Pinnacle Systems Pro Tools - 8.0.4 User Manual

Audio Plug-Ins Guide

Version 8.0.4

Legal Notices

This guide is copyrighted ©2010 by Avid Technology, Inc., (hereafter “Avid”), with all rights reserved. Under copyright laws, this guide may not be duplicated in whole or in part without the written consent of Avid.

003, 96 I/O, 96i I/O, 192 Digital I/O, 192 I/O, 888|24 I/O, 882|20 I/O, 1622 I/O, 24-Bit ADAT Bridge I/O, AudioSuite, Avid, Avid DNA, Avid Mojo, Avid Unity, Avid Unity ISIS, Avid Xpress, AVoption, Axiom, Beat Detective, Bomb Factory, Bruno, C|24, Command|8, Control|24, D-Command, D-Control, D-Fi, D-fx, D-Show, D-Verb, DAE, Digi 002, DigiBase, DigiDelivery, Digidesign, Digidesign Audio Engine, Digidesign Intelligent Noise Reduction, Digidesign TDM Bus, DigiDrive, DigiRack, DigiTest, DigiTranslator, DINR, D-Show, DV Toolkit, EditPack, Eleven, HD Core, HD Process, Hybrid, Impact, Interplay, LoFi, M-Audio, MachineControl, Maxim, Mbox, MediaComposer, MIDI I/O, MIX, MultiShell, Nitris, OMF, OMF Interchange, PRE, ProControl, Pro Tools M-Powered, Pro Tools, Pro Tools|HD, Pro Tools LE, QuickPunch, Recti-Fi, Reel Tape, Reso, Reverb One, ReVibe, RTAS, Sibelius, Smack!, SoundReplacer, Sound Designer II, Strike, Structure, SYNC HD, SYNC I/O, Synchronic, TL Aggro, TL AutoPan, TL Drum Rehab, TL Everyphase, TL Fauxlder, TL In Tune, TL MasterMeter, TL Metro, TL Space, TL Utilities, Transfuser, Trillium Lane Labs, Vari-Fi Velvet, X-Form, and XMON are trademarks or registered trademarks of Avid Technology, Inc. Xpand! is Registered in the U.S. Patent and Trademark Office. All other trademarks are the property of their respective owners.

Product features, specifications, system requirements, and availability are subject to change without notice.

Guide Part Number 9329-62654-00 REV A 06/10

Documentation Feedback

At Avid, we are always looking for ways to improve our documentation. If you have comments, corrections, or suggestions regarding our documentation, email us at techpubs@avid.com.

Part I Introduction

Chapter 1. Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

Parts of This Guide . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

Plug-In Formats. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

System Requirements and Compatibility . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

Legacy and 3rd-Party Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

Using Plug-Ins in Pro Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

Contents of the Boxed Version of Your Plug-In . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

Conventions Used in This Guide . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

About www.avid.com . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

Chapter 2. Installing Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

Installing Plug-Ins for Pro Tools. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

Installing Plug-Ins for VENUE Systems . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

Using Pro Tools Plug-Ins with Avid Media Composer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

Authorizing Paid Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

Removing Plug-Ins for Pro Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

Removing Plug-Ins for VENUE Systems . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

Part II DigiRack Plug-Ins

Chapter 3. Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

Chapter 4. Click . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

Click Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

Creating a Click Track . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

Contents iii

Chapter 5. DigiRack D-Fx Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

Chorus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

Flanger . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

Multi-Tap Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

Ping-Pong Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

Selecting Audio for AudioSuite Delay Processing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

Chapter 6. Dither. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

Dither Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26

Chapter 7. D-Verb . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27

D-Verb Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27

Chapter 8. Dynamics III. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

Shared Compressor/Limiter and Expander/Gate Features . . . . . . . . . . . . . . . . . . . . . . . . . . 31

Compressor/Limiter III . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34

Expander/Gate III. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

De-Esser III . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40

Using the Side-Chain Input in Dynamics III . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43

Chapter 9. EQ III . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47

EQ III Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48

7Band EQ. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53

2–4 Band EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58

1Band EQ. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59

Chapter 10. Mod Delay II . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63

Mod Delay II Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63

Multichannel Mod Delay II . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65

Selections for ModDelay II AudioSuite Processing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65

Audio Plug-Ins Guideiv

Chapter 11. Other AudioSuite Plug-Ins. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67

DC Offset Removal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67

Duplicate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67

Gain. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68

Invert . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68

Normalize. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69

Reverse . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70

Chapter 12. Pitch. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71

Pitch Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71

Chapter 13. Pitch Shift. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75

Chapter 14. POW-r Dither . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77

POW-r Dither Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77

Chapter 15. ReWire. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79

ReWire Requirements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81

Using ReWire . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82

Quitting ReWire Client Applications. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84

Tempo and Meter Changes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85

Looping Playback . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85

Automating ReWire Input Switching . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86

Chapter 16. Signal Generator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87

Signal Generator Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87

AudioSuite Processing with Signal Generator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88

Chapter 17. SignalTools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89

SurroundScope . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89

PhaseScope . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90

SignalTools Display Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91

SignalTools Level Meters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93

Contents v

Chapter 18. Time Compression/Expansion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95

Chapter 19. TimeAdjuster . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97

TimeAdjuster Controls. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97

Using TimeAdjuster for Manual Delay Compensation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98

When to Compensate for Delays . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99

Chapter 20. Time Shift. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101

Time Shift Displays and Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101

Post Production Pull Up and Pull Down Tasks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106

AudioSuite Input Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107

AudioSuite Preview. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107

AudioSuite TCE Plug-In Preference . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107

Processing Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108

Chapter 21. Trim . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109

Trim Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109

Part III Pro Tools Creative Collection

Chapter 22. Introduction. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113

Chapter 23. Working with Creative Collection Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . 115

Inserting a Creative Collection Instrument on a Pro Tools Instrument Track . . . . . . . . . . . . . 115

Inserting a Creative Collection Effects Plug-In on a Pro Tools Track . . . . . . . . . . . . . . . . . . . 116

Using the MIDI Learn Function . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116

Chapter 24. Boom. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119

Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119

Matrix Display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120

Instrument Section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120

Global Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121

Transport Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121

Kit Selector . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122

Speed Switches . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122

Edit Mode Switch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123

Event Bar. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123

Audio Plug-Ins Guidevi

Info Display and Setup Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123

Creating a Drum Pattern . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124

Saving a Preset. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124

Playing with Patterns. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124

Controlling Boom with MIDI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125

Pattern Chains . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 126

Setup Page. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127

Chapter 25. DB-33. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129

Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129

Organ Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130

Cabinet Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 132

Info Display and Organ/Cabinet Switches . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 134

Chapter 26. Mini Grand . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135

Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135

Mini Grand Main Controls. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136

Info Display and Setup Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137

Shaping Mini Grand’s Sound. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137

Chapter 27. Structure Free . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139

Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139

Getting Started . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139

Structure Free Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 142

Patch List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143

Main Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 147

Patch Edit Sub-Pages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 148

Browser Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 150

Chapter 28. Vacuum . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153

Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153

VTO One and Two . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 154

Mixer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 155

Filters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 155

Envelopes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 156

Arp . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 159

Setup Page. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 160

Contents vii

Chapter 29. Xpand!2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 161

Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 161

Smart Knobs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 162

Part Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 162

Patch Edit Parameter Switches . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 163

Play (Main) Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 163

Mod (Modulation) Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 164

Arp (Arpeggiator) Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 166

FX (Effects) Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 167

Info Display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 167

Chapter 30. Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 169

Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 169

Chorus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 170

Distortion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 170

Dynamic Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 172

Enhancer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 174

Ensemble . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175

Filter Gate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 176

Flanger . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 177

Frequency Shifter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 179

Fuzz-Wah. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 180

Kill EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 181

Lo Fi . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 182

MultiChorus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 184

Multi-Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 185

Non-Linear Reverb . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 186

Phaser . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 187

Reverb . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 189

Spring Reverb . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 192

Stereo Width . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 193

Talkbox . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 194

Vintage Filter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 196

Audio Plug-Ins Guideviii

Part IV Additional Avid Plug-Ins

Chapter 31. Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 201

Chapter 32. Bruno and Reso . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 203

DSP Requirements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 204

Inserting Bruno/Reso onto an Audio Track. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 204

Playing Bruno/Reso. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 205

Using an External Key Input for Side-Chain Processing . . . . . . . . . . . . . . . . . . . . . . . . . . . . 206

Bruno Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 207

Reso Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 212

Chapter 33. D-Fi . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 219

Lo-Fi . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 220

Sci-Fi . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 222

Recti-Fi. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 224

Vari-Fi . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 227

Chapter 34. DINR. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 229

Broadband Noise Reduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 229

Broadband Noise Reduction Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 231

Using Broadband Noise Reduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 235

Using BNR AudioSuite . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 238

Chapter 35. Impact . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 241

Impact Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 242

Using a Key Input for External Side-Chain Processing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 245

Chapter 36. Maxim . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 247

About Peak Limiting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 248

Maxim Controls and Meters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 249

Using Maxim. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 252

Maxim and Mastering . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 252

Contents ix

Chapter 37. Reel Tape Plug-Ins. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 253

Reel Tape Common Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 253

Reel Tape Saturation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 254

Reel Tape Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 256

Reel Tape Flanger . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 259

Chapter 38. Reverb One . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 263

A Reverb Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 263

Reverb One Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 264

Chapter 39. ReVibe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 273

Reverberation Concepts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 274

Using ReVibe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 275

Adjusting ReVibe Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 276

ReVibe Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 277

ReVibe Room Types . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 289

Chapter 40. Smack! . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 293

Using the Smack! Compressor/Limiter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 294

Smack! Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 294

Using the Side-Chain Input in Smack! . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 299

Chapter 41. SoundReplacer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 301

Audio Replacement Techniques . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 301

SoundReplacer Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 302

Using SoundReplacer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 306

Getting Optimum Results with SoundReplacer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 307

Using the Audio Files Folder for Frequently Used Replacement Files . . . . . . . . . . . . . . . . . . 309

Chapter 42. X-Form . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 311

Audio Plug-Ins Guidex

Part V Eleven and Eleven Free

Chapter 43. Eleven and Eleven Free . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 321

Chapter 44. Eleven Input Calibration and QuickStart . . . . . . . . . . . . . . . . . . . . . . . . . . 323

Before You Begin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 323

1: Connect your Guitar and Configure Source Input. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 324

2: Set Hardware and Levels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 325

3: Set Up a Pro Tools Track . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 326

4. Set Up Eleven . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 327

Working with Pre-Recorded Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 328

What to Do Next . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 328

Chapter 45. Using Eleven . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 329

Inserting Eleven on Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 329

Adjusting Eleven’s Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 329

Using MIDI and MIDI Learn. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 330

Settings (Presets) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 331

Master Section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 332

Amp Types and Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 333

Cabinet Types and Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 336

Tracks and Signal Routing for Guitar. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 339

Tips and Suggestions. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 347

Eleven Signal Flow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 349

Part VI Synchronic

Chapter 46. Synchronic . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 353

Chapter 47. Synchronic Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 355

Synchronic Modules. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 355

Playing Synchronic RTAS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 356

Configuring MIDI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 356

Performance and Edit Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 359

Performance Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 359

Synchronic Presets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 360

Contents xi

Chapter 48. Synchronic Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 363

Adjusting Synchronic Parameters. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 363

Sound Module . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 364

Playback Module . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 371

Effect Module. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 380

XFade Module . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 386

MIDI Module . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 388

Keyboard Focus Mode. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 391

Chapter 49. Using the Synchronic AudioSuite Plug-In . . . . . . . . . . . . . . . . . . . . . . . . . 393

Using Synchronic AudioSuite . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 393

Synchronic AudioSuite Modules . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 394

Previewing Synchronic AudioSuite . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 395

Chapter 50. Automating Synchronic RTAS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 399

Using Automation Playlists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 399

Using MIDI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 401

Chapter 51. Synchronic Plug-In Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 403

Part VII Bomb Factory Plug-Ins

Chapter 52. Introduction. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 407

Chapter 53. Bomb Factory BF76. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 409

Chapter 54. Bomb Factory BF-2A . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 411

Chapter 55. Bomb Factory BF-3A . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 415

Chapter 56. Cosmonaut Voice. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 417

Chapter 57. BF Essentials Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 419

BF Essential Clip Remover. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 419

BF Essential Correlation Meter. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 420

BF Essential Meter Bridge . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 420

BF Essential Noise Meter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 421

Audio Plug-Ins Guidexii

Chapter 58. Fairchild Plug-Ins. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 423

Fairchild 660 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 423

Fairchild 670 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 425

Chapter 59. JOEMEEK Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 427

JOEMEEK VC5 Meequalizer. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 427

JOEMEEK SC2 Compressor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 428

Chapter 60. Moogerfooger Plug-Ins. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 431

Moogerfooger Analog Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 431

Moogerfooger Ring Modulator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 433

Moogerfooger 12-Stage Phaser . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 435

Moogerfooger Low-Pass Filter. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 437

Chapter 61. Pultec Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 441

Pultec EQP-1A. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 441

Pultec EQH-2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 442

Pultec MEQ-5 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 443

Chapter 62. Purple Audio. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 445

Chapter 63. SansAmp PSA-1. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 447

PSA-1 Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 448

Tips and Tricks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 448

Chapter 64. Slightly Rude Compressor. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 449

Chapter 65. Tel-Ray Variable Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 451

Chapter 66. Voce Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 453

Voce Chorus/Vibrato . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 453

Voce Spin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 454

Contents xiii

Part VIII TL Labs Plug-Ins

Chapter 67. Introduction. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 461

Chapter 68. TL Aggro . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 463

Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 463

TL Aggro Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 465

Using the Side-Chain Input . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 467

Chapter 69. TL AutoPan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 469

Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 469

TL AutoPan Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 469

Using TL AutoPan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 475

Using the Side-Chain Input . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 476

Chapter 70. TL Drum Rehab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 477

Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 477

Using TL Drum Rehab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 478

TL Drum Rehab Controls and Displays . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 482

TL Drum Rehab Main Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 482

TL Drum Rehab Library Browser. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 497

Loading Samples and Saving Custom DRP Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 498

Chapter 71. TL EveryPhase. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 501

Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 501

TL EveryPhase Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 502

Using TL EveryPhase . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 508

Chapter 72. TL InTune . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 511

Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 511

TL InTune Controls and Displays . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 512

Customizing TL InTune . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 514

Using TL InTune . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 516

Audio Plug-Ins Guidexiv

Chapter 73. TL MasterMeter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 517

Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 517

Using TL MasterMeter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 521

TL MasterMeter Controls and Displays. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 522

Chapter 74. TL Metro . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 525

Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 525

Configuring Pro Tools for Use with TL Metro . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 525

TL Metro Controls and Displays. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 526

Synchronization . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 528

Customizing TL Metro . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 528

Chapter 75. TL Space TDM and TL Space Native . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 531

Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 531

System Performance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 536

Impulse Responses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 539

Presets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 542

Snapshots . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 543

TL Space Controls and Displays . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 544

Using TL Space . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 554

IR Library . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 556

Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 557

Contents xv

Audio Plug-Ins Guidexvi

Part I: Introduction

Chapter 1: Overview

Plug-Ins are special-purpose software components that provide additional signal processing and other functionality to Pro Tools

This guide covers all of the plug-ins that come with your Pro Tools system, as well as many other plug-ins that can be added to your system. Additional plug-ins are available both from Avid and our Third Party Developers.

