With the advent of home cinema, surround sound has never been more popular. The budget-priced Vivid 3D processor may be aimed at the consumer market, but as Nigel Lord discovers, it has many professional applications...

OK, so like Mick Jagger, you can't always get what you want. But if Santa has just been round to your house with two pairs of socks and a bottle of Old Spice when you clearly wrote 'Roland SDX330 Dimensional Expander' in your letter to the north pole, your belief in the Christmas spirit is bound to be a little tarnished by now.

After all, this is supposed to be the time of year when you're given those little luxuries you can't justify buying yourself. And if that doesn't mean things like the SDX330, what does it mean? Not an essential studio item, it is nevertheless capable of depositing several thick layers of icing on top of your mixes which could make all the difference to your music.

You may not have to wait until next Christmas. A company called Leda Media Products have spotted a gap in the market for an affordable surround sound processor capable of broadening out the stereo image in a way not entirely dissimilar to Roland's successful RSS system. Of course, RSS technology is patented by Roland, so what's on offer here is by no means a compatible system or even a derivative of it. However, in listening tests over the past couple of months, I can confidently say that whatever LMP have installed in this neat little box of tricks, it is capable of results just as engaging as RSS, and unlike some chorus-based stereo image processing I've heard, doesn't become aurally fatiguing with constant use.

So what's the catch? Well, the Vivid 3D (as it is known) is simply a plug in-and use processor. With a minimum of controls and hardware, there's nothing to program, no parameters to adjust — not even a balance control on the basic model. It is designed primarily for use with hi-fi stereo systems, but as it's an effect that can be recorded without being corrupted in any way, it is equally suited to use in music production systems.

Making connections

Input and output sensitivities make it suitable for connection between amps, tape decks and other line level devices (the necessary cables are supplied), and it functioned quite happily patched in through the insert points on my mixer. A level control is included, but as the unit produces no significant signal gain, this is best left at maximum. Power is via an external 9V adaptor which is supplied with the unit.

Processing is selected by means of a slider switch which moves between SRS, 3DM and Bypass modes. SRS is the main processing mode for stereo signals and will be your normal selection, whilst 3DM (presumably short for 3D Mono) is intended for use with mono signals. In practise, however, I found that both modes had something interesting to offer both mono and stereo signals

Spaced out

The fact that it is so difficult for me accurately to describe the effect the Vivid 3D has on a piece of music is perhaps a measure of the processor's sophistication. Yes, the stereo image is broadened — but there's much more to it than that. Instruments take on a spaciousness which throws them into sharper relief against the sonic backdrop. Lost detail is revealed, and the transparency of the sound enhanced.

You're no longer confronted with a two-dimensional wall of sound, but with three-dimensional scene with depth and scale. Unlike some of the effects on the SDX330, the sound isn't sent above your head and beneath your feet. To that extent, I suppose it isn't 360" surround sound you're listening to. But to be honest, there are certain listening positions which actually compromise the Roland RSS effect and make it unviable. The Vivid 3D is a rather more practical 'everyday' effect, particularly for those involved in producing and mixing music.

Whilst on the subject of mixing, it should be said that the effect of the processing can upset the perceived panning position of certain instruments in some types of music. Also, with some program material, certain frequencies do appear to be boosted, particularly at the low and high ends of the spectrum. Whether this is actually taking place or simply part of the aural illusion, it's hard to say. but it is something you need to be aware of and compensate for during mixing.

You also need to remember to bypass the unit if you've recorded music with the processor on and are playing it back on the same system. Otherwise, with the processing effectively doubled, it can start to sound rather unnatural — 'though some may well find this doubly appealing. I personally happen to like using the mono processing mode with stereo material; I won't even attempt to work out what happens to the various signal paths in this arrangement, I only know that several pieces of music which I had intended to remix suddenly started to sound much more appealing.

Apparently, LMP have another version of the Vivid 3D on the cards which, though essentially the same, will feature balance controls to vary the amount of processing relative to direct signals. This, clearly, would make it ideal for studio use.

But if you can't wait till then, and next Christmas seems like a long way off, why not treat yourself now. The Vivid 3D is highly affordable and highly recommended.