Pinnacle Systems Pro Tools - 2018.4 User's Guide

Audio Plug-Ins Guide
Version 2018.4
Legal Notices
© 2018 Avid Technology, Inc., (“Avid”), all rights reserved. This gu ide may not be duplicated in whole or in part without the written consent of Avid.
For a current and complete list of Avid trademarks visit: www.avid.com/legal/trademarks-and-other-notices Bonjour, the Bonjour logo, and the Bonjour symbol are trademarks of Apple Computer, Inc. Thunderbolt and the Thunderbolt logo are trademarks of Intel Corporation i n the U. S. and/or other countries. This product may be protected by one or more U.S. and non-U.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 9329-65966-00 REV A 04/18

Contents

Part I Introduction to Audio 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
Avid Application Manager. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Conventions Used in Pro Tools Documentation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
System Requirements and Compatibility for Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
About www.avid.com . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Chapter 2. Installing and Authorizing Avid Plug-Ins. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
Installing Plug-Ins for Pro Tools and Media Composer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
Installing Plug-Ins from the Avid Marketplace. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
About iLok . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
Authorizing Avid Audio Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
Removing Plug-Ins. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
Chapter 3. Adjusting Plug-In Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
Dragging Plug-In Controls. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
Editing Control Values . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
Dragging in Graphic Displays . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
Adjusting Controls with Fine Resolution. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
Resetting Controls to Default Values. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
Part II EQ Plug-Ins
Chapter 4. EQ III . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
EQ III Configurations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
Adjusting EQ III Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
EQ III I/O Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
Audio Plug-Ins Guide iii
EQ III EQ Band Controls. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
1-Band EQ III. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
7-Band EQ III. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
Chapter 5. Focusrite D2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
D2 Configurations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
D2 Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
Using D2 in Stereo. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
Chapter 6. JOEMEEK VC5 Meequalizer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
JOEMEEK Meequalizer Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
Chapter 7. Pultec Plug-Ins. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
Pultec EQP-1A. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
Pultec EQH-2. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
Pultec MEQ-5 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
Pultec Tips and Tricks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36
Part III Dynamics Plug-Ins
Chapter 8. BF-2A . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38
BF-2A Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39
Using the BF-2A Side-Chain Filter. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39
BF-2A Tips and Tricks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
Chapter 9. BF-3A . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
BF-3A Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
BF-3A Tips and Tricks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42
Chapter 10. BF76 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43
BF76 Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43
BF76 Tips and Tricks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44
Chapter 11. Channel Strip . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
Channel Strip Sections and Panes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46
Channel Strip Input Section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48
Channel Strip Output Section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49
Channel Strip FX Chain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50
Channel Strip Dynamics Section. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50
Channel Strip EQ/Filters Section. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56
Contents iv
Chapter 12. Dynamics III . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60
Dynamics III Common Controls. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60
Compressor/Limiter III . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63
Expander/Gate III. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66
De-Esser III . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69
Dynamics III Side-Chain Input. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71
Chapter 13. Fairchild Plug-Ins. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76
Fairchild 660 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76
Fairchild 670 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78
Chapter 14. Focusrite D3. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79
D3 Compressor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79
D3 Limiter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80
D3 Side-Chain Processing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80
Using D3 in Stereo. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80
D3 Common Controls. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81
D3 Compressor Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82
D3 Limiter Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83
Using the Side-Chain Input in D3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84
Chapter 15. Impact . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86
Impact Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86
Using the Impact Compressor. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88
Chapter 16. JOEMEEK SC2 Compresso r. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90
JOEMEEK Compressor Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90
JOEMEEK Compressor Tips and Tricks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91
Chapter 17. Maxim . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92
About Peak Limiting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93
How Maxim Differs From Conventional Limiters. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93
Maxim Controls and Meters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94
Using Maxim . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96
Maxim and Mastering. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97
Chapter 18. Pro Compressor. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98
Pro Compressor Metering. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98
Pro Compressor Input Section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99
Contents v
Pro Compressor Output Section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100
Pro Compressor Dynamics Graph. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101
Pro Compressor Controls. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103
Pro Compressor Side-Chain Processing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105
Chapter 19. Pro Expander . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108
Pro Expander Metering. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108
Pro Expander Input Section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109
Pro Expander Output Section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110
Pro Expander Dynamics Graph. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111
Pro Expander Controls. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114
Pro Expander Side-Chain Processing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115
Chapter 20. Pro Limiter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119
Pro Limiter Metering. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120
Pro Limiter Input Section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120
