BruceJames.studio
Polo Polo
One shared reverb for a whole mix - Polo Send on every track, Polo Sum on the return
SEND / SUM / DISTANCE
Version
1.0.5
Platform
macOS and Windows
Formats
VST3, AU, and CLAP
User Guide
brucejames.studio
Polo

# Contents

01
01 · Overview

## One room, every instrument, each at its own distance

Instead of a reverb per track, Polo puts one shared room on a return bus - Polo Sum - and a lightweight tap, Polo Send, on each source track. Every Send publishes its track into that shared space, tagged with how far it sits from the listener. The result: every instrument lives in the same room, each at its own distance - a drummer at the back wall, a vocal up front, all breathing the same air.

Polo's name pairs with its sibling Marco (Marco… Polo), but the two serve different purposes. Marco is for soundstage placement; that is not Polo's purpose. Polo is for musical reverb management: Polo Send manages how each track feeds the shared reverb, while Polo Sum is the one hero instance where the room itself is designed.

In one line

Drop Polo Sum on a return, send every track to it through Polo Send, and musically manage each track's reverb distance, tilt, and level within one shared room.

02 · Concept

# How it works

02

Three ideas explain almost everything Polo does: one shared room instead of many, distance as the primary control, and how the two windows divide the work.

### 01One room instead of one reverb per track

Loading a separate reverb on every track gives every instrument its own, disconnected acoustic - a drum plate here, a vocal hall there. Polo takes the opposite approach: Polo Sum is a single shared reverb living on one return, and every track reaches it through Polo Send. Because every source shares the same tank, they all read as occupying one real space rather than a stack of unrelated effects.

### 02Distance is the primary control

Polo Send's main parameter is Distance: 0% sits at your face - the listener - with full pre-delay; 100% sits at the far wall, where the reverb arrives together with the dry signal. Tilt then biases that placement left or right, independently of the dry pan - it moves where the reverb image sits, not the dry signal itself. The three-band Source Tone section controls the low, mid, and high energy this source carries into the room. Cream dots show the Distance-based frequency and gain recommendations; Auto Follow keeps the pointers attached to them until it is switched off or a tone knob is dragged. High-frequency darkening supplies the strongest distance cue. The smaller Low and Mid moves are gentle mix-perspective suggestions, not measurements of a universal acoustic law.

### 03Two windows, one language

Send and Sum are different sizes for different jobs, but they read as the same product. Polo Send is a focused per-track view of position, level, and source tone. Polo Sum is the hero window, where the room itself is designed: its Type, its size, its decay, its output. Both use the same chassis, the same listener-and-source pad, and the same near→far vocabulary.

Send never touches the dry signal

Distance, Tilt, Send Level, and Source Tone all shape only what reaches the shared reverb. The dry pass-through on a Send's track is completely untouched - Bypass on a Send simply stops that track from feeding the room.

03 · Setup

# Installation and authorization

03

Polo Send and Polo Sum install together and run on macOS and Windows in VST3, AU, and CLAP hosts.

### Install

1. Close your DAW before installing so it rescans plugins on the next launch.
2. Run the installer and accept the license agreement. It installs both Polo Send and Polo Sum together. On Windows the VST3 and CLAP builds install to C:\Program Files\Common Files\VST3 and the CLAP folder alongside it; on macOS the AU build installs to /Library/Audio/Plug-Ins/Components and VST3 to /Library/Audio/Plug-Ins/VST3.
3. Launch your DAW and let it rescan. If either plugin does not appear, trigger a manual rescan or add the folders above to your plugin paths.
4. Insert Polo Sum on a return or bus track first, then insert Polo Send on each source you want to place in that room, sending to the same bus.

### Authorization

Enter the license key from your purchase confirmation when prompted, in either plugin's settings menu. One key activates both Send and Sum on that machine. If you rebuild or replace a system drive, software activations are not part of a normal file backup, so you will need to reactivate; this is expected and not a fault in the plugins.

