Pinnacle Systems Pro Tools LE - 7.4 User Manual

Digidesign® Plug-ins

Version 7.4

Legal Notices

This guide is copyrighted ©2007 by Digidesign, a division of Avid Technology, Inc. (hereafter “Digidesign”), with all rights reserved. Under copyright laws, this guide may not be duplicated in whole or in part without the written consent of Digidesign.

003, 003 Rack, 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 Unity MediaNetwork, Avid Xpress, AVoption, AVoption|V10, Beat Detective, Bruno, Command|8, Control|24, D-Command, D-Control, D-Fi, D-fx, D-Show, DAE, Digi 002, Digi 002 Rack, DigiBase, DigiDelivery, Digidesign, Digidesign Audio Engine, Digidesign Intelligent Noise Reduction, Digidesign TDM Bus, DigiDrive, DigiRack, DigiTest, DigiTranslator, DINR, DV Toolkit, EditPack, Impact, Interplay, M-Audio, MachineControl, Maxim, Mbox, MediaComposer, MIDI I/O, MIX, MultiShell, OMF, OMF Interchange, PRE, ProControl, Pro Tools M-Powered, Pro Tools, Pro Tools|HD, Pro Tools LE, QuickPunch, Reel Tape, Reso, Reverb One, ReVibe, RTAS, Smack!, SoundReplacer, Sound Designer II, Strike, Structure, SYNC HD, SYNC I/O, Synchronic, TL Space, Velvet, and X-Form are trademarks or registered trademarks of Digidesign and/or Avid Technology, Inc. All other trademarks are the property of their respective owners.

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

PN 9329-56817-00 REV A 07/07

Comments or suggestions regarding our documentation? email: techpubs@digidesign.com

Chapter 1. Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1

Contents of the Boxed Version of Your Plug-in . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1

System Requirements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2

Registering Your Plug-ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2

Working with Plug-ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2

Conventions Used in This Guide . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

About www.digidesign.com . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

Chapter 2. Installation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

Installing Plug-ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

Authorizing Plug-ins. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

Uninstalling Plug-ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

Chapter 3. Adjusting Plug-in Controls. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

Adjusting Plug-in Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

Chapter 4. Bruno and Reso . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

DSP Requirements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

Inserting Bruno/Reso onto an Audio Track. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

Playing Bruno/Reso. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

Using an External Key Input for Side-Chain Processing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

Bruno Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

Reso Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

Contents iii

Chapter 5. D-Fi. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27

Lo-Fi . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

Sci-Fi. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

Recti-Fi . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

Vari-Fi . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34

D-Fi Demo Session . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

Chapter 6. DINR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39

Broadband Noise Reduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39

Broadband Noise Reduction Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41

Using Broadband Noise Reduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45

Using BNR AudioSuite. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48

Chapter 7. Impact . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51

Impact Parameters. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52

Using a Key Input for External Side-Chain Processing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55

Chapter 8. Maxim . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57

About Peak Limiting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58

Maxim Controls and Meters. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59

Using Maxim . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62

Chapter 9. Reverb One. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63

A Reverb Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63

Reverb One Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64

Chapter 10. ReVibe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73

Reverberation Concepts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74

Using ReVibe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75

Adjusting ReVibe Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76

ReVibe Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77

ReVibe Room Types . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89

Digidesign Plug-ins Guideiv

Chapter 11. Smack! . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93

Using the Smack! Compressor/Limiter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94

Smack! Parameters. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95

Using the Side-Chain Input in Smack! . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99

Chapter 12. SoundReplacer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101

Audio Replacement Techniques . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101

SoundReplacer Controls. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102

Using SoundReplacer. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106

Getting Optimum Results with SoundReplacer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107

Using the Audio Files Folder for Frequently Used Replacement Files. . . . . . . . . . . . . . . . . . . 109

Chapter 13. X-Form Plug-in Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111

X-Form . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111

Appendix A. DSP Requirements for TDM Plug-ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119

DSP Requirements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120

Appendix B. DSP Delays Incurred by TDM Plug-ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125

Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127

Contents v

Digidesign Plug-ins Guidevi

chapter 1

Introduction

Digidesign® plug-ins provide a comprehensive set of digital signal processing tools for professional audio production.