Pro Limiter Output Section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122
Pro Limiter Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122
Pro Limiter Loudness Numeric Displays . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124
Pro Limiter Histogram and Loudness Meters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124
AudioSuite Processing with Pro Limiter. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125
AudioSuite Processing with Pro Limiter Loudness Analyzer . . . . . . . . . . . . . . . . . . . . . . . 126
Chapter 21. Pro Multiband Dynamics. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127
FFT Display and Controls. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128
Input and Output Gain Controls. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130
Source Linking. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130
Mini Multichannel Gain Reduction and Output Meters . . . . . . . . . . . . . . . . . . . . . . . . . . . 131
Band Pane Controls and Indicators. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 132
Side-Chain Processing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136
Multiband Splitter Plug-In . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137
Pro Multiband Dynamics and Multiband Splitter Plug-In Sends. . . . . . . . . . . . . . . . . . . . . 138
Chapter 22. Purple Audio MC77 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139
Purple Audio MC77 Controls. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139
Chapter 23. Smack! . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 140
Smack! Controls and Meters. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 141
Using the Smack! Side-Chain Input. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145
Contents vi
Part IV Pitch and Time Shift Plug-Ins
Chapter 24. Pitch II. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 147
Pitch II Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 148
Chapter 25. Pitch Shift Legacy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 151
Pitch Shift Legacy Controls. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 151
Chapter 26. Time Shift . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153
Time Shift Controls. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153
AudioSuite Input Modes and Time Shift. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 158
AudioSuite Preview and Time Shift . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 158
Time Shift as AudioSuite TCE Plug-In Preference . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 158
Processing Audio Using Time Shift . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 159
Post Production Pull Up and Pull Down Tasks with Time Shift . . . . . . . . . . . . . . . . . . . . . 160
Chapter 27. Vari-Fi . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 161
Vari-Fi Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 161
Chapter 28. X-Form . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 163
X-Form Displays and Controls Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 163
X-Form AudioSuite Input Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 167
\AudioSuite TCE Plug-In Preference . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 167
Processing Audio Using X-Form . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 168
Using X-Form for Post Production Pull Up and Pull Down Tasks. . . . . . . . . . . . . . . . . . . . 169
Part V Reverb Plug-Ins
Chapter 29. D-Verb. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 171
D-Verb Controls. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 171
Selections for D-Verb AudioSuite Processing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173
Chapter 30. Reverb One. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 174
About Reverb. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175
Reverb One Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 176
Reverb One Graphs. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 180
Other Reverb One Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 182
Chapter 31. ReVibe II . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 183
Using ReVibe II . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 183
Contents vii
Dragging in the Graphic Display to Adjust Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 184
ReVibe II Input and Output Meters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 185
ReVibe II Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 185
ReVibe II Decay EQ Graph. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 191
ReVibe II Decay Color Graph . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 191
ReVibe II Contour Display. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 192
ReVibe II Room Types . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 193
Chapter 32. Space . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 197
Space Feature Highlights . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 198
Space Overview. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 199
Impulse Response (IR) and Space . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 203
Space Presets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 206
Space Snapshots. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 206
Space Controls and Displays . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 207
Space Display Area . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 208
Space IR Browser . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 211
Space Primary Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 213
Space Group Selectors and Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 214
Using Space . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 217
Space IR Library Categories. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 218
Part VI Delay Plug-Ins
Chapter 33. Mod Delay III. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 220
Mod Delay III Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 220
Selections for Mod Delay III AudioSuite Processing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 222
Chapter 34. Moogerfooger Analog Delay. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 223
Moogerfooger Analog Delay Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 224
Moogerfooger Analog Delay Tips and Tricks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 224
Chapter 35. Reel Tape Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 225
Reel Tape Common Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 226
Reel Tape Delay Controls. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 226
Synchronizing Reel Tape Delay to Session Tempo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 228
Reel Tape Delay Presets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 228
Contents viii
Chapter 36. Tel-Ray Variable Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 229
Tel-Ray Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 230
Tel-Ray Tips and Tricks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 230
Chapter 37. TimeAdjuster . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 231
TimeAdjuster Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 231
Using TimeAdjuster for Manual Delay Compensation. . . . . . . . . . . . . . . . . . . . . . . . . . . . 232
When to Compensate for Delays. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 233
Part VII Modulation Plug-Ins
Chapter 38. Moogerfooger Lowpass Filter. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 235
Moogerfooger Lowpass Filter Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 236
Moogerfooger Lowpass Filter Tips and Tricks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 237
Chapter 39. Moogerfooger 12-Stage Phaser . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 238
Moogerfooger 12-Stage Phaser Controls. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 239
Moogerfooger 12-Stage Phaser Tips and Tricks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 240
Chapter 40. Moogerfooger Ring Modulator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 241
Moogerfooger Ring Modulator Controls. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 242
Moogerfooger Ring Modulator Tips and Tricks. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 242
Chapter 41. Reel Tape Flanger . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 243
Reel Tape Common Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 244
