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

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38 Chapter 2 Distortion Effects • Sum LPF knob and field: Sets the cutoff frequency (in Hertz) of the lowpass filter. This processes the mixed signal. • (High Shelving) Frequency knob and field: Sets the frequency (in Hertz) of the high shelving filter. If you set the High Shelving Frequency to around 12 kHz, you can use it like the treble control on a mixer channel strip or a stereo hi-fi amplifier. Unlike these types of treble controls, however, you can boost or cut the signal by up to plus or minus 30 dB with the Gain parameter. • (High Shelving) Gain knob and field: Sets the amount of gain applied to the output signal. Distortion Effect The Distortion effect simulates the lo-fi, dirty distortion generated by a bipolar transistor. You can use it to simulate playing a musical instrument through a highly overdriven amplifier, or to create unique distorted sounds. • Drive slider and field: Sets the amount of saturation applied to the signal. • Display: Shows the impact of parameters on the signal. • Tone knob and field: Sets the frequency for the high cut filter. Filtering the harmonically rich distorted signal produces a softer tone. • Output slider and field: Sets the output level. This allows you to compensate for increases in loudness caused by adding distortion.
Distortion II Distortion II emulates the distortion circuit of a Hammond B3 organ. You can use it on musical instruments to recreate this classic effect, or use it creatively when designing new sounds. • PreGain knob: Sets the amount of gain applied to the input signal. • Drive knob: Sets the amount of saturation applied to the signal. • Tone knob: Sets the frequency of the highpass filter. Filtering the harmonically rich distorted signal produces a softer tone. • Type pop-up menu: Choose the type of distortion you want to apply: • Growl: Emulates a two-stage tube amplifier similar to the type found in a Leslie 122 speaker cabinet, which is often used with the Hammond B3 organ. • Bity: Emulates the sound of a bluesy (overdriven) guitar amp. • Nasty: Produces hard distortion, suitable for creating very aggressive sounds. Overdrive Overdrive emulates the distortion produced by a field effect transistor (FET), which is commonly used in solid-state musical instrument amplifiers and hardware effects devices. When saturated, FETs generate a warmer-sounding distortion than bipolar transistors, such as those emulated by the Distortion effect. • Drive slider and field: Sets the saturation amount for the simulated transistor. Chapter 2 Distortion Effects 39
Page 1 and 2: Soundtrack Pro 3 Effects Reference
Page 3 and 4: Preface Chapter 1 Chapter 2 Chapter
Page 5: Chapter 12 Chapter 13 153 153 155 1
Page 8 and 9: Effect category Dynamics Processors
Page 11 and 12: Delay Effects 1 Delay effects store
Page 13 and 14: • Master section: This area conta
Page 15 and 16: Tip: If the Overview display is hid
Page 17 and 18: Delay Designer Tap Creation Suggest
Page 19 and 20: Moving and Deleting Taps in Delay D
Page 21 and 22: 2 Vertically drag the bright line o
Page 23 and 24: Editing Filter Cutoff in Delay Desi
Page 25 and 26: Editing Taps in Delay Designer’s
Page 27 and 28: To reset the value of a tap Do one
Page 29 and 30: Use subtle variations of the grid p
Page 31 and 32: Stereo Delay The Stereo Delay works
Page 33: • Delay field: Sets the current d
Page 36 and 37: 36 Chapter 2 Distortion Effects Bit
Page 40 and 41: 40 Chapter 2 Distortion Effects •
Page 42 and 43: By reducing the highest parts of th
Page 44 and 45: • Out Ceiling knob and field: Set
Page 46 and 47: Setting Suitable Compressor Envelop
Page 48 and 49: Using the Enveloper The most import
Page 50 and 51: Limiter The Limiter works much like
Page 52 and 53: Multipressor Parameters The paramet
Page 54 and 55: Setting Multipressor Compression Pa
Page 56 and 57: Using the Noise Gate In most situat
Page 58 and 59: Surround Compressor Link Section Pa
Page 60 and 61: • Threshold knob and field: Sets
Page 62 and 63: 62 Chapter 4 Equalizers Channel EQ
Page 64 and 65: 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 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 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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