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RemixQuad3D Baby DAW (MacOS X and Windows 10)
RemixQuad3D Baby DAW (MacOS X and Windows 10)

RemixQuad3D Baby DAW (MacOS X and Windows 10)


RemixQuad 3D is a multifaceted mastering console for file, audio, and Rewire on MacOS X (10.9.5+) and Windows 10 (32 and 64 bit). Custom coded for optimal efficiency. RemixQuad3D provides advanced 3D sound, integrates VST/AU instruments and effects as input and output plugins, routes through a 2/8*36*2/16 crossbar matrix, and applies studio-quality effects, both when mixing down to stereo 3D mode, and when outputting to an external DAW in 8/16-channel mode.A manual is also available.

On This Page
Feature Summary
Stereo 3D VirtualizationMultithreaded Vector OptimizationAU/VST HostingRemixQuad ChannelsQuad Effects RackOutput Recording Mixer
Installation and Setup
RewireMIDIAudioPluginsPresets and SnapshotsOutput
Testing it Out
Free Open SourcePremiere and free Reaktor ensemblesMIDI ReferenceRelease Notes

Free and Open Source Policies

In response to received commitment and support, Yofiel also continues to make source available upon request, and without charge, to licensed vendors, includingAbleton,Cycling'74,Compositor Software,Encode Audio, andMax for Cats. And while this is a commercial instrument, Yofiel offers a number of free and open-source solutions. RemixQuad3D is a member of the SynthCore family of AV products, which are based on theSynthcore Library. This includesFree Audio Apps and theBEAP 5D Filter on this site.


RemixQuad3D's user interface may appear to be simple, but it delivers an exceptional amount of power, actually not available in many DAWs costng ten times as much. That said, it does not offer all the 3D features of a high-end product, and if you are looking for the best possible, you may wish to start by visitingTripinlab (if $300 is within your means).

Tap Pictures for Zoom

RemixQuad3D Main Panel
RemixQuad3D Main Panel
3D PanningMixing strips and effects may be positioned in a Virtual 3D space. An optional locking feature uses the difference in levels from the two channels to spread the channel sources.
High‑Performance Vector Optimizations64-bit audio quality, multithreaded compiled performance, hand optimized for best performance possible.
34 Input Sources8 inputs each from Rewire, audio driver, input plugin, and multichannel sound files, plus two inputs from built in oscillator+noise diagnostics.
2/8 VST/AU Input pluginInput plugin instruments can provide up to 8 signal sources themselves, or can process signals from the Rewire, audio, and file sources.
4 Dual-Channel Mixing StripsThe top four mixing strips can take input from any audio source or input plugin. Level controls for the two input channels can be ganged, dragged to new values, or entered as numbers. Balance differences can control 3D positioning.
8 Dual-Channel 3‑Band EQ modules+/-12dB low and hi shelf EQ, plus parametric peak/notch EQ over 24dB range, with variable slope, graphical display, and graphical editing.
16 Dual-Channel Effects SendsFour effects sends on each channel, with balance control on each
Built-in 3D EffectsTwo dual-channel tempo delays, chorus, and reverb, with 3D output. Multichannel limiter with adjustable attack and release.
8/8 Output pluginChannels and effects may optionally pass through an 8-in, 8-out AU/VST output plugin
2/8/16 Recording & Monitoring38 separate source-pair taps may mix down down to an automated 8-channel file recorder. 8/16 channels may be passed out as Audio outputs or Rewire slave sources. Separate stereo mix path from monitor, for simple stereo recordings and output monitoring.
Technical SpecificationsAudio I/ORewire (master and slave), Core Audio (MacOS), ASIO (tested with ASIO4ALL v2), MME and DirectSound (Windows). Adjustable sample rate, I/O buffer size, DSP buffer size, and I/O mappings, with optional hardware interrupt support.
3D Virtualization14-channel 1024-point convolution with MIT HRTF stack
Audio PathCustom compiled 64-bit floating-point throughout in Cycling74 gen~ codebox v7.3.4. Multithreading for multicore machines, with Ambisonics Extensions for 3D audio.
EQ FiltersLo/Hi: dual-stage FIR/IIR. Peak/Notch: Biquad optimized form 1 with custom-ranged coefficients
MIDI I/OPort and channel selection; automatic RTC with MTC control; plugin passthrough; 127 program presets and 125 continuous controllers sent and received.
CPU RequirementsTypical usage is ~5%, at 48KHz sample rate, on 4GHz i7.
* Resizable window to fit on all displays and accommodate other DAW real estate needs.* All controls declicked and normalized * Full MIDI I/O implementation with automatic master/slave RTC *