References to Pro Tools LE® in this guide are usually interchangeable with Pro Tools M-Powered™, except as noted in the documentation included with your M-Powered system.

Parts of This Guide

Each part of this guide covers a different group of plug-ins.

• Part II, “DigiRack Plug-Ins” (Page 13)

• Part III, “Pro Tools Creative Collection” (Page 111)

• Part IV, “Additional Avid Plug-Ins” (Page 199)

• Part V, “Eleven and Eleven Free” (Page 319)

• Part VI, “Synchronic” (Page 351)

• Part VII, “Bomb Factory Plug-Ins” (Page 405)

• Part VIII, “TL Labs Plug-Ins” (Page 459)

Plug-In Formats

There are three plug-in formats used in Pro Tools:

•RTAS

• AudioSuite™ plug-ins (non-real-time,

• TDM plug-ins (real-time, DSP-based)

RTAS Plug-Ins

RTAS (Real-Time AudioSuite) plug-ins function as track inserts, are applied to audio during playback, and process audio non-destructively in real time. Processing power for RTAS plug-ins comes from your computer. The more powerful your computer, the greater the number and variety of RTAS plug-ins that you can use simultaneously.

Because of this dependence on the CPU or host processing, the more RTAS plug-ins you use concurrently in a session, the greater the impact it will have on other aspects of your system’s performance, such as maximum track count, number of available voices, the density of edits possible, and latency in automation and recording.

RTAS plug -ins can be used w ith all Pro Tools sy stems, as well as 3rd-party software that supports RTAS.

plug-ins (real-time, host-based)

file-based processing)

Chapter 1: Overview 3

AudioSuite Plug-Ins

AudioSuite plug-ins are used to process and modify audio files on disk, rather than nondestructively in real time. Depending on how you configure a non-real-time AudioSuite plug-in, it either creates an entirely new audio file, or alters the original source audio file. Audio-Suite plug-ins can be used on all Pro Tools systems and Avid software, as well as any 3rd-party software that supports AudioSuite.

TDM Plug-Ins

(Pro Tools HD and VENUE Only)

TDM (Time Division Multiplexing) plug-ins provide features and functionality similar to their RTAS counterparts, but unlike RTAS plug-ins, TDM plug-ins are designed for use with Pro Tools HD software on Pro Tools|HD tems, and rely on the processing power of our DSP cards. Other TDM-compatible DAW software, like Apple Logic or MOTU Digital Performer, can also utilize TDM plug-ins.

sys-

System Requirements and Compatibility

To use Pro Tools plug-ins you need any the following:

• An Avid-qualified Pro Tools system running Pro Tools

• An Avid-qualified Pro Tools system and a third-party software application that supports the Pro Tools TDM, RTAS, or AudioSuite plug-in standards

• A qualified Avid or Avid DNA™ system (AudioSuite only)

• A qualified Avid VENUE system (TDM only)

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

Xpress®, Avid Xpress DV,

The number and variety of TDM plug-ins that you can use simultaneously in a session are limited only by the amount of DSP available. You can increase available DSP by installing additional DSP cards (such as HD Accel_Core™, HD Accel™, HD Core™, or HD Process™ cards) in your computer. This power-on-demand aspect is a significant advantage of Pro Tools|HD systems.

TDM plug-ins can also be used in our VENUE live console systems. DSP Mix Engine cards can be added to a VENUE FOH Rack or Mix Rack for increased TDM plug-in capability.

Audio Plug-Ins Guide4

Legacy and 3rd-Party Plug-Ins

Some older plug-ins that are no longer offered for current versions of Pro Tools are not covered in this guide. For information on those plug-ins, see the Legacy Plug-Ins Guide.

For information on 3rd-party Pro Tools plug-ins that are not covered in this guide, please refer to the documentation that came with your plug-in.

Using Plug-Ins in Pro Tools

Refer to 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

Contents of the Boxed Version of Your Plug-In

If you bought your plug-in as a boxed version, it includes the following:

• Installation disc

• Registration Information Card

• Activation Card with an Activation Code for authorizing plug-ins with an iLok USB Smart Key (purchased separately unless supplied with your system)

Conventions Used in This Guide

All Avid guides use the following conventions to indicate menu choices and key 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 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 Pro Tools system.

Important Notices include information that could affect your Pro Tools session data or the performance of your Pro Tools system.

Shortcuts show you useful keyboard or mouse shortcuts.

Cross References point to related sections in this guide and other Pro Tools guides.

Chapter 1: Overview 5

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 Register your purchase online.

Support and Downloads Contact Avid Technical Support or Customer Service; download software updates and the latest online manuals; browse the Compatibility documents for system requirements; search the online Answerbase; or join the worldwide Pro Tools community on the User Conference.

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 plugins, applications, and hardware.

News and Events Get the latest news from Avid or sign up for a Pro Tools demo.

Audio Plug-Ins Guide6

Chapter 2: Installing Plug-Ins

Overview

Installers for your plug-ins can be downloaded from the Avid store (store.avid.com) or can be found on the plug-in installer disc (included with boxed versions of plug-ins).

An installer may also be available on the Pro Tools installer disc or on a software bundle installer disc.

Free Pro Tools Plug-Ins

A suite of free plug-ins are included with your system, and can be installed when you install Pro Tools. For more information on installing Pro Tools, see the User Guide that came with your system. When installing Pro Tools, you can choose to install one or both of the following packages:

DigiRack™ Plug-Ins

A set of free effects plug-ins including DigiRack plug-ins, free Bomb Factory plug-ins, Eleven Free, TL Utilities, and D-Fi and Maxim plug-ins.

Free VENUE Plug-Ins

VENUE-compatible DigiRack plug-ins are pre-installed on your VENUE system and are updated when you update VENUE software. For more information about installing VENUE software, see the documentation that came with your VENUE system.

Some free Pro Tools plug-ins can be downloa de d f rom t he Av id website (www.avid.com) for use with VENUE systems, Avid Media Composer, and other applications that support Pro Tools plug-in formats.

Updating Older Plug-Ins

Because plug-in installers contain the latest versions of the plug-ins, use them to update any plug-ins you already own.

Be sure to use the most recent versions of plug-ins. For more information, see the Avid website (www.avid.com).

Pro Tools Creative Collection

A set of free RTAS effects and virtual instrument plug-ins (including 4.4 GB of sample content).

Chapter 2: Installing Plug-Ins 7

Installing Plug-Ins for Pro Tools

Installing Plug-Ins for VENUE Systems

To install a plug-in:

1 Do one of the following:

• Download the installer for your computer platform from the Avid website (www.avid.com). After downloading, make sure the installer is uncompressed (.SIT on Mac or .ZIP on Windows).

– or –

• Insert the disc containing the plug-in into your computer.

2 Double-click the plug-in installer application.

3 Follow the on-screen instructions to complete

the installation.

4 When installation is complete, click Quit

(Mac) or Finish (Windows).

When you open Pro Tools, you are prompted to authorize your new plug-in (see “Using Pro Tools Plug-Ins with Avid Media Composer” on page 8).

Installers for VENUE plug-ins can be downloaded from www.avid.com. After downloading, the installer must be transferred to either a USB drive or a CD-ROM. Plugs-ins can be installed using a USB drive connected to the UDB ports on any VENUE system, or using a CD-ROM inserted into the CD drive available on an FOH Rack or Mix Rack.

For complete instructions on installing plugins for VENUE systems, see the documentation that came with your VENUE system.

Using Pro Tools Plug-Ins with Avid Media Composer

The plug-in installation, authorization, and uninstallation process when using Pro Tools plugins with Media Composer are the same as in Pro Tools. For more information on using Pro Tools plug-ins with Media Composer, see “Installing Plug-Ins for Pro Tools” on page 8, “Authorizing Paid Plug-Ins” on page 9, and “Removing Plug-Ins for Pro Tools” on page 10.

Audio Plug-Ins Guide8

Authorizing Paid Plug-Ins

Pro Tools plug-ins are authorized using the iLok USB Smart Key (iLok), manufactured by PACE Anti-Piracy.

iLok USB Smart Key

Not all Pro Tools plug-ins require authorization. For example, no authorization is required for free Pro_Tools plug-ins.

An iLok can hold over 100 licenses for all of your iLok-enabled software. Once an iLok is authorized for a given piece of software, you can use the iLok to authorize that software on any computer.

The iLok USB Smart Key is not supplied with your plug-in or software option. You can use the one included with certain Pro Tools systems (such as Pro Tools|HDseries systems), or purchase one separately.

For more information, visit the iLok website (www.iLok.com).

Authorizing Downloaded Plug-Ins for Pro Tools

Authorizing Boxed Versions of Plug-Ins for Pro Tools

If you purchased a boxed version of software, it comes with an Activation Code (on the included Activation Card).

To authorize a plug-in using an Activation Code:

1 If you do not have an iLok.com account, visit

www.iLok.com and sign up for an account.

2 Transfer the license for your plug-in to your

iLok.com account by doing the following:

• Visit www.avid.com/activation.

– and –

• Input your Activation Code (listed on your Activation Card) and your iLok.com User ID. Your iLok.com User ID is the name you create for your iLok.com account.

3 Transfer the licenses from your iLok.com ac-

count to your iLok USB Smart Key by doing the following:

• Insert the iLok into an available USB port on your computer.

• Go to www.iLok.com and log in.

• Follow the on-screen instructions for transferring your licences to your iLok.

4 Launch Pro Tools.

5 If you have any installed unauthorized plug-

ins or software options, you are prompted to authorize them. Follow the on-screen instructions to complete the authorization process.

If you downloaded a plug-in from the Avid Store (store.avid.com), you authorize it by downloading a license from iLok.com to an iLok.

For more information, visit the iLok website (www.iLok.com).

Chapter 2: Installing Plug-Ins 9

Authorizing Plug-Ins on VENUE Systems

After installing a plug-in on a VENUE system, the system re-creates the list of available plugins. Whenever the racks initialize, the system checks authorizations for all installed plug-ins. If no previous authorization for a plug-in is recognized, you will be prompted to authorize the the plug-in.

For complete instructions on authorizing plug-ins for VENUE systems, see the documentation that came with your VENUE system.

VENUE supports challenge/response and iLok USB Smart Key authorization, including pre-authorized iLoks and Activation Cards.

Challenge/Response Challenge/response authorization is only valid for the VENUE system the plug-in is currently installed on. Challenge/response codes can be communicated using any computer with Internet access.

iLok USB Smart Key Plug-Ins supporting web authorizations through iLok.com can be authorized for your iLok Smart Key from any computer with Internet access. This lets you take your iLok and your plug-in authorizations anywhere, to use plug-ins installed on any system.

For more information, visit the iLok website (www.iLok.com).

Mac OS X

To remove a plug-in:

1 Locate and open the Plug-Ins folder on your

Startup drive (Library/Application Support /Digidesign/Plug-Ins).

2 Do one of the following:

• Drag the plug-in to the Trash and empty the Trash.

– or –

• Drag the plug-in to the Plug-Ins (Unused) folder.

Windows Vista and Windows 7

To remove a plug-in:

1 Choose Start > Control Panel.

2 Under Programs, click Uninstall a program.

3 Select the plug-in from the list of installed ap-

plications.

4 Click Uninstall.

5 Follow the on-screen instructions to remove

the plug-in.

Windows XP

To remove a plug-in:

1 Choose Start > Control Panel.

2 Double-click Add or Remove Programs.

Removing Plug-Ins for Pro Tools

If you need to remove a plug-in from your Pro Tools system, follow the instructions for your computer platform.

Audio Plug-Ins Guide10

3 Select the plug-in from the list of installed ap-

plications.

4 Click Remove.

5 Follow the on-screen instructions to remove

the plug-in.

Removing Plug-Ins for VENUE Systems

Plug-Ins installed on VENUE systems can be disabled, uninstalled, or deleted. A plug-in that has been disabled or uninstalled (but not deleted) can be reinstalled without the CD-ROM or USB drive containing the plug-in installers. Deleted plug-ins, however, must be installed from installers located on either a USB drive or a CD-ROM.

For complete instructions on uninstalling plug-ins for VENUE systems, see the documentation that came with your VENUE system.

Chapter 2: Installing Plug-Ins 11

Audio Plug-Ins Guide12

Part II: DigiRack Plug-Ins

Chapter 3: Introduction

This section covers the DigiRack plug-ins that are included with Pro Tools. These basic plug-ins provide a comprehensive suite of digital signal processing effects that include EQ, dynamics, delay, and other essential functions.

The DigiRack plug-ins installed with Pro Tools include:

• DigiRack Click

• DigiRack D-Fx plug-ins

•Chorus

•Flanger

•Multi-Tap Delay

• Ping-Pong Delay

• DigiRack Dither

• DigiRack D-Verb

• DigiRack Dynamics III

• Compressor/Limiter

• Expander/Gate

•De-Esser

• DigiRack EQ III

• 7 Band

•2–4Band

• 1 Band

• DigiRack ModDelay II

• DigiRack Pitch

• DigiRack Pitch Shift

• DigiRack POW-r Dither

• DigiRack ReWire

• DigiRack SignalGenerator

• DigiRack SignalTools

•SurroundScope

•PhaseScope

• DigiRack TimeAdjuster

• DigiRack Time Compression/Expansion

• DigiRack Time Shift

• DigiRack Trim

• Other DigiRack AudioSuite Plug-Ins

•DC Offset Removal

• Duplicate

•Gain

•Invert

• Normalize

• Reverse

Chapter 3: Introduction 15

Audio Plug-Ins Guide16

Chapter 4: Click

Click is a metronome plug-in that comes in TDM and RTAS formats.

