Steinberg Nuendo - 10.0 Plug-in Reference

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Plug-in Reference

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Cristina Bachmann, Heiko Bischoff, Lillie Harris, Christina Kaboth, Insa Mingers, Matthias Obrecht, Sabine Pfeifer, Benjamin Schütte, Marita Sladek

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The information in this document is subject to change without notice and does not represent a commitment on the part of Steinberg Media Technologies GmbH. The software described by this document is subject to a License Agreement and may not be copied to other media except as specically allowed in the License Agreement. No part of this publication may be copied, reproduced, or otherwise transmitted or recorded, for any purpose, without prior written permission by Steinberg Media Technologies GmbH. Registered licensees of the product described herein may print one copy of this document for their personal use.

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Cubase_10.0.20_en-US_2019-04-18

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4 Included Effect Plug-ins

4 Ambisonics Plug-ins 4 Delay Plug-ins 11 Distortion Plug-ins 36 Dynamics Plug-ins 62 EQ Plug-ins 70 Filter Plug-ins 78 Mastering Plug-ins 79 Modulation Plug-ins 97 Network Plug-ins 97 Other Plug-ins 101 Pitch Shift Plug-ins 113 Reverb Plug-ins 129 Spatial + Panner Plug-ins 142 Surround Plug-ins 150 Tools Plug-ins

158 MIDI Effects

158 Arpache 5 160 Arpache SX 162 Auto LFO 163 Beat Designer 170 Chorder 174 Compressor 174 Context Gate 176 Density 176 MIDI Control 177 MIDI Echo 179 MIDI Modiers 179 MIDI Monitor 180 Micro Tuner 181 Note to CC 181 Quantizer 182 StepDesigner 186 Track Control 189 Transformer

190 Included VST Instruments

190 Groove Agent SE 190 HALion Sonic SE 190 LoopMash 203 Mystic 215 Padshop 215 Prologue 230 Retrologue 230 Spector 243 Functional Diagrams

245 Index

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Included Effect Plug-ins

The included plug-in effects are arranged according to their categories.

Ambisonics Plug-ins

VST AmbiConverter

VST AmbiConverter allows you to convert Ambisonics audio between Furse-Malham (FuMa) and

AmbiX format.

Included with – – – – X X

For a description of VST AmbiConverter, see the Operation Manual.

Delay Plug-ins

ModMachine

ModMachine combines delay modulation and lter modulation. Frequency and resonance of the

lter are modulated by an LFO or can be set manually. An additional Drive parameter allows for distortion effects.

Included with – – – – X X

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Included Effect Plug-ins Delay Plug-ins

Delay

Nudge

Clicking this button once momentarily speeds up the audio coming into the plug-in, simulating the nudge command of analog tape machines.

Rate

If Tempo Sync is activated, this is where you specify the base note value for temposyncing the effect (1/1 to 1/32, straight, triplet, or dotted).

If Tempo Sync is deactivated, the modulation speed can be set freely with the Rate knob.

Tempo Sync (Delay Modulation)

Activates/Deactivates tempo synchronization for the Rate parameter.

Width

Sets the amount of delay modulation. This allows you to create a vibrato or choruslike effect.

Delay

If tempo sync is activated, this sets the base note value for the delay. If tempo sync is deactivated, the delay time can be set freely in milliseconds.

Tempo Sync (Delay)

Activates/Deactivates tempo sync for the Delay parameter.

Feedback

Sets the number of repeats for the delay.

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Included Effect Plug-ins Delay Plug-ins

Drive

Mix

Graphical display

Functional diagram

Filter Position

Filter Type

Adds distortion to the feedback loop. The longer the feedback, the more the delay repeats are distorted over time.

Sets the level balance between the dry signal and the wet signal. If the effect is used as a send effect, set this parameter to the maximum value as you can control the dry/effect balance with the send.

Shows the signal path, depending on the settings for Filter Position and Filter Type.

Allows you to select the lter position. Loop places the lter in the feedback loop of the delay. Output places it in the output path of the effect, after the Drive and Feedback parameters.

Allows you to select a lter type. You can choose between a Low-Pass, Band-Pass, and

High-Pass lter.

Filter

LFO/Manual (Frequency)

Toggles between LFO and Manual mode. In LFO mode, you can dene the modulation rate or sync it to the project tempo. In Manual mode, you can set the frequency manually.

Speed (Frequency)

Sets the speed of the lter frequency LFO modulation. If tempo sync is activated, this parameter sets the base note value for synchronizing the modulation to the tempo of the host application.

If tempo sync is deactivated, the speed can be set freely with the Speed knob.

Tempo Sync (Frequency)

Activates/Deactivates tempo sync for the Speed parameter. This parameter is only available in LFO mode.

Low Range/High Range (Frequency)

Set the range of the lter frequency modulation. These parameters are only available in LFO mode.

Frequency

Sets the cutoff frequency for the lter. This parameter is only available in Manual mode.

Spatial (Frequency)

Sets an offset between the channels to create a stereo panorama effect for the lter frequency modulation. Turn clockwise for a more pronounced stereo effect.

LFO/Manual (Q-Factor)

Toggles between LFO and Manual mode. In LFO mode, you can dene the modulation rate or sync it to the project tempo. In Manual mode, you can set the resonance manually.

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Included Effect Plug-ins Delay Plug-ins

Speed (Q-Factor)

Tempo Sync (Q-Factor)

Low Range/High Range (Q-Factor)

Q-Factor

Spatial (Q-Factor)

MonoDelay

Sets the speed of the lter resonance LFO modulation. If tempo sync is activated, this parameter sets the base note value for tempo syncing the modulation.

If tempo sync is deactivated, the speed can be set freely with the Speed knob.