Stereo 3D Virtualization

RemixQuad 3D includes sophisticated algorithms called 'head-related transfer functions' (HRTFs) to emulate the experience of 3D sound on stereo speakers and headphones. With the panel controls you can set the central position for channel and effects sources separably in a 3D space.


In 'LOCK' mode, the RemixQuad3D virtualization uses the difference in balance between the L and R mixer slider levels to move the source in a virtual 3D space. This is a very precise effect, with air absorption and 1024-point 'HRTF' convolution to provide high-quality 3D sound positioning.


EXPLANATION. While it may appear, in this demo, that the level changes are simply changing the balance, they are not. in LOCK mode, the left and right channels are set to the same level. Instead, the distance between them, in the HRTF calculation, increases as the pan amount increases. The level meters are showing the resulting volume levels from the HRTF output, not differences in the left and right signal input levels. Thus the apparent movement of the signal from side to side is much greater than would result from attenuating one of the L/R channel inputs.

Head-Related Transfer Functions are empirically determined by measuring frequency and time cues arriving at the ears from different frequencies, from different points in 3D space around the listener.

Head-Related Transfer Functions (HRTFs)
Head-Related Transfer Functions (HRTFs)

For 3D positioning on a spherical plane around the listener's head, the app applies HRTF coefficients internally via a sample-overalapping 32x32 convolution matrix window. That is, on each audio clock cycle, the app calculates the output based on the previous 32 samples, over 32 frequency bands. That is 1,024 floating-point operations, on each of the two channels, on each of the eight 3D sources in this app.

That places the sound on the sphere around the listener's head. The app then applies a second-order filter with coefficients that exactly match those of air absorption over distance, to reproduce the effect of a sound source being further away.

8-way, 1024-point convolution is well beyond the capability of any modular digital audio system without custom written code for vector optimization.

Do the HRTF functions introduce distortion? That is of course a concern to the audio producer. The answer is not quite what you may expect, if you are unfamiliar with HRTF Psychoacoustic Algorithms. First, it is true, due to the 32-band spectral division in the convolution, there is a tiny amount of signal distortion. However the amount is far less than the frequency and amplitude adjustments made for 3D positioning. This is because the further ear from the sound source receives its signal slightly later than the other ear. This delay difference is not created by simple balance controls. Also, for high frequencies, the mass of the head causes a slight muffling on the further ear. the HRTF fucntions reproduce this. But while it may appear to be distortion, psychoacoustics tells us that our brains automatically accept the unmuffled signal from the closer ear and discard the other, when considering what we hear. Thus the HRTFs do introduce some frequency distortion, but they are not apparent to the listenet, especially as, often overlooked, the delay and frequency cue differences are only applied to the further side. The side nearer to the sound source receives unmodifed signal, if the source is on the same plane as our ears and in front. Our minds automatically choose that sound as the correct one, and use the sound from the other ear for position cue only.

Contrary to common speculation, HRTFs actually improve sound positioning without any loss in the listener's perceptual quality. Some say it's 'better than sex.' Why? Due to 3D positioning of sound sources on a spherical projection, without losing harmonic reinforcement from distance delay, It's one of the few cases where DSP (thanks to the wonders of psych-acoustic empiricism) can actually improves on our natural experience or sound.