Reel Tape Flanger Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 244
Synchronizing Reel Tape Flanger to Session Tempo. . . . . . . . . . . . . . . . . . . . . . . . . . . . 246
Reel Tape Flanger Tips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 247
Reel Tape Flanger Presets. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 247
Chapter 42. Sci-Fi . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 248
Sci-Fi Controls. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 248
Chapter 43. Voce Plug-Ins. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 251
Voce Chorus/Vibrato . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 251
Voce Spin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 252
Contents ix
Part VIII Harmonic Plug-Ins
Chapter 44. Aphex Aural Exciter Type III . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 257
Meters. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 259
Rotary Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 259
Switches . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 261
Using Aural Exciter III. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 263
Chapter 45. Aphex Big Bottom Pro. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 266
Meters. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 267
Rotary Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 268
Switches . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 268
Using Big Bottom Pro. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 270
Chapter 46. Eleven . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 271
Eleven Input Calibration and QuickStart . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 273
Using Eleven . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 277
Eleven Tips and Suggestions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 294
Eleven Signal Flow Notes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 296
Chapter 47. Eleven MK II . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 297
Eleven MK II Plug-In Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 297
Eleven MK II Cab Plug-In . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 298
Eleven MK II Input Calibration and QuickStart . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 299
Using Eleven MK II. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 303
Eleven MK II Tips and Suggestions. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 321
Eleven MK II Signal Flow Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 323
Chapter 48. Lo-Fi . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 324
Lo-Fi Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 324
Chapter 49. Pro Subharmonic. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 326
Metering . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 327
Input . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 327
Output. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 328
Dynamic Frequency Display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 328
High Pass and Low Pass Filter Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 329
Subharmonic Frequency Range . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 330
Lower, Upper, and Direct Gain Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 331
Contents x
Drive . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 332
Mix Controls. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 333
Surround Send Controls. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 334
Tuning Subharmonics with MIDI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 335
Chapter 50. Recti-Fi . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 337
Recti-Fi Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 337
Chapter 51. Reel Tape Saturation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 340
Reel Tape Common Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 340
Reel Tape Saturation Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 341
Reel Tape Saturation Tips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 342
Reel Tape Saturation Presets. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 342
Chapter 52. SansAmp PSA-1. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 343
PSA-1 Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 344
PSA-1 Tips and Tricks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 344
Part IX Dither Plug-Ins
Chapter 53. Dither. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 346
Dither Controls. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 346
Chapter 54. POW-r Dither . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 348
POW-r Dither Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 348
Part X Sound Field Plug-Ins
Chapter 55. AutoPan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 351
AutoPan Controls. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 351
Using AutoPan. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 356
Chapter 56. Down Mixer. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 358
Source. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 359
Downmix . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 359
Part XI Instrument Plug-Ins
Chapter 57. Click II . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 361
Click II Controls and Displays . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 361
Creating a Click Track . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 363
Contents xi
Chapter 58. ReWire. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 364
ReWire Requirements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 366
Using ReWire . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 366
MIDI Automation with ReWire. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 367
Quitting ReWire Client Applications. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 369
Session Tempo and Meter Changes and ReWire. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 369
Looping Playback with ReWire . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 370
Automating Input Switching with ReWire . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 370
Part XII Other Plug-Ins
Chapter 59. InTune. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 372
InTune Controls and Displays. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 373
InTune Presets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 375
Using InTune. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 376
Chapter 60. MasterMeter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 378
MasterMeter Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 379
Using MasterMeter. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 382
MasterMeter Controls and Displays. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 383
Chapter 61. Signal Generator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 386
Signal Generator Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 386
AudioSuite Processing with Signal Generator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 387
Chapter 62. SoundReplacer. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 388
Audio Replacement Techniques . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 388
SoundReplacer Controls. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 389
Using SoundReplacer. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 392
Getting Optimum Results with SoundReplacer. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 393
Using the Audio Files Folder for Frequently Used SoundReplacer Files . . . . . . . . . . . . . . 395
Chapter 63. Time Compression/Expansion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 396
Time Compression/ Expansion Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 396
Chapter 64. Trim. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 398
Trim Controls. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 398
Contents xii
Chapter 65. Other AudioSuite Plug-In Utilities . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 399
DC Offset Removal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 399
Duplicate. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 400
Gain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 400
Invert. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 401
Normalize . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 401
Reverse. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 402
Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 403
Contents xiii
Part I: Introduction to Audio
Plug-Ins

