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

More documents

Recommendations

Info

80 Chapter 5 Filter Effects • Beat Sync button: Activate to synchronize the LFO to the host application tempo. You can choose from bar values, triplet values, and more. These are determined by the Rate knob. • Phase knob: Shifts the phase relationship between the LFO rate and the host application tempo—when Beat Sync is active. • Decay/Delay knob and field: Sets the amount of time it takes for the LFO to go from 0 to its maximum value. • Rate Mod. knob and field: Sets the rate of modulation for the LFO frequency, independent of the input signal level. Typically, when the input signal exceeds the threshold, the modulation width of the LFO increases from 0 to the Rate Mod. value. This parameter allows you to override this behavior. • Stereo Phase knob and field: In stereo instances of the AutoFilter, sets the phase relationship of the LFO modulations between the two channels. • Cutoff Mod. slider and field: Determines the impact of the LFO on the cutoff frequency. • Retrigger button: When the Retrigger button is active, the waveform starts at 0 each time the threshold is exceeded. • Waveform buttons: You click one of the following buttons to set the shape of the LFO waveform: descending sawtooth, ascending sawtooth, triangle, pulse wave, or random. • Pulse Width slider and field: Shapes the curve of the selected waveform. AutoFilter Filter Parameters The Filter parameters allow you to precisely tailor the tonal color. • Cutoff knob: Sets the cutoff frequency for the filter. Higher frequencies are attenuated, whereas lower frequencies are allowed to pass through in a lowpass filter. The reverse is true in a highpass filter. When the State Variable Filter is set to bandpass (BP) mode, the filter cutoff determines the center frequency of the frequency band that is allowed to pass.
• Resonance knob: Boosts or cuts the signals in the frequency band that surrounds the cutoff frequency. Use of very high Resonance values causes the filter to begin oscillating at the cutoff frequency. This self-oscillation occurs before you reach the maximum Resonance value. • Fatness slider and field: Boosts the level of low frequency content. When you set Fatness to its maximum value, adjusting Resonance has no effect on frequencies below the cutoff frequency. This parameter is used to compensate for a weak or “brittle” sound caused by high resonance values, when in the lowpass filter mode. • State Variable Filter buttons: Switch the filter between highpass (HP), bandpass (BP), or lowpass (LP) modes. • 4-Pole Lowpass Filter buttons: Set the slope of the filter to 6, 12, 18, or 24 dB per octave—when the lowpass (LP) filter is chosen as the State Variable Filter. AutoFilter Distortion Parameters The Distortion parameters can be used to overdrive the filter input or filter output. The distortion input and output modules are identical, but their respective positions in the signal chain—before and after the filter, respectively—result in remarkably different sounds. • Input knob: Sets the amount of distortion applied before the filter section. • Output knob: Sets the amount of distortion applied after the filter section. Chapter 5 Filter Effects 81
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 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 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
show all

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

Create successful ePaper yourself

Delete template?

Save as template?