the character and strength of the initial reflections, as shown in the image below. Going from left to right, the Angle settings are 0, 50, and 100.

    Angle Illustrated

    Lowpass (30 Hz – 20 kHz)

    This filter affects the low frequency response with only the later reflections, so there’s no effect on the first few reflections. The effect is subtle, and most apparent with angle settings above 75. The images below have the same parameter values, with lowpass set to 200 Hz. The left image’s Angle is 0, while the right image’s Angle is 100. The reverb in the right image falls off more rapidly.

    Lowpass Illustrated

    Programming the Reverb 2 and Reverb 3 Engines (Violet and Orange)

    Both engines apply the same parameters to different reverb algorithms. So, we need to describe only one set of controls, because (for example) the decay time will affect how long it takes for the reverb to decay, regardless of the algorithm being used. Unlike the early Reflections, these engines generate myriad echoes of varying time and frequency as they bounce around in a space, until they eventually decay into inaudibility. This produces the “wash” of sound, often called a “tail,” that most people associate with reverb.

    Reverb 2 Controls

    Reverb 3 Controls

    Diffusion (0 to 100)

    As with the early Reflections, high diffusion means more numerous reflections that are clustered together more tightly. The following image shows reverb with low diffusion at the top, and high diffusion at the bottom. With low diffusion, you can see the “grooves” toward the left that highlight the spaces among reflections; the higher diffusion reflections are packed more tightly together.

    Diffusion Illustrated

    Tip

    Using low diffusion for sustained sounds “thins out” the reverb sound somewhat to avoid interfering with the sustain. With percussive sounds, high diffusions give a smooth reverb wash, whereas low diffusion settings sound like discrete echoes bouncing around.

    Attack (0 to 250 ms)

    This is not like pre-delay, but instead specifies how the reverb builds up during its initial onset. The top image below shows 0 Attack. Note how the reverb peaks immediately, and then decays. The lower image shows the effect of maximum Attack. The reverb takes a while to build to its peak before decaying.

    Attack Illustrated

    Tip

    Increasing attack is useful for drums and percussion, when you don’t want the reverb to “step on” the initial percussive transient.

    Crossover (20 Hz to 4 kHz) and Balance (0 to 1)

    The Room and Hall engines have independent controls over the low- and high-frequency reverb components. For example, you might want a longer high-frequency decay on a diaphanous female EDM vocal to give a more trebly tone, but a lower-frequency reverb on blues guitar for a “meatier” tone.

    The Crossover parameter’s slider adjusts the dividing line between the high and low frequencies. The Balance graphic above the slider displays whether the reverb effect is greater at lower or higher frequencies. Edit this by clicking on the graphic, and dragging up or down. At 0, the reverb effect is most prominent at lower frequencies. At 0.5, the reverb effect is equally prominent at all frequencies. At 1.0, the reverb effect is most prominent at high frequencies.

    In the following illustration, the top image shows the result of setting the crossover to 2 kHz and Balance to 0. It’s obvious that reverb decay is much more prominent below 2 kHz. The bottom image is the same, except Balance is set to 1. Now the high-frequency reverb effect is more prominent.

    Crossover Illustrated

    Damping Amount (1-11) and Damping Frequency (30 Hz to 20 kHz)

    Like Crossover and Balance, these work together. The Damping Amount slider controls the rate at which the reverb loses high frequencies. Lower values shorten the high-frequency decay; higher values lengthen the high-frequency decay. Damping Frequency controls the range over which high frequency losses occur. In a physical space with padded walls and lots of people, the damping frequency is low because high frequencies are readily absorbed. In a room with hard surfaces, high frequencies are not easily absorbed, so the damping frequency is higher.

    In the illustration below, all images have a 2 kHz Crossover and 0.5 (equal) Balance between high and low frequencies. The top image shows a 1 kHz damping frequency, which is an extreme amount of damping. Frequencies above 1 kHz decay very quickly. The next image down shows a 5 kHz damping frequency. The third image down shows a 20 kHz damping frequency. All three images have a Damping Amount of 1 (shortest high-frequency decay). The final image has the same parameter settings as the third one down, but Damping Amount is set to 11 (longest high-frequency decay).

    Damping Illustrated

    Overview

    Neoverb has two 3-band EQ modules, one before the reverb (Pre EQ), and one after (Reverb EQ). EQ before and after reverb can optimize the overall sound, as described below.

    EQ Controls

    Pre EQ

    Use the Pre-EQ section to:

    Pre EQ Usage

  • Click on the Pre EQ tab (make sure its Power Button (I) is on), then click on Auto Cut.
    Pre EQ Step 1
  • The Auto Cut label changes to “Waiting for Audio.”
    Pre EQ Step 2
  • Choose a section of audio that covers a wide range of frequencies, then start playing back the audio you want Neoverb to analyze. “Waiting for Audio” will change to “Listening.” The spectrum analyzer in the background will display the audio as it plays.
    Pre EQ Step 3
  • Neoverb shows a suggested EQ curve after completing its analysis. The Amount slider scales the amount of cutting EQ. The higher the number, the greater the cut.
    Pre EQ Step 4
  • Shortcuts

    Shift+click anywhere along the slider to jump to that setting. Double-click to set to 100%.