Chapter 1: Audio Plug-Ins Overview

Plug-ins are special-purpose software components that provide additional signal processing and other
®
functionality to ProTools
| Ultimate (previously Pro Tools | HD) and Pro Tools software. These in­clude plug-ins that come with your Pro Tools sys­tem, as well as many other plug-ins that can be pur-
®
chased or rented from Avid
separately. This guide documents all 64-bit AAX audio plug-ins available from Avid for Pro Tools, VENUE
®
Composer
.
Additional plug-ins are available from third­party developers. For more information, visit www.avid.com/plugins.
®
, and Media

Plug-In Formats

AAX (Avid Audio Extension) plug-ins provide real-time plug-in processing using host-based (“Native”) or DSP-based (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
ing
• AAX Native: real-time, host-based plug-ins
• AAX DSP: real-time, DSP-based plug-ins
(HDX systems only)
: non-real-time, file-based process-

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:
EQ
• Channel Strip (see “Dynamics”)
• EQ III
•1Band
•7Band
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
•Pitch II
• Pitch Shift Legacy
•Time Shift
•Vari-Fi
Reverb
•D-Verb
Delay
• Mod Delay III
• TimeAdjuster
Modulation
•Sci-Fi
Harmonic
• Eleven® Lite
•Lo-Fi
• Recti-Fi
• SansAmp PSA-1
Dither
• Dither
• POW-r Dither
Sound Field
• AutoPan
• Down Mixer
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
•Trim
Additional Avid Audio Plug-Ins
The following plug-ins are available separately for purchase and rental:
®
• Aphex Aural Exciter
• Aphex Big Bottom Pro
• BF-2A
• BF-3A
• Eleven
• Eleven
®
guitar amplifier modeling plug-in
®
Mk II guitar amplifier modeling plug-in
• Fairchild 660 and 670
• Focusrite d2/d3
•Impact
®
• JOEMEEK SC2 Compressor
• JOEMEEK VC5 Meequalizer
• Moogerfooger plug-ins
• Moogerfooger Analog Delay
• Moogerfooger Ring Modulator
• Moogerfooger 12-Stage Phaser
• Moogerfooger Lowpass Filter
Type III
®
Chapter 1: Audio Plug-Ins Overview 3
• Pro Compressor
• Pro Expander
• Pro Limiter
• Pro Multiband Dynamics
• Pro Subharmonic
• Purple Audio MC77
•Reel Tape
plug-ins:
• Reel Tape Saturation
• Reel Tape Delay
• Reel Tape Flanger
• Reverb One
•ReVibe® II
•Smack!
• SoundReplacer
•Space
• Tel-Ray Variable Delay
•Voce Spin
• Voce Chorus/Vibrato
•X-Form

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 | Ultimate Software
• An iLok USB key (iLok) for plug-ins that can be purchased or rented that do not support com­puter-based authorization or iLok Cloud.
Avid can only assure compatibility and provide support for hardware and software it ha s 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.

Using Plug-Ins in Pro Tools

See the Pro T ools Refer ence Gui de 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

Avid Application Manager

When you install Pro Tools or Media Composer, the Avid Application Manager is also installed. The Avid Application Manager is used to manage your software and entitlements related to your MyAvid account. The Avid Application Manager helps you maintain the most current Pro Tools software and audio plug-in updates that you are entitled to when new versions become available. For more informa­tion about the Avid Application Manager, see the Avid Application Manager Guide (available online through the Avid Knowledgebase).
• Clip indicators
Chapter 1: Audio Plug-Ins Overview 4

Conventions Used in Pro Tools Do cumentation

Pro Tools documentation uses the following conventions to indicate menu choices, keyboard commands, and mouse commands:
Convention Action
File > Save Choose Save from the
Control+N Hold down the Control
Control-click Hold down the Control
Right-click Click with the right
The names of
Commands, Options, and Settings
that appear on-screen are in a different font. The following symbols are used to highlight
important information:
User Tips are helpful hints for getting the most from your system.
File menu
key and press the N key
key and click the mouse button
mouse button
How to Use this PDF Guide
This PDF provides the following useful features:
• The Bookmarks on the left serve as a continu­ously visible table of contents. Click on a sub­ject heading to jump to that page.
• Click a + symbol to expand that heading to show subheadings. Click the – symbol to col­lapse a subheading.
• The Table of Contents provides active links to their pages. Select the hand cursor, allow it to hover over the heading until it turns into a fin­ger. Then click to locate to that subject and page.
• All cross references in Click to follow the reference.
• Select Find from the Edit menu to search for a subject.
• When viewing this PDF on an iPad, it is rec­ommended that you open the file using iBooks to take advantage of active links within the document. When viewing the PDF in Safari, touch the screen, then touch
“iBooks”
.
blue are active links.
Open in
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.
Chapter 1: Audio Plug-Ins Overview 5