Contents of the Boxed Version of Your Plug-in

This guide explains the use of each of the plugins currently available from Digidesign.

These plug-ins include:

•Bruno

• D-Fi™ creative sound design plug-ins

• DINR™ intelligent noise reduction

•Impact™

•Maxim™

• Reverb One™

• ReVibe™

•Smack!™

• SoundReplacer™

• X-Form™ high-quality time compression

ment plug-in

and expansion plug-in

References to Pro Tools LE™ in this guide are usually interchangeable with Pro Tools M-Powered™, except as noted in the Pro Tools M-Powered Getting Started Guide.

& Reso

cross-synthesis plug-ins

peak limiter/sound maximizer

drum and sound replace-

Boxed versions of plug-ins contains the following components:

• Installation disc

• One of the following authorization cards for authorizing plug-ins with an iLok USB Smart Key (not supplied):

• Activation Card with an Activation Code

– or –

•License Card

Chapter 1: Introduction 1

System Requirements

Registering Your Plug-ins

To use Digidesign plug-ins, you need the following:

• An iLok USB Smart Key

• An iLok.com account for managing iLok licenses

• One of the following:

• A Digidesign-qualified Pro Tools|HD tem or Pro Tools LE system.

• A Digidesign-qualified Pro Tools system and a third-party software application that supports the Digidesign TDM, RTAS AudioSuite™ plug-in standards.

• A qualified Avid Avid Xpress DV, or Avid DNA dioSuite only)

• A Digidesign-qualified VENUE system (TDM only)

• DVD drive for Installation disc (boxed version of plug-in only)

• Internet access for software activation and registration purposes

For complete system requirements visit the Digidesign website (www.digidesign.com).

Xpress®,

sys-

, or

system (Au-

Compatibility Information

Digidesign can only assure compatibility and provide support for hardware and software it has tested and approved.

If you purchased a download version of a plugin from the Digi-Store (www.digidesign.com), you were automatically registered.

If you purchased a boxed version of a plug-in, you will be automatically registered when you authorize your plug-in (see “Authorizing Plugins” on page 6).

Registered users receive periodic software update and upgrade notices.

Please refer to the Digidesign website (www.digidesign.com) for information on technical support.

Working with Plug-ins

Besides the information provided in this guide, refer to the DigiRack Plug-ins Guide for general information on working with plug-ins, including:

• Inserting Plug-ins on Tracks

• Clip Indicators

• The Plug-in Window

• Adjusting Parameters

• Automating Plug-ins

• Using the Librarian

For a list of Digidesign-qualified computers, operating systems, hard drives, and third-party devices, visit the Digidesign website (www.digidesign.com).

Digidesign Plug-ins Guide2

Conventions Used in This Guide

All Digidesign 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

Control-click Hold down the Control

Right-click Click with the right

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.

key and press the N key

key and click the mouse button

mouse button

About www.digidesign.com

The Digidesign website (www.digidesign.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 Digidesign 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 Digidesign 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 Digidesign products; download demo software or learn about our Development Partners and their plugins, applications, and hardware.

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

Shortcuts show you useful keyboard or mouse shortcuts.

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

To learn more about these and other resources available from Digidesign, visit the Digidesign website (www.digidesign.com).

Chapter 1: Introduction 3

Digidesign Plug-ins Guide4

chapter 2

Installation

Installing Plug-ins

Installers for your plug-ins can be downloaded from the DigiStore (www.digidesign.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 a Pro Tools installer disc or on a software bundle installer disc.

Installation steps are essentially the same, regardless of the package, system, or bundle.

Updating Older Plug-ins

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

Be sure to use the most recent versions of Digidesign plug-ins available from the Digidesign website (www.digidesign.com).

