Pinnacle Systems Pro Tools - 11.0 User's Guide
Audio Plug-Ins Guide
Version 11.0
Legal Notices
© 2013 Avid Technology, Inc., (“Avid”), all rights reserved. This
guide may not be duplicated in whole or in part without the
written consent of Avid.
003, 192 Digital I/O, 192 I/O, 96 I/O, 96i I/O, Adrenaline,
AirSpeed, ALEX, Alienbrain, AME, AniMatte, Archive,
Archive II, Assistant Station, AudioPages, AudioStation,
AutoLoop, AutoSync, Avid, Avid Active, Avid Advanced
Response, Avid DNA, Avid DNxcel, Avid DNxHD, Avid DS
Assist Station, Avid Ignite, Avid Liquid, Avid Media Engine,
Avid Media Processor, Avid MEDIArray, Avid Mojo,
Avid Remote Response, Avid Unity, Avid Unity ISIS,
Avid VideoRAID, AvidRAID, AvidShare, AVIDstripe, AVX,
Beat Detective, Beauty Without The Bandwidth,
Beyond Reality, BF Essentials, Bomb Factory, Bruno, C|24,
CaptureManager, ChromaCurve, ChromaWheel,
Cineractive Engine, Cineractive Player, Cineractive Viewer,
Color Conductor, Command|8, Control|24, Cosmonaut Voice,
CountDown, d2, d3, DAE, D-Command, D-Control, Deko,
DekoCast, D-Fi, D-fx, Digi 002, Digi 003, DigiBase,
Digidesign, Digidesign Audio Engine, Digidesign
Development Partners, Digidesign Intelligent Noise Reduction,
Digidesign TDM Bus, DigiLink, DigiMeter, DigiPanner,
DigiProNet, DigiRack, DigiSerial, DigiSnake, DigiSystem,
Digital Choreography, Digital Nonlinear Accelerator, DigiTest,
DigiTranslator, DigiWear, DINR, DNxchange, Do More,
DPP-1, D-Show, DSP Manager, DS-StorageCalc, DV Toolkit,
DVD Complete, D-Verb, Eleven, EM, Euphonix, EUCON,
EveryPhase, Expander, ExpertRender, Fairchild, FastBreak,
Fast Track, Film Cutter, FilmScribe, Flexevent, FluidMotion,
Frame Chase, FXDeko, HD Core, HD Process, HDpack,
Home-to-Hollywood, HyperSPACE, HyperSPACE HDCAM,
iKnowledge, Impact, Improv, iNEWS, iNEWS Assign, iNEWS
ControlAir, InGame, Instantwrite, Instinct,
Intelligent Content Management,
Intelligent Digital Actor Technology, IntelliRender, Intelli-Sat,
Intelli-Sat Broadcasting Recording Manager, InterFX,
Interplay, inTONE, Intraframe, iS Expander, iS9, iS18, iS23,
iS36, ISIS, IsoSync, LaunchPad, LeaderPlus, LFX, Lightning,
Link & Sync, ListSync, LKT-200, Lo-Fi, MachineControl,
Magic Mask, Make Anything Hollywood,
make manage move|media, Marquee, MassivePack,
MassivePack Pro, Maxim, Mbox, Media Composer,
MediaFlow, MediaLog, MediaMix, Media Reader,
Media Recorder, MEDIArray, MediaServer, MediaShare,
MetaFuze, MetaSync, MIDI I/O, Mix Rack, Moviestar,
MultiShell, NaturalMatch, NewsCutter, NewsView,
NewsVision, Nitris, NL3D, NLP, NSDOS, NSWIN, OMF,
OMF Interchange, OMM, OnDVD, Open Media Framework,
Open Media Management, Painterly Effects, Palladiium,
Personal Q, PET, Podcast Factory, PowerSwap, PRE,
ProControl, ProEncode, Profiler, Pro Tools, Pro Tools|HD,
Pro Tools LE, Pro Tools M-Powered, Pro Transfer,
QuickPunch, QuietDrive, Realtime Motion Synthesis, Recti-Fi,
Reel Tape Delay, Reel Tape Flanger, Reel Tape Saturation,
Reprise, Res Rocket Surfer, Reso, RetroLoop, Reverb One,
ReVibe, Revolution, rS9, rS18, RTAS, Salesview, Sci-Fi,
Scorch, ScriptSync, SecureProductionEnvironment,
Shape-to-Shape, ShuttleCase, Sibelius, SimulPlay,
SimulRecord, Slightly Rude Compressor, Smack!,
Soft SampleCell, Soft-Clip Limiter, SoundReplacer, SPACE,
SPACEShift, SpectraGraph, SpectraMatte, SteadyGlide,
Streamfactory, Streamgenie, StreamRAID, SubCap,
Sundance, Sundance Digital, SurroundScope, Symphony,
SYNC HD, SYNC I/O, Synchronic, SynchroScope, Syntax,
TDM FlexCable, TechFlix, Tel-Ray, Thunder, TimeLiner,
Titansync, Titan, TL Aggro, TL AutoPan, TL Drum Rehab,
TL Everyphase, TL Fauxlder, TL In Tune, TL MasterMeter,
TL Metro, TL Space, TL Utilities, tools for storytellers, Transit,
TransJammer, Trillium Lane Labs, TruTouch, UnityRAID,
Vari-Fi, Video the Web Way, VideoRAID, VideoSPACE,
VTEM, Work-N-Play, Xdeck, X-Form, and XMON are either
registered trademarks or trademarks of Avid Technology, Inc.
in the United States and/or other countries.