Click Controls

The Click plug-in creates an audio click during session playback that you can use as a tempo reference when performing and recording. The Click plug-in receives its tempo and meter data from the Pro Tools application, enabling it to follow any changes in tempo and meter in a session. The Click plug-in is a mono-only plug-in. Several click sound presets are included.

Click plug-in

MIDI In LED Illuminates each time the Click plug-in receives a click message from the Pro Tools application, indicating the click tempo.

Accented Controls the output level of the accent beat (beat 1 of each bar) of the audio click.

Unaccented Controls the output level of the unaccented beats of the audio click.

Chapter 4: Click 17

Creating a Click Track

To create a click track with the Click plug-in:

6 Ensure that the Options > Click is enabled.

7 Choose Track > Create Click Track.

Pro Tools creates a new Auxiliary Input track named “Click” with the Click plug-in already inserted. In the Edit window, the track’s Track Height is set to Mini.

To manually create a click track with the Click plug-in:

1 Select Options > Click to enable the Click op-

tion (or enable the Metronome button in the Transport).

2 Create new a mono Auxiliary Input track and

insert the Click plug-in.

3 Select a click sound preset.

4 Choose Setup > Click/Countoff and set the

Click and Countoff options as desired.

The Note, Velocity, Duration, and Output options in this dialog are for use with MIDI instrument-based clicks and do not affect the Click plug-in.

Click Options dialog

5 Begin playback. A click is generated according

to the tempo and meter of the current session and the settings in the Click/Countoff Options dialog.

Refer to the Pro Tools Reference Guide for more information on configuring Click options.

Audio Plug-Ins Guide18

Chapter 5: DigiRack D-Fx Plug-Ins

D-Fx is a set of four AudioSuite plug-ins:

•Chorus

•Flanger

•Multi-Tap Delay

• Pin-Pong Delay

Chorus

(AudioSuite Only)

Chorus adds a shimmering quality to audio material by combining a time-delayed, pitchshifted copy of an audio signal with itself.

Chorus plug-in

The Chorus plug-in was formerly called D-fx Chorus. It is fully compatible with all settings and presets created for D-fx Chorus.

Gain Adjusts the input volume of the chorus to prevent clipping or increase the level of the processed signal. This slider is set to a default of +3 dB. If your source audio has been recorded very close to peak level, this +3 dB default setting could cause clipping. Use this control to reduce the input level.

Selecting the Sum Inputs button sums the dry input signals (mono or stereo) before processing them. The dry signal then appears in the center of the stereo field and the wet, effected signal will be output in stereo.

When the Sum Inputs button is selected, the LFO waveform on the right channel is automatically phase inverted to enhance the mono-stereo effect.

Sum Inputs button

Mix Adjusts the balance between the effected signal and the original signal and controls the depth of the effect. Mix is adjustable from 0% to 100%.

Low-Pass Filter Controls the cutoff frequency of the Low-Pass Filter. Use this to attenuate the high frequency content of the feedback signal. The lower the setting, the more high frequencies are removed from the feedback signal.

Chapter 5: DigiRack D-Fx Plug-Ins 19

The range of the Low-Pass Filter is 20 Hz to

19.86 kHz, with a maximum value of Off (which effectively means bypass).

Delay Sets the delay time between the original signal and the chorused signal. The higher the setting, the longer the delay and the wider the chorusing effect. Delay is adjustable from 0–20 milliseconds.

LFO Rate Adjusts the rate of the LFO (low frequency oscillator) applied to the delayed signal as modulation. The higher the setting, the more rapid the modulation. You can select either a sine wave or a triangle wave as a modulation source, using the LFO Waveform selector.

LFO Width Adjusts the intensity of the LFO applied to the delayed signal as modulation. The higher the setting, the more intense the modulation. Use the LFO Waveform selector to select a sine or a triangle wave as a modulation source.

Flanger

(AudioSuite Only)

The Flanger animates and adds a swirling, moving quality to audio material by combing a timedelayed copy of an audio signal with itself.

The Flanger uses a through-zero flanging algorithm that results in a tape-like flanging effect. This technique delays the original dry signal by 256 samples, then modulates the delayed signal back and forth in time in relation to the dry signal, passing through its zero point on the way.

Feedback Controls the amount of feedback applied from the output of the delayed signal back into its input. Negative settings provide a more intense effect.

LFO Waveform Selects a sine wave or triangle wave for the LFO. This affects the character of the modulation. The sine wave has a gentler ramp and peak than the triangle wave.

Audio Plug-Ins Guide20

Flanger plug-in

The Flanger plug-in was formerly called D-fx Flanger. It is fully compatible with all settings and presets created for D-fx Flanger.

Gain Adjusts the input volume of the flanger to prevent clipping or increase the level of the processed signal. This slider is set to a default of +3 dB. If your source audio has been recorded very close to peak level, this +3 dB default setting could cause clipping. Use this control to reduce the input level.

Selecting the Sum Inputs button sums the dry input signals (mono and stereo) before processing them. The dry signal then appears in the center of the stereo field and the wet, effected signal will be output in stereo.

When the Sum Inputs button is selected, the LFO waveform on the right channel is phase inverted to enhance the mono-stereo effect.

Mix Adjusts the balance between the effected signal and the original signal and controls the depth of the effect. Mix is adjustable from 0% to 100%.

High-Pass Filter Controls the cutoff frequency of the high-pass filter. Use this to attenuate the frequency content of the feedback signal and the frequency response of the flanging. The higher the setting, the more low frequencies are removed from the feedback signal.

LFO Width Adjusts the intensity of the LFO applied to the delayed signal as modulation. The higher the setting, the more intense the modulation.

Multi-Tap Delay

(AudioSuite Only)

The Multi-Tap Delay adds up to four independently-controllable delays or taps to the original audio signal. Use the Multi-tap delay to add spatialization or complex rhythmic echo effects to audio material. You can individually control the delay time and number of repetitions of each of the four taps.

Feedback Controls the amount of feedback applied from the output of the delayed signal back into its input. Negative settings provide a more intense effect.

LFO Waveform Selects a sine wave or triangle wave for the LFO. This affects the character of the modulation. The sine wave has a gentler ramp and peak than the triangle wave.

Multi-Tap Delay plug-in

The Multi-Tap Delay plug-in was formerly called D-fx Multi-Tap Delay. It is fully compatible with all settings and presets created for D-fx Multi-Tap Delay.

Chapter 5: DigiRack D-Fx Plug-Ins 21

Gain Provides individual control of the input level for each of the four delay lines (or “taps”). Individually adjust the Gain for each of the four taps, either to prevent clipping or to increase the level of the processed signal.

Feedback Provides individual control over the amount of feedback applied from the output of the delay into its input for each tap. It also controls the number of repetitions of the delayed signal. For the feedback feature to function, the Gain slider for that tap must be raised above its lowest setting.

Pan Provides individual control over the apparent location of each of the four taps in the stereo field.

Delay Sets the delay time between the original signal and the delayed signal. The higher the setting, the longer the delay. This control is adjustable from 0–1500 milliseconds (1.5 seconds).

Mix Adjusts the balance between the effected signal and the original signal and controls the depth of the effect. Mix is adjustable from 0% to 100%.

Ping-Pong Delay

(AudioSuite Only)

The Ping-Pong Delay plug-in adds a controllable delay to the original audio signal. Use the PingPong delay to add spatialization, and panned echo to audio material. This plug-in feeds back delayed signals to their opposite channels, creating a characteristic ping-pong echo effect.

Ping-Pong Delay plug-in

The Ping-Pong Delay plug-in was formerly called D-fx Ping-Pong Delay. It is fully compatible with all settings and presets created for D-fx Ping-Pong Delay.

Gain Adjusts the input volume of the Ping-Pong Delay to prevent clipping or to increase the level of the processed signal.

Mix Adjusts the balance between the effected signal and the original signal and controls the depth of the effect. Mix is adjustable from 0% to 100%.

Delay Sets the delay time between the original signal and the delayed signal. The higher the setting, the longer the delay. This control is adjustable from 0–1500 milliseconds (1.5 seconds).

Low-Pass Filter Controls the cutoff frequency of the low-pass filter. Use this to attenuate the high frequency content of the feedback signal. The lower the setting, the more high frequencies are removed from the feedback signal.

Audio Plug-Ins Guide22

The range of the Low-Pass Filter is 20 Hz to

19.86 kHz, with a maximum value of Off (which effectively means bypass).

Selecting Audio for AudioSuite Delay Processing

Feedback Controls the amount of feedback applied from the output of the delay into its input. It also controls the number of repetitions of the delayed signal.

Cross-Feedback Cross-Feedback feeds the delayed signals to their opposite channel: The left channel delay is fed to the right channel input and vice-versa. The result is a stereo echo that ping-pongs back and forth between the right and left channels.

Because delays add additional material to the end of selected audio (a delay tap), make a selection that is longer than the original source material so AudioSuite can write the additional delayed audio to the audio file.

Selecting only the original material, without leaving additional space at the end results in the delayed audio being cutoff at the end of the selection. To accommodate delayed audio that comes after the source audio, place the region in a track, and select the desired audio plus an amount of blank space at the end of the region equal to the amount of delay that you have added in the plug-in. The plug-in will then have space at the end of the region in which to write the final delay.

Chapter 5: DigiRack D-Fx Plug-Ins 23

Audio Plug-Ins Guide24

Chapter 6: Dither

Dither is a dither-generation plug-in that comes in TDM and RTAS formats.

The Dither plug-in minimizes quantization artifacts when reducing the bit depth of an audio signal to 16-, 18-, or 20-bit resolution.

For more advanced dithering, use the DigiRack POW-r Dither plug-in. See Chapter 14, “POW-r Dither.”

Dither plug-in

Whenever you are mixing down or bouncing to disk and your destination bit depth is lower than 24-bit, insert a dither plug-in on a Master Fader track that controls the output mix.

Using a dither plug-in on a Master Fader is preferable to an Auxiliary Input because Master Fader inserts are post-fader. As a post-fader insert, the dither plug-in can process changes in Master Fader level.

For more information on using Dither, see the Pro Tools Reference Guide.

The Dither plug-in has user-selectable bit resolution and a noise shaping on/off option.

If you are mixing down to an analog destination with any 24-bit capable interface, you do not need to use Dither. This allows maximum output fidelity from the 24-bit digital-to-analog convertors of the interface.

Chapter 6: Dither 25

Dither Controls

Bit Resolution

Use this pop-up menu to choose one of three possible resolutions for the Dither processing. Set this control to the maximum bit resolution of your destination.

16-bit Recommended for output to digital devices with a maximum resolution of 16 bits, such as DAT and CD recorders.

18-bit Recommended for output to digital devices with a maximum resolution of 18 bits.

20-bit Recommended for output to digital devices that support a full 20-bit recording data path, such the Sony PCM-9000 optical mastering recorder, or the Alesis ADAT XT 20. Use this setting for output to analog devices if you are using a 20-bit audio interface, such as the 882|20 I/O audio interface. The 20-bit setting can also be used for output to digital effects devices that support 20-bit input and output, since it provides for a lower noise floor and greater dynamic range when mixing 20-bit signals directly into Pro Tools.

Noise Shaping

Noise shaping can further improve audio performance and reduce perceived noise inherent in dithered audio. Noise shaping uses filtering to shift noise away from frequencies in the middle of the audio spectrum (around 4 kHz), where the human ear is most sensitive.

The Noise Shaping button engages or disengages Noise shaping. Noise shaping is on when the button is highlighted in blue.

The DigiRack Dither plug-in only provides eight channels of uncorrelated dithering noise. If DigiRack Dither is used on more than eight tracks, the dithering noise begins to repeat and dither performance is impaired. For example, if two Quad DigiRack Dithers are used, both Quad instances of Dither will have all of their dither noise uncorrelated. However, any additional instances of the Dither plug-in will begin to repeat the dithering noise.

Audio Plug-Ins Guide26

Chapter 7: D-Verb

D-Verb is a studio-quality reverb provided in TDM, RTAS, and AudioSuite formats.

The TDM version of the D-Verb plug-in is not supported at 192 kHz; use the RTAS version instead.

D-Verb Controls

D-Verb plug-in

Output Meter

The Output meter indicates the output level of the processed signal. With the stereo version of D-verb, it represents the summed stereo output. It is important to note that this meter indicates the output level of the signal—not the input

level. If this meter clips, it is possible that the signal clipped on input before it reached D-Verb. Monitor your send or insert signal levels closely to help prevent this from happening.

Clip Indicator

The Clip indicator shows if clipping has occurred. It is a clip-hold indicator. If clipping occurs at any time during audio playback, the clip lights remain on. To clear the clip indicator, click it. With longer reverb times there is a greater likelihood of clipping occurring as the feedback element of the reverb builds up and approaches a high output level.

Input Level

The Input Level slider adjusts the input volume of the reverb to prevent the possibility of clipping and/or increase the level of the processed signal.

Mix

The Mix slider adjusts the balance between the dry signal and the effected signal, giving you control over the depth of the effect. This control is adjustable from 100% to 0%.

Chapter 7: D-Verb 27

Algorithm

This control selects one of seven reverb algorithms: Hall, Church, Plate, Room 1, Room 2, Ambience, or Nonlinear. Selecting an algorithm changes the preset provided for it. Switching the Size setting changes characteristics of the algorithm that are not altered by adjusting the decay time and other user-adjustable controls. Each of the seven algorithms has a distinctly different character:

Hall A good general purpose concert hall with a natural character. It is useful over a large range of size and decay times and with a wide range of program material. Setting Decay to its maximum value will produce infinite reverberation.

Church A dense, diffuse space simulating a church or cathedral with a long decay time, high diffusion, and some pre-delay.