Installation

To install a plug-in:

1 Do one of the following:

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

– or –

• Insert the Installer disc 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 Finish

(Windows) or Quit (Mac).

When you open Pro Tools, you are prompted to authorize your new plug-in.

Chapter 2: Installation 5

Authorizing Plug-ins

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

iLok USB Smart Key

The iLok is similar to a dongle, but unlike a dongle, it is designed to securely authorize multiple software applications from a variety of software developers.

This key 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.

Authorizing Download Versions of Plug-ins

If you purchased a download version of a plugin from the DigiStore (www.digidesign.com), authorize the plug-in by downloading licenses from iLok.com to an iLok.

See the

iLok Usage Guide for details, or visit

the iLok website (www.iLok.com).

Authorizing Boxed Versions of Plug-ins

If you purchased a boxed version of a plug-in, it comes with either an Activation Code (on the included Activation Card) or an iLok License card:

• To authorize plug-ins using an Activation Code, see “Authorizing Plug-ins Using an Activation Code” on page 6.

• To authorize plug-ins using an iLok License Card, see “Authorizing Plug-ins Using a License Card” on page 7.

Authorizing Plug-ins Using an Activation Code

To authorize a plug-in using an Activation Code:

1 If you do not have an existing iLok.com ac-

count, visit www.iLok.com and sign up for an iLok.com account.

2 Transfer the license for your plug-in to your

iLok.com account by doing the following:

• Visit http://secure.digidesign.com/ activation.

• 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.

For information about iLok technology and licenses, see the electronic PDF of the iLok Usage Guide.

Digidesign Plug-ins Guide6

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.

Authorizing Plug-ins Using a License Card

License Cards are specific to each plug-in or software option. You will receive the appropriate License Cards for the plug-ins that you purchase. License Cards have a small punch-out plastic chip called a GSM cutout.

The authorization steps in this section must be repeated for purchased plug-in.

For additional information about iLok technology and authorizations, see the electronic PDF of the iLok Usage Guide.

To authorize a plug-in using a License Card:

1 Insert the iLok into an available USB port on

your computer.

2 Launch Pro Tools. You are prompted to autho-

rize any installed unauthorized plug-ins or software options.

If you are already using a demo version of the plug-in or software option, launch Pro Tools before you insert the iLok, then insert the iLok into any available USB port when prompted by Pro Tools.

3 Follow the on-screen instructions until you

are prompted to insert the License Card into the iLok.

4 Separate the GSM cutout from the larger pro-

tective card by pulling it up and out with your thumb. Do not force the cutout down with your finger.

5 Insert the GSM cutout into the iLok. Visually

verify that the metal portion of the cutout makes contact with the iLok’s metal card reader.

iLok with License Card

6 Follow the on-screen instructions to complete

the authorization process for each plug-in.

7 After the authorization has completed, re-

move the GSM cutout from the iLok. (If you have to remove the iLok from the computer to remove the cutout, be sure to re-insert the iLok in any available USB port on your computer when you are finished.)

Uninstalling Plug-ins

If you need to uninstall a plug-in from your system, follow the instructions below for your computer platform.

Windows Vista

To remove a plug-in:

1 Choose > 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.

Chapter 2: Installation 7

Windows XP

Mac OS X

To remove a plug-in:

1 Choose Start Control Panel.

2 Double-click Add or Remove Programs.

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

plications.

4 Click the Remove button.

5 Follow the on-screen instructions to remove

the plug-in.

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.

Digidesign Plug-ins Guide8

chapter 3

Adjusting Plug-in Controls

You can adjust plug-in controls by dragging the control’s slider or knob, or by typing a value into the control’s text box. Additionally, some plug-ins have switches that can be enabled by clicking on them.

To adjust a plug-in control:

1 Begin audio playback so that you can hear the

control changes in real time.

2 Adjust the controls of the plug-in for the effect

you want. Refer to “Adjusting Controls Using a Mouse” on page 9 and “Editing Parameters Using a Computer Keyboard” on page 10.