### Early Access

This version runs with every DSP feature fully enabled while its Early Access profile is active. Polo refreshes a signed lease after 14 days and keeps a valid cached lease for up to 30 days if the licensing server cannot be reached. A purchased license always takes priority and remains fully authorized offline.

### Demo mode

When Early Access for this exact version has ended, or a new installation cannot yet verify it with the licensing server, an unlicensed copy runs in demo mode. The interface clearly identifies the licensing state; access never changes silently.

### Updates

Both plugins check brucejames.studio/version.txt and show a banner in the window when a newer build is available. Update checks are required while Early Access is active and can be disabled after authorization or after that version's Early Access period ends. Updates install over the existing version and preserve your presets and project state.

04 · Get going

# Quick start

04

Building a shared room, start to finish, in about five minutes.

Return / bus Polo Sum One instance - the room itself
←
Every track Polo Send Distance + Tilt place each source
←
Source Kick, vocal, pad…Dry signal untouched

1. Insert Polo Sum on a return bus. Pick a Type - Hall is a musical, forgiving starting point - and leave Max Pre-Delay near its default; it sets the physical size of the whole room.
2. Insert Polo Send on each track you want in that room, and route each one's send to the Polo Sum bus.
3. Place the drummer at the back. On the drum bus's Send, drag the pad's dot up toward the far wall - Distance around 70–80% - so it reads as sitting deep in the room.
4. Bring the vocal up front. On the vocal's Send, keep Distance low, around 15–25%, so it stays present and close while still sharing the same space as everything else.
5. Nudge Tilt on anything that needs to sit off-center - a pad or a double-tracked part - without touching its dry pan.
6. Try Auto Follow for a quick tonal perspective. It moves all six Source Tone controls with Distance. Switch it off, or drag any tone knob, whenever you want to keep a custom setting.
7. Set each track's Send level to taste, and dial in Polo Sum's Decay, Damping, and Output until the room feels right for the whole mix, not any one part.

Recommended default patch

Polo Sum: Type Hall, Max Pre-Delay near default, Decay ≈ 3.5 s, Damping ≈ 0.5, Width 1.0. Polo Send: Distance 20% (default, front-of-room), Tilt Center, Source Tone shelves flat, Send to taste. A reasonable neutral starting point for most mixes.

05 · Reference

# Interface tour - Polo Send

05

The current 480 × 810 Send places its position pad, meters, Level, and Gate above a three-band Source Tone section. Low, Mid, and High Gain/Frequency pairs sit beneath the pad, with Shelf/Cut and Auto On/Off in the tone header.

1 2 3 4 5 6 7 8 9 10
1 Wordmark"Polo," shared across Send and Sum.
2 Bypass Stops this track feeding the shared reverb; dry pass-through is untouched.
3 Gear menu UI size presets, refresh rate, updates, and license. The window is fixed-size rather than drag-resizable.
4 Send eyebrow Identifies this window as the per-track tap.
5 Position dot Drag to set Distance (vertical) and Tilt (horizontal).
6 Listener glyph Marks the near edge - the mix's listening position.
7 Level knob Send level into the shared reverb only.
8 Gate knob Threshold below which this track stops feeding the shared reverb. Fully down = Off.
9 Gate LED Teal while this track is feeding the reverb, pink while the gate has closed it.
10 Readout Shows the hovered control, or the current position.
New Input / Output meters Show pre-send input and the delayed dry pass-through; the input threshold line follows Gate.
New Source Tone Low, Mid, and High each have sweepable Frequency and Gain. Cream dots are the Distance recommendations; Shelf/Cut changes the outer filter type and Auto Follow keeps the pointers on the dots.
06 · Reference

# Interface tour - Polo Sum

06

The hero window - one instance, where the shared room is designed. A header strip, the room-depth display, and three knob groups.