Nonlinear Produces a reverberation with a natural buildup and an abrupt cutoff similar to a gate. This unnatural decay characteristic is particularly useful on percussion, since it can add an aggressive characteristic to sounds with strong attacks.

Size

The Size control, in conjunction with the Algorithm control, adjusts the overall size of the reverberant space. There are three sizes: Small, Medium, and Large. The character of the reverberation changes with each of these settings (as does the relative value of the Decay setting). The Size buttons can be used to vary the range of a reverb from large to small. Generally, you should select an algorithm first, and then choose the size that approximates the size of the acoustic space that you are trying to create.

Plate Simulates the acoustic character of a metal plate-based reverb. This type of reverb typically has high initial diffusion and a relatively bright sound, making it particularly good for certain percussive signals and vocal processing. Plate reverb has the general effect of thickening the initial sound itself.

Room 1 A medium-sized, natural, rich-sounding room that can be effectively varied in size between very small and large, with good results.

Room 2 A smaller, brighter reverberant characteristic than Room 1, with a useful adjustment range that extends to “very small.”

Ambient A transparent response that is useful for adding a sense of space without adding a lot of depth or density. Extreme settings can create interesting results.

Audio Plug-Ins Guide28

Diffusion

Diffusion sets the degree to which initial echo density increases over time. High settings result in high initial build-up of echo density. Low settings cause low initial buildup. This control interacts with the Size and Decay controls to affect the overall reverb density. High settings of diffusion can be used to enhance percussion. Use low or moderate settings for clearer and more natural-sounding vocals and mixes.

Decay

Decay controls the rate at which the reverb decays after the original direct signal stops. The value of the Decay setting is affected by the Size and Algorithm controls. This control can be set to infinity on most algorithms for infinite reverb times.

Pre-Delay

Pre-Delay determines the amount of time that elapses between the original audio event and the onset of reverberation. Under natural conditions, the amount of pre-delay depends on the size and construction of the acoustic space, and the relative position of the sound source and the listener. Pre-Delay attempts to duplicate this phenomenon and is used to create a sense of distance and volume within an acoustic space. Long Pre-Delay settings place the reverberant field behind rather than on top of the original audio signal.

Hi Frequency Cut

Hi Frequency Cut controls the decay characteristic of the high frequency components of the reverb. It acts in conjunction with the Low-Pass Filter control to create the overall high frequency contour of the reverb. When set relatively low, high frequencies decay more quickly than low frequencies, simulating the effect of air absorption in a hall. The maximum value of this control is Off (which effectively means bypass).

Low-Pass Filter

Low-Pass Filter controls the overall high frequency content of the reverb by setting the frequency above which a 6 dB per octave filter attenuates the processed signal. The maximum value of this control is Off (which effectively means bypass).

Chapter 7: D-Verb 29

Audio Plug-Ins Guide30

Chapter 8: Dynamics III

Gain Reduction meter

Threshold

arrow

Phase Invert

Input

meter

Output meter

Peak hold indicators

Dynamics III is a suite of three dynamics plugins that come in TDM, RTAS, and AudioSuite formats:

• Compressor/Limiter

• Expander/Gate

•De-Esser

All Dynamics III modules are available in TDM, RTAS, and AudioSuite formats.

Shared Compressor/Limiter and Expander/Gate Features

The following parts of the user interface are shared between the Compressor/Limiter and Expander/Gate Dynamics III plug-ins.

Levels Section

Dynamics III supports 44.1 kHz, 48 kHz,

88.2 kHz, 96 kHz, 176.4 kHz and 192 kHz sample rates. Compressor/Limiter and Expander/Gate modules work with mono, stereo, and greater-than-stereo multichannel formats up to 7.1. The De-Esser module works with mono and stereo formats only.

In addition to standard controls in each module, Dynamics III also provides a graph to track the gain transfer curve in the Compressor/Limiter and Expander/Gate plug-ins, and a frequency graph to display which frequencies trigger the De-Esser and which frequencies will be gain reduced.

The indicators and controls in the Levels section let you track input, output, and gain reduction levels, as well as work with phase invert and the threshold setting.

See “De-Esser Levels Section” on page 41 for more information on De-Esser III Input/Output Level controls.

I/O Meter display (stereo instance shown)

Chapter 8: Dynamics III 31

Input and Output Meters

Input and

Output Meter

buttons

Gain Reduction Meter

The Input (In) and Output (Out) meters show peak signal levels before and after dynamics processing:

Green Indicates nominal levels.

Yello w Indicates pre-clipping levels, starting at

–6 dB below full scale.

Red Indicates full scale levels (clipping).

The clip indicators at the top of the Output meters indicate clipping at the input or output stage of the plug-in. Clip indicators can be cleared by clicking the indicator.

The Input and Output meters display differently depending on the type of track (mono, stereo, or multichannel) on which the plugin has been inserted.

When Side-Chain Listen is enabled, the Output meter only displays the levels of the side-chain signal. See “Side-Chain Listen” on page 43.

Toggling Multichannel Input and Output Meters

With multichannel track types LCRS and higher, both Input and Output meters cannot be shown at the same time. Click either the Input or Output button to display the appropriate level meter. The Input/Output meters display is toggled to Output by default.

The Gain Reduction (GR) meter indicates the amount the input signal is attenuated (in dB) and shows different colors during dynamics processing:

Light Orange Indicates that gain reduction is within the “knee” and has not reached the full ratio of compression.

Dark Orange Indicates that gain reduction is being applied at the full ratio (for example, 2:1).

Threshold Arrow

The orange Threshold arrow next to the Input meter indicates the current threshold, and can be dragged up or down to adjust the threshold. When a multichannel instance of the plug-in has been configured to show only the Output meter, the Threshold arrow is not displayed.

Phase Invert

The Phase Invert button inverts the phase (polarity) of the input signal, to help compensate for phase anomalies that can occur either in multi-microphone environments or because of mis-wired balanced connections.

Input and Output meter buttons

Audio Plug-Ins Guide32

LFE Enable

Input signal

level (x-axis)

Output signal level (y-axis)

Threshold

(Pro Tools HD and Pro Tools LE with Complete Production Toolkit Only)

The LFE Enable button (located in the Options section) is on by default, and enables plug-in processing of the LFE (low frequency effects) channel on a multichannel track formatted for

5.1, 6.1, or 7.1 surround formats. To disable LFE processing, deselect this button.

Use this graph as a visual guideline to see how much dynamics processing you are applying.

LFE Enable button (Compressor/Limiter III shown)

The LFE Enable button is not available if the plug-in is not inserted on an applicable track.

Dynamics Graph Display

The Dynamics Graph display—used with the Compressor/Limiter and Expander/Gate plugins—shows a curve that represents the level of the input signal (on the x–axis) and the level of the output signal (on the y–axis). The orange vertical line represents the threshold.

Dynamics graph display

The Compressor/Limiter and Expander/Gate plug-ins also feature an animated, multi-color cursor in their gain transfer curve displays.

The gain transfer curve of the Compressor/Limiter and Expander/Gate plug-ins shows a moving ball cursor that shows the amount of input gain (x-axis) and gain reduction (y-axis) being applied to the incoming signal.

Gain transfer curve and cursor showing amount of compression

Chapter 8: Dynamics III 33

To indicate overshoots (when an incoming signal peak is too fast for the current compression setting) the cursor temporarily leaves the gain transfer curve.

The cursor changes color to indicate the amount of compression applied, as follows:

Dynamics III Plug-In Compression Amount

Cursor Color Compression Amount

white no compression

light orange below full ratio

dark orange full ratio amount

See “De-Esser Frequency Graph Display” on page 42 for information on using the De-Esser’s graph display.

Side-Chain Section

For information on using the Side-Chain section of the Compressor/Limiter or Expander/Gate, see “Using the Side-Chain Input in Dynamics III” on page 43.

Compressor/Limiter III

The Compressor/Limiter plug-in applies either compression or limiting to audio material, depending on the ratio of compression used.

Compressor/Limiter III

About Compression

Compression reduces the dynamic range of signals that exceed a chosen threshold by a specific amount. The Threshold control sets the level that the signal must exceed to trigger compression. The Attack control sets how quickly the compressor responds to the “front” of an audio signal once it crosses the selected threshold. The Release control sets the amount of time that it takes for the compressor’s gain to return to its original level after the input signal drops below the selected threshold.

To use compression most effectively, the attack time should be set so that signals exceed the threshold level long enough to cause an increase in the average level. This helps ensure that gain reduction does not decrease the overall volume too drastically, or eliminate desired attack transients in the program material.

Of course, compression has many creative uses that break these rules.

Audio Plug-Ins Guide34

About Limiting

Compressor/Limiter III Controls

Limiting prevents signal peaks from ever exceeding a chosen threshold, and is generally used to prevent short-term peaks from reaching their full amplitude. Used judiciously, limiting produces higher average levels, while avoiding overload (clipping or distortion), by limiting only some short-term transients in the source audio. To prevent the ear from hearing the gain changes, extremely short attack and release times are used.

Limiting is used to remove only occasional peaks because gain reduction on successive peaks would be noticeable. If audio material contains many peaks, the threshold should be raised and the gain manually reduced so that only occasional, extreme peaks are limited.

Limiting generally begins with the ratio set at 10:1 and higher. Large ratios effectively limit the dynamic range of the signal to a specific value by setting an absolute ceiling for the dynamic range.

This section describes controls for the Compressor/Limiter plug-in.

Input/Output Level Meters

The Input and Output meters show peak signal levels before and after dynamics processing. See “Levels Section” on page 31 for more information.

Unlike scales on analog compressors, metering scales on a digital device reflect a 0 dB value that indicates full scale (fs)—the full-code signal level. There is no headroom above 0 dB.

Compressor/Limiter Graph Display

The Dynamics Graph display lets you visually see how much expansion or gating you are applying to your audio material. See “Dynamics Graph Display” on page 33.

Threshold

The Threshold (Thresh) control sets the level that an input signal must exceed to trigger compression or limiting. Signals that exceed this level will be compressed. Signals that are below it will be unaffected.

This control has an approximate range of –60 dB to 0 dB, with a setting of 0 dB equivalent to no compression or limiting. The default value for the Threshold control is –24 dB.

Chapter 8: Dynamics III 35

An orange arrow on the Input meter indicates

Threshold

arrow

Threshold

the current threshold, and can also be dragged up or down to adjust the threshold setting.

Attack

The Attack control sets the attack time, or the rate at which gain is reduced after the input signal crosses the threshold.

The smaller the value, the faster the attack. The faster the attack, the more rapidly the Compressor/Limiter applies attenuation to the signal. If you use fast attack times, you should generally use a proportionally longer release time, particularly with material that contains many peaks in close proximity.

Threshold arrow on input meter

The Dynamics Graph display also shows the threshold as an orange vertical line.

Threshold indicator on Dynamics Graph display

This control ranges from –60 dB (lowest gain) to 0 dB (highest gain).

Ratio

The Ratio control sets the compression ratio, or the amount of compression applied as the input signal exceeds the threshold. For example, a 2:1 compression ratio means that a 2 dB increase of level above the threshold produces a 1 db increase in output.

This control ranges from 10 μs (fastest attack time) to 300 ms (slowest attack time).

Release

The Release control sets the length of time it takes for the Compressor/Limiter to be fully deactivated after the input signal drops below the threshold.

Release times should be set long enough that if signal levels repeatedly rise above the threshold, the gain reduction “recovers” smoothly. If the release time is too short, the gain can rapidly fluctuate as the compressor repeatedly tries to recover from the gain reduction. If the release time is too long, a loud section of the audio material could cause gain reduction that continues through soft sections of program material without recovering.

This control ranges from 5 ms (fastest release time) to 4 seconds (slowest release time).

This control ranges from 1:1 (no compression) to 100:1 (hard limiting).

Audio Plug-Ins Guide36

Knee

Hard knee Soft knee

Gain

The Knee control sets the rate at which the compressor reaches full compression once the threshold has been exceeded.

As you increase this control, it goes from applying “hard-knee” compression to “soft-knee” compression:

• With hard-knee compression, compression begins when the input signal exceeds the threshold. This can sound abrupt and is ideal for limiting.

• With soft-knee compression, gentle compression begins and increases gradually as the input signal approaches the threshold, and reaches full compression after exceeding the threshold. This creates smoother compression.

The Gain control lets you boost overall output gain to compensate for heavily compressed or limited signals.

This control ranges from 0 dB (no gain boost) to +40 dB (loudest gain boost), with the default value at 0 dB.

For more information on the LFE channel, refer to the Pro Tools Reference Guide.

Side-Chain Section

The side-chain is the split-off signal used by the plug-in’s detector to trigger dynamics processing. The Side-Chain section lets you toggle the side-chain between the internal input signal or an external key input, and tailor the equalization of the side-chain signal so that the triggering of dynamics processing becomes frequencysensitive. See “Using the Side-Chain Input in Dynamics III” on page 43.

Graph examples of hard and soft knee compression

For example, a Knee setting of 10 dB would be the gain range over which the ratio gradually increased to the set ratio amount.

The Gain Reduction meter displays light orange while gain reduction has not exceeded the knee setting, and switches to dark orange when gain reduction reaches the full ratio.

This control ranges from 0 db (hardest response) to 30 db (softest response).

Chapter 8: Dynamics III 37

Expander/Gate III

The Expander/Gate plug-in applies expansion or gating to audio material, depending on the ratio setting.

Expander/Gate III

About Expansion

Expansion decreases the gain of signals that fall below a chosen threshold. They are particularly useful for reducing noise or signal leakage that creeps into recorded material as its level falls, as often occurs in the case of headphone leakage.

Expander/Gate III Controls

This section describes controls for the Expander/Gate plug-in.

Input/Output Level Meters

The Input and Output meters show peak signal levels before and after dynamics processing. See “Levels Section” on page 31 for more information.

Expander/Gate Dynamics Graph Display

The Dynamics Graph display lets you visually see how much expansion or gating you are applying to your audio material. See “Dynamics Graph Display” on page 33.

Look Ahead Button

Normally, dynamics processing begins when the level of the input signal crosses the threshold. When the Look Ahead button is enabled, dynamics processing begins 2 milliseconds before the level of the input signal crosses the threshold.

About Gating

Gating silences signals that fall below a chosen threshold. To enable gating, simply set the Ratio and Range controls to their maximum values.