Bonjour, the Bonjour logo, and the Bonjour symbol are
trademarks of Apple Computer, Inc.
Thunderbolt and the Thunderbolt logo are trademarks of Intel
Corporation in the U.S. and/or other countries.
This product may be protected by one or more U.S. and nonU.S. patents. Details are available at www.avid.com/patents.
Product features, specifications, system requirements, and
availability are subject to change without notice.
Guide Part Number 9329-65293-00 REV A 05/13
Contents
Part I Introduction to Pro Tools Plug-Ins
Chapter 1. Audio Plug-Ins Overview. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
Plug-In Formats . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
Avid Audio Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
Using Plug-Ins in Pro Tools. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Conventions Used in Pro Tools Documentation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
System Requirements and Compatibility for Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
About www.avid.com . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
Chapter 2. Installing and Authorizing Avid Paid Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Authorizing Avid Audio Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Installing Plug-Ins for Pro Tools. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
Removing Plug-Ins. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
Chapter 3. Adjusting Plug-In Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
Dragging Plug-In Controls. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
Editing Control Values . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
Dragging in Graphic Displays . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
Adjusting Controls with Fine Resolution. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
Resetting Controls to Default Values. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
Part II EQ Plug-Ins
Chapter 4. EQ III . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
EQ III Configurations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
Adjusting EQ III Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
EQ III I/O Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
EQ III EQ Band Controls. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
1-Band EQ III. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
7-Band EQ III. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
Audio Plug-Ins Guide iii
Chapter 5. Focusrite D2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
D2 Configurations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
D2 Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
Using D2 in Stereo. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
Chapter 6. JOEMEEK VC5 Meequalizer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
JOEMEEK Meequalizer Controls. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
Chapter 7. Pultec Plug-Ins. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
Pultec EQP-1A. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
Pultec EQH-2. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
Pultec MEQ-5 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
Pultec Tips and Tricks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
Part III Dynamics Plug-Ins
Chapter 8. BF-2A . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36
BF-2A Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37
Using the BF-2A Side-Chain Filter. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37
BF-2A Tips and Tricks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38
Chapter 9. BF-3A . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39
BF-3A Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39
BF-3A Tips and Tricks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
Chapter 10. BF76 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
BF76 Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
BF76 Tips and Tricks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42
Chapter 11. Channel Strip . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43
Channel Strip Sections and Panes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44
Channel Strip Input Section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46
Channel Strip Output Section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47
Channel Strip FX Chain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48
Channel Strip Dynamics Section. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48
Channel Strip EQ/Filters Section. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54
Contents iv
Chapter 12. Dynamics III . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58
Dynamics III Common Controls. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58
Compressor/Limiter III . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61
Expander/Gate III. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64
De-Esser III . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67
Dynamics III Side-Chain Input. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69
Chapter 13. Fairchild Plug-Ins. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74
Fairchild 660 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74
Fairchild 670 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76
Chapter 14. Focusrite D3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77
D3 Compressor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77
D3 Limiter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78
D3 Side-Chain Processing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78
Using D3 in Stereo. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78
D3 Common Controls. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79
D3 Compressor Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80
D3 Limiter Controls. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82
Using the Side-Chain Input in D3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83
Chapter 15. Impact . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84
Impact Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84
Using the Impact Compressor. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86
Chapter 16. JOEMEEK SC2 Compressor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88
JOEMEEK Compressor Controls. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88
JOEMEEK Compressor Tips and Tricks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89
Chapter 17. Maxim . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90
About Peak Limiting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90
How Maxim Differs From Conventional Limiters. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91
Maxim Controls and Meters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92
Using Maxim . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94
Maxim and Mastering. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95
Contents v
Chapter 18. Pro Compressor. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96
Pro Compressor Metering. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96
Pro Compressor Input Section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97
Pro Compressor Output Section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98
Pro Compressor Dynamics Graph. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99
Pro Compressor Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101
Pro Compressor Side-Chain Processing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103