Closing the plug-in will save the most recent changes.

Adjusting Controls Using a Mouse

You can adjust rotary controls by dragging horizontally or vertically. Parameter values increase as you drag upward or to the right, and decrease as you drag downward or to the left.

Keyboard Shortcuts

 For finer adjustments, Control-drag (Win-

dows) or Command-drag (Mac) the control.

 To return a control to its default value, Alt-

click (Windows) or Option-click (Mac) the control.

Chapter 3: Adjusting Plug-in Controls 9

Editing Parameters Using a Computer Keyboard

Editing Parameters Using a Scroll Wheel

Some controls have text boxes that display the current value of the parameter. You can edit the numeric value of a parameter with your computer keyboard.

If multiple Plug-in windows are open, Tab and keyboard entry remain focused on the plug-in that is the target window.

To change control values with a computer keyboard:

1 Click the text box corresponding to the con-

trol that you want to adjust.

2 Change the value.

• To increase a value, press the Up Arrow on your keyboard. To decrease a value, press the Down Arrow on your keyboard.

– or –

• Type the value.

In fields that support values in kilohertz, typing “k” after a number value will multiply the value by 1,000. For example, type “8k” to enter a value of 8,000.

Some controls have text boxes that display the current value of the parameter. You can edit the numeric value of a parameter using a scroll wheel.

To change control values using a scroll wheel:

1 Click the text box corresponding to the con-

trol that you want to adjust.

2 To increase a value, scroll up with the scroll

wheel. To decrease a value, scroll down with the scroll wheel.

Toggling Switches

To toggle a switch:

 Click the switch on-screen.

3 Do one of the following:

• Press Enter on the numeric keyboard to input the value and remain in keyboard editing mode.

– or –

• Press Enter on the alpha keyboard (Windows) or Return (Mac) to enter the value and leave keyboard editing mode.

To move forward through the different control fields, press the Tab key. To move backward, press Shift+Tab.

Digidesign Plug-ins Guide10

chapter 4

Bruno and Reso

Bruno and Reso are a pair of TDM plug-ins that process audio using a sound generation technique known as cross-synthesis.

Cross-synthesis generates complex sound textures by using an audio track as a tone source then applying a variety of synthesizer-type effects to that tone source.

Bruno and Reso each use a different sound generation method:

 Bruno uses time-slicing, a technique whereby

timbres are extracted from the source audio during playback and crossfaded together. This crossfading between signals can create a rhythmic pulse in the sound as the timbre changes.

 Reso uses a resonator, which adds harmonic

overtones to the source audio through a short signal delay line with a feedback loop.

In both cases, the processed sound can then be played in real time or sequenced using the MIDI recording and playback capabilities of Pro Tools.

Maximum Voices with HD Accel Card

Bruno and Reso on Pro Tools|HD systems equipped with an HD Accel card offer up to 62 voices of polyphony at the maximum voice setting (at 44.1 kHz and 48 kHz).

Bruno features include:

• Time-slice tone generation with adjustable crossfade

• Polyphony: Up to 62 voices of polyphony (on Pro Tools|HD Accel systems)

• Multi-voice detuning

• Editable ADSR envelope generator

•Portamento

• Velocity-sensitive gain and detuning

• Time-slice switching using envelope triggering or MIDI beat clock

• Voice-stacking

• Side-chain input for control using an external audio source

• Supports sample rates up to 192 kHz

• Online help

Chapter 4: Bruno and Reso 11

Reso features include:

• Harmonic resonance generation

• Up to 62 voices of polyphony (on Pro Tools|HD Accel systems)

• Multi-voice detuning

• Resonant low-pass filter

• Editable ADSR envelope generator

•Portamento

• Velocity-sensitive resonance, damping, gain, and detuning

• Harmonic switching using envelope triggering or MIDI beat clock

• Voice-stacking

• Side-chain input for control using an external audio source

• Supports sample rates up to 192 kHz

• Online help

DSP Requirements

Bruno and Reso each require one full DSP chip on a Pro Tools|HD card.