Activates/Deactivates tempo sync for the Speed parameter.

Set the range of the lter resonance modulation. These parameters are only available in LFO mode.

Sets the resonance of the lter. This parameter is only available in Manual mode.

Sets an offset between the channels to create a stereo panorama effect for the lter resonance modulation. Turn clockwise for a more pronounced stereo effect.

This is a mono delay effect that can either be tempo-based or use freely specied delay time settings.

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Side-chain support

Lo Filter

Affects the feedback loop of the effect signal and allows you to roll off low frequencies. The button below the knob activates/deactivates the lter.

– – – X X X

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Hi Filter

Affects the feedback loop of the effect signal and allows you to roll off high frequencies. The button below the knob activates/deactivates the lter.

Delay

If tempo sync is activated, this sets the base note value for the delay. If tempo sync is deactivated, the delay time can be set freely in milliseconds.

Sync

Activates/Deactivates tempo sync.

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Included Effect Plug-ins Delay Plug-ins

Feedback

Sets the number of repeats for the delay.

Mix

NOTE

If side-chaining is supported, the delay can also be controlled from another signal source via the side-chain input. If the side-chain signal exceeds the threshold, the delay repeats are silenced. If the signal drops below the threshold, the delay repeats reappear. For a description of how to set up side-chain routing, see the

PingPongDelay

This is a stereo delay effect that alternates each delay repeat between the left and right channels. The effect can either be tempo-based or use freely specied delay time settings.

Operation Manual.

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Side-chain support

NOTE

This plug-in works only on stereo tracks.

– – – X X X

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Lo Filter

Affects the feedback loop of the effect signal and allows you to roll off low frequencies. The button below the knob activates/deactivates the lter.

Hi Filter

Affects the feedback loop of the effect signal and allows you to roll off high frequencies. The button below the knob activates/deactivates the lter.

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Included Effect Plug-ins Delay Plug-ins

Delay

Sync

Feedback

Mix

Spatial

Start Left/Start Right

If tempo sync is activated, this sets the base note value for the delay. If tempo sync is deactivated, the delay time can be set freely in milliseconds.

Activates/Deactivates tempo sync.

Sets the number of repeats for the delay.

Sets the stereo width for the left/right repeats. Turn clockwise for a more pronounced stereo ping-pong effect.

Determines whether the delay repeat starts on the left or the right channel.

NOTE

StereoDelay

StereoDelay has two independent delay lines which either use tempo-based or freely specied

delay time settings.

Included with – – – X X X

Side-chain support

NOTE

This plug-in works only on stereo tracks.

Operation Manual.

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Included Effect Plug-ins Delay Plug-ins

Feedback

Delay

Set the number of repeats for each delay.

If tempo sync is activated, this sets the base note value for the delay. If tempo sync is deactivated, the delay time can be set freely in milliseconds.

Sync

Activates/Deactivates tempo sync for the corresponding delay.

Mix

Lo Filter

Affects the feedback loop of the effect signal and allows you to roll off low frequencies. The button below the knob activates/deactivates the lter.

Pan

Sets the stereo position.

Hi Filter

Affects the feedback loop of the effect signal and allows you to roll off high frequencies. The button below the knob activates/deactivates the lter.

NOTE

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Included Effect Plug-ins Distortion Plug-ins

Distortion Plug-ins

AmpSimulator

AmpSimulator is a distortion effect that emulates the sound of various types of guitar amp and

speaker cabinet combinations. A wide selection of amp and cabinet models is available.

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Select Amplier Model

This pop-up menu allows you to select an amplier model. You can bypass this section by selecting No Amp.

Drive

Controls the amount of amp overdrive.

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Bass

Tone control for the low frequencies.

Mid

Tone control for the mid frequencies.

Treble

Tone control for the high frequencies.

Presence

Boosts or dampens the higher frequencies.

Volume

Controls the overall output level.

Select Cabinet Model

This pop-up menu allows you to select a speaker cabinet model. You can bypass this section by selecting No Speaker.

Damping Low/High

These tone controls allow you to shape the sound of the selected speaker cabinet.

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Included Effect Plug-ins Distortion Plug-ins

BitCrusher

If you are into lo- sound, BitCrusher is the effect for you. It offers the possibility of decimating and truncating the input audio signal by bit reduction, to get a noisy, distorted sound. For example, you can make a 24-bit audio signal sound like an 8 or 4-bit signal, or even render it completely garbled and unrecognizable.

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Mode

Allows you to select one of the four operating modes. In each mode, the plug-in sounds differently. Modes I and III are nastier and noisier, while modes II and IV are more subtle.

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Mix

Sets the level balance between the dry signal and the wet signal.

Sample Divider

Sets the amount by which the audio samples are decimated. At the highest setting, nearly all of the information describing the original audio signal is eliminated, turning the signal into unrecognizable noise.

Depth (0 to 24 bits)

Denes the bit resolution. A setting of 24 gives the highest audio quality, while a setting of 1 creates mostly noise.

Output

Sets the output level.

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Included Effect Plug-ins Distortion Plug-ins

DaTube

DaTube emulates the characteristic warm, lush sound of a tube amplier.

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Mix

Sets the level balance between the dry signal and the wet signal.

Drive

Sets the pre-gain of the amplier. Use high values if you want an overdriven sound just on the verge of distortion.

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Distortion

Output

Sets the output level.

Distortion adds crunch to your tracks.

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Included Effect Plug-ins Distortion Plug-ins

Boost

Increases the distortion amount.

Oversampling

Activates/Deactivates oversampling. Oversampling results in less artifacts for higher distortion.

NOTE

If this parameter is activated, the effect requires more processing power.

