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

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128 Chapter 10 Reverb Effects PlatinumVerb Early Reflections Parameters The PlatinumVerb offers the following Early Reflections parameters: • Predelay slider and field: Determines the amount of time between the start of the original signal and the arrival of the early reflections. Extremely short Predelay settings can color the sound and make it difficult to pinpoint the position of the signal source. Overly long Predelay settings can be perceived as an unnatural echo and can divorce the original signal from its early reflections, leaving an audible gap between them. The optimum Predelay setting depends on the type of input signal—or more precisely, the envelope of the input signal. Percussive signals generally require shorter predelays than signals where the attack fades in gradually. A good working method is to use the longest possible Predelay value before you start to hear undesirable side effects, such as an audible echo. When you reach this point, reduce the Predelay setting slightly. • Room Shape slider and field: Defines the geometric form of the room. The numeric value (3 to 7) represents the number of corners in the room. The graphical display visually represents this setting. • Room Size slider and field: Determines the dimensions of the room. The numeric value indicates the length of the room’s walls—the distance between two corners. • Stereo Base slider and field: Defines the distance between the two virtual microphones that are used to capture the signal in the simulated room. Note: Spacing the microphones slightly farther apart than the distance between two human ears generally delivers the best, and most realistic, results.
PlatinumVerb Reverb Parameters The PlatinumVerb offers the following Reverb parameters: • Initial Delay slider and field: Sets the time between the original signal and the diffuse reverb tail. • Spread slider and field: Controls the stereo image of the reverb. At 0% the effect generates a monaural reverb. At 200% the stereo base is artificially expanded. • Crossover slider and field: Defines the frequency at which the input signal is split into two frequency bands, for separate processing. • Low Ratio slider and field: Determines the relative reverb times of the bass and high bands. It is expressed as a percentage. At 100%, the reverb time of the two bands is identical. At values below 100%, the reverb time of frequencies below the crossover frequency is shorter. At values greater than 100%, the reverb time for low frequencies is longer. • Low Freq Level slider and field: Sets the level of the low frequency reverb signal. At 0 dB, the volume of the two bands is equal. In most mixes, you should set a lower level for the low frequency reverb signal. This enables you to boost the bass level of the incoming signal, making it sound punchier. This also helps to counteract bottom-end masking effects. • High Cut slider and field: Frequencies above the set value are filtered from the reverb signal. Uneven or absorbent surfaces—wallpaper, wood paneling, carpets, and so on—tend to reflect lower frequencies better than higher frequencies. The High Cut filter replicates this effect. If you set the High Cut filter so that it is wide open (maximum value), the reverb will sound as if it is reflecting off stone or glass. • Density slider and field: Controls the density of the diffuse reverb tail. Ordinarily you want the signal to be as dense as possible. In rare instances, however, a high Density value can color the sound, which you can fix by simply reducing the Density slider value. Conversely, if you select a Density value that is too low, the reverb tail will sound grainy. Chapter 10 Reverb Effects 129
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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
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The Q factor of the filter is deter
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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 and 124: Vocal Transformer Parameters The Vo
Page 125 and 126: Reverb Effects 10 You can use Rever
Page 127: PlatinumVerb The PlatinumVerb allow
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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