Expanders can be thought of as soft noise gates since they provide a gentler way of reducing noisy low-level signals than the typically abrupt cutoff of a gate.

Audio Plug-Ins Guide38

Look Ahead control

The Look Ahead control is useful for avoiding the loss of transients that may have been otherwise cut off or trimmed in a signal.

Threshold

arrow

Threshold

Ratio

The Threshold (Thresh) control sets the level below which an input signal must fall to trigger expansion or gating. Signals that fall below the threshold will be reduced in gain. Signals that are above it will be unaffected.

An orange arrow on the Input meter indicates the current threshold, and can also be dragged up or down to adjust the threshold setting.

Threshold arrow on Input meter

The Dynamics Graph display also shows the threshold as an orange vertical line.

The Ratio control sets the amount of expansion. For example, if this is set to 2:1, it will lower signals below the threshold by one half. At higher ratio levels (such as 30:1 or 40:1) the Expander/Gate functions like a gate by cutting off signals that fall below the threshold. As you adjust the ratio control, refer to the built-in graph to see how the shape of the expansion curve changes.

This control ranges from 1:1 (no expansion) to 100:1 (gating).

Attack

The Attack control sets the attack time, or the rate at which gain is reduced after the input signal crosses the threshold. Use this along with the Ratio setting to control how soft the Expander’s gain reduction curve is.

This control ranges from 10 μs (fastest attack time) to 300 ms (slowest attack time).

Hold

Threshold indicator on Dynamics Graph display

This control has an approximate range of –60 dB to 0 dB, with a setting of 0 dB equivalent to no compression or limiting. The default value for the Threshold control is –24 dB.

The Hold control specifies the duration (in seconds or milliseconds) during which the Expander/Gate will stay in effect after the initial attack occurs. This can be used as a function to keep the Expander/Gate in effect for longer periods of time with a single crossing of the threshold. It can also be used to prevent gate chatter that may occur if varying input levels near the threshold cause the gate to close and open very rapidly.

This control ranges from 5 ms (shortest hold) to 4 seconds (longest hold).

Chapter 8: Dynamics III 39

Release

The Release control sets how long it takes for the gate to close after the input signal falls below the threshold level and the hold time has passed.

This control ranges from 5 ms (fastest release time) to 4 seconds (slowest release time).

Range

The Range control sets the depth of the Expander/Gate when closed. Setting the gate to higher range levels allows more and more of the gated audio that falls below the threshold to peek through the gate at all times.

This control ranges from –80 dB (lowest depth) to 0 dB (highest depth).

Side-Chain Section

De-Esser III

The De-Esser reduces sibilants and other high frequency noises that can occur in vocals, voiceovers, and wind instruments such as flutes. These sounds can cause peaks in an audio signal and lead to distortion.

The De-Esser reduces these unwanted sounds using fast-acting compression. The Threshold control sets the level above which compression starts, and the Frequency (Freq) control sets the frequency band in which the De-Esser operates.

Audio Plug-Ins Guide40

Using De-Essing Effectively

Gain Reduction meter

Input

meter

Output meter

De-Esser III Controls

To use de-essing most effectively, insert the DeEsser after compressor or limiter plug-ins.

The Frequency control should be set to remove sibilants (typically the 4–10 kHz range) and not other parts of the signal. This helps prevent deessing from changing the original character of the audio material in an undesired manner.

Similarly, the Range control should be set to a level low enough so that de-essing is triggered only by sibilants. If the Range is set too high, a loud, non-sibilant section of audio material could cause unwanted gain reduction or cause sibilants to be over-attenuated.

To improve de-essing of material that has both very loud and very soft passages, automate the Range control so that it is lower on soft sections.

The De-Esser has no control to directly adjust the threshold level (the level that an input signal must exceed to trigger de-essing). The amount of de-essing will vary with the input signal.

This section describes controls for the De-Esser plug-in.

De-Esser Levels Section

These controls let you track input, output, and gain reduction levels.

De-Esser III I/O Meter display

Input and Output Meters

The Input and Output meters show peak signal levels before and after dynamics processing:

Green Indicates nominal levels.

Yello w Indicates pre-clipping levels, starting at

–6 dB below full scale.

Red Indicates full scale levels (clipping).

The Clip indicators at the top of each meter indicate clipping at the input or output stage of the plug-in. Clip indicators can be cleared by clicking the indicator.

Chapter 8: Dynamics III 41

Gain Reduction Meter

Frequency

(x-axis)

Gain

(y-axis)

Frequency

Range

Current gain

reduction

Listen

The Gain Reduction meter indicates the amount the input signal is attenuated, in dB. This meter shows different colors during de-essing:

Light Orange Indicates that gain reduction is being applied, but has not reached the maximum level set by the Range control.

Dark Orange Indicates that gain reduction has reached the maximum level set by the Range control.

Frequency

The Frequency (Freq) control sets the frequency band in which the De-Esser operates. When HF Only is disabled, gain is reduced in frequencies within the specified range. When HF Only is enabled, the gain of frequencies above the specified value will be reduced.

This control ranges from 500 Hz (lowest frequency) to 16 kHz (highest frequency).

Range

The Range control defines the maximum amount of gain reduction possible when a signal is detected at the frequency set by the Frequency control.

When enabled, the Listen button lets you monitor the sibilant peaks used by the De-Esser as a side-chain to trigger compression. This is useful for listening only to the sibilance for fine-tuning De-Esser controls. To monitor the whole output signal without this filtering, deselect the Listen button.

De-Esser Frequency Graph Display

The De-Esser Frequency Graph display shows a curve that represents the level of gain reduction (on the y-axis) for the range of the output signal's frequency (on the x-axis). The white line represents the current Frequency setting, and the animated orange line represents the level of gain reduction being applied to the signal.

Use this graph as a visual guideline to see how much dynamics processing you are applying at different points in the frequency spectrum.

This control ranges from –40 dB (maximum deessing) to 0 dB (no de-essing).

HF Only

When the HF Only button is enabled, gain reduction is applied only to the active frequency band set by the Frequency control. When the HF Only button is disabled, the De-Esser applies gain reduction to the entire signal.

Audio Plug-Ins Guide42

De-Esser graph display

Using the Side-Chain Input in

External Key Side-Chain Listen

HF Filter Enable

LF Filter Enable

Dynamics III

(Compressor/Limiter and Expander/Gate Only)

Dynamics processors typically use the detected amplitude of their input signal to trigger gain reduction. This split-off signal is known as the side-chain. The Compressor/Limiter and Expander/Gate plug-ins feature external key capabilities and filters for the side-chain.

With external key side-chain processing, you trigger dynamics processing using an external signal (such as a separate reference track or audio source) instead of the input signal. This external source is known as the key input.

Side-Chain Section

The Side-Chain section lets you toggle the sidechain between the internal input signal or an external key input, listen to the side-chain, and tailor the equalization of the side-chain signal so that the triggering of dynamics processing becomes frequency-sensitive.

With side-chain filters, you can make dynamics processing more or less sensitive to certain frequencies. For example, you might configure the side-chain so that certain lower frequencies on a drum track trigger dynamics processing.

Compressor/Limiter and Expander/Gate Side-Chain

External Key

The External Key toggles external side-chain processing on or off. When this button is highlighted, the plug-in uses the amplitude of a separate reference track or external audio source to trigger dynamics processing. When this button is dark gray, the External Key is disabled and the plug-in uses the amplitude of the input signal to trigger dynamics processing.

Side-Chain Listen

When enabled, this control lets you listen to the internal or external side-chain input by itself, as well as monitor its levels with the Output meter. This is especially useful for fine-tuning the plugin’s filter settings or external key input.

Side-Chain Listen is not saved with other plug-in presets.

Chapter 8: Dynamics III 43

HF and LF Filter Enable Buttons

HF Filter Enable

Frequency

Control

Low-

Pass

Band-

Pass

LF Filter Enable

Frequency

HighPass

Band-

Pass

HF Frequency Control

The HF Filter Enable and LF Filter Enable buttons toggle the corresponding filter in or out of the side-chain. When this button is highlighted, the filter is applied to the side-chain signal. When this button is dark gray, the filter is bypassed and available for activation.

HF and LF Filter Side-Chain

High-Frequency (HF) Filter Type

The HF filter section lets you filter higher frequencies out of the side-chain signal so that only certain bands of high frequencies or lower frequencies pass through to trigger dynamics processing. The HF side-chain filter is switchable between Band-Pass and Low-Pass filters.

Band-Pass Filter Makes triggering of dynamics processing more sensitive to frequencies within the narrow band centered around the Frequency setting, and rolling off at a slope of 12 dB per octave.

Low-Pass Filter Makes triggering of dynamics processing more sensitive to frequencies below the Frequency setting rolling off at a slope of 12 dB per octave.

The Frequency control sets the frequency position for the Band-Pass or Low-Pass filter, and ranges from 80 Hz to 20 kHz.

Low-Frequency (LF) Filter Type

The LF filter section lets you filter lower frequencies out of the side-chain signal so that only certain bands of low frequencies or higher frequencies are allowed to pass through to trigger dynamics processing. The LF side-chain is switchable between Band-Pass and High-Pass filters.

Band-Pass Filter Makes triggering of dynamics processing more sensitive to frequencies within the narrow band centered around the Frequency setting, and rolling off at a slope of 12 dB per octave.

High-Pass Filter Makes triggering of dynamics processing more sensitive to frequencies above the Frequency setting rolling off at a slope of 12 dB per octave.

LF Frequency Control

The Frequency control sets the frequency position for the Band-Pass or High-Pass filter, and ranges from 25 Hz to 4 kHz.

Audio Plug-Ins Guide44

Using an External Key Input for

External Key Side-Chain Listen

Side-Chain Processing

Using a Filtered Input Signal for Side-Chain Processing

To use a filtered or unfiltered external key input to trigger dynamics processing:

1 Click the Key Input selector and select the in-

put or bus carrying the audio from the reference track or external audio source.

Selecting a Key Input

2 Click External Key to activate external side-

chain processing.

Side-Chain section

3 To listen to the signal that will be used to con-

trol side-chain input, click Side-Chain Listen to enable it (highlighted).

4 To filter the key input so that only specific fre-

quencies trigger the plug-in, use the HF and LF controls to select the desired frequency range.

5 Begin playback. The plug-in uses the input or

bus that you chose as an external key input to trigger its effect.

To use the filtered input signal to trigger dynamics processing:

1 Ensure the Key Input selector is set to No Key

Input.

Key Input selector

2 Ensure that the External Key button is dis-

abled (dark gray).

Side-Chain section

3 To listen to the signal that will be used to con-

trol side-chain input, click Side-Chain Listen to enable it (highlighted).

4 To filter the side-chain input so that only spe-

cific frequencies within the input signal trigger the plug-in, use the HF and LF controls to select the desired frequency range.

5 Begin playback. The plug-in uses the filtered

input signal to trigger dynamics processing.

6 To fine-tune side-chain triggering, adjust the

plug-in controls.

6 Adjust the plug-in’s Threshold (Thresh) con-

trol to fine-tune external key input triggering.

7 Adjust other controls to achieve the desired ef-

fect.

Chapter 8: Dynamics III 45

Audio Plug-Ins Guide46

Chapter 9: EQ III

The EQ III plug-in provides a high-quality 7 Band, 2–4 Band, or 1 Band EQ for adjusting the frequency spectrum of audio material.

EQ III is available in the following formats:

• 7 Band: TDM, RTAS, and AudioSuite

• 2–4 Band: TDM and RTAS only

• 1 Band: TDM, RTAS, and AudioSuite

EQ III supports all Pro Tools session sample rates: 192 kHz, 176.4 kHz, 96 kHz, 88.2 kHz, 48 kHz, and 44.1 kHz. EQ III operates as a mono, multi-mono, or stereo plug-in.

EQ III can be operated from the following control surfaces:

• D-Command

• D-Control

• ProControl

•C|24

• Control|24

• Digi 003

• Digi 002

• Command|8

• Mackie HUI-compatible controllers

By choosing from the 7 Band, 2–4 Band, or 1 Band versions of the EQ III plug-in, you can use only the number of EQ bands you need for each track, conserving DSP capacity on Pro Tools|HD systems.

EQ III Configurations

The EQ III plug-in appears as three separate choices in the plug-in insert pop-up menu and in the AudioSuite menu:

• 1 Band (“1-Band EQ 3”)

• 2–4 Band (“4-Band EQ 3”)

• 7 Band (“7-Band EQ 3”)

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.

Chapter 9: EQ III 47

1 Band EQ

The 1 Band EQ is available in TDM, RTAS, and AudioSuite formats.

The 1 Band EQ has its own window, with six selectable filter types.

1 Band EQ window

EQ III Controls

Adjusting EQ III Controls

You can adjust the EQ III plug-in controls by any of the following methods:

Dragging Plug-In Controls

The rotary controls on the EQ III plug-in can be adjusted by dragging over them horizontally or vertically. Dragging up or to the right increments the control. Dragging down or to the left decrements the control.

7 Band EQ and 2–4 Band EQ

The 7 Band EQ is available in TDM, RTAS, and AudioSuite formats. The 2–4 Band EQ is available in TDM and RTAS formats only.

The 7 Band EQ and the 2–4 Band EQ share the same window and identical controls, but with the 2–4 Band EQ, a limited number of the seven available bands can be active at the same time.

7 Band EQ and 2–4 Band EQ window

Dragging a plug-in control

Typing Control Values

You can enter control values directly by clicking in the corresponding text box, typing a value, and pressing Enter (Windows) or Return (Mac).

Typing a control value

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, HighPass, Low-Pass, or shelving bands.

Audio Plug-Ins Guide48

Dragging in the Frequency Graph Display

You can adjust the following by dragging the control points directly in the Frequency Graph display:

Resetting Controls to Default Values

You can reset any on-screen control to its default value by Alt-clicking (Windows) or Optionclicking (Mac OS) directly on the control or on its corresponding text box.

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 Start-dragging (Windows) or Control-dragging (Mac) a control point up increases the Q setting. Start-dragging (Windows) or Controldragging (Mac) a control point down decreases the Q setting.

Using 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.