    To reset the Auto Cut function, click on the X (close button) to the right of the Amount slider.

    Reverb EQ

    Use the Reverb EQ section to intelligently listen (via Unmask) to your incoming audio and minimize masking effects occurring between the dry and wet signal.

  • Click on the Reverb EQ tab (make sure its Power Button (I) is on). Choose Dry vs. Wet to visualize what Unmask is seeing.
    Reverb EQ Step 1
  • Click on Unmask.
    Reverb EQ Step 2
  • The Unmask label changes to “Waiting for Audio.”
    Reverb EQ Step 3
  • Choose a section of audio that covers a wide range of frequencies, then start playing back the audio you want Neoverb to analyze. “Waiting for Audio” will change to “Listening.” The spectrum analyzer in the background will display the audio as it plays.
    Reverb EQ Step 4
  • After the analysis process, if Neoverb detects masking, it applies a tuned EQ curve to reduce the masking. If there’s no significant masking, the display shows “No significant masking detected,” and the reverb remains as it was. The Amount slider sets how much influence the EQ settings have over the sound. The higher the number, the greater the influence.
    Reverb EQ Step 5
  • Shortcuts

    Shift-click anywhere along the slider to jump to that setting. Double-click to set to 100%.

    To reset the Unmask function, click on the X (close button) to the right of the Amount slider.

    Masking Meter

    Easily keep track of reverb build-up with an intuitive meter that highlights areas you may want to cut from your reverb. Masking Meter also communicates with other iZotope plug-ins (via Inter-Plugin Communication) to show you where your reverb is masking other tracks in your session. Neoverb can communicate over Inter-Plugin Communication with the following iZotope plug-ins: Other Neoverb instances, Neutron 3, Nectar 3, VocalSynth 2, and Relay.

  • Click on the Reverb EQ button
  • Select a source to measure masking against. The options are: Dry vs Wet (of your current track) or select an instance of another iZotope plug-in in your session.
    Masking Meter Step 2
  • Play audio, preferably looped.
  • You will observe white flashes across the spectrum. These highlight frequency ranges where masking has been detected.
    Masking Meter Step 4
  • You can manually EQ regions that have a brighter intensity of flashing (where significant masking is occurring) or press the “Unmask” button to automatically cut in the highlighted problem areas.
  • Editing the EQ sections manually

    Neoverb’s intelligent EQ setting may produce exactly the sound you want. But, there are also three manually adjustable nodes:

    Shortcuts

    Double-click on a node to return it to the default frequency, with no boost or cut, and a nominal Q setting.

    Low Band

    Choose a Low Shelf or Low-Cut filter response with the Filter Shape Selector switch (located in the lower left of the highlighted section below).

    Mid Band

    The Mid stage is a parametric EQ, with three parameters.

    Mid Band EQ

    High Band

    Choose a High Shelf or High-Cut filter response with the Filter Shape Selector switch (located in the lower left of the highlighted section below).

    Overview

    Mod, or Modulation, adds a subtle “animation” to the reverb algorithm itself. The Modulation interface uses an X-Y control pad, like a joystick. Click+drag the node right to increase the modulation Depth, and up to increase the modulation Rate. Note that the Modulation Depth goes up to 125%. This makes it easier to hear the effect when designing presets, after which you can dial back the setting for more subtlety.

    Mod controls

    There are two modulation shapes, accessed in the module’s upper left. RandomFat (left) produces a randomized modulation effect. Pitch (right) creates more of a Doppler-like shift, although it’s much more subtle than a traditional Doppler effect.

    Shortcuts

    Click anywhere in the pad to have the node jump to that setting. Double-click anywhere in the pad to return the Chorus to its default of 25% depth and a rate of 0.48 Hz. Double-click either parameter’s text field to type in a specific value.

    Click in the Presets field to access the factory or user presets. The factory presets have the following groups:

    Note

    The above presets can’t be overwritten, but you can save them as User Presets after modifying.

    User Presets

    To access the user presets, click the > to the right of the User Presets folder. This opens the User Presets screen.

    User presets screen

    Tip

    User Presets are not part of the Neoverb program itself, so if you need to re-install Neoverb, the User Presets will not be included. Back up the presets you create to a separate file so you can call them up if needed, or for sending to another Neoverb user.

    General

    Options menu

    Updates

    If your computer connects to the internet, click this button to check if Neoverb updates are available.