DSP and Voice Polyphony

The maximum number of Bruno/Reso voices available per DSP chip depends on the sample rate of the session and the type of DSP cards in your system.

HD Core and HD Process On Pro Tools|HD systems not equipped with an HD Accel card, Bruno and Reso provide a maximum of 24 voices of polyphony. Polyphony is reduced by half for sessions at 88.2 kHz and 96 kHz (up to 14 voices).

Inserting Bruno/Reso onto an Audio Track

To use Bruno/Reso in a Pro Tools session, you must add it to a track as an insert. Once Bruno/Reso is inserted on the track, you can adjust its controls to get the effect that you want, then play the plug-in using the on-screen keyboard, an external MIDI controller, or an Instrument track.

To add Bruno/Reso as a track Insert:

1 Click the Insert selector on the desired track

and select Bruno or Reso.

2 Click Play on the Pro Tools Transport to start

audio playback.

3 Play Bruno/Reso with the on-screen keyboard

or by MIDI control. See “Playing Bruno/Reso” on page 13.

4 Adjust Bruno/Reso controls to get the effect

you want.

HD Accel On Pro Tools|HD systems equipped with an HD Accel card, Bruno and Reso provide up to 62 voices at their maximum setting. The 62-voice versions of Bruno and Reso require one entire DSP chip on an HD Accel card. Polyphony is reduced by half for sessions at 88.2 kHz and 96 kHz.

Digidesign Plug-ins Guide12

Playing Bruno/Reso

To generate sound, Bruno/Reso must be played during audio playback. You can play Bruno/Reso in two ways:

 In real time, using either the on-screen key-

board or an external MIDI controller.

– or –

 Using MIDI

Using the On-Screen Keyboard

The simplest way to play Bruno/Reso is to use its on-screen keyboard. You can click one note at a time or use keyboard latch to hold multiple notes.

Notes played with the on-screen keyboard are triggered at a MIDI velocity of 92.

To play Bruno/Reso with the on-screen keyboard:

1 Open the plug-in window for Bruno/Reso.

2 Click Play on the Pro Tools Transport to start

audio playback.

3 Click the on-screen keyboard. Bruno/Reso will

only produce sound while audio plays on the source track.

To latch keys on the on-screen keyboard:

1 Click the Latch bar, then click multiple keys.

Chords can be played in this way.

2 To turn off a latched key, click it a second

time.

Using MIDI

You can play Bruno/Reso live using a MIDI keyboard controller. You can also use the MIDI keyboard controller to record your performance on an Instrument track or a MIDI track routed to Bruno/Reso for playback.

To configure Bruno/Reso for MIDI input:

1 Insert Bruno/Reso on an audio track.

2 Choose Track > New and specify 1 new Instru-

ment or MIDI track, then click Create. Create a separate Instrument or MIDI track for each Bruno/Reso plug-in you use.

3 Click the track’s MIDI Output selector and

choose Bruno or Reso.

If you are using multiple Bruno/Reso plug-ins, they will all appear in this pop-up. Route the Instrument or MIDI track to the correct one.

4 Record-enable the Instrument or MIDI track.

5 Test your MIDI connection by playing notes

on your MIDI keyboard. The corresponding notes should highlight on Bruno/Reso’s onscreen keyboard.

To play Bruno/Reso with a MIDI controller:

1 Start audio playback.

2 Play your MIDI keyboard while audio plays.

Bruno/Reso only produces sound during audio playback on the source track.

3 To turn off key latching entirely, click the

Latch bar a second time.

Saving a Bruno or Reso setting while keys are latched also saves the latched keys.

Chapter 4: Bruno and Reso 13

Using MIDI Playback

You can also play Bruno/Reso using a Pro Tools Instrument or MIDI track. Use a separate Instrument or MIDI track for each Bruno/Reso plug-in.