1 2 3 4 5 6 7 8 9 10 11 12
1 Wordmark"Polo Sum" - Shared Reverb eyebrow below.
2 Type selector Room, Plate, Hall, Reflections - four distinct spaces.
3 Bypass Rings the reverb out rather than cutting it hard.
4 Readout Name/value of the last control touched, or status.
5 Gear menu UI size presets, refresh rate, updates, and license. The window is fixed-size rather than drag-resizable.
6 Display legend Room depth, Width, Decay tail, illustrative Send.
7 Type tag Confirms the active space inside the display itself.
8 Room-depth tunnel Live visualization - deepens as Max Pre-Delay rises.
9 Room Depth readout The room's physical size, in feet.
10 Space - Max Pre-Delay The signature control: sets the whole room's scale.
11 Shape - Decay, Damping, Width Tail length, HF absorption, stereo spread.
12 Output - Low Cut, High Cut, Output Shapes and levels the reverb feed.
07 · Reference

# Parameter reference - Polo Send

07

Position, level, gating, and a six-control Source Tone section. Every tone value is automatable and affects only this track's reverb feed; the dry pass-through stays untouched.

Position pad

Control | Range | Default | Behavior
--- | --- | --- | ---
Distance | 0–100% | 20% | How far this track sits in the shared room. 0% is at the listener's face, full pre-delay; 100% is at the far wall, where the reverb arrives together with the dry signal. This is the primary control - vertical axis of the pad.
Tilt L/R | 100 L – 100 R | Center | Manual left/right bias of where the reverb sits - it never touches the dry pan. Polo triangulates the two side-wall reflection paths: moving toward one wall shortens that side's pre-delay while lengthening the opposite side, within the room's Max Pre-Delay. Horizontal axis of the pad.

Level and air

Control | Range | Default | Behavior
--- | --- | --- | ---
Send | −60 to +6 dB | 0 dB | Level feeding the shared reverb only - never touches the dry pass-through on this track.
Low | 30–800 Hz · ±12 dB | 120 Hz · Flat | Sweepable low shelf. In Cut mode it becomes a 12 dB/oct high-pass and its Gain knob dims. Its recommendation moves from about 90 to 220 Hz and 0 to −2 dB across the Distance range.
Mid | 120 Hz–8 kHz · ±12 dB | 1.2 kHz · Flat | Sweepable bell boost/cut that remains active in both modes. Its gentle perspective recommendation moves from about 900 Hz to 2.2 kHz and 0 to −1.5 dB; this is a mix suggestion rather than strict distance physics.
High | 1.5–20 kHz · ±12 dB | 8 kHz · Flat | Sweepable high shelf. In Cut mode it becomes a 12 dB/oct low-pass and its Gain knob dims. This is the main distance cue: its recommendation moves from about 14 to 4.2 kHz and 0 to −9 dB.
Shelf / Cut | 2 modes | Shelf | In Shelf mode, Low and High use their ±12 dB Gain controls. Cut mode changes them to 12 dB/oct high-pass and low-pass filters, so their Gain knobs dim; Mid stays active. It never changes the dry signal.
Auto Follow | On / Off | Off | When on, all six tone pointers track their cream Distance-recommendation dots, including when the editor is closed. Switch it off or drag a tone knob to release the controls for manual adjustment.

Gate

Control | Range | Default | Behavior
--- | --- | --- | ---
Gate | −60 to +6 dBFS | −60 dB (Off) | Threshold below which this track stops feeding the shared reverb. While the track's level (a smoothed 10 ms / 250 ms envelope) is above the threshold it sends normally; below it, this track's own feed is muted at the source — with a fast 5 ms open, a 150 ms close, and 3 dB of hysteresis so it doesn't chatter. Only this track's contribution is affected; the shared tail and every other Send keep going. Fully down reads Off for a plain, ungated send.
Gate LED | indicator | - | Reads teal while this track is feeding the reverb and pink while the gate has closed its feed.

Bypass

Control | Type | Behavior
--- | --- | ---
Bypass | A/B | Stops this Send from feeding the shared reverb. The dry pass-through on the track is never affected - Bypass only removes this track's contribution to the room.

Why Gate exists

Quiet passages, bleed, and noise tails between phrases can wash a track's reverb feed into mud. Gate keeps a track out of the shared room until it's actually playing above the threshold, so only intentional sound excites the reverb — and because it acts on this track's own feed, it never touches the shared tail or any other Send.