Mix

Sets the level balance between the dry signal and the wet signal.

Tone

Changes the tonal characteristic of the output signal.

Feedback

Feeds part of the output signal back to the effect input. Higher settings increase the distortion effect.

Spatial

Changes the distortion characteristics of the left and right channels, thus creating a stereo effect.

Output

Sets the output level.

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Included Effect Plug-ins Distortion Plug-ins

Distroyer

Distroyer adds harmonics to the spectrum and allows for distortion effects from smooth

overdrive to extreme clipping.

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The following parameters inuence only the wet signal:

Lo Filter

Changes the cuttoff frequency of the low-pass lter that is applied to the wet signal before it gets distorted.

Hi Filter

Changes the cuttoff frequency of the high-pass lter that is applied to the already distorted wet signal.

Offset

Modies the symmetry of the distortion effect by changing the operation point of the characteristic.

Drive

Changes the characteristic of the distortion effect. Lower values lead to a smooth overdrive-like effect. Higher values change the shape of the signal towards a rectangle, leading to extreme distortion.

Oversampling

Activates/Deactivates oversampling. Oversampling results in less artifacts for higher distortion.

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Included Effect Plug-ins Distortion Plug-ins

Spatial

DC Filter

The following parameters inuence both the dry and the wet signal:

Boost

Mix

Shelf Freq

NOTE

If this parameter is activated, the effect requires more processing power.

Changes the distortion characteristics of the left and right channels, thus creating a stereo effect.

Removes DC offset that occurs when using high Offset values.

Increases the distortion amount.

Sets the level balance between the dry signal and the wet signal.

Sets the frequency of the high shelving lter.

Shelf Gain

Tone

Output

Grungelizer

Grungelizer adds noise and static to your recordings – like listening to a radio with bad

reception, or a worn and scratched vinyl record.

Included with X X X X X X

Sets the gain of the high shelving lter.

Sets the frequency of the output low-pass lter.

Sets the output level.

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Included Effect Plug-ins Distortion Plug-ins

Noise

Crackle

Distort

Mix

Magneto II

Sets the amount of added static noise.

Adds crackle to create that old vinyl record sound. The speed switch sets the virtual speed of the record in RPM (revolutions per minute).

Adds distortion.

Cuts the low frequencies, and creates a hollow, lo- sound.

Emulates a constant, low AC hum. The frequency switch sets the virtual frequency of the AC current (50 or 60 Hz), and thus the pitch of the AC hum.

Sets the amount of overall effect.

Magneto II simulates the saturation and compression of recording on analog tape machines.

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Saturation

Determines the amount of saturation and the generation of overtones. This leads to a small increase in input gain.

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Saturation On/Off

Activates/Deactivates the saturation effect.

Dual Mode

Simulates the use of two machines.

Frequency Range Low/High

These parameters set the frequency range of the spectrum band to which the tape effect is applied.

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Included Effect Plug-ins Distortion Plug-ins

Solo

HF-Adjust

HF-Adjust On/Off

Quadrafuzz v2

Quadrafuzz v2 is a multi-band distortion and multi-effect plug-in for processing drums and

loops but also for treatment of vocals, for example. You can distort up to 4 bands. 5 different distortion modes with several sub-modes are available.

For example, to avoid the saturation of lower frequencies, set the Low value to 200 Hz or 300 Hz. To avoid the saturation of very high frequencies, set the High parameter to values below 10 kHz.

Allows you to hear only the set frequency range including the tape simulation effect. This helps you to determine the appropriate frequency range.

Sets the amount of high frequency content of the saturated signal.

Activates/Deactivates the HF-Adjust lter.

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Included Effect Plug-ins Distortion Plug-ins

Frequency Band Editor

The frequency band editor in the upper half of the panel is where you set the width of the frequency bands as well as the output level. The vertical value scale to the left shows the gain level of each frequency band. The horizontal scale shows the available frequency range.

● To dene the frequency range of the different frequency bands, use the handles at the sides of each frequency band.

● To attenuate or boost the output level of each frequency band by ±15 dB, use the handles on top of each frequency band.

Global Settings

Switches between multi band and single band mode.

Scenes

You can save up to 8 different settings. If the default setting of a scene is active, the selected scene button lights up yellow.

If you change the default settings, the button lights up green, indicating that this scene has customized settings.

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Included Effect Plug-ins Distortion Plug-ins

Mix

Output (-24 to 24 dB)

Band Settings

Mute

Bypassing Frequency Bands

To copy the settings of a scene to another scene, select the scene that you want to copy, click Copy, and click one of the numbered buttons.

You can automate the selection of scenes.

Sets the level balance between the dry signal and the wet signal.

Sets the output level.

To mute each frequency band, activate the M button in each section.

To bypass each frequency band, activate the Bypass Band button in each section.

Soloing Frequency Bands

To solo a frequency band, activate the S button in each section. Only one band can be soloed at a time.

In/Out meter

Display the input and output level.

Gate

Determines the level at which the gate is activated. Signal levels above the set threshold trigger the gate to open, and signal levels below the set threshold close the gate.

Tape

This band mode simulates the saturation and compression of recording on analog tape machines.

Drive

Controls the amount of tape saturation.

Tape Mode Dual

Simulates the use of two machines.

Tube

This band mode simulates the saturation effects using analog tubes.

Drive

Controls the amount of tube saturation.

Tubes

Determine the number of tubes that are simulated.

Dist

This band mode adds distortion to your tracks.

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Included Effect Plug-ins Distortion Plug-ins

Drive

FBK

Amp

This band mode simulates the sound of various types of guitar amps.

Drive

Amp Types

Dec

Controls the amount of distortion.

Feeds part of the output signal back to the effect input. Higher settings increase the distortion effect.