To play Bruno/Reso using an Instrument or MIDI track:

1 Insert Bruno or Reso on an audio track.

2 Click the Instrument or MIDI track’s MIDI

Output selector and choose Bruno or Reso. If you are using multiple Bruno or Reso plug-ins, they will all appear in this pop-up. Route the Instrument or MIDI track to the correct one.

3 Start Pro Tools playback.

To use a key input for side-chain processing:

1 Click the Key Input selector and choose the

input or bus with the audio you want to use to trigger the plug-in.

Selecting a Key Input

2 Click the Key Input button (the button with

the key icon above it) to activate external sidechain processing.

Using an External Key Input for Side-Chain Processing

Bruno and Reso feature side-chain processing capabilities. Side-chain processing lets you trigger certain controls from a separate reference track or external audio source. The source used for triggering is referred to as the key input.

You can use this capability to control the rate at which Bruno performs sample switching or Reso toggles its harmonics back and forth using the dynamics of another signal (the key input).

Typically, a rhythm track such as a drum kit is used to trigger these controls and create rhythmic timbral changes that match the groove of the key input.

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

bus that you chose as a side-chain input to trigger the effect.

4 To hear the audio source you have selected to

control side-chain input, click the Key Listen button (the button below the Ear icon).

Remember to disable Key Listen to resume normal plug-in monitoring.

5 Adjust other controls to create the desired ef-

fect.

Digidesign Plug-ins Guide14

Bruno Controls

Bruno uses time-slicing for tone generation, extracting timbres from the audio track during playback and cross-fading them together at a user-selectable rate.

Bruno

This crossfading can create a rhythmic pulse in the sound as the timbre changes. This makes Bruno ideal for creating tonal effects with a continuously shifting timbre—similar to the wave sequencing found on synthesizers such as the PPG, Prophet VS, Korg Wavestation, and Waldorf XT.

By carefully choosing the type of source audio, the crossfade length, and the type of switching, you can create unique and complex sound textures.

On-Screen Keyboard

The on-screen keyboard

The simplest way to play Bruno is to use its onscreen keyboard. You can click one note at a time or use keyboard latch to hold multiple notes.

Notes played with the on-screen keyboard are triggered at a MIDI velocity of 92.

Timbre Controls

Timbre controls

Crossfade

Crossfade sets the rate at which Bruno extracts timbres from the source audio and crossfades from one time slice to the next. The range of this control is from 2 to 40 Hz (cycles per second) in a 44.1 kHz or 48 kHz session, and from 4 to 40 Hz in a 96 kHz session.

The higher the crossfade frequency, the smaller the time slice, and the faster Bruno moves between slices. A higher frequency crossfade would retain more characteristics of the original audio source and would have a pulsed or wavesequenced feel.

Chapter 4: Bruno and Reso 15

The lower the crossfade frequency, the larger the time slice, and the slower Bruno moves between slices. A lower frequency crossfade would have fewer characteristics of the original source and a more rounded or gradually evolving sound.

Switch

Switch causes Bruno to switch directly between time-sliced samples without crossfading them. This adds a distinct rhythmic pulse to the timbral changes.

used, the dynamics of the key input signal will trigger switching. Threshold-based switching can be used at the same time as Key Input-based switching.

MIDI Clock Triggers switching in sync with a MIDI Beat Clock signal. This creates a very regular, highly rhythmic wave sequencing effect that is ideal for sessions arranged around MIDI beat clock. This control can be set to quarter, eighth, or sixteenth notes, or dotted triplet values of the same.

Switching can be controlled by triggering (using the dynamics of the source audio or an external key input) or by MIDI clock.

External Key Enables switching from a separate reference track or external audio source. The so urce use d for tri ggeri ng is r ef err ed to a s the key input and is selected using the Side-chain Input pop-up. You can assign either an audio input channel or a TDM bus channel.

Typically, a drum track is used as a key input so that switching occurs according to a definite rhythmic pattern.