08 · Reference

# Parameter reference - Polo Sum

08

Grouped as they appear in the plugin: the room, the space, the shape, and the output.

The room

Control | Options | Behavior
--- | --- | ---
Type | Room · Plate · Hall · Reflections | The reverb algorithm - four distinct spaces, shown as flat icon segments rather than a dropdown. Sets the identity of the whole window, including a subtle tint in the display.

Space

Control | Range | Behavior
--- | --- | ---
Max Pre-Delay | 0–250 ms (default 80 ms) | Sets the size of the whole room - the ceiling every Send's Distance maps into. The readout shows the room's physical depth in feet, computed at the real speed of sound, so a Send at 50% is literally halfway into this depth.

Shape

Control | Range | Default | Behavior
--- | --- | --- | ---
Decay | 0.50–12 s | ≈3.5 s | Reverb tail length.
Damping | 0–1 | 0.5 | High-frequency absorption of the tail - the tail darkens as this rises.
Width | 0–1 | 1.0 | Stereo spread of the reverb itself.

Output

Control | Range | Default | Behavior
--- | --- | --- | ---
Low Cut | 20–500 Hz | 100 Hz | High-pass on the reverb feed - keeps mud out of the tank.
High Cut | 1.2–20 kHz | high | Low-pass on the reverb feed, for a darker or brighter tail.
Output | −24 to +12 dB | 0 dB | Overall output level of the reverb.

Character - coming soon

A Musical ⇄ Realism switch is planned for a future update, once real impulse responses ship for the Realism path. Until then Polo Sum runs in its Musical character by default - there's nothing to set.

09 · Deep dive

# The room-depth model, in depth

09

Max Pre-Delay and Distance are the same idea seen from two windows. Understanding how they line up makes placing a whole mix intuitive.

### Reading the tunnel

Polo Sum's display draws the shared room as a tunnel in perspective: a near frame at the listener's position, guide rects at 25/50/75% of the room, and the far wall itself, all scaled by Max Pre-Delay. The big centered readout converts that setting into feet, at the real speed of sound - raise Max Pre-Delay and the room visibly deepens.

Room depth 90 ft
◂ Listener Far wall ▸
Room depth - scaled by Max Pre-Delay
Width - stereo spread arcs at the near plane
Decay tail - count and color follow Decay and Damping
Send - an illustrative marker, echoing a track placed partway back

Schematic. The real display is driven live by Type, Decay, Damping, Width, and Max Pre-Delay.

### Why the two plugins never need to talk

There is no live link between a Send and the Sum it feeds - only a one-way audio path. But because both use the same near→far percentage metaphor, the concept holds without any data channel: if Polo Sum's room is set to 90 ft and a Send's Distance sits at 50%, that track is understood to be roughly 45 ft back, even though neither plugin computed that number for you. Setting Max Pre-Delay first, then placing each Send against that scale, keeps every distance in the mix physically consistent.

Set the room before you place tracks

Because every Send's Distance is a percentage of Polo Sum's depth, changing Max Pre-Delay later re-scales every track's placement at once. Settle on a room size early, then place instruments against it - rather than the other way around.

10 · Practice

# Tips and recipes

10

Starting points, not rules. Set the room first, then place tracks against it, then trust your ears.

#### 01The default shared room

Polo Sum: Type Hall, Max Pre-Delay at default, Decay ≈3.5 s, Damping 0.5, Width 1.0. Send every track through Polo Send with Distance near its 20% default, Tilt centered, and Source Tone flat, then spread instruments out from there. Handles most mixes before you touch anything else.

Type Hall Decay ≈3.5s Distance start at 20%

#### 02A drummer at the back wall

On the drum bus's Send, push Distance to 70–90% so the kit reads as sitting deep in the room, anchoring the back of the mix. Keep Tilt centered unless the kit itself is panned.

Distance 70–90%Tilt Center

#### 03A vocal that stays up front

Keep the lead vocal's Send Distance low, around 15–25%, so it shares the room's air without losing presence. A touch of Send level is usually enough - resist pushing Distance back just to "add space."