Controls the amount of amp overdrive.

You can select the following types of guitar amps:

● Amp Clean

● Amp Crunch

● Amp Lead

This band mode allows you to decimate and truncate the input audio signal to create a noisy, distorted sound.

Decimator

Controls the resulting bit-resolution. The lower the resolution, the higher the distortion effect.

Mode

Allows you to select one of the four operating modes. In each mode, the plug-in sounds differently. Modes I and III are nastier and noisier, while modes II and IV are more subtle.

S&H

Delay

To open the Delay section, click the Delay button.

Time

If tempo sync is activated, this is where you specify the base note value for temposyncing the effect (1/1 to 1/32, straight, triplet, or dotted).

If tempo sync is deactivated, the delay time can be set freely with the Time knob.

Sync

Activates/Deactivates tempo sync for the corresponding delay.

Duck

Determines how much the delay signal ducks when an audio signal is present.

Mix

Sets the level balance between the dry signal and the wet signal.

FBK

Determines the number of repeats for each delay.

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Included Effect Plug-ins Distortion Plug-ins

Mode

NOTE

High FBK values and low Duck values in combination with activated Mode can lead to unwanted noise.

Slider

Width

Out

Pan

Mix

If this option is activated, the delay signal is routed back into the distortion unit to create a feedback with distortion.

Sets the stereo width for the corresponding band.

Sets the output gain for the corresponding band.

Sets the stereo position for the corresponding band.

Sets the level balance between the dry signal and the wet signal.

SoftClipper

SoftClipper adds soft overdrive, with independent control over the second and third harmonic.

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Input (-12 to 24 dB)

Sets the pre-gain. Use high values if you want an overdriven sound just on the verge of distortion.

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Mix

Sets the level balance between the dry signal and the wet signal.

Output

Sets the output level.

Second

Controls the second harmonic.

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Included Effect Plug-ins Distortion Plug-ins

Third

VST Amp Rack

VST Amp Rack is a powerful guitar amp simulator. It offers a choice of ampliers and speaker

cabinets that can be combined with stomp box effects.

Controls the third harmonic.

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At the top of the plug-in panel, there are six buttons, arranged according to the position of the corresponding elements in the signal chain. These buttons open different pages in the display section of the plug-in panel: Position, Master, and Conguration.

Below the display section, the selected amplier is shown. The color and texture of the area below the amplier indicate the selected cabinet.

Pre-Effects, Ampliers, Cabinets, Post-Effects, Microphone

Pre/Post-Effects

On the Pre-Effects and Post-Effects pages, you can select up to six common guitar effects. On both pages, the same effects are available, the only difference being the position in the signal chain (before and after the amplier). On each page, every effect can be used once.

Each effect features an On/Off button known from stompbox effects, as well as individual parameters.

Wah Wah

Pedal – Controls the lter frequency sweep.

Volume

Pedal – Controls the level of the signal passing through the effect.

Compressor

Intensity – Sets the amount by which an input signal is being compressed.

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Included Effect Plug-ins Distortion Plug-ins

Limiter

Maximizer

Chorus

Phaser

Flanger

Threshold – Determines the maximum output level. Signal levels above the set

threshold are cut off.

Release – Sets the time after which the gain returns to the original level.

Amount – Determines the loudness of the signal.

Rate – Allows you to set the sweep rate. This parameter can be synchronized to the

project tempo.

Width – Determines the depth of the chorus effect. Higher settings produce a more pronounced effect.

Rate – Allows you to set the sweep rate. This parameter can be synchronized to the project tempo.

Width – Determines the width of the modulation effect between higher and lower frequencies.

Rate – Allows you to set the sweep rate. This parameter can be synchronized to the project tempo.

Feedback – Determines the character of the anger effect. Higher settings produce a more metallic sounding sweep.

Mix – Sets the level balance between the dry signal and the wet signal.

Tremolo

Rate – Allows you to set the modulation speed. This parameter can be synchronized

to the project tempo.

Depth – Governs the depth of the amplitude modulation.

Octaver

Direct – Adjusts the mix of the original signal and the generated voices. A value of 0

means only the generated and transposed signal is heard. By raising this value, more of the original signal is heard.

Octave 1 – Adjusts the level of the signal that is generated one octave below the original pitch. A setting of 0 means that the voice is muted.

Octave 2 – Adjusts the level of the signal that is generated two octaves below the original pitch. A setting of 0 means that the voice is muted.

Delay

Delay – Sets the delay time in milliseconds. This parameter can be synchronized to

the project tempo.

Feedback – Sets the number of repeats for the delay.

Mix – Sets the level balance between the dry signal and the wet signal.

Tape Delay

Delay – Tape Delay creates a delay effect known from tape machines. The Delay

parameter sets the delay time in milliseconds. This parameter can be synchronized to the project tempo.

Feedback – Sets the number of repeats for the delay.

Mix – Sets the level balance between the dry signal and the wet signal.

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Included Effect Plug-ins Distortion Plug-ins

Tape Ducking Delay

Overdrive

Fuzz

Delay – Tape Ducking Delay creates a delay effect known from tape machines with a

ducking parameter. The Delay parameter sets the delay time in milliseconds. This parameter can be synchronized to the project tempo.

Feedback – Sets the number of repeats for the delay.

Duck – Works like an automatic mix parameter. If the level of the input signal is high,

the portion of the effect signal is lowered, or ducked (low internal mix value). If the level of the input signal is low, the portion of the effect signal is raised (high internal mix value). This way the delayed signal stays rather dry during loud or intensely played passages.

Drive – Overdrive creates a tube-like overdrive effect. The higher this value, the more harmonics are added to the output signal of this effect.