3D Audio FAQ

Why can't I do this for myself?You are of course welcome to do so, and you will find source for the 3D virtualization portion on the Web, as the HOA library from:


It's free, under GNU GPL3, and the github repository (now deprecated) is at:


You may want to read the section on my vector optimization, below, first.

Does RemixQuad3D support crossover networks? That's a very sensible question, as the HRTF convolution can perform multi-speaker crossover compensation at the same time without additional CPU load. However it is a quite bit more configuration, and it is not planned to be supported in RemixQuad3D at this time.

Does RemixQuad3D support multiple speakers? People usually mean more than two speakers. Yes, RemixQuad3D has up to 16 outputs, so you can use multiple channel pairs with the same inputs, outputting to different speaker pairs. With the 3D controls, you can then position sources separately for each channel pair to obtain the desired depths of field. This covers virtually all multiple speaker configurations.

Does speaker position matter? For optimal effect, yes. RemixQuad3D uses a solution garnered from experience to sound good wherever the speakers are, but it is possible to optimize for specific speaker positions, and that is a VERY long topic in itself that I hope to get to later. What I can offer immediately is an account of my experience:

Why I started working in DAWs

Does RemixQuad3D support distance delay and Doppler effects? RemixQuadeD supports HRTF delay, that is, differences it time between when a signal reaches each air. It doesn't add additional distance delay (arising from 300 m/s speed of sound through air) because it's not believed musically fruitful. Most of the time, audio production experts go through a huge amount of work to get rid of it, improving harmonics while losing other specialization cures. Also it's not assumed that Doppler effects are musically useful. However they could be added for novelty and specialty effects in a future upgrade. On the other hand, the quality of sound positioning, together with air absorption, do mean that RemixQuad3D provides pro-audio quality improvements for a production composition.

What About vertical movement? The auditory cues to distinguish vertical positioning of sound sources which are more than a meter away are minimal if they are otherwise on rectilinear planes; but sounds at an angular axis, above and below to one side or the other, can be discerned due to phase differences. However, because our ears are on a horizontal plane, and speakers are typically on a horizontal plane, the auditory-cue differences *between* up and down are, for all intents and purposes, non existent. For this reason, Remixquad provides a '2.5d editing display, with one half axis for height or depth.

What about front to back? Sounds behind us are muted in certain ranges by the shape of our ears, which makes far more difference than our rather flat earlobes may lead us to believe, compared to other animals. But we know the ear shape to be important, as we often see, for example, our pets pointing their ears in particular directions to hear sounds better from there. So RemixQuad3D fully models sounds from various angles behind us.

In this app, the 3D Virtual Surround uses cues from the level and balance controls to set XYZ spatalization for mixer channels and effects. The XYZ coordinates for each channel, and three of the effects, are stored with the preset. In LOCK mode, each of the XYZ dimensions expand into dual sources from adjusting the master balance. The display gets pretty congested with 28 points to show the 3D srouces in XYZ planes, so one can choose to see and edit the centerpoints of all on the graphical display, or only show the position of the L and R signals from one channel in 3D space.

3D User Interface

- There are separate views for seeing all the points at once, and for viewing individual points.
RemixQuad 3D Audio
RemixQuad 3D Audio
Chan1, Chan2, Chan3, Chan4, FX A, FX B, FX CEnables 3D Virtualization on the Channel or effect, highlighted inyellow when enabled.
X, Y, ZSets the horizontal, vertical, and height coordinates for the center of the L/R signals from the mixer channel or effect.
LLocks the X, Y, and/or Z offset from the channel's centerpoint to the difference in balance between the left and right channels.
Display ModeThis menu chooses whether all the centerpoints are shown, or the resulting L/R speaker positions for an individual source pair are shown instead.
DisplayWhen all points are shown, centerpoints may be selected with a mouse and moved around.