Chapter 19. Pro Expander . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106
Pro Expander Metering. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106
Pro Expander Input Section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107
Pro Expander Output Section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108
Pro Expander Dynamics Graph. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108
Pro Expander Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111
Pro Expander Side-Chain Processing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113
Chapter 20. Pro Limiter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116
Pro Limiter Metering. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117
Pro Limiter Input Section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117
Pro Limiter Output Section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119
Pro Limiter Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119
Pro Limiter Loudness Numeric Displays . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121
Pro Limiter Histogram and Loudness Meters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121
AudioSuite Processing with Pro Limiter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122
AudioSuite Processing with Pro Limiter Loudness Analyzer . . . . . . . . . . . . . . . . . . . . . . . 123
Chapter 21. Purple Audio MC77 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124
Purple Audio MC77 Controls. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124
Chapter 22. Smack! . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125
Smack! Controls and Meters. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 126
Using the Smack! Side-Chain Input. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129
Contents vi
Part IV Pitch and Time Shift Plug-Ins
Chapter 23. Time Shift . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 132
Time Shift Controls. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 132
AudioSuite Input Modes and Time Shift. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137
AudioSuite Preview and Time Shift . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137
Time Shift as AudioSuite TCE Plug-In Preference . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137
Processing Audio Using Time Shift . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137
Post Production Pull Up and Pull Down Tasks with Time Shift . . . . . . . . . . . . . . . . . . . . . 139
Chapter 24. Vari-Fi . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 140
Vari-Fi Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 140
Part V Reverb Plug-Ins
Chapter 25. D-Verb . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143
D-Verb Controls. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143
Selections for D-Verb AudioSuite Processing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145
Chapter 26. Reverb One. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146
About Reverb. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 147
Reverb One Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 148
Reverb One Graphs. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 152
Other Reverb One Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 154
Chapter 27. ReVibe II . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 155
Using ReVibe II . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 155
Dragging in the Graphic Display to Adjust Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 156
ReVibe II Input and Output Meters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 157
ReVibe II Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 157
ReVibe II Decay EQ Graph. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 163
ReVibe II Decay Color Graph . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 163
ReVibe II Contour Display. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 164
ReVibe II Room Types . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 165
Contents vii
Part VI Delay Plug-Ins
Chapter 28. Mod Delay III. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 170
Mod Delay III Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 170
Selections for Mod Delay III AudioSuite Processing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 172
Chapter 29. Moogerfooger Analog Delay. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173
Moogerfooger Analog Delay Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 174
Moogerfooger Analog Delay Tips and Tricks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 174
Chapter 30. Tel-Ray Variable Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175
Tel-Ray Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175
Tel-Ray Tips and Tricks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 176
Chapter 31. TimeAdjuster . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 177
TimeAdjuster Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 177
Using TimeAdjuster for Manual Delay Compensation. . . . . . . . . . . . . . . . . . . . . . . . . . . . 178
When to Compensate for Delays. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 179
Part VII Modulation Plug-Ins
Chapter 32. Moogerfooger Lowpass Filter. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 181
Moogerfooger Lowpass Filter Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 182
Moogerfooger Lowpass Filter Tips and Tricks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 183
Chapter 33. Moogerfooger 12-Stage Phaser . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 184
Moogerfooger 12-Stage Phaser Controls. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 185
Moogerfooger 12-Stage Phaser Tips and Tricks. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 186
Chapter 34. Moogerfooger Ring Modulator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 187
Moogerfooger Ring Modulator Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 188
Moogerfooger Ring Modulator Tips and Tricks. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 188
Chapter 35. Reel Tape Flanger . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 189
Reel Tape Common Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 190
Reel Tape Flanger Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 190
Synchronizing Reel Tape Flanger to Session Tempo . . . . . . . . . . . . . . . . . . . . . . . . . . . . 192
Reel Tape Flanger Tips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 193
Reel Tape Flanger Presets. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 193
Contents viii
Chapter 36. Sci-Fi . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 194
Sci-Fi Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 194
Chapter 37. Voce Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 197
Voce Chorus/Vibrato . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 197
Voce Spin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 198
Part VIII Harmonic Plug-Ins
Chapter 38. Eleven . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 203
Eleven Input Calibration and QuickStart . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 204
Using Eleven . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 208
Eleven Tips and Suggestions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 225
Eleven Signal Flow Notes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 227
Chapter 39. Lo-Fi . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 228
Lo-Fi Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 228
