Apple Final Cut Pro - X Logic Effects Reference

Final Cut Pro X
Logic Effects Reference
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Contents

An Introduction to Logic Effects for Final Cut Pro X5Preface
About the Logic Effects included with Final Cut Pro X5 Additional Resources7
Distortion Effects9Chapter 1
Bitcrusher10 Clip Distortion11 Distortion Effect12 Distortion II13 Overdrive13 Phase Distortion14 Ringshifter15
Echo Effects23Chapter 2
Delay Designer23 Modulation Delay42 Stereo Delay44 Tape Delay45
Equalizers47Chapter 3
AutoFilter47 Channel EQ53 Fat EQ56 Linear Phase EQ57
Levels Effects63Chapter 4
Types of Dynamics Processors63 Adaptive Limiter65 Compressor66 Enveloper70 Expander72 Gain Plug-in73 Limiter73 Multichannel Gain75
3
Multipressor75 Noise Gate78 Spectral Gate81 Surround Compressor83
Modulation Effects89Chapter 5
Chorus Effect90 Ensemble Effect90 Flanger Effect92 Phaser Effect93 Scanner Vibrato Effect94 Tremolo Effect96
Spaces Effects97Chapter 6
Plates, Digital Reverb Effects, and Convolution Reverb98 PlatinumVerb99
Space Designer Convolution Reverb103Chapter 7
Getting to Know the Space Designer Interface104 Working with Space Designer’s Impulse Response Parameters105 Working with Space Designer’s Envelope and EQ Parameters109 Working with Space Designer’s Filter115 Working with Space Designer’s Global Parameters117 Automating Space Designer123
Specialized Effects and Utilities125Chapter 8
Correlation Meter125 Denoiser126 Direction Mixer128 Exciter131 MultiMeter132 Stereo Spread137 SubBass138 Test Oscillator140
Vocal Effects143Chapter 9
DeEsser143 Pitch Correction Effect145 Pitch Shifter II148 Vocal Transformer149
4 Contents

An Introduction to Logic Effects for Final Cut Pro X

Final Cut Pro X comes bundled with an extensive range of Logic Effects, digital signal processing (DSP) effects and processors that are used to color or tonally shape existing audio recordings and audio sources—in real time. These will cover almost every audio processing and manipulation need you will encounter in your day-to-day work.
The most common processing options include EQs, levels (dynamic processors), modulations, distortions, spaces (reverbs), and echo (delays).
Further advanced features include precise signal meters and analyzers, noise reduction, bass enhancement, and vocal effects.
As you can see, many of the included processors and utilities don’t really fall into the “effects” category, but they may prove to be invaluable to your audio production needs.
All effects, processors, and utilities provide an intuitive interface that simplifies operation, enabling you to work quickly. Outstanding audio quality is assured when needed, or—at the other end of the spectrum—extreme processing is possible when you need to radically alter your audio. All effects and processors are highly optimized for efficient CPU usage.
Preface
This preface covers the following:
About the Logic Effects included with Final Cut Pro X (p. 5)
Additional Resources (p. 7)

About the Logic Effects included with Final Cut Pro X

The Logic Effects included in Final Cut Pro X are also designed for specific uses. Given these unique properties and uses, each application provides a custom collection of suitable effects and utilities.
Included effectsEffect category
BitcrusherDistortion
Clip Distortion
Distortion Effect
Distortion II
5
Included effectsEffect category
Overdrive
Phase Distortion
Ringshifter
Delay DesignerEcho
Modulation Delay
Stereo Delay
Tape Delay
AutoFilterEQ
Channel EQ
Fat EQ
Linear Phase EQ
Adaptive LimiterLevels
Compressor
Enveloper
Expander
Gain Plug-in
Limiter
Multichannel Gain
Multipressor
Noise Gate
Spectral Gate
Surround Compressor
Chorus EffectModulation
Ensemble Effect
Flanger Effect
Phaser Effect
Scanner Vibrato Effect
Tremolo Effect
PlatinumVerbSpaces
Space Designer Convolution Reverb
Correlation MeterSpecialized
Denoiser
Direction Mixer
Exciter
6 Preface An Introduction to Logic Effects for Final Cut Pro X
Included effectsEffect category
MultiMeter
Stereo Spread
SubBass
Test Oscillator
DeEsserVocal
Pitch Correction Effect
Pitch Shifter II
Vocal Transformer

