Soundtrack Pro 3 Effects Reference (en).pdf - Help Library - Apple

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Modulating the Ringshifter with the LFO The oscillator Frequency and Dry/Wet parameters can be modulated with the LFO—and the envelope follower (see Modulating the Ringshifter with the Envelope Follower). The oscillator frequency even allows modulation through the 0 Hz point, thus changing the oscillation direction. The LFO produces continuous, cycled control signals. • Power button: Turns the LFO on or off and enables the following parameters. • Symmetry and Smooth sliders and fields: These controls, on either side of the waveform display, change the shape of the LFO waveform. • Waveform display: The LFO waveform display provides visual feedback about the waveform shape. • Rate knob and field: Sets the (waveform cycle) speed of the LFO. • Sync button: Synchronizes the LFO cycles (LFO rate) with the project tempo, using musical note values. Controlling the Ringshifter Output Parameters The output parameters are used to set the balance between the effect and input signals and also to set the width and feedback of the Ringshifter. 116 Chapter 8 Modulation Effects • Dry/Wet knob and field: Set the mix ratio of the dry input signal and the wet effect signal.
• Feedback knob and field: Sets the amount of the signal that is routed back to the effect input. Feedback adds an edge to the Ringshifter sound and is useful for a variety of special effects. It produces a rich phasing sound when used in combination with a slow oscillator sweep. Comb filtering effects are created by using high Feedback settings with a short delay time (less than 10 ms). Use of longer delay times, in conjunction with high Feedback settings, creates continuously rising and falling frequency shift effects. • Stereo Width knob and field: Determines the breadth of the effect signal in the stereo field. Stereo Width affects only the effect signal of the Ringshifter, not the dry input signal. • Env Follower slider and field: Determines the amount of Dry/Wet parameter modulation by the input signal level. • LFO slider and field: Sets the LFO modulation depth of the Dry/Wet parameter. Scanner Vibrato Scanner Vibrato simulates the scanner vibrato section of a Hammond organ. The Scanner Vibrato is based on an analog delay line, consisting of several lowpass filters. The delay line is scanned by a multipole capacitor, which has a rotating pickup. It is a unique effect that cannot be simulated with simple LFOs. You can choose between three different vibrato and chorus types. The stereo version of the effect features two additional parameters—Stereo Phase and Rate Right. These allow you to set the modulation speed independently for the left and right channels. The stereo parameters of the mono version of the Scanner Vibrato are hidden behind a transparent cover. • Vibrato knob: Use to choose from three Vibrato positions (V1, V2, and V3) or three Chorus positions (C1, C2, and C3). • In the Vibrato positions, only the delay line signal is heard, each with different intensities. • The three Chorus positions (C1, C2, and C3) mix the signal of the delay line with the original signal. Mixing a vibrato signal with an original, statically pitched signal results in a chorus effect. This organ-style chorus sounds different from the Soundtrack Pro Chorus plug-in. • If the C0 setting is chosen, neither the chorus nor vibrato is enabled. Chapter 8 Modulation Effects 117
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Soundtrack Pro 3 Effects Reference
Page 3 and 4:
Preface Chapter 1 Chapter 2 Chapter
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Chapter 12 Chapter 13 153 153 155 1
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Effect category Dynamics Processors
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Delay Effects 1 Delay effects store
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• Master section: This area conta
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Tip: If the Overview display is hid
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Delay Designer Tap Creation Suggest
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Moving and Deleting Taps in Delay D
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2 Vertically drag the bright line o
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Editing Filter Cutoff in Delay Desi
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Editing Taps in Delay Designer’s
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To reset the value of a tap Do one
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Use subtle variations of the grid p
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Stereo Delay The Stereo Delay works
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• Delay field: Sets the current d
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36 Chapter 2 Distortion Effects Bit
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38 Chapter 2 Distortion Effects •
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40 Chapter 2 Distortion Effects •
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By reducing the highest parts of th
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• Out Ceiling knob and field: Set
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Setting Suitable Compressor Envelop
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Using the Enveloper The most import
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Limiter The Limiter works much like
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Multipressor Parameters The paramet
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Setting Multipressor Compression Pa
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Using the Noise Gate In most situat
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Surround Compressor Link Section Pa
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• Threshold knob and field: Sets
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62 Chapter 4 Equalizers Channel EQ
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64 Chapter 4 Equalizers You can red
Page 66 and 67: 66 Chapter 4 Equalizers Note: For b
Page 68 and 69: 68 Chapter 4 Equalizers • Analyze
Page 70 and 71: 70 Chapter 4 Equalizers Match EQ Pa
Page 72 and 73: Note: Smoothing has no effect on an
Page 74 and 75: The Q factor of the filter is deter
Page 76 and 77: 76 Chapter 4 Equalizers High Shelvi
Page 78 and 79: 78 Chapter 5 Filter Effects Getting
Page 80 and 81: 80 Chapter 5 Filter Effects • Bea
Page 82 and 83: 82 Chapter 5 Filter Effects AutoFil
Page 84 and 85: • Sub Energy and field: Controls
Page 86 and 87: • Spread slider and field: Determ
Page 88 and 89: Understanding MS Miking To make a M
Page 91 and 92: Metering Tools 7 You can use the Me
Page 93 and 94: Using the MultiMeter Analyzer In An
Page 95 and 96: Using the MultiMeter’s Level Mete
Page 97 and 98: Although you can insert the Surroun
Page 99 and 100: Because the Surround MultiMeter Gon
Page 101 and 102: Depending on the chosen surround fo
Page 103: • Tuning Adjustment slider and fi
Page 106 and 107: Chorus Effect The Chorus effect del
Page 108 and 109: Flanger Effect The Flanger effect w
Page 110 and 111: • 180° or -180° is equal to the
Page 112 and 113: Ringshifter The Ringshifter effect
Page 114 and 115: • In the ring modulator OSC mode,
Page 118 and 119: • Chorus Int knob: Sets the inten
Page 121 and 122: Pitch Effects 9 You can use the Pit
Page 123 and 124: Vocal Transformer Parameters The Vo
Page 125 and 126: Reverb Effects 10 You can use Rever
Page 127 and 128: PlatinumVerb The PlatinumVerb allow
Page 129 and 130: PlatinumVerb Reverb Parameters The
Page 131 and 132: Space Designer Convolution Reverb S
Page 133 and 134: Working with Space Designer’s Imp
Page 135 and 136: Any mono, stereo, AIFF, SDII, or WA
Page 137 and 138: All envelopes are automatically cal
Page 139 and 140: Whereas some parameters are envelop
Page 141 and 142: Using Space Designer’s Density En
Page 143 and 144: 2 Drag the pointer horizontally ove
Page 145 and 146: Note: Activation of the filter enve
Page 147 and 148: • Spread and Xover knobs (synthes
Page 149 and 150: Using Space Designer’s Rev Vol Co
Page 151 and 152: This can be useful for eliminating
Page 153 and 154: Specialized Effects and Utilities 1
Page 155 and 156: Denoiser The Denoiser eliminates or
Page 157 and 158: Using the Denoiser The following st
Page 159 and 160: SubBass Parameters The SubBass offe
Page 161 and 162: Utilities and Tools 13 The tools fo
Page 163: Test Oscillator Test Oscillator gen
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