    Authorizations

    If you change computers and want to authorize Neoverb on a different machine, remove the current authorization so that you can re-authorize on the other computer.

    Reset

    Click on Reset to set Options to its defaults.

    iZotope Customer Care policy

    iZotope is happy to provide professional technical Customer Care to all registered users absolutely free of charge. https://support.izotope.com/hc/en-us

    We also offer valuable pre-sales technical Customer Care to customers who may be interested in purchasing an iZotope product. Before contacting iZotope Customer Care, you can search our
    Product Knowledgebase to see if the solution to your problem has already been published.

    How long does iZotope provide customer support for purchased products

    You can email us with any question for 12 months after you buy any iZotope product. Past 12 months, we’ll still help you with your account and authorization but will not provide technical support for in-depth product questions. If you need more detailed help on how to use the product, please check out our FAQs and Tutorials.

    How long does iZotope support its products

    Although we can’t guarantee it, we do our best to keep our products up to date with the operating systems and plug-in hosts that we support. Sometimes, other companies make changes that we’re not able to support, but we actively work with other companies to avoid these sorts of compatibility problems. We also do our best to address bug fixes within the product itself to ensure our products operate in accordance with our specifications.

    We will provide software updates for 12 months from product release. After 12 months, no software updates will be provided.

    For details on what operating systems and plug-in host software are officially supported for a product, please check that product’s Specs page.

    For additional help with Neoverb:

    iZotope’s highly trained Customer Care team is committed to responding to all requests within one (1) business day and frequently respond faster. Please try to explain your problem with as much detail and clarity as possible. This will ensure our ability to solve your problem accurately, the first time around. Please include all system specs and the build/version of Neoverb that you are using.

    Once your Customer Care request is submitted, you will receive a confirmation email from iZotope Customer Care. If you do not receive this email within a few minutes, please check your spam folder and make sure our responses are not getting blocked. To prevent this from happening please add support@izotope.com to your list of allowed email addresses.

    International distribution

    Customer Care is also available from our international distributors worldwide for any customers who purchased their iZotope products through a certified iZotope distributor.
    Check with your local distributor for availability. If you would like help locating your local distributor please contact iZotope Customer Care.

    Thanks for using Neoverb!

    -The iZotope Team

    Table of Contents

    Anti-Grain Geometry

    Version 2.4

    Copyright (c) 2002-2005 Maxim Shemanarev (McSeem).

    Redistribution and use in source and binary forms, with or without modification, are permitted provided that the following conditions are met:

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    Better Enums

    Version 0.11.1

    Copyright (c) 2012-2016, Anton Bachin. All rights reserved.

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    Bravura

    Copyright © 2015, Steinberg Media Technologies GmbH http://www.steinberg.net/, with Reserved Font Name “Bravura”.

    This Font Software is licensed under the SIL Open Font License, Version 1.1. This license is copied below, and is also available with a FAQ at: http://scripts.sil.org/OFL

    SIL OPEN FONT LICENSE Version 1.1 - 26 February 2007

    PREAMBLE
    The goals of the Open Font License (OFL) are to stimulate worldwide development of collaborative font projects, to support the font creation efforts of academic and linguistic communities, and to provide a free and open framework in which fonts may be shared and improved in partnership with others.

    The OFL allows the licensed fonts to be used, studied, modified and redistributed freely as long as they are not sold by themselves. The fonts, including any derivative works, can be bundled, embedded, redistributed and/or sold with any software provided that any reserved names are not used by derivative works. The fonts and derivatives, however, cannot be released under any other type of license. The requirement for fonts to remain under this license does not apply to any document created using the fonts or their derivatives.

    DEFINITIONS
    “Font Software” refers to the set of files released by the Copyright Holder(s) under this license and clearly marked as such. This may include source files, build scripts and documentation.

    “Reserved Font Name” refers to any names specified as such after the copyright statement(s).

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    C++ Rest SDK

    Version 2.10.15

    Main Library:

    Copyright (c) 2014, Peter Thorson. All rights reserved.

    Redistribution and use in source and binary forms, with or without modification, are permitted provided that the following conditions are met:

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    Bundled Libraries:

    ****** Base 64 Library (base64/base64.hpp) ******
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    base64.cpp and base64.h

    Copyright (C) 2004-2008 René Nyffenegger

    This source code is provided ‘as-is’, without any express or implied warranty. In no event will the author be held liable for any damages arising from the use of this software.

    Permission is granted to anyone to use this software for any purpose, including commercial applications, and to alter it and redistribute it freely, subject to the following restrictions:

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    ****** SHA1 Library (sha1/sha1.hpp) ******

    sha1.hpp is a repackaging of the sha1.cpp and sha1.h files from the shallsha1 library (http://code.google.com/p/smallsha1/) into a single header suitable for use as a header only library. This conversion was done by Peter Thorson (webmaster@zaphoyd.com) in 2013. All modifications to the code are redistributed under the same license as the original, which is listed below.