Tone – Works as a lter effect on the added harmonics.

Level – Adjusts the output level.

Boost – Fuzz creates a rather harsh distortion effect. The higher this value, the more

distortion is created.

Tone – Works as a lter effect on the added harmonics.

Level – Adjusts the output level.

Gate

Threshold – Determines the level at which the gate is activated. Signal levels above

the set threshold trigger the gate to open, and signal levels below the set threshold close the gate.

Release – Sets the time after which the gate closes.

Equalizer

Low – Changes the level of the low-frequency portion of the incoming signal.

Middle – Changes the level of the mid-frequency portion of the incoming signal.

High – Changes the level of the high-frequency portion of the incoming signal.

Reverb

Type – A convolution-based reverb effect. This parameter allows you to switch between different reverb types (Studio, Hall, Plate, and Room).

Mix – Sets the level balance between the dry signal and the wet signal.

Sync Mode

Some parameters can be synchronized to the tempo of the host application.

The names of these parameters are underlined. Click a knob to activate or deactivate tempo sync. An LED at the top right of the knob indicates that sync mode is active. You can then select a base note value for tempo syncing from the pop-up menu above the control.

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Included Effect Plug-ins Distortion Plug-ins

Using Effects

● To insert a new effect, click the + button that appears if you point the mouse at an empty

● To remove an effect from an effect slot, click the effect name and select None from the

● To change the order of the effects in the chain, click on an effect and drag it to another

● To activate or deactivate an effect, click the pedal-like button below the effect name. If an

NOTE

● Pre-effects and post-effects can be mono or stereo, depending on the track conguration.

● Using quick controls you can set up an external MIDI device, such as a foot controller, to

Ampliers

The amps available on the Ampliers page are modeled on real-life ampliers. Each amp features settings typical for guitar recording, such as gain, equalizers, and master volume. The sound-related parameters Bass, Middle, Treble, and Presence have a overall character and sound of the corresponding amp.

plug-in slot or at one of the arrows before or after a used effect slot.

pop-up menu.

position.

effect is active, the LED next to the button is lit.

control the VST Amp Rack effects. For more information about quick controls, see the Operation Manual.

signicant impact on the

Plexi

Classic British rock tone; extremely transparent sound, very responsive.

Plexi Lead

British rock tone of the 70s and 80s.

Diamond

The cutting edge hard rock and metal sounds of the 90s.

Blackface

Classic American clean tone.

Tweed

Clean and crunchy tones; originally developed as a bass amp.

Deluxe

American crunch sound coming from a rather small amp with a big tone.

British Custom

Produces the sparkling clean or harmonically distorted rhythm sounds of the 60s.

The different amps keep their settings if you switch models. However, if you want to use the same settings after reloading the plug-in, you need to set up a preset.

Selecting and Deactivating Ampliers

To switch amps on the Ampliers page, click the model that you want to use. Select No Amplier if you only want to use the cabinets and effects.

Cabinets

The cabinets available on the Cabinets page simulate real-life combo boxes or speakers. For each amp, a corresponding cabinet type is available, but you can also combine different amps and cabinets.

Selecting and Deactivating Cabinets

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● To switch cabinets on the Cabinets page, click the model that you want to use. Select No

● If you select Link Amplier & Cabinet Choice, the plug-in automatically selects the

Microphones

On the Microphones page, you can choose between different microphone positions. These positions result from two different angles (center and edge) and three different distances from the speaker, as well as an additional center position at an even greater distance from the speaker.

You can choose between two microphone types: a large-diaphragm condenser microphone and a dynamic microphone. You can crossfade between the characteristics of the two microphones.

● To select one of the microphone types or blend between the two types, turn the Mix

Placing the Microphone

● To select a microphone position, click the corresponding ball in the graphic. The selected

Cabinet if you only want to use the amps and effects.

cabinet corresponding to the selected amp model.

control between the two microphones.

position is marked in red.

Master

Use the Master page to ne-tune the sound.

Input/Output Level Meters

The input and output level meters on the left and the right of the Master section show the signal level of your audio. The rectangle on the input meter indicates the optimum incoming level range. In compact view, the input and output levels are indicated by two LEDs at the top left and right.

Using the Master Controls

● To activate/deactivate the equalizer, click the pedal-like On/Off button. If the equalizer is active, the LED next to the button is lit.

● To activate/deactivate an equalizer band, click the corresponding Gain knob. If a band is active, the LED to the left of the Gain knob is lit.

● To tune your guitar strings, click the pedal-like On/Off button to activate the Tuner and play a string. If the correct pitch is displayed and the row of LEDs below the digital display is green, the string is tuned correctly.

If the pitch is too low, red LEDs are lit on the left. If the pitch is too high, red LEDs are lit on the right. The more LEDs are lit, the lower/higher is the pitch.

● To mute the output signal of the plug-in, click the pedal-like Master button. If the output is muted, the LED is not lit. Use this to tune your guitar in silence, for example.

● To change the volume of the output signal, use the Level control on the Master page.

Conguration

On the Conguration page, you can specify whether you want to use VST Amp Rack in stereo or in mono mode.

● To process the pre-effects, the amplier, and the cabinets in full stereo mode, make sure that the plug-in is inserted on a stereo track, and activate the Stereo button.

● To use the effect in mono-mode, make sure that the plug-in is inserted on a mono track, and activate the Mono button.

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NOTE

In stereo mode, the effect requires more processing power.

View Settings

You can choose between 2 views: the default view and a compact view, which takes up less screen space.

In the default view, you can use the buttons at the top of the plug-in panel to open the corresponding page in the display section above the amp controls. You can horizontally resize the plug-in panel by clicking and dragging the edges or corners.

