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

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Setting Multipressor Compression Parameters The Compression Threshold and Compression Ratio parameters are the key parameters for controlling compression. Usually the most useful combinations of these two settings are a low Compression Threshold with a low Compression Ratio, or a high Compression Threshold with a high Compression Ratio. Setting Multipressor Downward Expansion Parameters The Expansion Threshold, Expansion Ratio, and Expansion Reduction parameters are the key parameters for controlling downward expansion. They determine the strength of the expansion applied to the chosen range. Setting Multipressor Peak/RMS and Envelope Parameters Adjusting the parameter between Peak (0 ms, minimum value) and RMS (root mean square -200 ms, maximum value) is dependent on the type of signal you want to compress. An extremely short Peak detection setting is suitable for compression of short and high peaks of low power, which do not typically occur in music. The RMS detection method measures the power of the audio material over time and thus works much more musically. This is because human hearing is more responsive to the overall power of the signal than to single peaks. As a basic setting for most applications, the centered position is recommended. Setting Multipressor Output Parameters The Out slider sets the overall output level. Set Lookahead to higher values when the Peak/RMS fields are set to higher values (farther toward RMS). Set Auto Gain to On to reference the overall processing to 0 dB, making the output louder. Noise Gate The Noise Gate is commonly used to suppress unwanted noise that is audible when the audio signal is at a low level. You can use it to remove background noise, crosstalk from other signal sources, and low-level hum, among other uses. The Noise Gate works by allowing signals above the threshold level to pass unimpeded, while reducing signals below the threshold level. This effectively removes lower-level parts of the signal, while allowing the desired parts of the audio to pass. 54 Chapter 3 Dynamics Processors
Noise Gate Parameters The Noise Gate has the following parameters. • Threshold slider and field: Sets the threshold level. Signals that fall below the threshold will be reduced in level. • Reduction slider and field: Sets the amount of signal reduction. • Attack knob and field: Sets the amount of time it takes to fully open the gate after the signal exceeds the threshold. • Hold knob and field: Sets the amount of time the gate is kept open after the signal falls below the threshold. • Release knob and field: Sets the amount of time it takes to reach maximum attenuation after the signal falls below the threshold. • Hysteresis slider and field: Sets the difference (in decibels) between the threshold values that open and close the gate. This prevents the gate from rapidly opening and closing when the input signal is close to the threshold. • Lookahead slider and field: Sets how far ahead the Noise Gate analyzes the incoming signal, allowing the effect to respond more quickly to peak levels. • Monitor button: Enable to hear the side-chain signal, including the effect of the High Cut and Low Cut filters. • High Cut slider and field: Sets the upper cutoff frequency for the side-chain signal. • Low Cut slider and field: Sets the lower cutoff frequency for the side-chain signal. Note: When no external side chain is selected, the input signal is used as the side chain. Chapter 3 Dynamics Processors 55
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 38 and 39: 38 Chapter 2 Distortion Effects •
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 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
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This can be useful for eliminating
Page 153 and 154:
Specialized Effects and Utilities 1
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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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