To switch an EQ III control to Band-Pass mode:

 Hold Start+Shift (Windows) or Control+Shift

(Mac), and drag any rotary control or control point horizontally or vertically.

Dragging a control point in the Frequency Graph display

Adjusting Controls with Fine Resolution

Controls and control points can be adjusted with fine resolution by holding the Control key (Windows) or the Command key (Mac) while adjusting the control.

EQ III interactive graph displaying Band-Pass mode

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.

Chapter 9: EQ III 49

Q Sets the width of the narrow band of mid-

Input

Output Gain

Input and Output Meters

Gain

Input

Polarity

Clip Indicators

Control

range frequencies centered around the Frequency setting.

To switch an EQ III control out of Band-Pass mode:

 Release Start+Shift (Windows) or Con-

trol+Shift (Mac).

Using a Control Surface

EQ III can be controlled from any supported control surface, including our D-Control, DCommand, ProControl, C|24, 003, Digi 002, or Command|8. Refer to the guide that came with the control surface for details.

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 and 2–4 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 plugin is being used.

Input Polarity Control

I/O Controls

The following Input and Output controls are found on all EQ III configurations, except where noted otherwise.

I/O controls and meters for 7 Band EQ and 2–4 Band EQ (top) and 1 Band EQ (bottom)

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 and 2–4 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

Yello w 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.

Audio Plug-Ins Guide50

EQ Band Controls

Frequency

control

Band Enable button

Gain

control

Q control

EQ type selector

Band Gain Control

The individual EQ bands on each EQ III configuration have some combination of the following controls, as noted below.

EQ Band controls (7 Band EQ Low-Mid band shown)

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 and the 2–4 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 and 2–4 Band EQ Only)

Each Peak and Shelf EQ band has a Gain control for boosting or cutting the corresponding frequencies. Gain controls are not used on HighPass, Low-Pass, or Notch filters.

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.

Q Control

Peak and Notch On Peak and Notch bands, the Q 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 On High-Pass and Low-Pass bands, the Q control lets you select from any of the following Slope values: 6 dB, 12 dB, 18 dB, or 24 dB per octave.

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. On the 2–4 Band EQ, when a Band Enable button is light gray, the band is bypassed and unavailable.

Chapter 9: EQ III 51

Frequency Graph Display

High-Pass

control dot

Low-Mid

control dot

High-Mid

control dot

Low-Pass

control dot

(gray) (brown) (green) (gray)

Low

control dot

(red)

Mid

control dot

(yellow)

High

control dot

(blue)

Frequency

response

curve

(7 Band EQ and 2–4 Band EQ Only)

The Frequency Graph display in the 7 Band EQ and the 2–4 Band EQ shows a color-coded control dot that corresponds to the color of the Gain control for each band. The filter shape of each band is similarly color-coded. The white frequency response curve shows the contribution of each of the enabled filters to the overall EQ curve.

Frequency Graph display for the 7 Band EQ

Audio Plug-Ins Guide52

7 Band EQ

High-Pass/

Low-Pass/

Low

Shelf/Peak

Mid

Peak

High

Shelf/Peak

Low-Mid

Peak

High-Mid

Peak

Input/Output Level meters

Frequency Graph

Display

Input/Output Level

and

Polarity controls

Low Notch

High Notch

7 Band EQ and 2–4 Band EQ window

High-Pass/Low Notch

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 HighPass/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.

Chapter 9: EQ III 53

The High-Pass/Notch band is switchable be-

High-Pass Filter

button

Frequency

control

Slope

control

Frequency

controlQcontrol

Band Enable button

Low Notch EQ

button

Band

Enable

button

Low-Pass Filter

button

Frequency

control

Slope

control

Frequency

controlQcontrol

Band Enable button

High Notch EQ

button

Band

Enable

button

tween high-pass filter and notch EQ functions. By default, this band is set to High-Pass Filter.

High-Pass Filter Attenuates all frequencies below the Frequency setting at the selected slope while letting all frequencies above pass through.

Low-Notch EQ Attenuates a narrow band of frequencies centered around the Frequency setting. The width of the attenuated band is determined by the Q setting.

Low-Pass/High Notch

The Low-Pass/Notch band is switchable between low-pass filter and notch EQ functions. By default, this band is set to Low-Pass Filter.

Low-Pass Filter Attenuates all frequencies above the Frequency setting at the selected slope while letting all frequencies below pass through.

High-Notch EQ Attenuates a narrow band of frequencies centered around the Frequency setting. The width of the attenuated band is determined by the Q setting.

High-Pass filter (left) and Low Notch EQ (right)

The High Pass and Low Notch controls and their corresponding graph elements are displayed onscreen in gray.

High-Pass Filter and Low Notch EQ control values

Control Value

Frequency Range 20 Hz to 8 kHz

Frequency Default 20 Hz

HPF Slope Values 6, 12, 18, or 24 dB/oct

Low Notch Q Range 0.1 to 10.0

Low Notch Q Default 1.0

Audio Plug-Ins Guide54

Low-Pass filter (left) and High Notch EQ (right)

The Low Pass and High Notch controls and their corresponding graph elements are displayed onscreen in gray.

Low-Pass Filter and High Notch EQ control values

Control Value

Frequency Range 120 Hz to 20 kHz

Frequency Default 20 kHz

LPF Slope Values 6, 12, 18, or 24 dB/oct

High Notch Q Range 0.1 to 10.0

High Notch Q Default 1.0

Low Shelf/Low Peak

Low Shelf EQ

button

Frequency

control

Band Enable button

Gain

control

Low Peak EQ

button

Frequency

control

Band Enable button

Gain

control

The Low Shelf/Peak band is switchable between low shelf EQ and low peak EQ functions. By default, this band is set to Low Shelf.

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.

Low 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 Shelf and Low Peak Gain controls and their corresponding graph elements are displayed on-screen in red.

Low Shelf EQ and Low Peak EQ control values

Control Value

Frequency Range 20 Hz to 500 Hz

Frequency Default 100 Hz

Low Shelf Q Range 0.1 to 2.0

Low Peak Q Range 0.1 to 10.0

Q Default 1.0

Low Shelf Gain Range –12 dB to +12 dB

Low Peak Gain Range –18 dB to +18 dB

Low Shelf EQ (left) and Low Peak EQ (right)

Chapter 9: EQ III 55

Low-Mid Peak

Frequency

control

Band Enable button

Gain

control

Frequency

control

Band Enable button

Gain

control

Mid Peak

The Low-Mid Peak band boosts or cuts frequencies centered around the Frequency setting. The width of the band is determined by the Q setting.

Low-Mid Peak EQ

The Low-Mid Gain control and its corresponding graph elements are displayed on-screen in brown.

Low-Mid Peak EQ control values

Control Value

Frequency Range 40 Hz to 1 kHz

Frequency Default 200 Hz

Low-Mid Peak Q Range 0.1 to 10.0

Low-Mid Peak Q Default 1.0

Low-Mid Peak Gain Range –18 dB to +18 dB

The Mid Peak band boosts or cuts frequencies centered around the Frequency setting. The width of the band is determined by the Q setting.

Mid Peak EQ

The Mid Gain control and its corresponding graph elements are displayed on-screen in yellow.

Mid Peak EQ control values

Control Value

Frequency Range 125 Hz to 8 kHz

Frequency Default 1 kHz

Mid Peak Q Range 0.1 to 10.0

Mid Peak Q Default 1.0

Mid Peak Gain Range –18 dB to +18 dB

Audio Plug-Ins Guide56

High-Mid Peak

Frequency

control

Band Enable button

Gain

control

High Shelf EQ

button

Frequency

control

Band Enable button

Gain

control

High Peak EQ

button

Frequency

control

Band Enable button

Gain

control

High Shelf/High Peak

The High-Mid Peak band boosts or cuts frequencies centered around the Frequency setting. The width of the band is determined by the Q setting.

High-Mid Peak EQ

The High-Mid Gain control and its corresponding graph elements are displayed on-screen in green.

High-Mid Peak EQ control values

Control Value

Frequency Range 200 Hz to 18 kHz

The High Shelf/Peak band is switchable between high shelf EQ and high peak EQ functions. By default, this band is set to High Shelf.

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.

High 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.

Frequency Default 2 kHz

Mid Peak Q Range 0.1 to 10.0

Mid Peak Q Default 1.0

Mid Peak Gain Range –18 dB to +18 dB

High Shelf EQ (left) and High Peak EQ (right)

Chapter 9: EQ III 57

The High Shelf and High Peak Gain controls and their corresponding graph elements are displayed on-screen in blue.

High Shelf EQ and High Peak EQ control values

Control Value

Frequency Range 1.8 kHz to 20 kHz

Frequency Default 6 kHz

High Shelf Q Range 0.1 to 2.0

High Peak Q Range 0.1 to 10.0

Q Default 1.0

Additional EQ bands can then be enabled to add them to the settings inherited from the 2–4 Band plug-in.

Filter Usage with 2–4 Band EQs

With a 2–4 Band EQ, a maximum of four filters may be active simultaneously, with each of the five Peak bands (Low Shelf/Peak, Low-Mid Peak, Mid-Peak, High-Mid Peak and High Shelf/Peak) counting as one filter. Each of the Band-pass and Notch filters (High-Pass, Low Notch, Low-Pass and High-Notch) counts as two filters.

High Shelf Gain Range –12 dB to +12 dB

High Peak Gain Range –18 dB to +18 dB

2–4 Band EQ

The 2–4 Band EQ uses the same plug-in window as the 7 Band EQ, but on the 2–4 Band EQ, but a limited number of the seven available bands can be active at the same time.

In the factory default setting, the High-Pass/Low Notch, Low-Pass/High Notch and Mid Peak bands are out of circuit, the Low Shelf and High Shelf bands are selected and in circuit, and the Low-Mid Peak and High-Mid Peak bands are in circuit.

For Pro Tools HD, using a 2–4 Band EQ instead of a 7 Band EQ saves DSP resources.

Changing from 2–4 Band to 7 Band

After switching from a 2–4 band EQ to a 7 Band EQ, or importing settings from a 2–4 Band EQ, all control settings from the 2–4 Band EQ are preserved, and the bands in the 7 Band EQ inherit their enabled or bypassed state from the 2–4 Band plug-in.

When any combination of these filter types uses the four-filter maximum on the 2–4 Band EQ, the remaining bands become unavailable. This is indicated by the Band Enable buttons turning light gray. When filters become available again, the Band Enable button on inactive bands turns dark gray.

Switching Between the 2–4 Band EQ and 7 Band EQ

When you switch an existing EQ III plug-in between the 2–4 Band and 7 Band versions, or when you import settings between versions, the change is subject to the following conditions:

Changing from 7 Band to 2–4 Band

After switching from a 7 band EQ to a 2–4 Band EQ, or importing settings from a 7 Band EQ, all control settings from the 7 Band EQ are preserved in the 2–4 Band EQ, but all bands are placed in a bypassed state.

Bands can then be enabled manually, up to the 2–4 Band EQ four-filter limit.

Audio Plug-Ins Guide58

1 Band EQ

Frequency

response

curve

Control dot

Frequency Graph

display

EQ Type selector

Gain, Freq and

Input Level and Polarity controls

Q controls

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.

Band Controls

The individual EQ types have some combination of the following controls, as noted below.

1 Band EQ control values

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

EQ 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.

1 Band EQ window

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.

1 Band EQ set to High-Pass Filter

Chapter 9: EQ III 59

Notch Filter

Low-Shelf EQ

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.

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.

1 Band EQ set to High-Shelf EQ

Audio Plug-Ins Guide60

1 Band EQ set to Peak EQ

Low-Pass Filter

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

Chapter 9: EQ III 61

Audio Plug-Ins Guide62

Chapter 10: Mod Delay II

Mod Delay II is a set of modulated delay plug-ins that comes in TDM, RTAS, and AudioSuite formats.

There are six different Mod Delay II plug-ins, capable of different maximum delay times:

• The AudioSuite only version of the Delay plug-in provides up to 10.9 seconds of delay at all sample rates.

• The Short Delay provides 43 ms of delay at all sample rates.

• The Slap Delay provides 171 ms of delay at all sample rates.

Short Delay and Slap Delay do not have Tempo, Meter, Duration, and Groove controls.

• The Medium Delay provides 341 ms of delay at all sample rates.

• The Long Delay provides 683 ms of delay at all sample rates.

• The Extra Long Delay provides 2.73 seconds of delay at all sample rates.

Mod Delay II Controls

Mod Delay II plug-in (Long Delay shown)

Input Controls the input volume of the delay to prevent clipping.

Mix Controls the balance between the delayed signal (wet) and the original signal (dry). If you are using a delay for flanging or chorusing, you can control the depth of the effect somewhat with the Mix setting.

The TDM versions of the Extra Long Delay mono-to-stereo and stereo plug-in are not supported at 96 kHz. All TDM versions of the Extra Long Delay plug-in are not suppo rted at 1 92 kHz. RTAS version s of the E xtra Long Delay plug-in are fully supported at all sample rates.

Chapter 10: Mod Delay II 63

LPF (Low-Pass Filter) Controls the cutoff fre-

Tempo Sync

quency of the Low-Pass Filter. Use the LPF setting to attenuate the high frequency content of the feedback signal. The lower the setting, the more high frequencies are attenuated. The maximum value for LPF is Off. This lets the signal pass through without limiting the bandwidth of the plug-in.

Delay Sets the delay time between the original signal and the delayed signal.

To enable Tempo Sync:

 Click the Tempo Sync icon. The tempo shown

changes to match the current session tempo and the meter changes to match the current meter.

Depth Controls the depth of the modulation applied to the delayed signal.

Rate Controls the rate of modulation of the delayed signal.

Feedback Controls the amount of feedback applied from the output of the delay back into its input. It also controls the number of repetitions of the delayed signal. Negative feedback settings give a more intense “tunnel-like” sound to flanging effects.

Tempo Sync Provides a direct connection between the Pro Tools session tempo and plug-in controls that support MIDI Beat Clock (such as Delay). This direct connection lets plug-in parameters such as delay, automatically synchronize to, and follow changes in, session tempo.

When Tempo Sync is enabled, the Tempo and Meter controls are uneditable and follow the session tempo and meter changes. The Duration and Groove controls apply when Tempo Sync is enabled.