In the compact view, the display section is hidden from view. You can change the amp settings and switch amps or cabinets using the mouse wheel.

Using the Smart Controls

Smart controls become visible on the plug-in frame when you move the mouse pointer over on the plug-in panel.

Switching between Default and Compact View

● To toggle between the different views, click the down/up arrow button (Show/Hide Extended Display) at the top center of the plug-in frame.

Changing the Amplier and Cabinet Selection in the Compact View

In the compact view, a smart control on the lower border of the plug-in frame allows you to select different amplier and cabinet models.

● To select a different amplier or cabinet, click the name and select a different model from the pop-up menu.

● To lock the amplier and cabinet combination, activate the Link/Unlink Amplier & Cabinet Choice button. If you now select another amp model, the cabinet selection follows. However, if you select a different cabinet model, the lock is deactivated.

Previewing Effect Settings

In both views, you can show a preview of the pre- and post-effects that you selected on the corresponding pages:

● Click and hold the Show Pre-Effects or Show Post-Effects button at the bottom left or right of the plug-in frame.

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VST Bass Amp

VST Bass Amp is a bass amp simulator. It offers a choice of ampliers and speaker cabinets that

can be combined with stomp box effects.

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At the top of the plug-in panel, the following buttons open different pages in the display section of the plug-in panel: Conguration, and Master.

These buttons are arranged according to the position of the corresponding elements in the signal chain.

Below the display section, the selected bass amplier is displayed. The color and texture of the area below the bass amp indicate the selected cabinet.

Pre-Effects, Ampliers, Cabinets, Post-Effects, Microphones,

Pre/Post-Effects

On the Pre-Effects and Post-Effects pages, you can select up to six common bass effects. On both pages, the same effects are available, the only difference being the position in the signal chain (before or after the bass amplier). On each page, every effect can be used once.

Each effect features an On/Off button known from stompbox effects, as well as individual parameters.

Wah Wah

Pedal – Controls the lter frequency sweep.

Envelope Filter

Range – Determines the frequency range.

Q-Factor – Sets the intensity of the envelope lter effect.

Sensitivity – Determines how sensitive the effect reacts to the instrument level.

Attack – Determines how quickly an effect reacts to the input signal.

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Volume

Compressor

Compressor MB

Limiter

Mix – Sets the level balance between the dry signal and the wet signal.

Type – Sets the lter type.

Release – Determines how quickly the effect fades after the input signal stops.

Pedal – Controls the level of the signal passing through the effect.

Intensity – Sets the amount by which an input signal is being compressed.

Lo Intensity – Sets the compressor effect in the low frequency band. Activate/

deactivate

Hi Intensity – Sets the compressor effect in the high frequency band. Activate/ deactivate Auto Makeup Mode by clicking the LED at the top right of the knob.

Crossover – Determines the crossover frequency between the low frequency band and the high frequency band.

Output – Sets the output level.

Threshold – Determines the maximum output level. Signal levels above the set

threshold are cut off.

Release – Sets the time after which the gain returns to the original level.

Auto Makeup Mode by clicking the LED at the top right of the knob.

Maximizer

Amount – Determines the loudness of the signal.

Chorus

Rate – Allows you to set the sweep rate. This parameter can be synchronized to the

project tempo.

Width – Determines the depth of the chorus effect. Higher settings produce a more pronounced effect.

Tone – Allows you to attenuate low frequencies.

Mix – Sets the level balance between the dry signal and the wet signal.

Phaser

Rate – Allows you to set the sweep rate. This parameter can be synchronized to the

project tempo.

Width – Determines the width of the modulation effect between higher and lower frequencies.

Tone – Allows you to attenuate the low frequencies.

Mix – Sets the level balance between the dry signal and the wet signal.

Flanger

Rate – Allows you to set the sweep rate. This parameter can be synchronized to the

project tempo.

Feedback – Determines the character of the anger effect. Higher settings produce a more metallic sounding sweep.

Tone – Allows you to attenuate the low frequencies.

Mix – Sets the level balance between the dry signal and the wet signal.

DI Driver

Level – Sets the output level.

Blend – Blends between normal and tube emulation circuitry. With Blend at 0, Drive

and Presence are not active.

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Enhancer

Octaver

Delay

Bass – Boosts or attenuates low frequencies.

Treble – Boosts or attenuates high frequencies.

Presence – Boosts or attenuates upper harmonics and attacks.

Drive – Sets gain and overdrive.

Enhance – Simulates the classic enhancer effect.

Tone – Allows you to attenuate low frequencies.

Direct – Adjusts the level of the original signal. A value of 0 means only the

generated and transposed signal is heard. By raising this value, more of the original signal is heard.

Octave 1 – Adjusts the level of the signal that is generated one octave below the original pitch. A setting of 0 means that the voice is muted.

Tone – Changes the sound character of the generated signal.

Delay – Sets the delay time in milliseconds. This parameter can be synchronized to

the project tempo.

Feedback – The higher this setting, the more delay repeats are created.

Mix – Sets the level balance between the dry signal and the wet signal.

Tape Ducking Delay

Delay – The Delay parameter sets the delay time in milliseconds.

Feedback – The higher this setting, the more delay repeats are created.

Duck – Works like an automatic mix parameter. If the level of the input signal is high,

Tone – Allows you to attenuate the low frequencies.

Mix – Sets the level balance between the dry signal and the wet signal.

Overdrive

Drive – Overdrive creates a tube-like overdrive effect. The higher this value, the more

harmonics are added to the output signal of this effect.

Tone – Works as a lter effect on the added harmonics.

Level – Adjusts the output level.

Magneto II

Drive – Controls the amount of tape saturation.