Additional Resources

In addition to the documentation that comes with Final Cut Pro, there are a variety of other resources you can use to find out more.
Final Cut Pro Website
For general information and updates, as well as the latest news on Final Cut Pro, go to:
http://www.apple.com/finalcutpro
Apple Service and Support Websites
For software updates and answers to the most frequently asked questions for all Apple products, go to the general Apple Support webpage. You’ll also have access to product specifications, reference documentation, and technical articles about Apple products and products from other companies.
http://www.apple.com/support
For software updates, documentation, discussion forums, and answers to the most frequently asked questions for Final Cut Pro, go to:
http://www.apple.com/support/finalcutpro
7Preface An Introduction to Logic Effects for Final Cut Pro X

Distortion Effects

1
You can use Distortion effects to recreate the sound of analog or digital distortion and to radically transform your audio.
Distortion effects simulate the distortion created by vacuum tubes, transistors, or digital circuits. Vacuum tubes were used in audio amplifiers before the development of digital audio technology, and they are still used in musical instrument amplifiers today. When overdriven, they produce a type of distortion that many people find musically pleasing, and which has become a familiar part of the sound of rock and pop music. Analog tube distortion adds a distinctive warmth and bite to the signal.
There are also distortion effects that intentionally cause clipping and digital distortion of the signal. These can be used to modify vocal, music, and other clips to produce an intense, unnatural effect, or to create sound effects.
Distortion effects include parameters for tone, which let you shape the way the distortion alters the signal (often as a frequency-based filter), and for gain, which let you control how much the distortion alters the output level of the signal.
Warning: When set to high output levels, distortion effects can damage your
hearing—and your speakers. When you adjust effect settings, it is recommended that you lower the output level of the clip, and raise the level gradually when you are finished.
This chapter covers the following:
Bitcrusher (p. 10)
Clip Distortion (p. 11)
Distortion Effect (p. 12)
Distortion II (p. 13)
Overdrive (p. 13)
Phase Distortion (p. 14)
Ringshifter (p. 15)
9

Bitcrusher

Bitcrusher is a low-resolution digital distortion effect. You can use it to emulate the sound of early digital audio devices, to create artificial aliasing by dividing the sample rate, or to distort signals until they are unrecognizable.
Drive slider and field: Sets the amount of gain in decibels applied to the input signal.
Note: Raising the Drive level tends to increase the amount of clipping at the output of the Bitcrusher as well.
Resolution slider and field: Sets the bit rate (between 1 and 24 bits). This alters the calculation precision of the process. Lowering the value increases the number of sampling errors, generating more distortion. At extremely low bit rates, the amount of distortion can be greater than the level of the usable signal.
Waveform display: Shows the impact of parameters on the distortion process.
Downsampling sliderand field: Reduces the sample rate. A value of 1 x leaves the signal unchanged, a value of 2 x halves the sample rate, and a value of 10 x reduces the sample rate to one-tenth of the original signal. (For example, if you set Downsampling to 10 x , a 44.1 kHz signal is sampled at just 4.41 kHz.)
Note: Downsampling has no impact on the playback speed or pitch of the signal.
Mode buttons: Set the distortion mode to Folded, Cut, or Displaced. Signal peaks that exceed the clip level are processed.
Note: The Clip Level parameter has a significant impact on the behavior of all three modes. This is reflected in the Waveform display, so try each mode button and adjust the Clip Level slider to get a feel for how this works.
Folded: The start and end levels of the clipped signal are unchanged, but the center
portion is effectively folded in half (halved in thelevel above the threshold), resulting in a softer distortion.
Cut: The signal is abruptly distorted when the clipping threshold is exceeded. Clipping
that occurs in most digital systems is closest to Cut mode.
10 Chapter 1 Distortion Effects
Displaced: The start, center, and end levels of the signal (above the threshold) are
offset, resulting in a distortion which is less severe as signal levels cross the threshold. The center portion of the clipped signal is also softer than in Cut mode.
Clip Level slider and field: Sets the point (below the clipping threshold of the clip) at which the signal starts clipping.
Mix slider and field (Extended Parameters area): Sets the balance between dry (original) and wet (effect) signals.

