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

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64 Chapter 4 Equalizers You can reduce or eliminate unwanted frequencies, and you can raise quieter frequencies to make them more pronounced. You can adjust the center frequencies of bands 2 through 7 to affect a specific frequency—either one you want to emphasize, such as the root note of the music, or one you want to eliminate, such as hum or other noise. While doing so, change the Q parameter(s) so that only a narrow range of frequencies are affected, or widen it to alter a broad area. Each EQ band has a different color in the graphical display. You can graphically adjust the frequency of a band by dragging horizontally. Drag vertically to adjust the amount of gain for the band. For bands 1 and 8, the slope values can be changed only in the parameter area below the graphical display. Each band has a pivot point (a small circle on the curve) at the location of the band’s frequency; you can adjust the Q or width of the band by dragging the pivot point vertically. You can also adjust the decibel scale of the graphical display by vertically dragging either the left or right edge of the display, where the dB scale is shown, when the Analyzer is not active. When the Analyzer is active, dragging the left edge adjusts the linear dB scale and dragging the right edge adjusts the Analyzer dB scale. To increase the resolution of the EQ curve display in the most interesting area around the zero line, drag the dB scale, on the left side of the graphical display, upward. Drag downward to decrease the resolution. Using the Channel EQ Analyzer The Analyzer, when active, makes uses of a mathematical process called a Fast Fourier Transform (FFT) to provide a real-time curve of all frequency components in the incoming signal. This is superimposed over any EQ curves you have set. The Analyzer curve uses the same scale as the EQ curves, making it easy to recognize important frequencies in the incoming audio. This also simplifies the task of setting EQ curves to raise or lower the levels of frequencies/frequency ranges. The bands derived from FFT analysis are divided in a logarithmic scale—there are more bands in higher octaves than in lower ones. As soon as the Analyzer is activated, you can change the scaling with the Analyzer Top parameter, on the right side of the graphical display. The visible area represents a dynamic range of 60 dB. Drag vertically to set the maximum value to anywhere between +20 dB and -40 dB. The Analyzer display is always dB-linear. Note: When choosing a resolution, be aware that higher resolutions require significantly more processing power. High resolution is necessary when trying to obtain accurate analysis of very low bass frequencies, for example. It is recommended that you disable the Analyzer or close the Channel EQ window after setting the desired EQ parameters. This will free up CPU resources for other tasks.
Fat EQ The Fat EQ is a versatile multiband EQ that can be used on individual sources or overall mixes. The Fat EQ provides up to five individual frequency bands, includes a graphical display of the EQ curves, and includes a set of parameters for each band. The Fat EQ offers the following parameters. • Band Type buttons: Located above the graphical display. For bands 1–2 and 4–5, click one of the paired buttons to select the EQ type for the corresponding band. • Band 1: Click the highpass or low shelving button. • Band 2: Click the low shelving or parametric button. • Band 3: Always acts as a parametric EQ band. • Band 4: Click the parametric or high shelving button. • Band 5: Click the high shelving or lowpass button. • Graphical display: Shows the EQ curve of each frequency band. • Frequency fields: Set the frequency for each band. • Gain knobs: Set the amount of gain for each band. • Q/Order fields: Set the Q or bandwidth of each band—the range of frequencies around the center frequency that are altered. At low Q factor values, the EQ covers a wider frequency range. At high Q values, the effect of the EQ band is limited to a narrow frequency range. The Q value can significantly influence how audible your changes are—if you’re working with a narrow frequency band, you’ll generally need to cut or boost more drastically to notice the difference. Chapter 4 Equalizers 65
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Soundtrack Pro 3 Effects Reference
Page 3 and 4:
Preface Chapter 1 Chapter 2 Chapter
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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 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 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
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• In the ring modulator OSC mode,
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Modulating the Ringshifter with the
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• Chorus Int knob: Sets the inten
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Pitch Effects 9 You can use the Pit
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Vocal Transformer Parameters The Vo
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Reverb Effects 10 You can use Rever
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PlatinumVerb The PlatinumVerb allow
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PlatinumVerb Reverb Parameters The
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Space Designer Convolution Reverb S
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Working with Space Designer’s Imp
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Any mono, stereo, AIFF, SDII, or WA
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All envelopes are automatically cal
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Whereas some parameters are envelop
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Using Space Designer’s Density En
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2 Drag the pointer horizontally ove
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Note: Activation of the filter enve
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• Spread and Xover knobs (synthes
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Using Space Designer’s Rev Vol Co
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This can be useful for eliminating
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Specialized Effects and Utilities 1
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Denoiser The Denoiser eliminates or
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Using the Denoiser The following st
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SubBass Parameters The SubBass offe
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Utilities and Tools 13 The tools fo
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Test Oscillator Test Oscillator gen
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