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

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124 Chapter 9 Pitch Effects The Pitch parameter is expressly used to change the pitch of a voice, not its character. If you set negative Pitch values for a female soprano voice, you can turn it into an alto voice without changing the specific character of the singer’s voice. The Formant parameter shifts the formants, while maintaining—or independently altering—the pitch. If you set this parameter to positive values, the singer sounds like Mickey Mouse. By altering the parameter downward, you can achieve vocals reminiscent of Darth Vader. Tip: If you set Pitch to 0 semitones, Mix to 50%, and Formant to +1 (with Robotize switched off), you can effectively place a singer (with a smaller head) next to the original singer. Both will sing with the same voice, in a choir of two. This doubling of voices is quite effective, with levels easily controlled by the Mix parameter. Using Vocal Transformer’s Robotize Mode When Robotize is enabled, the Vocal Transformer can augment or diminish the melody. You can control the intensity of this distortion with the Tracking parameter. The Tracking slider and field feature is enhanced by four buttons, which you can click to set the slider at the most useful values, as follows: • -1 (sets the slider to -100%): All intervals are mirrored. • 0 (sets the slider to 0%): Delivers interesting results, with every syllable of the vocal track being sung at the same pitch. Low values turn sung lines into spoken language. • 1 (sets the slider to 100%): The range of the melody is maintained. Higher values augment, and lower values diminish, the melody. • 2 (sets the slider to 200%): The intervals are doubled. The Pitch Base parameter is used to transpose the note that the Tracking parameter is following, for example: the note that is spoken if Tracking is set to 0%.
Reverb Effects 10 You can use Reverb effects to simulate the sound of acoustic environments such as rooms, concert halls, caverns, or an open space. Sound waves repeatedly bounce off the surfaces—walls, ceilings, windows, and so on—of any space, or off objects within a space, gradually dying out until they are inaudible. These bouncing sound waves result in a reflection pattern, more commonly known as a reverberation (or reverb). The starting portion of a reverberation signal consists of a number of discrete reflections that you can clearly discern before the diffuse reverb tail builds up. These early reflections are essential in human perception of spatial characteristics, such as the size and shape of a room. Signal Discrete reflections Diffuse reverb tail Reflection pattern/reverberation This chapter covers the following: Time • Plates, Digital Reverb Effects, and Convolution Reverb (p. 126) • PlatinumVerb (p. 127) • Soundtrack Pro Reverb (p. 130) 125
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Soundtrack Pro 3 Effects Reference
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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
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66 Chapter 4 Equalizers Note: For b
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68 Chapter 4 Equalizers • Analyze
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70 Chapter 4 Equalizers Match EQ Pa
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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 116 and 117: Modulating the Ringshifter with the
Page 118 and 119: • Chorus Int knob: Sets the inten
Page 121 and 122: Pitch Effects 9 You can use the Pit
Page 123: Vocal Transformer Parameters The Vo
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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