Clip Distortion

Clip Distortion is a nonlinear distortion effect that produces unpredictable spectra. It can simulate warm, overdriven tube sounds and can also generate drastic distortions.
Clip Distortion features an unusual combination of serially connected filters. The incoming signal is amplified by the Drive value, passes through a highpass filter, and is then subjected to nonlinear distortion. Following the distortion, the signal passes through a lowpass filter. The effect signal is then recombined with the original signal and this mixed signal is sent through a further lowpass filter. All three filters have a slope of 6 dB/octave.
This unique combinationof filters allows for gaps inthe frequency spectra that can sound quite good with this sort of nonlinear distortion.
Drive slider and field: Sets the amount of gain applied to the input signal. After being amplified by the Drive value, the signal passes through a highpass filter.
Tone slider and field: Sets the cutoff frequency (in Hertz) of the highpass filter.
Clip Circuit display: Shows the impact of all parameters, with the exception of the High Shelving filter parameters.
Symmetry sliderand field: Sets the amount of nonlinear (asymmetrical) distortion applied to the signal.
Clip Filter slider and field: Sets the cutoff frequency (in Hertz) of the first lowpass filter.
11Chapter 1 Distortion Effects
Mix slider and field: Sets the ratio between the effect (wet) signal and original (dry) signals, following the Clip Filter.
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 stereo hi-fi amplifier. Unlike these types of treble controls, however, you can boost or cut the signal by up to ±30 dB with the Gain parameter.
(High Shelving)Gain knob andfield: Sets the amount of gain applied to the output signal.
Input Gain field and slider (Extended Parameters area): Sets the amount of gain applied to the input signal.
Output Gainfield and slider(Extended Parameters area): 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.
Toneknob and field: Sets the frequency for the high cut filter. Filtering the harmonically rich distorted signal produces a softer tone.
Output sliderand field: Sets the output level. This allows you to compensatefor increases in loudness caused by adding distortion.
12 Chapter 1 Distortion Effects

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.
13Chapter 1 Distortion Effects
Display: Shows the impact of parameters on the signal.
Toneknob and field: Sets the frequency for the high cut filter. Filtering the harmonically rich distorted signal produces a softer tone.
Output sliderand field: Sets the output level. This allows you to compensatefor increases in loudness caused by using Overdrive.

Phase Distortion

The Phase Distortion effect is based on a modulated delay line, similar to a chorus or flanger effect (see Modulation Effects). Unlike these effects, however, the delay time is not modulated by a low frequency oscillator (LFO), but rather by a lowpass-filtered version of the input signal itself, using an internal sidechain. This means that the incoming signal modulates its own phase position.
The input signal only passes the delay line and is not affected by any other process. The Mix parameter blends the effect signal with the original signal.
Monitor button: Enable to hear the input signal in isolation. Disable to hear the mixed signal.
Cutoff knob and field: Sets the (center) cutoff frequency of the lowpass filter.
Resonance knob and field: Emphasizes frequencies surrounding the cutoff frequency.
Display: Shows the impact of parameters on the signal.
Mix slider and field: Adjusts the percentage of the effect signal mixed with the original signal.
Max Modulation slider and field: Sets the maximum delay time.
Intensity slider and field: Sets the amount of modulation applied to the signal.
14 Chapter 1 Distortion Effects
Phase Reverse checkbox (Extended Parametersarea): Enable to reduce the delay time on the right channel when input signals that exceed the cutoff frequency are received. Available only for stereo instances of the Phase Distortion effect.