    Copyright (c) 2011, Micael Hildenborg
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    ****** MD5 Library (common/md5.hpp) ******
    md5.hpp is a reformulation of the md5.h and md5.c code from http://www.opensource.apple.com/source/cups/cups-59/cups/md5.c to allow it to function as a component of a header only library. This conversion was done by Peter Thorson (webmaster@zaphoyd.com) in 2012 for the WebSocket++ project. The changes are released under the same license as the original (listed below)

    Copyright (C) 1999, 2002 Aladdin Enterprises. All rights reserved.

    This software is provided ‘as-is’, without any express or implied warranty. In no event will the authors be held liable for any damages arising from the use of this software.

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  • The origin of this software must not be misrepresented; you must not claim that you wrote the original software. If you use this software in a product, an acknowledgment in the product documentation would be appreciated but is not required.
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  • L. Peter Deutsch
    ghost@aladdin.com

    ****** UTF8 Validation logic (utf8_validation.hpp) ******
    utf8_validation.hpp is adapted from code originally written by Bjoern Hoehrmann bjoern@hoehrmann.de. See http://bjoern.hoehrmann.de/utf-8/decoder/dfa/ for details.

    The original license:

    Copyright (c) 2008-2009 Bjoern Hoehrmann bjoern@hoehrmann.de

    Permission is hereby granted, free of charge, to any person obtaining a copy of this software and associated documentation files (the “Software”), to deal in the Software without restriction, including without limitation the rights to use, copy, modify, merge, publish, distribute, sublicense, and/or sell copies of the Software, and to permit persons to whom the Software is furnished to do so, subject to the following conditions:

    The above copyright notice and this permission notice shall be included in all copies or substantial portions of the Software.

    THE SOFTWARE IS PROVIDED “AS IS”, WITHOUT WARRANTY OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO THE WARRANTIES OF MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE AND NONINFRINGEMENT. IN NO EVENT SHALL THE AUTHORS OR COPYRIGHT HOLDERS BE LIABLE FOR ANY CLAIM, DAMAGES OR OTHER LIABILITY, WHETHER IN AN ACTION OF CONTRACT, TORT OR OTHERWISE, ARISING FROM, OUT OF OR IN CONNECTION WITH THE SOFTWARE OR THE USE OR OTHER DEALINGS IN THE SOFTWARE.

    Eigen

    Version 3.4.99

    Distributed under the Mozilla Public License v2.0 (MPLv2.0).

    Full text of the license is available here: https://www.mozilla.org/en-US/MPL/2.0/

    To receive a copy of the source code for the Eigen library distributed with this product under the under the terms of the MPLv2.0 please contact dev-support@izotope.com.

    FreeType

    Version 2.4.6

    Portions of this software are copyright © 2011 The FreeType Project (www.freetype.org). All rights reserved.

    GLEW

    The OpenGL Extension Wrangler Library
    Copyright (C) 2002-2008, Milan Ikits <milan ikits[]ieee org>
    Copyright (C) 2002-2008, Marcelo E. Magallon <mmagallo[]debian org>
    Copyright (C) 2002, Lev Povalahev
    All rights reserved.

    Redistribution and use in source and binary forms, with or without modification, are permitted provided that the following conditions are met:

    THIS SOFTWARE IS PROVIDED BY THE COPYRIGHT HOLDERS AND CONTRIBUTORS “AS IS” AND ANY EXPRESS OR IMPLIED WARRANTIES, INCLUDING, BUT NOT LIMITED TO, THE IMPLIED WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE ARE DISCLAIMED. IN NO EVENT SHALL THE COPYRIGHT OWNER OR CONTRIBUTORS BE LIABLE FOR ANY DIRECT, INDIRECT, INCIDENTAL, SPECIAL, EXEMPLARY, OR CONSEQUENTIAL DAMAGES (INCLUDING, BUT NOT LIMITED TO, PROCUREMENT OF SUBSTITUTE GOODS OR SERVICES; LOSS OF USE, DATA, OR PROFITS; OR BUSINESS INTERRUPTION) HOWEVER CAUSED AND ON ANY THEORY OF LIABILITY, WHETHER IN CONTRACT, STRICT LIABILITY, OR TORT (INCLUDING NEGLIGENCE OR OTHERWISE) ARISING IN ANY WAY OUT OF THE USE OF THIS SOFTWARE, EVEN IF ADVISED OF THE POSSIBILITY OF SUCH DAMAGE.

    Mesa 3-D graphics library Version: 7.0

    Copyright (C) 1999-2007 Brian Paul All Rights Reserved.