Distance 15–25%Send light

#### 04Widen without smearing the low end

Raise Polo Sum's Low Cut so bass energy never reaches the tank, and keep Width near 1.0 for spread on everything above it. Individual Sends still control how far back each part sits.

Low Cut up Width ≈1.0

#### 05Keep bleed and quiet tails out of the room

If a track's between-phrase noise, mic bleed, or ringing tails are washing into the shared reverb, raise that track's Gate until only its intended notes cross the threshold (watch the input meter's threshold line and the Gate LED). Below it, only that track's feed mutes - the shared tail and every other Send keep ringing.

Gate raise Send unchanged
11 · Support

# FAQ and troubleshooting

11
Do I need one Polo Send per track, or one for the whole mix?
One Polo Send per track you want in the shared room. Each Send publishes just that track's contribution, tagged with its own Distance and Tilt, into the single Polo Sum instance on your return.
Can I use more than one Polo Sum in a project?
Yes - some mixes use two, for example a close ambience and a distant hall. Just be sure each Send routes to the room you intend; there's no automatic pairing between a given Send and a given Sum.
Why doesn't moving Distance change my pan?
By design. Distance and Tilt shape only the reverb send - the dry signal's pan is completely untouched. This is what lets you push a track's reverb further back without moving where it sits dry.
How is Send's Source Tone different from Sum's filters?
Source Tone affects only the selected track before it enters the shared room. Polo Sum's Low Cut and High Cut affect the combined reverb output from every Send. Use Source Tone for source-specific perspective and cleanup, and the Sum controls for the room's overall tone.
Does Distance really change the Mid band?
Auto Follow currently makes a small Mid move: its recommendation sweeps from about 900 Hz to 2.2 kHz while dipping from 0 to −1.5 dB. Treat that as an optional mix-perspective suggestion. High-frequency loss is the more reliable distance cue, so leave Auto Follow off or drag Mid to release it whenever the suggested contour does not suit the source.
The Character switch isn't in my copy of Polo Sum.
Character (Musical ⇄ Realism) is planned for a future update pending real impulse responses for the Realism path. Polo Sum currently runs in Musical character with no user-facing control - this isn't a bug.
What does the Gate LED mean?
Teal means this track is above the Gate threshold and feeding the shared reverb. Pink means its level has dropped below the threshold and the gate has muted this track's feed. Only this track's contribution stops - the shared tail and other Sends are unaffected.
If I change Polo Sum's Max Pre-Delay, do my Sends need re-placing?
Not necessarily - every Send's Distance is a percentage of the room's depth, so raising or lowering Max Pre-Delay re-scales every track's placement together, keeping their relative distances the same. Only re-place a Send if you want to change where that one track sits, not the room overall.
Neither plugin appears when my DAW scans.
Confirm your host has rescanned after installation and that the VST3, AU, and CLAP system folders are in its scan paths. Some hosts need a manual rescan or a restart.
Polo asks for activation again after a system rebuild.
Software activations are not part of a normal file backup, so replacing a drive requires reactivating. This is expected and applies to both Send and Sum under the same key.
12 · Legal

# License and contact

12

### License

Use of Polo Send and Polo Sum is governed by the end user license agreement included with the distribution as license.txt. Please refer to that file for the full terms. Your purchase authorizes installation of both plugins under the conditions described there.

### Included files

The distribution archive contains the installer along with readme.txt for installation notes, changelog.txt for version history, and license.txt for the agreement. The readme is the canonical source for installation details.

### Support and contact

Studio
BruceJames.studio
Web
brucejames.studio
Support
[email protected]
Version
Polo Send + Polo Sum 1.0.5
Before you write in

Including your DAW, its version, your operating system, and which of the two plugins (Send or Sum) you're asking about helps support resolve issues faster.

Polo

One shared reverb for a whole mix · macOS and Windows · VST3, AU, and CLAP

Generated for Polo 1.0.5 - verify controls against the plugins.