Key Listen When enabled, Key Listen monitors the source of the key input. It is often useful to do this in order to fine tune Bruno’s settings to the key input. See “Using an External Key Input for Side-Chain Processing” on page 14.

Threshold Sets the level in decibels above which switching occurs. When the audio input level rises above the Threshold level, Bruno will switch directly to a new time-slice. The range of this control is from a low of –48 dB (maximum switching) to a high of 0.0 dB (no switching). If no key input is used, the dynamics of the source audio will trigger switching. If a key input is

For quick numeric entry of MIDI beat clock values, type “4,” “8,” or “16” for quarter notes, eight notes, or sixteenth notes. Add “t” for triplets, or “d” for dotted note values. Typing “4t” for example, enters a quarter note triplet value. Typing “16d” enters a dotted sixteenth note value.

Timbrometer

This multicolor waveform display shows the amplitude and duration of the audio signal generated by Bruno as well as the frequency of timbral changes and whether they are crossfaded or switched.

Red and blue waveform segments indicate timbral changes that are crossfaded. Green waveform segments indicate timbral changes that are hard switched.

Digidesign Plug-ins Guide16

Amplitude Controls

Conversely, if Gain Velocity is set to 0.0 dB, Bruno’s volume will not change no matter how hard or soft you strike a key on your MIDI controller.

Gain Velocity only has an effect when you play Bruno with a velocity-sensitive MIDI controller.

Mix

Amplitude controls

Gain Amount

Gain Amount attenuates output level gain. Since some of Bruno’s controls can cause extreme changes in signal level, this is particularly useful for preventing clipping and achieving unity gain with the original signal level. This control is adjustable from a low of –96 dB (no gain) to a high of 0.0 dB (maximum gain).

Gain Velocity

Gain Velocity sets the velocity sensitivity of the Gain Amount control. This gives you touch-sensitive control over Bruno’s volume using a MIDI keyboard.

This control is adjustable from a low of –24 dB (maximum velocity sensitivity) to a high of

0.0 dB (no velocity sensitivity).

If you set Gain Velocity to –24 dB, a soft strike on a key will reduce gain up to –24 dB. A hard strike will have a maximum output level equal to the current dB setting of the Gain Amount control.

Mix adjusts the mix of the processed audio with the original, unprocessed audio.

Spread

When Bruno is used in stereo, the Spread control can be used to pan multiple voices within the stereo field. This control is adjustable from 0% (no stereo spread) to 100% (maximum stereo spread).

Voice stacking has a direct effect on stereo Spread. For example, setting Voice Stack to 1 and Spread to 100% will randomly pan each note played. Setting Voice Stack to 4 and Spread to 100%, will pan two of the four voices hard left, and two voices hard right.

ADSR Envelope Generator

The ADSR (attack, decay, sustain, release) Envelope Generator controls Bruno’s amplitude envelope. This amplitude envelope is applied to a sound each time a note is struck.

The four envelope elements can be adjusted by dragging the appropriate breakpoint, or by typing in a numeric value.

Attack Controls the amount of time in milliseconds that the sound takes to rise from zero amplitude to its full level. The longer the attack, the more time it takes for the sound to reach maximum volume after the a note is struck. This control is adjustable from 0.0 to 5000 milliseconds.

Chapter 4: Bruno and Reso 17

Decay Controls the amount of time in milliseconds that the sound takes to fall from its peak Attack level to the Sustain level. This control is adjustable from 0.0 ms to 5000 ms.

Sustain Level Controls the amplitude level in dB that is reached after the decay time has elapsed. The amplitude level stays constant as long as a MIDI note remains depressed. This control is adjustable from –96 dB (no sustain) to 0.0 dB (maximum sustain).

Release Controls the amount of time in milliseconds that the sound takes to fall from the Sustain level to zero amplitude after a note is released. This control is adjustable from 0.0 ms to 5000 ms.

Bend Range

Bend Range sets the maximum interval of pitch bend that can be applied to Bruno with a MIDI controller’s pitch bend wheel. This control is adjustable from 0 semitones (no bend) to 12 semitones (1 octave).