    Permission is hereby granted, free of charge, to any person obtaining a copy of this software and associated documentation files (the “Software”), to deal in the Software without restriction, including without limitation the rights to use, copy, modify, merge, publish, distribute, sublicense, and/or sell copies of the Software, and to permit persons to whom the Software is furnished to do so, subject to the following conditions:

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    Copyright (c) 2007 The Khronos Group Inc.

    Permission is hereby granted, free of charge, to any person obtaining a copy of this software and/or associated documentation files (the “Materials”), to deal in the Materials without restriction, including without limitation the rights to use, copy, modify, merge, publish, distribute, sublicense, and/or sell copies of the Materials, and to permit persons to whom the Materials are furnished to do so, subject to the following conditions:

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    gsl

    Copyright (c) 2015 Microsoft Corporation. All rights reserved.

    This code is licensed under the MIT License (MIT).

    Permission is hereby granted, free of charge, to any person obtaining a copy of this software and associated documentation files (the “Software”), to deal in the Software without restriction, including without limitation the rights to use, copy, modify, merge, publish, distribute, sublicense, and/or sell copies of the Software, and to permit persons to whom the Software is furnished to do so, subject to the following conditions:

    The above copyright notice and this permission notice shall be included in all copies or substantial portions of the Software.

    THE SOFTWARE IS PROVIDED “AS IS”, WITHOUT WARRANTY OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO THE WARRANTIES OF MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE AND NONINFRINGEMENT. IN NO EVENT SHALL THE AUTHORS OR COPYRIGHT HOLDERS BE LIABLE FOR ANY CLAIM, DAMAGES OR OTHER LIABILITY, WHETHER IN AN ACTION OF CONTRACT, TORT OR OTHERWISE, ARISING FROM, OUT OF OR IN CONNECTION WITH THE SOFTWARE OR THE USE OR OTHER DEALINGS IN THE SOFTWARE.

    IcoMoon

    IcoMoon-Free licensed under: CC BY 4.0

    Intel® Integrated Performance Primitives (Intel® IPP)

    Version 2019.0.5

    LIMITATION OF LIABILITY. IN NO EVENT WILL INTEL BE LIABLE FOR ANY DIRECT, INDIRECT, INCIDENTAL, SPECIAL, EXEMPLARY, OR CONSEQUENTIAL DAMAGES (INCLUDING, BUT NOT LIMITED TO, PROCUREMENT OF SUBSTITUTE GOODS OR SERVICES; LOSS OF USE, DATA, OR PROFITS; OR BUSINESS INTERRUPTION) HOWEVER CAUSED AND ON ANY THEORY OF LIABILITY, WHETHER IN CONTRACT, STRICT LIABILITY, OR TORT (INCLUDING NEGLIGENCE OR OTHERWISE) ARISING IN ANY WAY OUT OF THE USE OF THIS SOFTWARE, EVEN IF ADVISED OF THE POSSIBILITY OF SUCH DAMAGE. YOU AGREE TO INDEMNIFY AND HOLD INTEL HARMLESS AGAINST ANY CLAIMS AND EXPENSES RESULTING FROM YOUR USE OR UNAUTHORIZED USE OF THE SOFTWARE.

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    JsonCpp

    Version 1.2.1

    Copyright (c) 2007-2010 Baptiste Lepilleur and The JsonCpp Authors

    Permission is hereby granted, free of charge, to any person obtaining a copy of this software and associated documentation files (the “Software”), to deal in the Software without restriction, including without limitation the rights to use, copy, modify, merge, publish, distribute, sublicense, and/or sell copies of the Software, and to permit persons to whom the Software is furnished to do so, subject to the following conditions:

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    LibXML2

    Version 2.7.8

    Except where otherwise noted in the source code (e.g. the files hash.c, list.c and the trio files, which are covered by a similar licence but with different Copyright notices) all the files are:

    Copyright (C) 1998-2003 Daniel Veillard. All Rights Reserved.

    Permission is hereby granted, free of charge, to any person obtaining a copy of this software and associated documentation files (the “Software”), to deal in the Software without restriction, including without limitation the rights to use, copy, modify, merge, publish, distribute, sublicense, and/or sell copies of the Software, and to permit persons to whom the Software is fur- nished to do so, subject to the following conditions:

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    Material Docs Theme

    Copyright (c) 2016 Digitalcraftsman digitalcraftsman@protonmail.com
    Copyright (c) 2016 Martin Donath martin.donath@squidfunk.com

    Permission is hereby granted, free of charge, to any person obtaining a copy of this software and associated documentation files (the “Software”), to deal in the Software without restriction, including without limitation the rights to use, copy, modify, merge, publish, distribute, sublicense, and/or sell copies of the Software, and to permit persons to whom the Software is furnished to do so, subject to the following conditions:

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    nanomsg

    Version 0.5-beta

    Copyright (c) 2012-2013 Martin Sustrik All rights reserved.
    Copyright (c) 2013 GoPivotal, Inc. All rights reserved.