Tempo Sync icon

Tempo Selects the desired tempo in beats per minute (bpm). This setting is independent of Pro Tools’ tempo. When a specific Duration is selected (see “Duration” below), moving this control affects the Delay setting. Likewise, the range of both controls will be limited to the maximum available delay with the currently selected Duration. To enter very short or long delays it may be necessary to deselect all Duration buttons.

When Tempo Sync is enabled, the Tempo control is unavailable.

Meter Use this to enter either simple or compound time signatures. The Meter control defaults to a 4/4 time signature.

When Tempo Sync is enabled, the Meter control is unavailable.

Audio Plug-Ins Guide64

Duration Specifies a desired delay from a musical

Triplet

Durations

Dot

perspective. Enter the desired delay by selecting appropriate note value (whole note, half note, quarter note, eight note, or sixteenth note). Select the Dot or Triplet modifier buttons to dot the selected note value or make it a triplet. For example, selecting a quarter note and then selecting the dot indicates a dotted quarter note, and selecting an eighth note and then selecting the triplet indicates a triplet eight note.

Multichannel Mod Delay II

The Tempo and Meter controls are linked on multichannel versions of Mod Delay II. Each channel has its own Duration and Groove controls, but the Tempo and Meter controls are global.

Tempo, Meter, Duration, and Groove controls for a stereo instance of Mod Delay II

Selections for ModDelay II AudioSuite Processing

Tempo, Meter, Duration, and Groove controls

Groove Provides fine adjustment of the delay in percentages of a 1:4 subdivision of the beat. It can be used to add “swing” by slightly offsetting the delay from the precise beat of the track.

It is not possible to exceed the maximum delay length for a particular version of Mod Delay II. Consequently, when adjusting any of the tempo controls (Tempo, Meter, Duration, and Groove) you may not be able to adjust the control across its full range. If you encounter this behavior, switch to a version of Mod Delay II that has a longer delay time (for example, switch from Medium Delay to Long Delay).

Because AudioSuite Delay adds additional material (the delayed audio) to the end of selected audio, make a selection that is longer than the original source material to allow the additional delayed audio to be written into the end of the audio file.

Selecting only the original material, without leaving additional space at the end, will cause delayed audio that occurs after the end of the region to be cut off.

Chapter 10: Mod Delay II 65

Audio Plug-Ins Guide66

Chapter 11: Other AudioSuite Plug-Ins

DC Offset Removal

The DC Offset Removal plug-in removes DC offset from audio files. DC offset is a type of audio artifact (typically caused by miscalibrated analog-to-digital convertors) that can cause pops and clicks in edited material.

To check for DC offset, find a silent section in the audio material. If DC offset is present, a near-vertical fade-in with a constant or steadystate offset from zero will appear in the waveform. Use the DC Offset Removal plug-in to remove it.

DC Offset Removal plug-in

To remove DC offset from an audio region:

1 Select the region with DC offset.

2 Choose AudioSuite > Other > DC Offset Removal.

3 Ensure that Use In Playlist is enabled.

Duplicate

The Duplicate plug-in duplicates the selected audio in place. Depending on how its controls are configured, the new region will appear in either the Regions List or playlist. You can use this to flatten or consolidate an entire track consisting of multiple regions into one continuous audio file that resides in the same place as the original individual regions.

Duplicate plug-in

The audio is unaffected by Pro Tools volume or pan automation, or by any real-time plug-ins that may be in use on the track as inserts. The original audio file regions are merely rewritten in place to a single duplicate file.

The Duplicate plug-in works nondestructively. You cannot choose to overwrite files.

4 Click Process.

Chapter 11: Other AudioSuite Plug-Ins 67

To duplicate an audio selection:

1 Select the audio you want to duplicate.

2 Choose AudioSuite > Other > Duplicate.

3 Ensure that Use In Playlist is enabled.

4 Click Process.

Gain

The Gain plug-in boosts or lowers a selected region’s amplitude by a specific amount. Use it to smooth out undesired peaks and other dynamic inconsistencies in audio material.

Gain plug-in

Gain Specifies the desired gain level. Set this value by manually adjusting the Gain slider, or by entering a numeric decibel value, or by entering a percentage.

To change the gain of an audio region:

1 Select the region whose gain you want to

change.

2 Choose AudioSuite > Other > Gain.

3 Adjust the Gain slider as desired.

4 Click Preview to audition your changes.

5 Ensure that Use In Playlist is enabled.

6 Click Process.

Invert

The Invert plug-in reverses the polarity of selected audio. Positive sample amplitude values are made negative, and all negative amplitudes are made positive.

This process is useful for altering the phase or po- larity relationship of tracks. The Invert plug-in is useful during mixing for modifying frequency response between source tracks recorded with multiple microphones. You can also use it to correct audio recorded out of phase with an incorrectly wired cable.

Find Level When clicked, displays the peak amplitude value of the current selection.

RMS/Peak Toggle Switches the calibration of gain adjustment between Peak or RMS modes. Peak mode adjusts the gain of the input signal to the maximum possible level without clipping. RMS mode adjusts the input signal to a level consistent with the RMS (Root-Mean-Square) value, or the effective average level of the selected region.

Audio Plug-Ins Guide68

Invert plug-in

To invert the phase an audio region (or selection):

1 Select the region whose phase you want to in-

vert.

2 Choose AudioSuite > Other > Invert.

3 Ensure that Use In Playlist is enabled.

4 Click Process.

Normalize

The Normalize plug-in optimizes the volume level of an audio selection. Use it on material recorded with too little amplitude, or on material whose volume levels are inconsistent (as in a poorly recorded narration).

RMS/Peak Toggle Switches the calibration of normalizing between Peak or RMS modes. Peak mode normalizes the input signal at the maximum possible level without clipping. RMS mode normalizes the input signal at a level consistent with the RMS (Root-Mean-Square) value, or the effective average level of the selected region.

Unlike compression and limiting, which modify the dynamics of audio material, normalization preserves dynamics by uniformly increasing (or decreasing) amplitude.

To prevent clipping during sample rate conversion, Normalize to no greater than the range between –2 dB to –0.5 dB. Optimum settings will vary with your program material and your Conversion Quality setting (in the Editing tab of the Preferences dialog).

Normalize plug-in

Max Peak At Specifies how close to maximum level (clipping threshold) the peak level of a selection is boosted. Set this value by adjusting the Max Peak At slider, by entering a numeric decibel value below the clipping threshold, or by entering a percentage of the clipping threshold.

Normalizing Multiple Regions Across Tracks

When multiple regions are selected across multiple tracks, the Normalize plug-in can search for peaks in two different modes:

Peak On Each Chan/Track Searches for the peak level on a channel-by-channel or track-by-track basis.

Peak On All Chans/Tracks Searches for the peak level of the entire selection. If ten tracks are selected, for example, the Normalize function will find the peak value from all ten.

To normalize an audio region (or selection):

1 Select the region you want to normalize.

2 Choose AudioSuite > Other > Normalize.

3 Adjust the Level slider as desired.

4 Ensure that Use In Playlist is enabled.

5 Click Process.

You can normalize stereo pairs together so that two sides of a stereo signal are processed relative to each other.

Chapter 11: Other AudioSuite Plug-Ins 69

Reverse

The Reverse plug-in replaces the audio with a reversed version of the selection. This is useful for creating reverse envelope effects for foley, special effects, or musical effects.

Reverse plug-in

To reverse an audio region (or selection):

1 Select the region you want to reverse.

2 Choose AudioSuite > Other > Reverse.

3 Ensure that Use In Playlist is enabled.

4 Click Process.

Audio Plug-Ins Guide70

Chapter 12: Pitch

Pitch is a pitch-shifting plug-in that comes in TDM and AudioSuite formats.

The Pitch plug-in is designed for a variety of audio production applications ranging from pitch correction of musical material to sound design.

Pitch processing uses the technique of varying sample playback rate to achieve pitch transposition. Because changing audio sample playback rate results in the digital equivalent of varispeeding with tape, this is an unsatisfactory method since it changes the overall duration of the material.

Pitch transposition with the Pitch plug-in involves a much more complex technique: digitally adding or subtracting portions of the audio waveform itself, while using de-glitching crossfades to minimize undesirable artifacts. The result is a processed signal that is transposed in pitch, but still retains the same overall length as the original, unprocessed signal.

The Pitch plug-in was formerly called DPP-1. It is fully compatible with all settings and presets created for DPP-1.

Pitch Controls

Pitch plug-in

Input Level Attenuates the input level of the Pitch plug-in to help prevent internal clipping.

Signal Present Indicator LED Indicates the presence of an input signal.

Clip Indicator Indicates whether clipping has occurred on output. It is a clip-hold indicator. If clipping occurs at any time, the clip light will remain on. To clear the Clip indicator, click it. Long delay times and high feedback times increase the likelihood of clipping.

Chapter 12: Pitch 71

Mix Adjusts the ratio of dry signal to effected signal in the output. In general, this control should be set to 100% wet, unless you are using the Pitch plug-in in-line on an Insert for an individual track or element in a mix. This control can be adjusted over its entire range with little or no change in output level.

Delay Sets the delay time between the original signal and the pitch-shifted signal. It has a maximum setting of 125 milliseconds. You can use the Delay control in conjunction with the Feedback control to generate a single pitch-shifted echo, or a series of echoes that climb in pitch.

Feedback Controls the amount and type of feedback (positive or negative) applied from the output of the delay portion of the Pitch plug-in back into its input. It also controls the number of repetitions of the delayed signal. You can use it to produce effects that spiral up or down in pitch, with each successive echo shifted in pitch.

Coarse Adjusts the pitch of a signal in semitones over a two octave range. Pitch changes are indicated both in the Semitones field and in the Musical Staff section below this slider. Using the –8va and +8va buttons in conjunction with the Coarse slider provides a full 4-octave range of adjustment.

–8va and +8va Buttons Clicking the –8va button adjusts pitch down one octave from the current setting of the coarse and fine pitch controls. Clicking the +8va button adjusts pitch up one octave from the current setting of the coarse and fine pitch controls.

Relative Pitch Entry (Musical Staff)

Clicking on any note on this musical staff selects a relative pitch transposition value that will be applied to an audio signal. If the C above middle C is illuminated (the staff is in treble clef), it indicates that no pitch transposition has been selected. If a pitch transposition is selected, the note interval corresponding to the selected transposition value is indicated in yellow. Altclicking (Windows) or Option-clicking (Mac) on the staff will set the coarse pitch change value to zero.

Relative pitch entry

Fine Controls the pitch of a signal in cents (hundredths of a semitone) over a 100 cent range. The range of this slider is –49 to +50 cents. Precise pitch change values are indicated in the Fine field. The flat, natural, and sharp signs below this slider indicate deviation from the nearest semitone.

Ratio Indicates the ratio of transposition between the original pitch and the selected transposition value.

Crossfade Adjusts crossfade length in milliseconds to optimize performance of the Pitch plugin according to the type of audio material you are processing. The Pitch plug-in performs pitch transposition by replicating or subtracting portions of audio material and very quickly crossfading between these alterations in the waveform of the audio material.

Crossfade length affects the amount of smoothing performed on audio material to prevent audio artifacts such as clicks from occurring as the audio is looped to generate the pitch shift.

Audio Plug-Ins Guide72

In general, small, narrow-range pitch shifts require longer crossfades and large shifts require smaller ones. The disadvantage of a long crossfade time is that it will smooth the signal, including any transients. While this is sometimes desirable for audio material such as vocals, it is not appropriate for material with sharp transients such as drums or percussion.

The default setting for this control is Auto. At this setting, crossfade times are set automatically, according to the settings of the Coarse and Fine pitch controls. The Auto setting is appropriate for most applications. However, you can manually adjust and optimize crossfade times using the Crossfade slider if necessary. For audio material with sharper attack transients, use shorter crossfade times. For audio material with softer attack transients, use longer crossfade times.

Minimum Pitch Sets the minimum fundamental pitch that the Pitch plug-in will recognize when performing pitch transposition. Use this to optimize the Pitch plug-in’s performance by adjusting this control based on the lowest fundamental pitch of the audio material that you want to process.

Maximum Pitch Adjusts the maximum fundamental pitch that the Pitch plug-in will recognize when performing pitch transposition. To optimize the Pitch plug-in’s performance, adjust this setting (and the Minimum Pitch setting) based on the highest fundamental pitch of the audio material that you want to process. The range of this slider is from 30 Hz to 4000 Hz. The default setting is 240 Hz.

On audio material with a low fundamental pitch frequency content (such as an electric bass) setting this control to a lower frequency (such as 30 Hz) will improve the Pitch plug-in’s performance. The most important thing to remember when using this control is that the fundamental frequency of audio material you want to process must be above the frequency you set here.

The range of this slider is from 15 Hz to 1000 Hz. The default setting is 60 Hz. Adjustment is tied to the current setting of the Maximum Pitch control so that the minimum range is never less than one octave, and the maximum range never more than five octaves.

Chapter 12: Pitch 73

Audio Plug-Ins Guide74

Chapter 13: Pitch Shift

Pitch Shift is a pitch-processing AudioSuite plugin.

The Pitch Shift plug-in adjusts the pitch of any source audio file with or without a change in its duration. This is a very powerful function that transposes audio a full octave up or down in pitch with or without altering playback speed.

Pitch Shift plug-in

Gain Adjusts input level, in 10ths of a dB. Dragging the slider to the right increases gain, dragging to the left decreases gain.

Coarse and Fine Adjusts amount of pitch shift. The Coarse slider transposes in semitones (half steps). The Fine slider transposes in cents (hundredths of a semitone).

Time Correction Disabling this option has the effect of “permanently varispeeding” your audio file. The file’s duration will be compressed or extended according to the settings of the Coarse and Fine pitch controls. When Time Correction is enabled, fidelity can be affected. For example, time expansion as a result of Time Correction when lowering pitch can cause the audio to sound granulated.

Ratio Adjusts the amount of transposition (pitch change). Moving the slider to the right raises the pitch of the processed file, while moving the slider to the left decreases its pitch.

Crossfade Use this to manually adjust crossfade length in milliseconds to optimize performance of the Pitch Shift plug-in according to the type of audio material you are processing. This plugin achieves pitch transposition by processing very small portions of the selected audio material and very quickly crossfading between these alterations in the waveform of the audio material.