Head prototype for RemixQuad3D version 2.0


Multithreaded Vector Optimization

RemixQuad3D runs on multiple CPU cores and multiple threads by default, if they are available. This means, as well as including HRTF 3D sound virtualization, RemixQuad3D host multiple VST/AU plugins and give them as much power as your computer provides. It's actually possible to double the CPU power for other audio applications, such as Native Instruments Reaktor, for example. Reaktor uses SIMD (wide instruction words) for acceleration, so it can only run on one CPU core by itself. With Reaktor loaded into RemixQuad3D as VSTs, the app can double the power of Reaktor over that which it can provide alone.

Reaktor's SIMD versus Vector Optimization - Reaktor, in specific, uses Intel's 'wide instruction word' extensions, called MMX, for polyphonic control signals. It's expected that control signals from knobs and other panel controls have a resolution of 8 or 16 bits. Therefore, each voice is run on a separate 8/16-bit division of a 128-bit operand, simultaneously. That 'MMX coding' provided dramatic gains over competition in the era of the Pentium 2/3 processors, and it was very difficult to achieve, as it required a lot of machine-code-level programming. But since then, computer performance has improved so much that 64-bit floating-point operations are common. High-resolution floating-point operations are not compatible with MMX, and benefit more from vector optimized coding, described below. Unfortunately, the original developers of Reaktor have left Native Instruments, and no one there knows how to recode the Reaktor app so it doesn't need MMX and can run on multiple cores, like this app does. With parallelized vector coding, a 4GHz i7 obtains a 32-GigaFLOPS burst throughput as needed, which with proper care can perform almost any audio task imaginable. That is a thousand times faster than the Cray 1 supercomputer used for NOAH weather forecasts.

Vector Optimized Coding

- Although this is a very old coding technique, very few people know about it. I was taught it in 1985 by Shawn Hailey, shortly after he left Stanford to work in optimizing analog circuit simulation for the most powerful computers of the time (seeInterview with Shawn and Kim Hailey for details on that). I will try to be more brief than Shawn, and being am one of the original engineers on the Intel Pentium I, by now I've got a pretty fair idea what people need to know.
It's rather more technical, but you will find further on this topic at:Handcoded Vector Optimization

on this site.

AU/VST Hosting

While acting as a host, RemixQuad can slave to a MIDI sequencer, sending and receiving mixer levels. effect send levels, and XYZ spatialaization coordinates, RemixQuad also passes MIDI input through to its hosted VST instruments, including RTC and MPTE clock timing events. Even while hosting VST/AU devices, RemixQuad can also output to to an 8-channel Rewire master, passing control through to its own hosted devices.

Here RemixQuad is recording from a Reaktor VST Instrument after compressing it with a freeware VST called TDR Feedback Compressor II:

Hosting VSTs as Input and Output Plugins
Hosting VSTs as Input and Output Plugins

This illustrates RemixQuad passing external MIDI input through to a hosted VST andio instrument in Native Instruments Reaktor6, also controlling the Reaktor clock.

Hosting VSTs: Technical Demo
Hosting VSTs: Technical Demo


are stored with the preset, as well as program banks and effects (.fxb and .fxp files). If a bank has named program slots, the menu is automatically populated with them.
VST Settings
VST Settings

Except for the I/O routing, the controls are identical for input and output plugins.