    Permission is hereby granted, free of charge, to any person obtaining a copy of this software and associated documentation files (the “Software”), to deal in the Software without restriction, including without limitation the rights to use, copy, modify, merge, publish, distribute, sublicense, and/or sell copies of the Software, and to permit persons to whom the Software is furnished to do so, subject to the following conditions:

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    THE SOFTWARE IS PROVIDED “AS IS”, WITHOUT WARRANTY OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO THE WARRANTIES OF MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE AND NONINFRINGEMENT. IN NO EVENT SHALL THE AUTHORS OR COPYRIGHT HOLDERS BE LIABLE FOR ANY CLAIM, DAMAGES OR OTHER LIABILITY, WHETHER IN AN ACTION OF CONTRACT, TORT OR OTHERWISE, ARISING FROM, OUT OF OR IN CONNECTION WITH THE SOFTWARE OR THE USE OR OTHER DEALINGS IN THE SOFTWARE.

    “nanomsg” is a trademark of Martin Sustrik.

    Netlib numeralgo na10 Aberth’s method

    All the software contained in this library is protected by copyright. Permission to use, copy, modify, and distribute this software for any purpose without fee is hereby granted, provided that this entire notice is included in all copies of any software which is or includes a copy or modification of this software and in all copies of the supporting documentation for such software.

    THIS SOFTWARE IS BEING PROVIDED “AS IS”, WITHOUT ANY EXPRESS OR IMPLIED WARRANTY. IN NO EVENT, NEITHER THE AUTHORS, NOR THE PUBLISHER, NOR ANY MEMBER OF THE EDITORIAL BOARD OF THE JOURNAL “NUMERICAL ALGORITHMS”, NOR ITS EDITOR-IN-CHIEF, BE LIABLE FOR ANY ERROR IN THE SOFTWARE, ANY MISUSE OF IT OR ANY DAMAGE ARISING OUT OF ITS USE. THE ENTIRE RISK OF USING THE SOFTWARE LIES WITH THE PARTY DOING SO.

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    readerwriterqueue

    Copyright (c) 2013-2015, Cameron Desrochers All rights reserved.

    Redistribution and use in source and binary forms, with or without modification, are permitted provided that the following conditions are met:

    THIS SOFTWARE IS PROVIDED BY THE COPYRIGHT HOLDERS AND CONTRIBUTORS “AS IS” AND ANY EXPRESS OR IMPLIED WARRANTIES, INCLUDING, BUT NOT LIMITED TO, THE IMPLIED WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE ARE DISCLAIMED. IN NO EVENT SHALL THE COPYRIGHT HOLDER OR CONTRIBUTORS BE LIABLE FOR ANY DIRECT, INDIRECT, INCIDENTAL, SPECIAL, EXEMPLARY, OR CONSEQUENTIAL DAMAGES (INCLUDING, BUT NOT LIMITED TO, PROCUREMENT OF SUBSTITUTE GOODS OR SERVICES; LOSS OF USE, DATA, OR PROFITS; OR BUSINESS INTERRUPTION) HOWEVER CAUSED AND ON ANY THEORY OF LIABILITY, WHETHER IN CONTRACT, STRICT LIABILITY, OR TORT (INCLUDING NEGLIGENCE OR OTHERWISE) ARISING IN ANY WAY OUT OF THE USE OF THIS SOFTWARE, EVEN IF ADVISED OF THE POSSIBILITY OF SUCH DAMAGE.

    Roboto font family

    Font data Copyright Google 2012

    Licensed under the Apache License, Version 2.0 (the “License”); you may not use this file except in compliance with the License. You may obtain a copy of the License at:

    http://www.apache.org/licenses/LICENSE-2.0

    Unless required by applicable law or agreed to in writing, software distributed under the License is distributed on an “AS IS” BASIS, WITHOUT WARRANTIES OR CONDITIONS OF ANY KIND, either express or implied. See the License for the specific language governing permissions and limitations under the License.

    Skia

    Copyright (c) 2011 Google Inc. All rights reserved.

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    THIS SOFTWARE IS PROVIDED BY THE COPYRIGHT HOLDERS AND CONTRIBUTORS “AS IS” AND ANY EXPRESS OR IMPLIED WARRANTIES, INCLUDING, BUT NOT LIMITED TO, THE IMPLIED WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE ARE DISCLAIMED. IN NO EVENT SHALL THE COPYRIGHT OWNER OR CONTRIBUTORS BE LIABLE FOR ANY DIRECT, INDIRECT, INCIDENTAL, SPECIAL, EXEMPLARY, OR CONSEQUENTIAL DAMAGES (INCLUDING, BUT NOT LIMITED TO, PROCUREMENT OF SUBSTITUTE GOODS OR SERVICES; LOSS OF USE, DATA, OR PROFITS; OR BUSINESS INTERRUPTION) HOWEVER CAUSED AND ON ANY THEORY OF LIABILITY, WHETHER IN CONTRACT, STRICT LIABILITY, OR TORT (INCLUDING NEGLIGENCE OR OTHERWISE) ARISING IN ANY WAY OUT OF THE USE OF THIS SOFTWARE, EVEN IF ADVISED OF THE POSSIBILITY OF SUCH DAMAGE.