Ringshifter

The Ringshifter effect combines a ring modulator with a frequency shifter effect. Both effects were popular during the 1970s, and are currently experiencing something of a renaissance.
The ring modulator modulates the amplitude of the input signal using either the internal oscillator or a side-chain signal. The frequency spectrum of the resulting effect signal equals the sum and difference of the frequency content in the two original signals. Its sound is often described as metallic or clangorous. Thering modulator was used extensively on jazz rock and fusion records in the early 1970s.
The frequency shifter moves the frequency content of the input signal by a fixed amount and, in doing so, alters the frequency relationship of the original harmonics. The resulting sounds range from sweet and spacious phasing effects to strange robotic timbres.
Note: Frequency shifting should not be confused with pitch shifting. Pitch shifting transposes the original signal, leaving its harmonic frequency relationship intact.
15Chapter 1 Distortion Effects

Getting to Know the Ringshifter Interface

Output parametersDelay parameters Mode buttons
LFO parametersEnvelope follower
parameters
Oscillator parameters
The Ringshifter interface consists of six main sections.
Mode buttons: Determine whether the Ringshifter operates as frequency shifter or ring modulator. See Setting the Ringshifter Mode.
Oscillator parameters: Use these to configure the internal sine wave oscillator, which modulates the amplitude of the input signal—in both frequency shifter modes and the ring modulator OSC mode. See Using the Ringshifter’s Oscillator.
Delay parameters: Use these to delay the effect signal. See Using the Ringshifter’s Delay.
Envelope follower parameters: The oscillator frequency and output signal can be modulated with an envelope follower. See Modulating theRingshifter with the Envelope
Follower.
LFO parameters: The oscillator frequency and output signal can be modulated with an LFO. See Modulating the Ringshifter with the LFO.
Output parameters: The output section of the Ringshifter includes a feedback loop and controls to set the stereo width and amount of the dry and wet signals. See Controlling
the Ringshifter Output Parameters.
16 Chapter 1 Distortion Effects

Setting the Ringshifter Mode

The four mode buttons determine whether the Ringshifter operates as a frequency shifter or as a ring modulator.
Single (Frequency Shifter) button: The frequency shifter generates a single, shifted effect signal. The oscillator Frequency control determines whether the signal is shifted up (positive value) or down (negative value).
Dual (Frequency Shifter) button: The frequency shifting process produces one shifted effect signal for each stereo channel—one is shifted up, the other is shifted down. The oscillator Frequency control determines the shift direction in the left versus the right channel.
OSC (Ring Modulator) button: The ring modulator uses the internal sine wave oscillator to modulate the input signal.
Side Chain (Ring Modulator) button: The ring modulator modulates the amplitude of the input signal with the audio signal assigned via the side-chain input. The sine wave oscillator is switched off, and the Frequency controls are not accessible when Side Chain mode is active.

Using the Ringshifter’s Oscillator

In both frequency shifter modes and the ring modulator OSC mode, the internal sine wave oscillator is used to modulate the amplitude of the input signal.
• In the frequency shifter modes, the Frequency parameter controls the amount of frequency shifting (up and/or down) applied to the input signal.
17Chapter 1 Distortion Effects
• In the ring modulator OSC mode, the Frequency parameter controls the frequency content (timbre) of the resulting effect. This timbre can range from subtle tremolo effects to clangorous metallic sounds.
Frequency control: Sets the frequency of the sine oscillator.
Lin(ear) and Exp(onential) buttons: Switch the scaling of the Frequency control:
Exp(onential): Exponential scaling offers extremely small increments around the
0 point, which is useful for programming slow-moving phasing and tremolo effects.
Lin(ear): Linear scaling resolution is even across the entire control range.
Env Follow slider and field: Determines the impact of incoming signal levels on the oscillator modulation depth.
LFO slider and field: Determines the amount of oscillator modulation by the LFO.