Input Plugin Source PairsOn the input plugin, the four menus select the audio sources the four input channel pairs, in1/2. in3/4, in5/6, in7/8. Note, usage of I/O is dependent on the plugin; VST instruments may generate their own sound instead. Available sources for each input pair are: Player 1/2, Rewire in 1/2, Rewire in 3/4, Rewire in 5/6, Rewire in 7/8, 1/2 Audio driver in, 3/4 Audio driver in, 5/6 Audio driver in, 7/8 Audio driver in.
Output Plugin Source PairsOn the output plugin, the four menus select the audio sources the four input channel pairs to the plugin. Available sources for each input pair are: Stereo Mix, 1/2 Mix, L/R FX A, L/R FX B, L/R FX C, L/R FX D, 1/2 ADC, 1/2 Rewire, 1/2 Input Plug, 1/2 Output Plug, 3/4 Mix, 3/4 ADC, 3/4 Rewire, 3/4 Input Plug, 3/4 Output Plug, 5/6 ADC, 5/6 Mix, FX B, 5/6 Rewire, 5/6 Input Plug, 5/6 Output Plug, 7/8 Mix, 7/8 ADC, 7/8 Rewire, 7/8 Input Plug, 7/8 Output Plug, Stereo Player
OpenDisplays a file dialog to choose and load a plugin.
VST/AUYou can also drop a plugin file into this area to open it.
CloseRemoves the plugin from the host.
ShowOpens the plugin's main window, if it is not open, and brings it to the front.
HideCloses the plugin's main window. the plugin is still loaded and running.
ReadDisplays a file dialog to choose and load a plugin program or bank ('fxp' or 'fxb' file).
BankYou can also drop a plugin file into this area to open it.
WriteStores the plugin's preset file.
Program MenuIf program names are set in the plugin, this menu displays and lets you select the program names.
Plugin ParametersThe subpanel below the other controls displays the parameters available in the plugin, as well as any other options provided by the plugin in its toolbar.

RemixQuad Channels

At the heart of Remix is the channel rack, which may look daunting at first, but that is simply because it packs alot of power into very little screen real estate. The display is also resizable, so you can shrink or grow the window size to whatever you want. Unlike these Windows graphics, it looks great at any size.

The 4 main dual-channel mixer strips can receive audio input from any combination of recorded files, OS audio driver signals, and 8-channel Rewire slaves. Any input channels can pass through the input plugin first and be mixed back. Each mixer strip provides 3-band parametric EQ, 4 dual-channel sends, and dual-point 3D audio spatialization.

Input Menu
Choice of Input source, from: Player 1/2, 1/2 Rewire, 3/4 Rewire, 5/6 Rewire, 7/8 Rewire, 1/2 Audio driver, 3/4 Audio driver, 5/6 Audio driver, 7/8 Audio driver, 1/2 VST input plugin, 3/4 VST input plugin, 5/6 VST input plugin, 7/8 VST input plugin
RemixQuad3D mixer channels
RemixQuad3D mixer channels
Hard mute of channel, also reducing CPU
Soft solo of channel, intended for mastering assistance
Links the the channel levels so that the LEFT and RIGHT controls move in tandem.
Centers the channel levels on 0dB. When the channel levels are centered, this button highlights in green.
Normally FX taps are taken directly from the input, before level fading and EQ. When POST is ON, highlghted in yellow, then effects taps are taken after level fading and EQ.
Level Sliders
Click the numbers to enter number values from a keyboard, or click and drag the slider. See also GANG.
Level Indicators
These are drawn at screen refresh rate, directly from the compiled mixer core.
EQ Menu
Bypasses the EQ or selects between +/-6dB/oct and +/-12db/oct shelving filters.

Channel EQ - The mixer and effects racks include dual-channel EQ units with lo/hi +/-12dB cut/boost at 6dB/oct and 12dB/oct slopes, plus a parametric peak/notch filter with adjustable bandwidth and resonance. Parameter values may be set precisely in the number boxes, as MIDI pitches and dB units. Alternatively, you can click the points in the EQ display and drag them to your desired setting. The EQ graphics widget highlights the line in red when you are hovering over one of the points.