    TinyXML

    Copyright (c) 2000-2002 Lee Thomason (www.grinninglizard.com)

    This software is provided ‘as-is’, without any express or implied warranty. In no event will the authors be held liable for any damages arising from the use of this software.

    Permission is granted to anyone to use this software for any purpose, including commercial applications, and to alter it and redistribute it freely, subject to the following restrictions:

  • The origin of this software must not be misrepresented; you must not claim that you wrote the original software. If you use this software in a product, an acknowledgment in the product documentation would be appreciated but is not required.

  • Altered source versions must be plainly marked as such, and must not be misrepresented as being the original software.

  • This notice may not be removed or altered from any source distribution.

  • Copyright (c) 2017 Tipue

    Permission is hereby granted, free of charge, to any person obtaining a copy of this software and associated documentation files (the “Software”), to deal in the Software without restriction, including without limitation the rights to use, copy, modify, merge, publish, distribute, sublicense, and/or sell copies of the Software, and to permit persons to whom the Software is furnished to do so, subject to the following conditions:

    The above copyright notice and this permission notice shall be included in all copies or substantial portions of the Software.

    THE SOFTWARE IS PROVIDED “AS IS”, WITHOUT WARRANTY OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO THE WARRANTIES OF MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE AND NONINFRINGEMENT. IN NO EVENT SHALL THE AUTHORS OR COPYRIGHT HOLDERS BE LIABLE FOR ANY CLAIM, DAMAGES OR OTHER LIABILITY, WHETHER IN AN ACTION OF CONTRACT, TORT OR OTHERWISE, ARISING FROM, OUT OF OR IN CONNECTION WITH THE SOFTWARE OR THE USE OR OTHER DEALINGS IN THE SOFTWARE.

    vectorize

    Copyright (c) 2012 Aaron Wishnick. All rights reserved.

    Redistribution and use in source and binary forms, with or without modification, are permitted provided that the following conditions are met:

    THIS SOFTWARE IS PROVIDED BY THE COPYRIGHT HOLDERS AND CONTRIBUTORS “AS IS” AND ANY EXPRESS OR IMPLIED WARRANTIES, INCLUDING, BUT NOT LIMITED TO, THE IMPLIED WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE ARE DISCLAIMED. IN NO EVENT SHALL <COPYRIGHT HOLDER> BE LIABLE FOR ANY DIRECT, INDIRECT, INCIDENTAL, SPECIAL, EXEMPLARY, OR CONSEQUENTIAL DAMAGES (INCLUDING, BUT NOT LIMITED TO, PROCUREMENT OF SUBSTITUTE GOODS OR SERVICES; LOSS OF USE, DATA, OR PROFITS; OR BUSINESS INTERRUPTION) HOWEVER CAUSED AND ON ANY THEORY OF LIABILITY, WHETHER IN CONTRACT, STRICT LIABILITY, OR TORT (INCLUDING NEGLIGENCE OR OTHERWISE) ARISING IN ANY WAY OUT OF THE USE OF THIS SOFTWARE, EVEN IF ADVISED OF THE POSSIBILITY OF SUCH DAMAGE.

    xsimd

    Copyright (c) 2016, Johan Mabille, Sylvain Corlay, Wolf Vollprecht and Martin Renou Copyright (c) 2016, QuantStack All rights reserved.

    Redistribution and use in source and binary forms, with or without modification, are permitted provided that the following conditions are met:

    THIS SOFTWARE IS PROVIDED BY THE COPYRIGHT HOLDERS AND CONTRIBUTORS “AS IS” AND ANY EXPRESS OR IMPLIED WARRANTIES, INCLUDING, BUT NOT LIMITED TO, THE IMPLIED WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE ARE DISCLAIMED. IN NO EVENT SHALL THE COPYRIGHT HOLDER OR CONTRIBUTORS BE LIABLE FOR ANY DIRECT, INDIRECT, INCIDENTAL, SPECIAL, EXEMPLARY, OR CONSEQUENTIAL DAMAGES (INCLUDING, BUT NOT LIMITED TO, PROCUREMENT OF SUBSTITUTE GOODS OR SERVICES; LOSS OF USE, DATA, OR PROFITS; OR BUSINESS INTERRUPTION) HOWEVER CAUSED AND ON ANY THEORY OF LIABILITY, WHETHER IN CONTRACT, STRICT LIABILITY, OR TORT (INCLUDING NEGLIGENCE OR OTHERWISE) ARISING IN ANY WAY OUT OF THE USE OF THIS SOFTWARE, EVEN IF ADVISED OF THE POSSIBILITY OF SUCH DAMAGE.