Using the Ringshifter’s Delay

The effect signal is routed through a delay, following the oscillator.
Time knob and field: Sets the delay time. This is in Hz when running freely, or in note values (including triplet and dotted notes) when the Sync button is active.
18 Chapter 1 Distortion Effects
Sync button: Synchronizes the delay to the project tempo. You can choose musical note values with the Time knob.
Level knob and field: Sets the level of the delay added to the ring-modulated or frequency-shifted signal. A Level value of 0 passes the effect signal directly to the output (bypass).

Modulating the Ringshifter with the Envelope Follower

The oscillator Frequency and Dry/Wet parameters can be modulated with the internal envelope follower—and the LFO (see Modulating the Ringshifter with the LFO). The oscillator frequency even allows modulation through the 0 Hz point, thus changing the oscillation direction.
The envelope follower analyzes the amplitude (volume) of the input signal and uses this to create a continuously changing control signal—a dynamic volume envelope of the input signal. This control signal can be used for modulation purposes.
Power button: Turns the envelope follower on or off and enables the following parameters.
Sens(itivity) slider and field: Determines how responsive the envelope follower is to the input signal. At lower settings, the envelope follower reacts only to the most dominant signal peaks. At higher settings, the envelope follower tracks the signal more closely, but may react less dynamically.
Attack slider and field: Sets the response time of the envelope follower.
Decay slider and field: Controls the time it takes the envelope follower to return from a higher to a lower value.
19Chapter 1 Distortion Effects

Modulating the Ringshifter with the LFO

The oscillator Frequency and Dry/Wet parameters can be modulated with the LFO—and the envelope follower (see Modulating the Ringshifter with the Envelope Follower). The oscillator frequency even allows modulation through the 0 Hz point, thus changing the oscillation direction. The LFO produces continuous, cycled control signals.
Power button: Turns the LFO on or off and enables the following parameters.
Symmetry and Smooth slidersand fields: These controls, on either side of the Waveform display, change the shape of the LFO waveform.
Waveform display: The LFO waveform display provides visual feedback about the waveform shape.
Rate knob and field: Sets the (waveform cycle) speed of the LFO.
Sync button: Synchronizes the LFO cycles (LFO rate) with the project tempo, using musical note values.

Controlling the Ringshifter Output Parameters

The output parameters are used to set the balance between the effect and input signals and also to set the width and feedback of the Ringshifter.
Dry/Wet knob and field: Sets the mix ratio of the dry input signal and the wet effect signal.
20 Chapter 1 Distortion Effects
Feedback knob and field: Sets the amount of the signal that is routed back to the effect input. Feedback adds an edge to the Ringshifter sound and is useful for a variety of special effects. It produces a rich phasing sound when used in combination with a slow oscillator sweep. Comb filtering effects are created by using high Feedback settings with a short delay time (less than 10 ms). Use of longer delay times, in conjunction with high Feedback settings, creates continuously rising and falling frequency shift effects.
Stereo Width knob and field: Determines the breadth of the effect signal in the stereo field. Stereo Width affects only the effect signal of the Ringshifter, not the dry input signal.
Env Follower sliderand field: Determines the amount of Dry/Wet parameter modulation by the input signal level.
LFO slider and field: Sets the LFO modulation depth of the Dry/Wet parameter.
21Chapter 1 Distortion Effects

Echo Effects

2
Echo effects store the input signal—and hold it for a short time—before sending it to the effect input or output.
The held, and delayed, signal is repeated after a given time period, creating a repeating echo effect, or delay. Each subsequent repeat is a little quieter than the previous one. Most delays also allow you to feed a percentage of the delayed signal back to the input. This can result in a subtle, chorus-like effect or cascading, chaotic audio output.
The delay time can often be synchronized to the project tempo by matching the grid resolution of the project, usually in note values or milliseconds.
You can use delays to double individual sounds to resemble a group of instruments playing the same melody, to create echo effects, to place the sound in a large “space,” to generate rhythmic effects, or to enhance the stereo position of an audio clip.
Echo effects are generally used as individual audio clip effects. They are rarely used on an overall mix, unless you’re trying to achieve an unusual effect.
This chapter covers the following:
Delay Designer (p. 23)
Modulation Delay (p. 42)
Stereo Delay (p. 44)
Tape Delay (p. 45)