Chapter 40. Recti-Fi . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 230
Recti-Fi Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 230
Chapter 41. Reel Tape Saturation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 233
Reel Tape Common Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 233
Reel Tape Saturation Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 234
Reel Tape Saturation Tips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 235
Reel Tape Saturation Presets. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 235
Chapter 42. SansAmp PSA-1. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 236
PSA-1 Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 237
PSA-1 Tips and Tricks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 237
Part IX Dither Plug-Ins
Chapter 43. Dither. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 239
Dither Controls. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 239
Chapter 44. POW-r Dither . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 241
POW-r Dither Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 241
Contents ix
Part X Sound Field Plug-Ins
Chapter 45. AutoPan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 244
AutoPan Controls. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 244
Using AutoPan. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 249
Chapter 46. Down Mixer. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 251
Source. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 252
Downmix . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 252
Part XI Instrument Plug-Ins
Chapter 47. Click II . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 254
Click II Controls and Displays . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 254
Creating a Click Track . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 256
Chapter 48. ReWire. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 257
ReWire Requirements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 259
Using ReWire. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 259
MIDI Automation with ReWire . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 261
Quitting ReWire Client Applications. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 263
Session Tempo and Meter Changes and ReWire. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 263
Looping Playback with ReWire . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 264
Automating Input Switching with ReWire . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 264
Part XII Other Plug-Ins
Chapter 49. InTune . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 266
InTune Controls and Displays . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 267
InTune Presets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 269
Using InTune . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 270
Chapter 50. MasterMeter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 272
Master Meter Overview. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 273
Using MasterMeter. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 277
MasterMeter Controls and Displays. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 277
Chapter 51. Signal Generator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 280
Signal Generator Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 280
AudioSuite Processing with Signal Generator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 281
Contents x
Chapter 52. SoundReplacer. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 282
Audio Replacement Techniques . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 282
SoundReplacer Controls. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 283
Using SoundReplacer. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 286
Getting Optimum Results with SoundReplacer. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 287
Using the Audio Files Folder for Frequently Used SoundReplacer Files. . . . . . . . . . . . . . . 289
Chapter 53. Trim . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 290
Trim Controls. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 290
Chapter 54. Other AudioSuite Plug-In Utilities . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 291
DC Offset Removal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 291
Duplicate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 292
Gain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 292
Invert. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 293
Normalize . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 293
Reverse. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 294
Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 295
Contents xi
Part I: Introduction to
Pro Tools Plug-Ins
Chapter 1: Audio Plug-Ins Overview
Plug-Ins are special-purpose software components
that provide additional signal processing and other
functionality to Pro Tools|HDX,
Pro Tools|HD Native, and Pro Tools systems.
These include plug-ins that come with your
Pro Tools system, as well as many other plug-ins
®
that can be purchased or rented from Avid
separately. This guide documents all 64-bit AAX plugins available from Avid for Pro Tools 11.
Additional plug-ins are available from thirdparty developers. For more information, visit
www.avid.com/plugins.
Plug-In Formats
AAX (Avid Audio Extension) plug-ins provide
real-time plug-in processing using host-based
(“Native”) or DSP-based (Pro Tools|HDX systems
only) processing. The AAX plug-in format also
supports AudioSuite non-real-time, file-based rendered processing. AAX plug-in files use the “.aaxplugin” file suffix.
There are three plug-in formats used in Pro Tools:
™
• AudioSuite
processing
• AAX Native: real-time, host-based plug-ins
• AAX DSP: real-time, DSP-based plug-ins
(Pro Tools|HDX systems only)
: non-real-time, file-based
Avid Audio Plug-Ins
Avid includes a comprehensive set of sound
processing, effects, and utility plug-ins with all
Pro Tools systems. Other Avid plug-ins are
available for purchase or rental from the Avid store
(visit shop.avid.com, or, in Pro Tools, choose
Marketplace > Plug-Ins).
Avid Audio Plug-Ins Included
with Pro Tools
Pro Tools includes a suite of digital signal processing effects, including EQ, dynamics, delay, and
other essential audio processing tools. The following plug-ins are included with Pro Tools 11:
EQ
• Channel Strip (see “Dynamics”)
• EQ III
• 1 Band
• 7 Band
Dynamics
• BF76 Compressor
• Channel Strip
• Dynamics III
• Compressor/Limiter
• Expander/Gate
• De-Esser
• Maxim
™
Chapter 1: Audio Plug-Ins Overview 2
Pitch and Time Shift
• Time Shift
• Vari-Fi
™
Sound Field
• AutoPan
™
• Down Mixer
Reverb
• D-Verb
Delay
• Mod Delay III
• TimeAdjuster
Modulation
• Sci-Fi
™
Harmonic
• Eleven Free
• Lo-Fi
• Recti-Fi
™
™
™
• SansAmp PSA-1
Dither
• Dither
• POW-r Dither
Instrument
• Click II
• ReWire
Other
• DC Offset Removal (AudioSuite only)
• Duplicate (AudioSuite only)
• Gain (AudioSuite only)
• Invert (AudioSuite only)
• Normalize (AudioSuite only)
• Reverse (AudioSuite only)
• Signal Generator
• Time Compression/Expansion
• InTune
• MasterMeter
• Metro
™
™
™
• Trim
Chapter 1: Audio Plug-Ins Overview 3
Additional Avid Audio Plug-Ins
The following plug-ins are available separately for
purchase and rental:
• BF-2A
• BF-3A
• Eleven
• Fairchild 660 and 670
• Focusrite d2/d3
• Impact
• JOEMEEK SC2 Compressor
• JOEMEEK VC5 Meequalizer
• Moogerfooger plug-ins
• Pro Compressor
• Pro Expander
• Pro Limiter
• Purple Audio MC77
• Reel Tape
• Reverb One
• ReVibe® II
• Smack!