Master Tune

Master Tune can be used to tune the pitch of Bruno’s output to another instrument. By default, this control is set to 440.0 Hz It can be adjusted from a low of 430.0 Hz to a high of

450.0 Hz.

Detune Amount

Pitch Controls

Pitch controls

Glide

Glide, also known as portamento, determines the amount of time it takes for a pitch to glide from the current note to the next note played. This effect is commonly found on synthesizers.

Glide is adjustable from a low of 0.0% (no glide) to a high of 100% (maximum glide). A setting of 100% will take the longest time to travel from the current note to the next note played. The effect is also dependent on the interval (distance of pitch) between the two notes: The larger the interval, the more noticeable the effect.

Detuning is a common sound-thickening technique used on synthesizers and many effects devices. Bruno’s Detune Amount control sets the maximum amount of pitch detuning that occurs when multiple voices are stacked together using Voice Stacking. Using a combination of voice stacking and detuning, you can create timbres that are exceptionally fat.

Voices can be detuned up to 50.0 cents. (One cent is equal to 1/100th of a semitone.)

Detune Velocity

Detune Velocity controls how MIDI key velocity affects voice detuning. This gives you velocitysensitive control over voice detuning when you play Bruno with a MIDI keyboard.

This control is adjustable from a low of 0.0 cents (no velocity-sensitive detuning) to a high of

50.0 cents (maximum velocity-sensitive detuning).

Digidesign Plug-ins Guide18

If Detune Velocity is set to 0.0 cents, detuning will not change no matter how hard you strike a key on your MIDI controller. Conversely, if you set Detune Velocity to 50.0 cents, a hard strike will detune voices a maximum of 50.0 cents (in addition to the detuning specified with the Detune Amount control).

Detune Velocity has an effect only when you play Bruno with a velocity-sensitive MIDI controller.

Voice Controls

Voice controls

These controls set Bruno’s voice polyphony and allocation.

Mode

Mono (Monophonic)

In this mode, Bruno responds monophonically, producing a single note even if more than one is played simultaneously (though multiple voices can be stacked on the same note using the Voice Stacking control). Monophonic mode gives voice priority to the most recently played note.

Poly (Polyphonic)

In this mode, Bruno responds polyphonically, producing as many notes as are played simultaneously (up to 62 on Pro Tools|HD Accel systems). The number of notes that can be played

simultaneously depends on the Voice Stacking setting chosen. A voice stack setting of 1, for example, allows up to 62 individual notes simultaneously. A voice stack setting of All allows only one note at a time, but will stack all 62 voices on that note, producing an extremely fat sound.

Voi ce Sta ck

Voice Stack selects the number of voices that are used, or stacked when you play a single note. The number of voices that you choose to stack will directly affect polyphony. Selecting a larger number of stacked voices will reduce the number of notes that you can play simultaneously.

Voice Stack

The sample rate of your session also affects polyphony. For example, in a 96 kHz session, Bruno can simultaneously play up to:

• 32 notes in a 1-voice stack

• 16 notes in a 2-voice stack

• 4 notes in a 4-voice stack

• 2 notes in an 8-voice stack

• 1 note in an 12-voice (All) stack

The 62-voice Bruno requires an HD Accel card.

In a 44.1 kHz or 48 kHz session on a Pro Tools|HD system not equipped with an HD Accel card, Bruno can simultaneously play up to:

• 24 notes in a 1-voice stack

• 12 notes in a 2-voice stack

• 6 notes in a 4-voice stack

• 3 notes in an 8-voice stack

• 1 note in a 24-voice (All) stack

Chapter 4: Bruno and Reso 19

Voice counts for Bruno for 44.1 kHz and 48 kHz sessions are the same on Pro Tools|HD-series systems not equipped with an HD Accel card.

If all available voices are being used, playing an additional note will replace the first note played in the chord.

Online Help

Online help