Resources

The Avid website (www.avid.com) is your best on­line source for information to help you get the most out of Pro Tools.
Account Activation and Product Registration
Activate your product to access downloads in your Avid account (or quickly create an account if you do not have one). Register your purchase online, download software, updates, documentation, and other resources.
www.avid.com/account
Support and Downloads\
Contact Avid Customer 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 Avid user commu­nity on the User Conference.
www.avid.com/support
Training and Education
Study on your own using courses available online, find out how you can learn in a classroom setting at an Avid-certified training center, or view video tu­torials and webinars.
www.avid.com/education
Products and Developers
Learn about Avid products, download demo soft­ware, or learn about our Development Partners and their plug-ins, applications, and hardware.
www.avid.com/products
Chapter 1: Audio Plug-Ins Overview 6

Chapter 2: Installing and Authorizing Avid 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 license that can be saved to an iLok USB key, iLok Cloud, or your computer.

Installing Plug-Ins for Pro Tools and Media Composer

For information on installing plug-ins for VENUE, refer to your VENUE documenta­tion..
To install a plug-in:
1 Log in to your Avid Master Account online
(my.avid.com).

Installing Plug-Ins from the Avid Marketplace

All plug-ins purchased from the Avid Marketplace through Pro Tools are installed silently and—fol­lowing activation—are available for use without having to restart Pro Tools.
To install a plug-in from the Avid Marketplace:
1 Launch Pro Tools. 2 Either choose Marketplace > Plug-Ins or select
Avid Marketplace from any plug-in insert in your
Pro Tools session.
3 Find the plug-in you want in the Avid Market-
place and follow the on-screen instructions.
You can also access the Avid Marketplace on­line at shop.avid.com.
2 Download the appropriate installer for your
operating system (Mac or Windows) from you A vid Master Account. After downloading, make sure the installer is uncompressed (.dmg or .exe).
3 Locate and double-click the plug-in installer. 4 Follow the on-screen instructions to complete
the installation.
Chapter 2: Installing and Authorizing Avid Plug-Ins 7

About iLok

The plug-ins documented in this guide can be au­thorized using an iLok USB key from PACE Anti­Piracy. Plug-ins may also be authorized to iLok Cloud or to your computer using iLok License Manager application.
iLok USB key (3rd 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.
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 avid.com/redemption 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
My Products section of your
Avid account.
6 Download and install the plug-in that you
purchased.
7 If you are authorizing a plug-in using an iLok,
make sure your iLok is connected to an available USB port on your computer.
For more information, visit the iLok website (www.iLok.com).
8 Launch Pro Tools (or Media Composer) and fol-
low the on-screen instructions to transfer the plug-in license to your iLok, iLok Cloud, or your computer and authorize the plug-in.

Authorizing Avid Audio Plug-Ins

When you purchase a boxed version of an Avid Au­dio plug-in, you receive an activation code on an activation card. If you purchase or rent a plug-in through the Avid Marketplace, the license is depos­ited directly to your iLok account and you can skip the following procedure (see “Installing Plug-Ins from the Avid Marketplace” on page 7).
If you open a session that uses plug-ins that are not installed and authorized on your system, you are prompted to rent or purchase those missing plug-ins though the Avid Marketplace if available.
Chapter 2: Installing and Authorizing Avid Plug-Ins 8

Removing Plug-Ins

If you need to remove a plug-in from your Pro Tools system, follow the instructions below for your computer platform.
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.
Chapter 2: Installing and Authorizing Avid Plug-Ins 9

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 10
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.
• T o 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 Down 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 11

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 13
7-Band EQ
The 7-Band EQ has its own window, with up to seven separate bands, each with it its own set of fi l­ter 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 14
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, and 003. Refer to the guide that came with the control sur­face for details.
Chapter 4: EQ III 15

EQ III I/O Controls

Input
Output Gain
Input and Output Meters
Gain
Input
Polarity
Clip Indicators
Control
Control
Control
Certain Input and Output controls are found on all EQ III configurations, except where noted other­wise.
I/O controls and meters for 7-Band EQ (top) and 1-Band EQ (bottom)
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.
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
(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 mete r in­dicate clipping at the input or output stage of the plug-in. Clip indicators can be cleared by clicking the indicator.
Output Gain Control
(7-Band EQ Only)
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 16

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 17
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