Low/High – These parameters set the frequency range of the spectrum band to

which the tape effect is applied.

HF-Adjust – Sets the amount of high frequency content of the saturated signal.

Gate

Threshold – Determines the level at which the gate is activated. Signal levels above

the set threshold open the gate and signal levels below the set threshold close the gate.

Release – Sets the time after which the gate closes.

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Equalizer

Graphical EQ

Reverb

Sync

Some parameters can be synchronized to the tempo of the host application.

Low – Changes the level of the low-frequency portion of the incoming signal.

Middle – Changes the level of the mid-frequency portion of the incoming signal.

High – Changes the level of the high-frequency portion of the incoming signal.

Display – Consists of 8 sliders that set the level of each frequency band. Allows you

to draw response curves by clicking and dragging with the mouse.

Reset Sliders – At the lower right of the Display. Flattens all values to 0 dB.

Output Slider – Allows you to control the frequency response.

Type – A convolution-based reverb effect. This parameter allows you to switch between the reverb types Studio, Hall, Plate, and Room.

Mix – Sets the level balance between the dry signal and the wet signal.

Using Effects

● To insert a new effect, click the + button that appears if you point the mouse at an empty plug-in slot or at one of the arrows before or after a used effect slot.

● To remove an effect from an effect slot, click the effect name and select None from the pop-up menu.

● To change the order of the effects in the chain, click on an effect and drag it to another position.

● To activate or deactivate an effect, click the pedal-like button below the effect name. If an effect is active, the LED next to the button is lit.

NOTE

● Pre-effects and post-effects can be mono or stereo, depending on the track conguration.

● Using quick controls you can set up an external MIDI device, such as a foot controller, to control the VST Bass Amp effects. For more information about quick controls, see the Operation Manual.

Ampliers

The amps available on the Ampliers page are modeled on real-life ampliers. Each amp features settings typical for bass recording, such as gain, equalizers, and master volume. The sound-related parameters bass, low mid, high mid, and treble have a signicant impact on the

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Included Effect Plug-ins Distortion Plug-ins

overall character and sound of the corresponding amp. Shape 1 and Shape 2 offer predened tone shaping.

ValveAmp300

Greyhound

GreenT

Paradise

Tweed

iTech

A famous tube amplier from the 70s, useful for rock playing styles.

An amplier, well known for its typical growl, useful for several playing styles.

A classic amplier from the 80s, useful for funk and rock playing styles.

An amplier from the 90s, with a hi-like clear tone, that makes it applicable for several styles.

A classic vintage amplier from the 50s, with a characterful and bright tone. Originally created for bassists, also used by many guitar players.

A modern amplier, with a universal sound.

The different amps keep their settings if you switch models, but amp settings are lost when closing VST Bass AMP. If you want to use the same settings after reloading the plug-in, you need to set up a preset.

Selecting and Deactivating Ampliers

To switch amps on the Ampliers page, click the model that you want to use. Select No Amplier if you only want to use the cabinets and effects.

NOTE

To scroll through ampliers, use the mouse wheel when hovering over the amplier panel.

Cabinets

The cabinets available on the Cabinets page simulate real-life combo boxes or speakers. For each amp, a corresponding cabinet type is available, but you can also combine different amps and cabinets.

The following cabinets are available:

4x10"

10" speakers provide a punchy clear sound that is suitable for “Slap” bass and regular playing styles.

10" speakers have a cleaner sound and more punch than 15" speakers.

8x10"

Compared to 4x10", double the amount of speakers.

4x12"

12" speakers provide a mellow and full sound, making them a good choice between 10" and 15" speakers.

1x15"

15" speakers provide more low frequencies compared to the other cabinets. They are suitable for rock and vintage oriented styles.

Selecting and Deactivating Cabinets

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● To switch cabinets on the Cabinets page, click the model that you want to use. Select No

● If you select Link Amplier & Cabinet Choice, the plug-in automatically selects the

Microphones

On the Microphones page, you can choose between different microphone types.

121

409

421

545

Cabinet if you only want to use the amps and effects.

cabinet corresponding to the selected amp model.

Dynamic microphone with cardioid pickup pattern.

Ribbon microphone with gure-8 pattern.

Dynamic microphone with supercardioid pickup pattern.

Dynamic microphone with cardioid polar pattern.

Dynamic microphone with cardioid pattern that minimizes feedback.

Dynamic microphone with cardioid pickup pattern.

Reference and measurement microphone with omni directional polar pattern.

Condenser microphone with omni directional pattern.

You can choose between different microphone positions. These positions result from two different angles (on axis and off axis) and three different distances from the cabinet.

You can crossfade between the characteristics of the two microphones.

● To select one of the microphone types or blend between the two types, turn the Mix control between the two microphones.

● To select a microphone position, click the corresponding ball in front of the cabinet. The selected position is marked in red.

● To determine the ratio between line and mic, turn the Mix control on the left of the cabinet.

NOTE

To scroll through microphones, use the mouse wheel when hovering over a microphone.

Master

Use the Master page to ne-tune the sound.

Input/Output Level Meters

The input and output level meters on the left and the right of the Master section show the signal level of your audio. The rectangle on the input meter indicates the optimum incoming level range. In all other views, the input and output levels are indicated by two LEDs at the top left and right.

Using the Master Controls

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Included Effect Plug-ins Distortion Plug-ins

● To activate/deactivate the equalizer, click the pedal-like On/Off button. If the equalizer is

● To activate/deactivate an equalizer band, click the corresponding Gain knob. If a band is

● To tune your guitar strings, click the pedal-like On/Off button to activate Tuner and play a

● To mute the output signal of the plug-in, click the pedal-like Master button. If the output is

● To change the volume of the output signal, use the Level control on the Master page.