Crossfade length affects the amount of smoothing performed on audio material. This prevents audio artifacts such as clicks from occurring. In general, smaller pitch transpositions require longer crossfades; wider pitch transpositions re-

Chapter 13: Pitch Shift 75

quire smaller crossfades. Long crossfade times may over-smooth a signal and its transients. This is may not be desirable on drums and other material with sharp transients.

Use the Crossfade slider to adjust and optimize crossfade times. For audio material with sharper attack transients, use smaller crossfade times. For audio material with softer attack transients, use longer crossfade times.

Min Pitch Sets the lowest pitch used in the plugin’s Pitch Shift processing. The control has a range of 40 Hz to 1000 Hz. Use it to focus the Pitch Shift process according to the audio’s spectral shape.

Use lower values when processing lower frequency audio material. Use higher values when processing higher frequency audio material.

Accuracy Sets the processing resources allocated to audio quality (Sound) or timing (Rhythm). Set the slider toward Sound for better audio quality and fewer audio artifacts. Set the slider toward Rhythm for a more consistent tempo.

To use the Reference Pitch:

1 Select the audio material you want to use as a

pitch reference. Click the preview button to begin playback of the selected audio.

2 Click the Reference Pitch button to activate

the reference sine wave tone.

3 Adjust the Note and Detune settings to match

the reference tone to the pitch of the audio playback. Adjust the Gain setting to change the relative volume of the reference tone. It may also be helpful to toggle the Reference Pitch on and off to compare pitch.

4 Select the audio material to be pitch shifted.

5 Adjust the Coarse and Fine Pitch Shift controls

to match the pitch of the audio playback to the reference pitch.

6 Click Process to apply pitch shift to the selec-

tion.

Reference Pitch Activates a sine wave-based pitch generator that you can use as an audible reference when pitch-shifting audio material.

Note Adjusts the frequency of the reference tone in semitones (half steps).

Detune Provides finer adjustment of the frequency of the reference tone in cents (100ths of a semitone).

Gain Adjusts the volume of the reference tone in dB.

Audio Plug-Ins Guide76

Chapter 14: POW-r Dither

POW-r Dither is a dither-generation plug-in for Pro Tools HD and Pro Tools LE, that comes in TDM and RTAS formats.

The POW-r Dither plug-in is an advanced type of dither that provides optimized bit depth reduction. It is designed for final-stage critical mixdown and mastering tasks where the highest possible fidelity is desired when reducing bit depth. For more information on dithering, see Chapter 6, “Dither.”

POW-r Dither plug-in

The POW-r Dither plug-in does not run on third party applications that use DAE.

The multichannel TDM version of the POW-r Dither plug-in is not supported at 192 kHz. Use the multi-mono TDM or RTAS version instead.

POW-r Dither Controls

Bit Resolution

Use this pop-up menu to choose either 16- or 20-bit resolutions for POW-r Dither processing. Set this control to the maximum bit resolution of your destination.

16-bit Recommended for output to digital devices with a maximum resolution of 16 bits, such as DAT and CD recorders.

20-bit Recommended for output to devices that support a full 20-bit recording data path.

Noise Shaping

The POW-r Dither plug-in is not appropriate for truncation stages that are likely to be further processed. It is recommended that POW-r Dither be used only as the last insert in the signal chain (especially when using Type 1 Noise Shaping).

Chapter 14: POW-r Dither 77

The POW-r Dither plug-in provides three types of noise shaping, each with its own characteristics. Try each noise shaping type and choose the one that adds the least amount of coloration to the audio being processed.

Type 1 Has the flattest frequency spectrum in the audible range of frequencies, modulating and accumulating the dither noise just below the Nyquist frequency. Recommended for less stereophonically complex material such as solo instrument recordings.

Type 2 Has a psychoacoustically optimized low order noise shaping curve. Recommended for material of greater stereophonic complexity.

Type 3 Has a psychoacoustically optimized high order noise shaping curve. Recommended for full-spectrum, wide-stereo field material.

For more information on using Dither, see the Pro Tools Reference Guide.

Audio Plug-Ins Guide78

Chapter 15: ReWire

Pro Tools supports ReWire version 2.0 technology developed by Propellerheads Software. ReWire is available using the DigiRack ReWire RTAS plug-in.

ReWire provides real-time audio and MIDI streaming between applications, with sampleaccurate synchronization and common transport functionality.

ReWire RTAS plug-in

Using ReWire, Pro Tools can send and receive MIDI to and from a ReWire client application, such as a software synthesizer, and receive audio back from the ReWire client. Pro Tools applies MIDI time stamping to all incoming MIDI. For a diagram of audio and MIDI signal flow with ReWire, see Figure 1 on page 80.

Pro Tools does not support sending audio to ReWire client applications.

Compatible ReWire client applications are automatically detected by Pro Tools and are available in the RTAS Plug-Ins Insert menus in Pro Tools. Selecting a ReWire client application within Pro Tools automatically launches that application (if the client application supports this feature). Any corresponding MIDI nodes for that application are available in any Instrument track’s MIDI Output selector (Instrument view) and any MIDI track’s Output selector.

Not all ReWire client applications support automatic launch from a ReWire-mixer application. For these applications, launch the ReWire client app separately, and then select it as a plug-in insert in Pro Tools.

Once the outputs of your software synthesizers and samplers are routed to Pro Tools, you can:

• Process incoming audio signals with plugins

• Automate volume, pan, and plug-in controls

•Bounce To Disk

• Take advantage of the audio outputs of your Pro Tools audio interfaces

Exchange of additional metadata such as controller and note names between Pro Tools and ReWire clients is not supported.

Chapter 15: ReWire 79

Audio from ReWire client (Reason) to Pro Tools

MIDI from Pro Tools to ReWire client (Reason)

MIDI from ReWire client (Reason) to Pro Tools

Figure 1. Audio and MIDI signal flow between Pro Tools and a ReWire client application (Reason shown)

Audio Plug-Ins Guide80

ReWire Requirements

To use the ReWire plug-in, you will need:

• An Avid-qualified Pro Tools system

• ReWire-compatible client software (such as

Reason from Propellerheads Software)

Client software must support the same sample rate as the session using ReWire. For example, third-party client software that does not support sample rates above 48 kHz cannot be used in a 96 kHz Pro Tools session.

Using ReWire at higher sample rates will increase the load on the CPU. For example, CPU load at 96 kHz is double the load at 48 kHz. You can monitor Pro Tools CPU usage in the System Usage window, making sure to not overtax your system.

With Pro Tools HD, the standard Hardware Buffer size of 512 samples is strongly recommended for using ReWire in sessions with sample rates above 48 kHz.

ReWire and Track Count with Pro Tools LE

ReWire support is also under development for other third-party companies. For availability, check with the manufacturer or visit the Avid website (www.avid.com).

ReWire and Track Count with Pro Tools HD

With Pro Tools HD, the ReWire RTAS plug-in can be inserted on any kind of track. Each channel of audio transmitted through ReWire then uses the same amount of resources as the audio track on which it is inserted.

Consequently, you can only use a total combination of audio tracks and ReWire audio streams that does not exceed the maximum number of possible voices for your system. For example, if you are playing 40 audio tracks in a 48 kHz/24bit session on a 128-voice Pro Tools|HD 2 system, that will leave 88 channels of audio (88 mono, or 44 stereo) available for use with ReWire. (However, ReWire only supports a maximum of 64 audio streams per application.)

With Pro Tools LE, performance is determined by several factors, including host CPU speed, available memory, and buffer settings. Avid cannot guarantee 64 simultaneous audio channel outputs with ReWire on all computer configurations.

For the latest information on recommended CPUs and system configurations, visit the Avid website (www.avid.com).

Chapter 15: ReWire 81

Using ReWire

The ReWire plug-in is installed when you install Pro Tools. All inter-application communications between Pro Tools and ReWire client software is handled automatically.

To use a ReWire client application with Pro Tools:

1 Make sure that the ReWire client application is

installed properly and that you have restarted your computer.

2 In Pro Tools, choose Track > New and specify

one Instrument track (or audio or Auxiliary Input track), and click Create.

3 In the Mix window, click the Insert selector on

the track and assign the ReWire RTAS client plug-in to the track insert.

The ReWire client application launches automatically in the background (if the client applications supports auto-launch).

If the client application does not support auto-launch, launch it manually. Some ReWire client applications may need to be launched and configured before launching Pro Tools (such as Cycling 74’s MAX/MSP). Others may need to be launched after Pro Tools is launched (such as Ableton Live). For more information, consult the manufacturer’s documentation for your ReWire client application.

4 Configure the ReWire client application to

play the sounds you want.

5 In Pro Tools, set the output of the client appli-

cation in the ReWire plug-in window. This is the audio output of the ReWire client to Pro Tools.

Selecting the audio output from a ReWire client

6 In the Mix window, click the track’s MIDI Out-

put selector a and select the ReWire client application. Some ReWire clients (such as Reason) may list multiple devices. If so, choose the device that you want.

Selecting the ReWire client device to receive MID I fr om Pro Tools

7 Choose Options > MIDI Thru and record enable

the MIDI track. Play some notes on your MIDI controller to trigger the client application.

The selected ReWire device responds to MIDI sent from Pro Tools and plays back audio through the assigned Pro Tools track (Instrument, Auxiliary Input, or audio track).

Audio Plug-Ins Guide82

If your ReWire client application is a sequencer and you want to begin synchronized playback with Pro Tools, press the Spacebar or click the Play button on the Pro Tools Transport.

If you experience system performance problems while using Pro Tools with ReWire client applications, you may need to increase the Pro Tools CPU Usage Limit. See the Pro Tools Reference Guide for instructions.

MIDI Automation with ReWire

You can use Pro Tools MIDI tracks to record MIDI continuous controller (CC) data from a ReWire client application, and then play back MIDI from Pro Tools to send the recorded MIDI CC data back to the ReWire client application. In this way, you can adjust parameters in the ReWire client application (using the mouse or an external MIDI controller) and record those changes in Pro Tools.

Recording MIDI Continuous Controller Data Over ReWire

To record MIDI from a ReWire client application in Pro Tools:

1 In Pro Tools, create a new MIDI track.

2 From the track’s MIDI Input selector, select the

ReWire device that you want to record.

The first step in automating a ReWire client application’s parameters is to record the CC data to a MIDI track in Pro Tools.

Selecting the ReWire client device to record MIDI CC data in Pro Tools

You must select the ReWire device from which you want to record MIDI controller data. Leaving the track’s MIDI Input set to All does not record any MIDI data over ReWire.

3 Record enable the MIDI track.

4 Start recording in Pro Tools.

5 Switch to the ReWire client application.

Chapter 15: ReWire 83

6 Adjust the parameter for which you want to

record MIDI CC data. Parameter changes are recorded to the Pro Tools MIDI track as CC data.

Adjusting a parameter in a ReWire client application (Reason’s SubTractor shown)

If your external MIDI controller is correctly mapped to the corresponding ReWire client application’s parameters, and it is correctly routed through Pro Tools, use your MIDI controller to adjust the parameter you want to record.

7 When you are done adjusting the parameter,

return to Pro Tools and stop recording.

8 Record disable the MIDI track.

9 From the MIDI Track View selector in the Edit

window, select the view for the CC data you just recorded.

MIDI CC data recorded from a ReWire client application

Playing Back MIDI Continuous Controller Data Over ReWire

Once you have recorded MIDI CC data from the ReWire client application to a MIDI track, configure the MIDI track to play the ReWire client application. You can also edit the MIDI CC data in Pro Tools until you achieve the best results.

To play back MIDI CC data over ReWire:

1 From the MIDI track’s MIDI Output selector,

select the ReWire client application device you want to control (the same device from which you recorded the MIDI CC data).

2 Start playback in Pro Tools.

3 Switch to the ReWire client application. No-

tice that the corresponding parameter changes according the MIDI CC data from Pro Tools.

Quitting ReWire Client Applications

When quitting Pro Tools sessions that integrate ReWire client applications, quit the client application first, then quit Pro Tools.

If you quit Pro Tools before quitting ReWire client applications, a warning dialog may appear stating that “one or more ReWire applications did not terminate.” To avoid this, quit all ReWire client applications before quitting Pro Tools.

Audio Plug-Ins Guide84

Pinnacle Systems Pro Tools - 8.0.4 User Manual

Specifications and Main Features

Frequently Asked Questions

User Manual

Contents

Chapter 1: Overview

Parts of This Guide

Plug-In Formats

System Requirements and Compatibility

Legacy and 3rd-Party Plug-Ins

Using Plug-Ins in Pro Tools

Contents of the Boxed Version of Your Plug-In

Conventions Used in This Guide

About www.avid.com

Chapter 2: Installing Plug-Ins

Overview

Installing Plug-Ins for Pro Tools

Installing Plug-Ins for VENUE Systems

Using Pro Tools Plug-Ins with Avid Media Composer

Authorizing Paid Plug-Ins

Removing Plug-Ins for Pro Tools

Removing Plug-Ins for VENUE Systems

Chapter 3: Introduction

Chapter 4: Click

Click Controls

Creating a Click Track

Chapter 5: DigiRack D-Fx Plug-Ins

Chorus

Flanger

Multi-Tap Delay

Ping-Pong Delay

Selecting Audio for AudioSuite Delay Processing

Chapter 6: Dither

Dither Controls

Chapter 7: D-Verb

D-Verb Controls

Chapter 8: Dynamics III

Shared Compressor/Limiter and Expander/Gate Features

Compressor/Limiter III

Expander/Gate III

De-Esser III

Chapter 9: EQ III

EQ III Controls

7 Band EQ

2–4 Band EQ

1 Band EQ

Chapter 10: Mod Delay II

Mod Delay II Controls

Multichannel Mod Delay II

Selections for ModDelay II AudioSuite Processing

Chapter 11: Other AudioSuite Plug-Ins

DC Offset Removal

Duplicate

Gain

Invert

Normalize

Reverse

Chapter 12: Pitch

Pitch Controls

Chapter 13: Pitch Shift

Chapter 14: POW-r Dither

POW-r Dither Controls

Chapter 15: ReWire

ReWire Requirements

Using ReWire

Quitting ReWire Client Applications