Delay Designer

Delay Designer is a multitap delay. Unlike traditional delay units that offer only one or two delays (or taps) that may or may not be fed back into the circuit, Delay Designer provides up to 26 individual taps. These taps are all fed from the source signal and can be freely edited to create delay effects that have never been heard before.
Delay Designer provides control over the following aspects of each tap:
• Level and pan position
23
• Highpass and lowpass filtering
Sync section
Tap parameter barTap pads
Master section
Main display
• Pitch transposition (up or down)
Further effect-wide parameters include synchronization, quantization, and feedback.
As the name implies, Delay Designer offers significant sound design potential. You can use it for everything from a basic echo effect to an audio pattern sequencer. You can create complex, evolving, moving rhythms by synchronizing the placement of taps. This leads to further musical possibilities when coupled with judicious use of transposition and filtering. Alternatively, you can set up numerous taps as repeats of other taps, much as you would use the feedback control of a simple delay, but with individual control over each repeat.
You can use Delay Designer with mono, stereo, or surround clips. See Working with
Delay Designer in Surround for details on using it in surround.

Getting to Know the Delay Designer Interface

The Delay Designer interface consists of five main sections:
Main display: Provides a graphic representation of all taps. You can see, and edit, the parameters of each tap in this area. See Getting to Know Delay Designer’s Main Display.
Tapparameter bar: Offers a numeric overview of the current parameter settings for the selected tap. You can view and edit the parameters of each tap in this area. See Editing
Taps in Delay Designer’s Tap Parameter Bar.
Tap pads: You can use these two pads to create taps in Delay Designer. See Creating
Taps in Delay Designer.
24 Chapter 2 Echo Effects
Sync section: This is used for syncing tempo in Logic Pro and is disabled for use with
View buttonsToggle buttons Autozoom button
Overview display
Tap display
Identification bar
Final Cut Pro.
Master section: This area contains the global Mix and Feedback parameters. See Using
Delay Designer’s Master Section.

Getting to Know Delay Designer’s Main Display

Delay Designer’s main display is used to view and edit tap parameters. You can freely determine the parameter shown, and quickly zoom or navigate through all taps.
View buttons: Determine the parameter or parameters represented in the Tap display. See Using Delay Designer’s View Buttons.
Autozoom button: Zooms the Tap display out, making all taps visible. Turn Autozoom off if you want to zoom the display in (by dragging vertically on the Overview display) to view specific taps.
Overview display: Shows all taps in the time range. See Zooming and Navigating
Delay Designer’s Tap Display.
Toggle buttons: Click to enable or disable the parameters of a particular tap. The parameter being toggled is chosen with the view buttons. The label at the left of the toggle bar always indicates the parameter being toggled. For more information, see
Using Delay Designer’s Tap Toggle Buttons.
25Chapter 2 Echo Effects
Tap display: Represents each tap as a shaded line. Each tap contains a bright bar (or dot for stereo panning) that indicates the value of the parameter. You can directly edit tap parameters in the Tap display area. For more details, see Editing Parameters in
Delay Designer’s Tap Display.
Identification bar: Shows an identification letter for each tap. It also serves as a time position indicator for each tap. You may freely move taps backward or forward in time along this bar/timeline. See Moving and Deleting Taps in Delay Designer.

Using Delay Designer’s View Buttons

The view buttons determine which parameter is represented in Delay Designer’s Tap display.
Cutoff button: Shows the highpass and lowpass filter cutoff frequencies of taps.
Reso(nance) button: Shows the filter resonance value of each tap.
Transp(ose) button: Shows the pitch transposition of each tap.
Pan button: Shows the pan parameter of each tap.
• For mono to stereo channels, each tap contains a line showing its pan position.
• For stereo to stereo channels, each tap contains a dot showing its stereo balance. A
line extending outwards from the dot indicates the tap’s stereo spread.
• For surround channels, each tap contains a line representing its surround angle (for
details, see Working with Delay Designer in Surround).
Level button: Shows the relative volume level of each tap.
Tip: You can temporarily switch the Tap display to Level view from one of the other view modes by pressing Command-Option.
26 Chapter 2 Echo Effects