Channel and Effects EQ
Channel and Effects EQ
Lo Shelf EQPitchPitch at center of shelf attenuation/gain, set in MIDI semitones for ease of use.
LevelShelf attenuation/gain, in dB. Set attenuation characteristics with the EQ menu, above.
Peak/NotchPitchPitch at center of peak/notch, set in MIDI semitones for ease of use.
Levelfilter attenuation/gain, in dB.
QPeak/notch resonance, in range .1 tp 10. 1 is considered neutral.
High Shelf EQPitchPitch at center of shelf attenuation/gain, set in MIDI semitones for ease of use.
LevelShelf attenuation/gain, in dB. Set attenuation characteristics with the EQ menu, above.
Effects Send - Each channel strip includes four effects sends. See POST, above, for insert point.
Channel Effects Send
Channel Effects Send
Send A,
Send B,
Send C,
Send D
The four columns of controls send to the four effects tacks.
Effects AmountSend level as percentage.
Effects Balance+3dB center stereo pan of the two mixer channels to the two effects rack inputs, in range +/-50.
3D Effects Output - The effects' left and right channel outputs can each be positioned separately in 3D space. For more, please see the description of 3D virtualization, above.

Why can't there be more channels, or any number of channels? DAWs with unlimited channels are actually not very efficient, because they have to process the data in loops. But that doesn't mean RemixQuad3D is not expandable. It is the first in a family of mastering consoles. The compiled audio core is designed to optimized performance for four channels, and it is designed to be multithreaded. Future versions will therefore provide 8, 16, and 32 channels across available CPU cores.

Why doesn't RemiXQuad3D use the HRTF convolution for EQ filtering? That's a sensible question, but the convolution matrix for 3D positioning is designed to optimize different passive filtering bands over diffierent dynamic ranges--but the filtering effect of the head does not change dramatially over different frequencies, so 1st-order passive filtering is sufficient. The EQ controls in RemixQuad3d are instead active filters, providing precise control of shelving, peak/notch, and Q.

How accurate are the RemixQuad3D spectral displays? The eight EQ curves are generated directly from filter coefficients across 100 frequency points in the MIDI range 10-110 (10Hz~6kHz). It's planned to increase the range in a future upgrade. In the first release, RemixQuad3d drew individual points on the 1kHz event clock, with a slow refresh rate of .1s/wave, noticeably sluggish, and with noticeable CPU load spike. RemixQuad3D now draws the EQ curves much more efficiently on a downsampled clock in the custom compiled audio thread. As a result, the EQ now refreshes in real time when parameters are changed, and CPU load was halved.

The monitor also displays spectral analysis of any actual signals. The spectogram is drawn from the results of a 1024-point windowed FFT with vectral smoothing, displaying results over the range 20Hz~20kHz.

Built-In Effects

RemixQuad 3D offers four dedicated stereo sends, with balance control, for each of the four main mix mastering strips. The built-in effects are standard tempo delays, chorus, and reverb, but with the quality EQ described above rather than the simpler passive filtering normally offered, and moreeover, their output that may also be positioned in virtual 3D space.

RemixQuad3d Effects
RemixQuad3d Effects


The two serial stereo tempo delays are identical, except that delay 2 also provides single-pole (6dB/octave) low-pass and high-pass filtering in the feedback loop. Both make use of the effects channel level and EQ on input.

Ldel, Rdel. Delay time for the left and right channels is set separately in quarter-note units. The TEMPO sets the duration of a single note. When 0, the delay line is bypassed, so either the left or right or both source inputs can be delayed or not, as desired. When 4/1, the delay is one beat. When 4/4, the delay is a quarter beat. When 4/32, the delay is a 32nd note.
cross. Delay Cross feedback. When 0, the left and right delay lines act as two separate mono delay lines. When max, all of the delay from the left delay line goes to the right delay line, and vice versa. Intermediate values mix the amount of mono and cross feedback.
feedback. delay feedback amount. When 0, there is no feedback, and the source is delayed only once. The max value is just below self oscillation.


A high-quality 8-band stereo chorus effect unit. the chorus makes use of the effects channel level and EQ on input.

base frq. modulation frequency, in Hz. See also F SPRD.
fsprd. modulation frequency spread. At 0 the 8 chorus modulators have the same frequency. At 1 they are spread the most. The chorus modulators are also available in the main panel's modulation matrix as modulation sources, whether the chorus is being used or not.
delay. chorus base delay, in milliseconds.
mod. Modulation depth. At zero, tbhe sine waves have no effect on the chorus output. At higher values, the amolunt of modulation increases.
m sprd. Modulation spread. At zero, all eight chorus delay lines have the same base delay. At higher values, the base delay varies increasingly across each delay line.