• SoundReplacer
• Tel-Ray Variable Delay
• Voce Spin
• Voce Chorus/Vibrato
™
guitar amplifier modeling plug-in
®
• Moogerfooger Analog Delay
• Moogerfooger Ring Modulator
• Moogerfooger 12-Stage Phaser
• Moogerfooger Lowpass Filter
™
plug-ins:
• Reel Tape Saturation
• Reel Tape Delay
• Reel Tape Flanger
™
™
™
Using Plug-Ins in Pro Tools
See the Pro Tools Reference Guide for information
on working with plug-ins, including:
• Inserting plug-ins on tracks
• Plug-In Window controls
• Adjusting plug-in controls
• Automating plug-ins
• Using side-chain inputs
• Using plug-in presets
• Clip indicators
Conventions Used in Pro Tools Documentation
Pro Tools documentation uses the following conventions to indicate menu choices, keyboard commands, and mouse commands:
Convention Action
File > Save Choose Save from the
File menu
Control+N Hold down the Control
key and press the N key
Control-click Hold down the Control
key and click the mouse
button
Right-click Click with the right
mouse button
The names of
that appear on-screen are in a different font.
Commands, Options, and Settings
Chapter 1: Audio Plug-Ins Overview 4
The following symbols are used to highlight
important information:
User Tips are helpful hints for getting the
most from your system.
Important Notices include information that
could affect your data or the performance of
your system.
Shortcuts show you useful keyboard or mouse
shortcuts.
Cross References point to related sections in
this guide and other Avid documentation.
About www.avid.com
The Avid website (www.avid.com) is your best online source for information to help you get the most
out of your Pro Tools system. The following are
just a few of the services and features available.
Product Registration
online.
Support and Downloads
Success (technical support); download software
updates and the latest online manuals; browse the
Compatibility documents for system requirements;
search the online Knowledge Base or join the
worldwide Pro Tools community on the User
Conference.
Register your purchase
Contact Avid Customer
System Requirements and Compatibility for Plug-Ins
To use Pro Tools plug-ins, you need the following:
• An Avid-qualified system running Pro Tools or
Pro Tools HD
• An iLok USB key (iLok) for plug-ins that can be
purchased or rented
Avid can only assure compatibility and provide
support for hardware and software it has tested and
approved.
For complete system requirements and a list of
Avid-qualified computers, operating systems, hard
drives, and third-party devices, visit:
www.avid.com/compatibility
Third-Party Plug-In Support
For information on third-party plug-ins for
Pro Tools systems, refer to the documentation that
came with your plug-in.
Training and Education
Study on your own using
courses available online or find out how you can
learn in a classroom setting at a certified Pro Tools
training center.
Products and Developers
Learn about Avid
products; download demo software or learn about
our Development Partners and their plug-ins,
applications, and hardware.
News and Events
Get the latest news from Avid or
sign up for a Pro Tools demo.
Chapter 1: Audio Plug-Ins Overview 5
Chapter 2: Installing and Authorizing Avid Paid Plug-Ins
A core set of audio plug-ins is installed automatically with your version of Pro Tools. No additional
steps are required to authorize these plug-ins for
use on your Pro Tools system.
Installers for additional plug-ins purchased or
rented from the Avid store (shop.avid.com) can be
downloaded from your online Avid account. These
plug-ins are authorized using an iLok USB key.
About iLok
All paid plug-ins from Avid are authorized using an
iLok USB key from PACE Anti-Piracy.
iLok USB key (2nd generation)
An iLok can hold hundreds of authorizations for all
of your iLok-enabled software. After a software license is placed on an iLok, you can use the iLok to
authorize that software on any computer.
An iLok USB key is not supplied with plug-ins or
software options. You can use the iLok included
with certain Pro Tools systems, or purchase one
separately.
For more information, visit the iLok website
(www.iLok.com).
Authorizing Avid Audio Plug-Ins
When you purchase or rent an Avid Audio plug-in,
you receive an activation code, either on an activation card or through your Avid account.
To authorize your plug-in, follow the steps below,
or visit www.avid.com/activationcard and follow
the online instructions.
To authorize Avid Audio plug-ins:
1 If you don’t already have an iLok account, visit
www.ilok.com to sign up for an account.
2 Visit www.avid.com/activation and log into your
A vid account (if you don’t already have an Avid
account, click “Create Your Account”).
3 Enter your activation code and your iLok.com
User ID.
4 Follow the on-screen instructions to deposit
your license into your iLok.com account.
5 Once the activation process is complete, the
download links for your Avid audio plug-in will
be available in the
Avid account (accessed by clicking the
Products
or View My Product Details links in
your user account).
Products section of your
Your
Chapter 2: Installing and Authorizing Avid Paid Plug-Ins 6
Software download links remain in your
Avid account for future use. For more
information about Avid audio plug-ins,
including links for user guides and more,
visit www.avid.com/plugins.
6 Download and install the plug-in that you
purchased.
7 Make sure your iLok is connected to an avail-
able USB port on your computer.