    Yoga

    Version 1.9.0

    MIT License

    Copyright (c) 2014-present, Facebook, Inc.

    Permission is hereby granted, free of charge, to any person obtaining a copy of this software and associated documentation files (the “Software”), to deal in the Software without restriction, including without limitation the rights to use, copy, modify, merge, publish, distribute, sublicense, and/or sell copies of the Software, and to permit persons to whom the Software is furnished to do so, subject to the following conditions:

    The above copyright notice and this permission notice shall be included in all copies or substantial portions of the Software.

    THE SOFTWARE IS PROVIDED “AS IS”, WITHOUT WARRANTY OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO THE WARRANTIES OF MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE AND NONINFRINGEMENT. IN NO EVENT SHALL THE AUTHORS OR COPYRIGHT HOLDERS BE LIABLE FOR ANY CLAIM, DAMAGES OR OTHER LIABILITY, WHETHER IN AN ACTION OF CONTRACT, TORT OR OTHERWISE, ARISING FROM, OUT OF OR IN CONNECTION WITH THE SOFTWARE OR THE USE OR OTHER DEALINGS IN THE SOFTWARE.

    zlib

    Copyright (c) 1995-2004 Jean-loup Gailly and Mark Adler.

    This software is provided ‘as-is’, without any express or implied warranty. In no event will the authors be held liable for any damages arising from the use of this software.

    Permission is granted to anyone to use this software for any purpose, including commercial applications, and to alter it and redistribute it freely, subject to the following restrictions:

  • The origin of this software must not be misrepresented; you must not claim that you wrote the original software. If you use this software in a product, an acknowledgment in the product documentation would be appreciated but is not required.

  • Altered source versions must be plainly marked as such, and must not be misrepresented as being the original software.

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  • Jean-loup Gailly jloup@gzip.org

    Mark Adler madler@alumni.caltech.edu

    End User License Agreement

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  • License Termination. This Agreement, together with the license rights granted to You herein, shall terminate automatically if You fail to comply with any of its terms. Upon termination, You must immediately cease using and destroy all copies of the Software.

  • Licenses to U.S. Government. This paragraph applies to all acquisitions of the Software by or for the federal government, or by any prime contractor or subcontractor (at any tier) under any contract, grant, cooperative agreement or other activity with the United States Government (collectively, the “U.S. Government”). By clicking “I ACCEPT”, You are agreeing on behalf of the U.S. Government that the Software and any documentation related thereto are respectively “commercial computer software” and “commercial computer software documentation” within the meaning of the acquisition regulation(s) applicable to this procurement. This Agreement alone shall govern the U.S. Government’s use of the Software and shall supersede any conflicting contractual terms or conditions, except as may be set forth in the Subscription Terms, where the U.S. Government’s use of the Software is on a subscription basis. If the license granted by this Agreement fails to meet the U.S. Government’s needs or is inconsistent in any respect with federal law, the U.S. Government shall return the Software unused to iZotope. Contractor/Manufacturer is iZotope, Inc., 7 Avenue de Lafayette, P.O. Box 121232, Boston, MA 02112-0232.

  • General. The export of the Software from the United States and re-export from any other country is governed by the US Department of Commerce under the export control laws and regulations of the United States and by any applicable law of such other country, and the Software may not be exported or re-exported in violation of any such laws or regulations. This Agreement is the complete and exclusive statement of the agreement between You and iZotope and supersedes any proposal or prior agreement, oral or written, and any other communications relating to the subject matter of this Agreement. This Agreement shall be governed by and interpreted in accordance with the laws of the Commonwealth of Massachusetts, United States of America, without regard to its conflict of laws provisions, and any claim arising out of this Agreement shall be brought in state or federal court therein. ANY SUCH LEGAL PROCEEDING SHALL NOT BE HEARD BEFORE A JURY. EACH PARTY HEREBY WAIVES ANY RIGHT TO A JURY TRIAL. To the extent permitted by applicable law, You agree that You will not bring any class action lawsuit against iZotope or be a representative plaintiff or plaintiff class member in any such lawsuit. The application of the United Nations Convention of Contracts for the International Sale of Goods is expressly excluded. This Agreement is in the English language only, which language shall be controlling in all respects, and all versions of this Agreement in any other language shall be for accommodation purposes only. Should You have any questions about this Agreement or iZotope’s software use policies, please contact legal@izotope.com. If You desire to contact iZotope for any other reason, in the US, please email sales@izotope.com; outside the U.S., please contact the iZotope representative or affiliate serving your country or, if You are unsure whom to contact, iZotope at the above location.

  • 1.4.0

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