The reverb contains separate diffusion lines for early reflections on each channel, with early dsealy filtering and output damping. Although it can create hall and catheral effects, it is designed for more realistic sounds when emulating small to midsize rooms.

predelay. Base delay of early reflections, in milliseconds.
decay. Controls duration of the late reflections.
damp. Damps late reflections, which truncates their duration at higher settings.
late mix. Lower settings increase early diffusion, higher settings increase late reflections.


This is a more advanced limiter with separate controls for attack and release, so it is sort of half way between a hard limiter and a compressor.

limit. limit enable. When 0, the effect is bypassed and CPU reduced.
lvl. limit level. When the input signal exceeds this level, the output signal is adjusted not to exceed this level. When the signal is below this level, the limiter turns off any gain reduction. There are separate limiters on the left and right channels.
window. the time period over which the input level is sampled before any change in limiting level occurs.
att. when the signal level rises, and the signal was above the limit level in the last sample window, this sets the number of milliseconds over which the limiter increases the gain reduction.
dec. when the signal level falls, and the signal was above the limit level in the last sample window, the sets the number of milliseconds over which the limiter reduces the gain reduction.
3D Effects Output - The effects' left and right channel outputs can each be positioned separately in 3D space. For more, please see the description of 3D virtualization, above.

Why are there only 4 effects available A future version of RemixQuad3D is planned which will provide rack positions for the mixer slots, but it will be more expensive.

Output Mixer and Recording

The output mixer provides channel output and post-effects level adjustment across each and all output signals, for both recording and DAW interfaces. The panel displays either the 4 channel output pairs (1-8), or the 4 effects output pairs (FX A-D). In stereo mode, all channels and effects are mixed into two signals. In multichannel mode, the four channel output pairs are individually mixed with the four effects output pairs.

RemixQuad Output Mixer
RemixQuad Output Mixer

The recorder automatically sets the correct number of recording channels and automatically records to a preset folder with timetamp, or a specific file can be chosen. Planned in the next beta is multitap mode and monitor override.

Why are there so many separate different taps available in the output mixer? There are taps for all the sources in the output mixer so you can selectively process just the channels you want. For example, suppose you want to add 3D effects only to channel 3 in an 8-channel audio file. For that you can set the output mixer to record directly from player channels 1, 2, 5, 6, 7, and 8; set mixer channels 1 and 2 to channels 3 and 4; pan each opposite sides, and send channel 3 through the effects.

Can I add effects to audio inputs and the file player simultaneously?. Yes, just set the channels as you want in the mixer, and record the channels you want.

Can I connect the output mixer to another DAW? Yes, there are up to 16 individual channels. In multichannel mode, the first 8 contain the dry signal after EQ and 3D positioning. The other 8 contain the eight outputs of the four dual-channel effects.

Installation and Setup

On both Windows and Macs, unzip the .zip archives to any writable folder of your choice. On Windows you can start the .exe immediately. On Macs, you can also launch the app directly from the package, but because packages are-read only, the app can't save and recall your settings. For save and recall on Macs, extract the files from the package too.

On Windows, there are 32-bit and 64-bit versions. The 32-bit version does work on Windows 64-bit. Choose the version that matches your plugins and Rewire interface (For example, if you are running Windows 64-bit, then you need the 64-bit version to access the Rewire interface binaries).

Remix3D settings
Remix3D settings

For COMPLETE details on the options, please see theRemixQuad3D Owner's Manual, available for free download on this site. Besides the Audio I/O, which has necessarily deep settings to accommodate all drivers, the options are quite simple.


allow saving and recalling of prior setups. Upi cam recall, store and copy/paste presets with the panel controls and menus. RemixQuad also restores its prior state upon reopening.