4 Follow the on-screen instructions to complete
the installation.
5 When installation is complete, click Finish.
Removing Plug-Ins
If you need to remove a plug-in from your
Pro Tools system, follow the instructions below for
your computer platform.
8 Launch Pro Tools and follow the on-screen in-
structions to transfer the plug-in license to your
iLok and authorize the plug-in.
Installing Plug-Ins for Pro Tools
Installing Paid Plug-Ins on Mac
To install a plug-in on Mac:
1 Download the installer for Mac from
www.avid.com. After downloading, make sure
the installer is uncompressed (.dmg).
2 If Pro Tools is running, quit Pro Tools.
3 Locate and double-click the plug-in installer
disk image.
4 Drag the plug-in (.aaxplugin) to the Plug-Ins
folder alias in the disk image.
Installing Paid Plug-Ins on
Windows
To install a plug-in on Windows:
1 Download the installer for Windows from
www.avid.com. After downloading, make sure
the installer is uncompressed (.ZIP).
Removing Plug-Ins on Mac
To remove a plug-in:
1 Locate and open the Plug-Ins folder on your
Startup drive (Library/Application Support
/Avid/Audio/Plug-Ins).
2 Do one of the following:
• Drag the plug-in to the Plug-Ins (Unused) folder.
• Drag the plug-in to the Trash and empty the
Trash.
Removing Plug-Ins on Windows
To remove a plug-in:
1 Choose Start > Control Panel.
2 Click Programs and Features.
3 Select the plug-in from the list of installed
applications.
4 Click Uninstall.
5 Follow the on-screen instructions to remove the
plug-in.
2 If Pro Tools is running, quit Pro Tools.
3 Locate and double-click the plug-in installer.
Chapter 2: Installing and Authorizing Avid Paid Plug-Ins 7
Chapter 3: Adjusting Plug-In Controls
You can adjust plug-in controls by dragging
on-screen controls, by editing control values, or by
dragging in graphic displays.
Dragging Plug-In Controls
Rotary Controls
Some plug-ins have rotary controls that can be adjusted by dragging over them horizontally or vertically.
To adjust a rotary control:
1 Click on the control.
2 Do any of the following:
• Drag up or to the right to increment the control.
• Drag down or to the left to decrement the control.
Slider Controls
Some plug-ins have slider controls that can be adjusted by dragging horizontally.
Some sliders are bipolar, meaning that their zero
position is in the center of the slider’s range. Dragging to the right of center yields a positive value,
and dragging to the left of center yields a negative
value.
To adjust a slider control:
1 Click on the control.
2 Do any of the following:
• Drag to the right to increment the control.
• Drag to the left to decrement the control.
Adjusting a rotary control by dragging (EQ III)
Chapter 3: Adjusting Plug-In Controls 8
Adjusting a slider control by dragging (ReVibe II)
Editing Control Values
Dragging in Graphic Displays
Some controls have text boxes that display the current control value. You can edit the control value
directly.
To edit control values:
1 Click in the text box corresponding to the con-
trol that you want to adjust.
2 Do any of the following:
• Type a new value. For controls that support values in kilohertz, typing “k” after a numeric value
will multiply the value by 1000.
• To increment the value, scroll up with a mouse or
scroll wheel, or press the Up Arrow key.
• To decrement the value, scroll down with a
mouse or scroll wheel, or press the Up Arrow
key.
3 Do one of the following:
• Press Enter on the numeric keyboard to input the
value and remain in keyboard editing mode.
• Press Return (Mac) or Enter (Windows) on the
alpha keyboard to enter the value and leave keyboard editing mode.
Some plug-ins have graphic displays with control
points that you can drag to adjust the corresponding
controls.
Dragging a control point (EQ III)
Dragging a control point (ReVibe II)
Adjusting Controls with Fine Resolution
Controls and control points can be adjusted with
fine resolution by holding the Command key (Mac)
Typing a control value (EQ III)
To move forward through control text boxes in a
plug-in:
Press the Tab key.
To move backward through control text boxes in a
plug-in:
Press Shift+ Tab.
or the Control key (Windows) while adjusting the
control.
Resetting Controls to Default Values
You can reset any on-screen control to its
default value by Option-clicking (Mac) or Altclicking (Windows) directly on the control or on its
corresponding text box.
Chapter 3: Adjusting Plug-In Controls 9
Part II: EQ Plug-Ins
Chapter 4: EQ III
The EQ III plug-in provides high-quality
1-Band and 7-Band EQ for adjusting the frequency
spectrum of audio material.
EQ III is available in DSP, Native, and AudioSuite
formats.
EQ III supports 44.1 kHz, 48 kHz, 88.2 kHz,
96 kHz, 176.4 kHz and 192 kHz sample rates.
EQ III operates as a mono, multi-mono, or stereo
plug-in.
EQ III has a Frequency Graph display that shows
the response curve for the current EQ settings on a
two-dimensional graph of frequency and gain. The
frequency graph display also lets you modify frequency, gain and Q settings for individual EQ
bands by dragging their corresponding points in the
graph.