Zooming and Navigating Delay Designer’s Tap Display

Overview display
You can use Delay Designer’s Overview display to zoom and to navigate the Tap display area.
Tip: If the Overview display is hidden behind a tap, you can move it to the foreground by holding down Shift.
To zoom the Tap display
Do one of the following:
Vertically drag the highlighted section (the bright rectangle) of the Overview display.
µ
Horizontally drag the highlighted bars—to the left or right of the bright rectangle—in
µ
the Overview display.
Note: The Autozoom button needs to be disabled when manually zooming with the Overview display. When you zoom in on a small group of taps, the Overview display continues to show all taps. The area shown in the Tap display is indicated by the bright rectangle in the Overview display.
27Chapter 2 Echo Effects
To move to different sections of the Tap display
Horizontally drag the (middle of the) bright rectangle in the Overview display.
µ
The zoomed view in the Tap display updates as you drag.

Creating Taps in Delay Designer

You can create new delay taps in three different ways: by using the Tap pads, by creating them in the Identification bar, or by copying existing taps.
To create taps with the Tap pad
1 Click the upper pad (Start).
Note: Whenever you click the Start pad, it automatically erases all existing taps. Given this behavior, after you have created your initial taps, you will want to create subsequent taps by clicking in the Identification bar.
The upper pad label changes to Tap, and a red tap recording bar appears in the strip below the view buttons.
2 Click the Tap button to begin recording new taps.
3 Click the Tap button to create new taps. These are created at the exact moments in time
of each click, adopting the rhythm of your click pattern.
4 To finish creating taps, click the Last Tap button.
This adds the final tap, ending tap recording, and assigning the last tap as the feedback tap (for an explanation of the feedback tap, see Using Delay Designer’s Master Section).
Note: If you do not click the Last Tap button, tap recording automatically stops after 10 seconds or when the 26th tap is created, whichever comes first.
28 Chapter 2 Echo Effects
To create taps in the Identification bar
Click at the appropriate position.
µ
To copy taps in the Identification bar
Option-drag a selection of one or more taps to the appropriate position.
µ
The delay time of copied taps is set to the drag position.
Delay Designer Tap Creation Suggestions
The fastest way to create multiple taps is to use the Tap pads. If you have a specific rhythm in mind, you might find it easier to tap out your rhythm on dedicated hardware controller buttons, instead of using mouse clicks. If you have a MIDI controller, you can assign the Tap pads to buttons on your device. For information about assigning controllers, see the Control Surfaces Support manual.
Note: Whenever you click the Start Tap pad, it automatically erases all existing taps. Given this behavior, after you create your initial taps you will want to create subsequent taps by clicking in the Identification bar.
After a tap has been created, you can freely adjust its position, or you can remove it if it was created accidentally. For details, see Moving and Deleting Taps in Delay Designer.
Identifying Taps in Delay Designer
Taps are assigned letters, based on their order of creation. The first tap to be created is assigned as Tap A, the second tap is assigned as Tap B, and so on. Once assigned, each tap is always identified by the same letter, even when moved in time, and therefore reordered. For example, if you initially create three taps they will be named Tap A, Tap B, and Tap C. If you then change the delay time of Tap B so that it precedes Tap A, it will still be called Tap B.
29Chapter 2 Echo Effects
The Identification bar shows the letter of each visible tap. The Tap Delay field of the Tap parameter bar displays the letter of the currently selected tap, or the letter of the tap being edited when multiple taps are selected (for details, see Selecting Taps in
Delay Designer).

Selecting Taps in Delay Designer

There will always be at least one selected tap. You can easily distinguish selected taps by color—the toggle bar icons and the Identification bar letters of selected taps are white.
To select a tap
Do one of the following:
Click a tap in the Tap display.
µ
Click the appropriate tap letter in the Identification bar.
µ
Click one of the arrows to the left of the Tap name to select the next or previous tap.
µ
30 Chapter 2 Echo Effects
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