You can edit presets directly by pressing the "Panel" button to open the storage window. In the storage window, clearing the clickbox to the left causes that value to be 'frozen,' that is, recalling the preset no longer recalls that control value. You can also edit the value directly in any preset slot by double-clicking on it.

RemixQuad Preset Editing
RemixQuad Preset Editing

Testing it Out

Below the Settings, in the top left, is a built-in player than can load sound files with up to 8 channels, as well as play simple tones and filtered noise. Select the player type you want from the list box at the top of the Player panel, and in the mixer channel select the player as the source.

The Output Monitor selects any channel pair for routing to headphones, with spectrum analysis and independent level control. This shows the RemixQuad player in oscillator mode. You can change the pitch and waveform, and change the output envelope from continuous to pulsed.

RemixQuad oscillator
RemixQuad oscillator
Player Tabs
FileOpen any file for stereo playback
MicrophoneQuick input monitoring of stereo ADC input
OscillatorSine, triangle, square, and pseudorandom waveforms, with optional repeating AR envelopes.
NoiseWhite and pink noise with selectable LP/BP/HP filtering with resonance.

The built-inSpectrum Analyzer on the output monitor channel permits checking of EQ, 3D pan, and effects frequency-response curves.

Remix monitor
Remix monitor

Appendix B: MIDI Implementation Chart

Please see theRemixQuad3D manual.

Appendix C: Release Notes

Hide LIne Numbers
  1. ----------------------------------------------------------------------------------
  2. RELEASE NOTES - RemixQuad3D
  3. ----------------------------------------------------------------------------------
  5. * MACOS 10.9  (Yosemite)    - v3a 108MB zipfile
  6. * Windows 10 (Windows 32)  -  v3a 23MB  zipfile
  7. * Windows 10 (Windows 64)   - v3a 23MB  zipfile
  8. * MACOS 10.13 (High Sierra) - v3 52MB  zipfile
  11. o The MacOs version runs in 64-bits by default. if you need a 
  12. 32-bit version, please let me know. 
  16. Beta 3a, Feb 16. Final release candidate:
  17. o Fixed 'edit' dual menu on MacOs
  18. o Adjusted all effects to proposed default values and ranges.
  20. Beta 3, Feb 11 (Platform Release)
  21. o Ability to set both L and R positions manually for all 3D sources. 
  22. o Changes in audio-driver settings stored globally. 
  23. o Added limiters inside effects feedback loops 
  24. o Menus for preset loading, saving, settings, help
  25. o Owner's Manual included
  26. o Preset storage wihdow now displays parameter descriptions
  28. Beta 2d, Feb 8  (win32)
  29. o File player now supports up to 8 channels. 
  30. o All audio source menus declicked. 
  31. o Changing mixer preset no longer causes plugins to reload.
  32. o Fixed Windows Crash. 
  34. Beta 2c, Feb 6 (Platform release)
  35. o  Added oscilloscope to output monitor. Can now select scope and spectral display. 
  36. o  PRE/POST works for channels and reverb. 
  37. o  Added MUTE buttons for FX sends channels o  File player can find audio files.
  38. o  Enabled menus (they don’t do anything yet). 
  39. o  Added multichannel limiter
  40. o  Adjusted limiter window, attack, and release ranges to sensible values. 
  42. Beta 2b1, Feb 4 (win64)
  43. o Improved EQ display
  45. Beta 2a, Feb 2 (Platform release)
  46. o VST/AU – Don’t reload plugins if already loaded and changing preset 
  47. o Display – Add setting for custom display refresh rates.
  48. o 3D control –Add buttons to enable/disable 3D processing on each channel.
  49. o Level control – Stop click and drag from changing other level.
  50. o Output – Add 16-channel output mixer with metering

Thank you for your interest in RemixQuad3D. We hope you enjoy Yofiel.