EQ III Configurations
The EQ III plug-in appears as two separate choices
in the plug-in insert selector and in the AudioSuite
menu:
• EQ3 1-Band
• EQ3 7-Band
1-Band EQ
The 1-Band EQ has its own window, with six
selectable filter types for a single band of EQ.
1-Band EQ
Chapter 4: EQ III 11
7-Band EQ
The 7-Band EQ has its own window, with up to
seven separate bands, each with it its own set of filter types.
Dragging in the Frequency Graph
Display
You can adjust the following by dragging the control points directly in the Frequency Graph display:
7 Band EQ
Adjusting EQ III Controls
In addition to dragging controls and typing control
values, there are other ways to adjust EQ III controls.
Inverting Filter Gain
(Peak EQ Bands Only)
Gain values can be inverted on any Peak EQ band
by Shift-clicking its control dot in the Frequency
Graph display, or its Gain knob in the plug-in window. This changes a gain boost to a cut (+9 to –9)
or a gain cut to a boost (–9 to +9). Gain values cannot be inverted on Notch, High Pass, Low Pass, or
shelving bands.
Frequency
Dragging a control point to the right increases the Frequency setting. Dragging a control
point to the left decreases the Frequency setting.
Gain
Dragging a control point up increases the
Gain setting. Dragging a control point down decreases the Gain setting.
Q
Control-dragging (Mac) or Start-dragging (Windows) a control point up decreases the Q setting.
Control-dragging (Mac) or Start-dragging (Windows) a control point down increases the Q setting.
Dragging a control point in the Frequency Graph
display
Chapter 4: EQ III 12
Using EQ III in Band-Pass Mode
You can temporarily set any EQ III control to
Band-Pass monitoring mode. Band-Pass mode cuts
monitoring frequencies above and below the Frequency setting, leaving a narrow band of mid-range
frequencies. It is especially useful for adjusting
limited bandwidth in order to solo and fine-tune
each individual filter before reverting the control to
notch filter or peaking filter type operations.
Band-Pass mode does not affect EQ III Gain
controls.
When monitoring in Band-Pass mode, the Frequency and Q controls function differently.
Frequency
Sets the frequency above and below
which other frequencies are cut off, leaving a narrow band of mid-range frequencies.
Q
Sets the width of the narrow band of mid-range
frequencies centered around the Frequency setting.
To switch an EQ III control out of Band-Pass mode:
Release Control+Shift (Mac) or Start+Shift
(Windows).
To switch an EQ III control to Band-Pass mode:
Hold Control+Shift (Mac) or Start+Shift (Win-
dows), and drag any rotary control or control
point horizontally or vertically.
EQ III interactive graph displaying Band-Pass mode
Controlling EQ III from a Control
Surface
EQ III can be controlled from any supported control surface, including EUCON-compatible control
surfaces, D-Control, D-Command, C|24,
Control|24, 003, Digi 002, and Command|8. Refer
to the guide that came with the control surface for
details.
Chapter 4: EQ III 13
EQ III I/O Controls
s
Certain Input and Output controls are found on all
EQ III configurations, except where noted otherwise.
Input Polarity Control
The Input Polarity button inverts the polarity of the
input signal to help compensate for phase anomalies occurring in multi-microphone environments,
or because of mis-wired balanced connections.
Input and Output Meters
Clip
Indicator
Input
Polarity
Control
I/O controls and meters for 7-Band EQ (top) and
1-Band EQ (bottom)
Input
Gain
Control
Output Gain
Control
Input Gain Control
The Input Gain control sets the input gain of the
plug-in before EQ processing, letting you make up
gain or prevent clipping at the plug-in input stage.
Output Gain Control
(7-Band EQ Only)
Input and Output Meters
(7-Band EQ Only)
The plasma-style Input and Output meters show
peak signal levels before and after EQ processing,
and indicate them as follows:
Green
Indicates nominal levels
Yellow
Indicates pre-clipping levels, starting at
–6 dB below full scale
Red
Indicates full scale levels (clipping)
When using the stereo version of EQ III, the Input
and Output meters display the sum of the left and
right channels.
The Clip indicators at the far right of each meter indicate clipping at the input or output stage of the
plug-in. Clip indicators can be cleared by clicking
the indicator.
The Output Gain control sets the output gain after
EQ processing, letting you make up gain or prevent
clipping on the channel where the plug-in is being
used.
Chapter 4: EQ III 14
EQ III EQ Band Controls
Individual EQ bands on each EQ III configuration
have a combination of controls.
EQ Type Selector
On the 1-Band EQ, the EQ Type selector lets you
choose any one of six available filter types:
High Pass, Notch, High Shelf, Low Shelf, Peak,
and Low Pass.
On the 7-Band EQ, the HPF, LPF, LF, and HF sections have EQ Type selectors to toggle between the
two available filter types in each section.
