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

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Space Designer Surround Output Configuration Parameters • C(enter) slider: Adjusts the output level of the center channel independently of other surround channels. • Bal(ance) slider: Sets the level balance between the front (L-C-R) and rear (Ls-Rs) channels. • In 7.1 ITU surround, the balance pivots around the Lm-Rm speakers, taking the surround angles into account. • With 7.1 SDDS surround, the Lc-Rc speakers are considered front speakers. • Rev(erb) slider: Adjusts the output level of the effect (wet) signal for all channels. • Dry slider: Sets the overall level of the non-effect signal for all channels. Set this to a value of 0 (mute) when using Space Designer as a bus effect in an aux channel strip. Use the Send knob of each bussed channel strip to control the wet/dry balance. Working with Pre-Dly (Predelay) in Space Designer Predelay is the amount of time that elapses between the original signal and the initial early reflections of the reverberation. For a room of any given size and shape, predelay determines the distance between the listener and the walls, ceiling, and floor. Space Designer allows you to adjust this parameter separately from predelay, and over a greater range than what would be considered natural for predelay. In practice, an extremely short predelay tends to make it difficult to pinpoint the position of the signal source. It can also color the sound of the original signal. On the other hand, an excessively long predelay can be perceived as an unnatural echo. It can also divorce the original signal from its early reflections, leaving an audible gap between the original and reverb signals. The ideal predelay setting for different sounds depends on the properties of—or more accurately, the envelope of—the original signal. Percussive signals generally require shorter predelays than signals where the attack fades in gradually, such as strings. A good rule of thumb is to use the longest predelay possible before undesirable side effects, such as an audible echo, begin materializing. Obviously, these guidelines are intended to help you design realistic-sounding spaces that are suitable for different signals. If you want to create unnatural sound stages or otherworldly reverbs and echoes, feel free to experiment with the Pre-Dly parameter. Using Space Designer’s IR Start Parameter The IR Start parameter enables you to shift the playback start point of the impulse response, which will effectively cut off the beginning of the impulse response. 150 Chapter 11 Space Designer Convolution Reverb
This can be useful for eliminating level peaks at the beginning of the impulse response sample. Its use also affords a number of creative options, particularly when combined with the Reverse function (see Using Space Designer’s Button Bar). Note: The IR Start parameter is not available or required in Synthesized IR mode because, by design, the Length parameter provides identical functionality. Using Space Designer’s Spread Parameters The Spread and Xover knobs enhance the perceived width of the signal, without losing the directional information of the input signal normally found in the higher frequency range. Low frequencies are spread to the sides, reducing the amount of low frequency content in the center—allowing the reverb to nicely wrap around the mix. The Spread and Xover knobs function only in Synthesized IR mode. Note: As these parameters adjust stereo or surround processing, they have no impact when you use the Space Designer as a mono plug-in. • Spread knob and field: Extends the stereo or surround base to frequencies that fall below the frequency determined by the Xover (crossover) parameter. • At a Spread value of 0.00, no stereo or surround information is added (although the inherent stereo or surround information of the source signal and reverb are retained). • At a value of 1.00, the left and right channel divergence is at its maximum. • Xover knob and field: Sets the crossover frequency in Hertz. Any synthesized impulse response frequency that falls below this value will be affected by the Spread parameter (at values over 0). Automating Space Designer Space Designer cannot be fully automated—unlike most other Soundtrack Pro plug-ins, which can be. This is because Space Designer needs to reload the impulse response and recalculate the convolution before audio can be routed through it. Chapter 11 Space Designer Convolution Reverb 151
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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
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78 Chapter 5 Filter Effects Getting
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80 Chapter 5 Filter Effects • Bea
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82 Chapter 5 Filter Effects AutoFil
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• Sub Energy and field: Controls
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• Spread slider and field: Determ
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Understanding MS Miking To make a M
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Metering Tools 7 You can use the Me
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Using the MultiMeter Analyzer In An
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Using the MultiMeter’s Level Mete
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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 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: Using Space Designer’s Rev Vol Co
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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