Band Enable Button
(7-Band EQ Only)
The Band Enable button on each EQ band toggles
the corresponding band in and out of circuit. When
a Band Enable button is highlighted, the band is in
circuit. When a Band Enable button is dark gray,
the band is bypassed and available for activation.
Band Enable button
Band Gain Control
Each Peak and Shelf EQ band has a Gain control
for boosting or cutting the corresponding frequencies. Gain controls are not used on High Pass,
Low Pass, or Notch filters.
EQ Type Selectors (7-Band EQ)
Band Gain control
Chapter 4: EQ III 15
Frequency Control
Each EQ band has a Frequency control that sets the
center frequency (Peak, Shelf and Notch EQs) or
the cutoff frequency (High Pass and Low Pass filters) for that band.
1-Band EQ III
The Frequency Graph display in the 1-Band EQ
shows a control dot that indicates the center frequency (Peak, Shelf and Notch Filters) or the cutoff
frequency (High Pass and Low Pass filters) for the
currently selected filter type.
Control dot
Frequency control
Q Control
Peak and Notch
control changes the width of the EQ band. Higher
Q values represent narrower bandwidths. Lower Q
values represent wider bandwidths.
Shelf
On Shelf bands, the Q control changes the Q
of the shelving filter. Higher Q values represent
steeper shelving curves. Lower Q values represent
broader shelving curves.
Band Pass
Q control lets you select from any of the following
Slope values: 6 dB, 12 dB, 18 dB, or 24 dB per octave.
Q control
On Peak and Notch bands, the Q
On High Pass and Low Pass bands, the
Frequency
response
curve
Frequency Graph display
Input Level and
Polarity controls
EQ Type
selector
1-Band EQ
Gain, Freq and
Q controls
Frequency Graph
display
The 1-Band EQ may be set to any one of six EQ
types: High Pass, Notch, High Shelf, Low Shelf,
Peak, and Low Pass, by clicking the corresponding
icon in the EQ Type selector.
Chapter 4: EQ III 16
Band Controls
Notch Filter
The individual EQ types have some combination of
the following controls, as noted below.
Control Value
Frequency Range (All) 20 Hz to 20 kHz
Frequency Default (All) 1 kHz
Q Range (Low/High Shelf) 0.1 to 2.0
Q Range (Peak/Notch) 0.1 to 10.0
Q Default (All) 1.0
Gain Range (Low/High Shelf) –12 dB to +12 dB
High Peak Gain Range –18 dB to +18 dB
1-Band EQ III Types
High Pass Filter
The High Pass filter attenuates all frequencies below the Frequency setting at the selected rate (6 dB,
12 dB, 18 dB, or 24 dB per octave) while letting all
frequencies above pass through. No gain control is
available for this filter type.
The Notch Filter attenuates a narrow band of frequencies centered around the Frequency setting.
No gain control is available for this EQ type. The
width of the attenuated band is determined by the Q
setting.
1-Band EQ set to Notch Filter
High Shelf EQ
The High Shelf EQ boosts or cuts frequencies at
and above the Frequency setting. The amount of
boost or cut is determined by the Gain setting. The
Q setting determines the shape of the shelving
curve.
1-Band EQ set to High Shelf EQ
1-Band EQ set to High Pass Filter
Chapter 4: EQ III 17
Low Shelf EQ
Low Pass Filter
The Low Shelf EQ boosts or cuts frequencies at and
below the Frequency setting. The amount of boost
or cut is determined by the Gain setting. The Q setting determines the shape of the shelving curve.
1-Band EQ set to Low Shelf EQ
Peak EQ
The Peak EQ boosts or cuts a band of frequencies
centered around the Frequency setting. The width
of the affected band is determined by the Q setting.
The Low Pass filter attenuates all frequencies
above the cutoff frequency setting at the selected
rate (6 dB, 12 dB, 18 dB, or 24 dB per octave)
while letting all frequencies below pass through.
No gain control is available for this filter type.
1-Band EQ set to Low Pass Filter
1-Band EQ set to Peak EQ
Chapter 4: EQ III 18
7-Band EQ III
The 7-Band EQ has the following available bands: High Pass/Low Notch, Low Pass/High Notch,
Low Shelf/Low Peak, Low Mid Peak, Mid Peak, High Mid Peak, and High Shelf/High Peak.
All seven bands are available for simultaneous use. In the factory default setting, the High Pass/Low Notch
and Low Pass/High Notch bands are out of circuit, the Low Shelf and High Shelf bands are selected and in
circuit, and the Low Mid Peak, Mid Peak, High Mid Peak bands are in circuit.
Input/Output Level meters
Input/Output Level
Polarity controls
High Pass/
Low Notch
Low Pass/
High Notch
7-Band EQ
and
Low
Shelf/Peak
Low Mid
Peak
Mid
Peak
High Mid
Peak
Frequency Graph
Display
High
Shelf/Peak
Chapter 4: EQ III 19
Loading...