● NOTE

Conguration

On the Conguration page, you can specify whether you want to use VST Bass Amp in stereo or in mono mode.

active, the LED next to the button is lit.

active, the LED to the left of the

string. If the correct pitch is displayed and the row of LEDs below the digital display is green, the string is tuned correctly.

If the pitch is too low, red LEDs are lit on the left. If the pitch is too high, red LEDs are lit on the right. The more LEDs are lit, the lower/higher is the pitch.

muted, the LED is not lit. Use this to tune your guitar in silence, for example.

Master EQ functions only when a cabinet is selected.

Gain knob is lit.

● To process the pre-effects, the amplier, and the cabinets in full stereo mode, make sure that the plug-in is inserted on a stereo track, and activate the Stereo button.

● To use the effect in mono-mode, make sure that the plug-in is inserted on a mono track, and activate the Mono button.

NOTE

In stereo mode, the effect requires more processing power. Use mono conguration on a stereo track to save processing power.

View Settings

You can choose between 2 views: the default view and a compact view, which takes up less screen space.

In the compact view, the display section is hidden from view. You can change the amp settings and switch amps or cabinets using the mouse wheel.

Using the Smart Controls

Smart controls become visible on the plug-in frame when you move the mouse pointer over the plug-in panel.

Switching between Default and Compact View

● To toggle between the different views, click the down/up arrow button (Show/Hide Extended Display) at the top center of the plug-in frame.

Changing the Amplier and Cabinet Selection in the Compact View

In the compact view, a smart control on the lower border of the plug-in frame allows you to select different amplier and cabinet models.

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Included Effect Plug-ins Dynamics Plug-ins

● To select a different amplier or cabinet, click the name and select a different model from

● To lock the amplier and cabinet combination, activate the Link/Unlink Amplier &

Previewing Effect Settings

In both views, you can show a preview of the pre- and post-effects that you selected on the corresponding pages:

● Click and hold the Show Pre-Effects or Show Post-Effects button at the bottom left or

the pop-up menu.

Cabinet Choice button. If you now select another amp model, the cabinet selection follows. However, if you select a different cabinet model, the lock is deactivated.

right of the plug-in frame.

RELATED LINKS

Tuner on page 155

Dynamics Plug-ins

Brickwall Limiter

Brickwall Limiter ensures that the output level never exceeds a set limit.

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Due to its fast attack time, Brickwall Limiter can reduce even short audio level peaks without creating audible artifacts. However, this plug-in creates a latency of 1ms. Brickwall Limiter features separate meters for input, output, and the amount of limiting. Position this plug-in at the end of the signal chain, before dithering.

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Included Effect Plug-ins Dynamics Plug-ins

Threshold (-20 to 0 dB)

Release (3 to 1000 ms or Auto mode)

Link

Detect Intersample Clipping

NOTE

Brickwall Limiter is designed for the reduction of occasional peaks in the signal. If the Gain Reduction meter indicates constant limiting, try raising the threshold or lowering the overall

level of the input signal.

Determines the level where the limiter kicks in. Only signal levels above the set threshold are processed.

Sets the time after which the gain returns to the original level when the signal drops below the threshold. If the Auto button is activated, the plug-in automatically nds the best release setting for the audio material.

If this button is activated, Brickwall Limiter uses the channel with the highest level to analyze the input signal. If the button is deactivated, each channel is analyzed separately.

If this option is activated, Brickwall Limiter uses oversampling to detect and limit signal levels between two samples to prevent distortion when converting digital signals into analog signals.

Compressor

Compressor reduces the dynamic range of the audio, making softer sounds louder or louder

sounds softer, or both.

Included with – – X X X X

Side-chain support

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Compressor features a separate display that graphically illustrates the compressor curve that is shaped according to the Threshold and Ratio parameter settings. Compressor also features a Gain Reduction meter that shows the amount of gain reduction in dB, Soft knee/Hard knee compression modes, and a program-dependent auto feature for the Release parameter.

Threshold (-60 to 0 dB)

Determines the level where the compressor kicks in. Only signal levels above the set threshold are processed.

Ratio

Sets the amount of gain reduction applied to signals above the set threshold. A ratio of 3:1 means that for every 3 dB the input level increases, the output level increases by 1 dB.

Soft Knee

If this button is deactivated, signals above the threshold are compressed instantly according to the set ratio (hard knee). If Soft Knee is activated, the onset of compression is more gradual, producing a less drastic result.

High Ratio

Sets the ratio to a xed value of 20:1.

Make-Up (0 to 24 dB or Auto mode)

Compensates for output gain loss caused by compression. If Auto Make-Up Gain is activated, the output is automatically adjusted for gain loss.

Dry Mix

Mixes the dry input signal to the compressed signal.

Attack (0.1 to 100 ms)

Determines how fast the compressor responds to signals above the set threshold. If the attack time is long, more of the early part of the signal passes through unprocessed.

Hold (0 to 5000 ms)

Sets the time the applied compression affects the signal after exceeding the threshold. Short hold times are useful for DJ-style ducking, while longer hold times are required for music ducking, for example, when working on a documentary

lm.

Page 39

Included Effect Plug-ins Dynamics Plug-ins

Release (10 to 1000 ms or Auto mode)

Analysis (Pure Peak to Pure RMS)

Live

DeEsser

Sets the time after which the gain returns to its original level when the signal drops below the threshold. If Auto Release is activated, the plug-in automatically nds the best release setting for the audio material.

Determines whether the input signal is analyzed according to peak or RMS values, or a mixture of both. A value of 0 is pure peak and 100 pure RMS. RMS mode operates using the average power of the audio signal as a basis, whereas Peak mode operates more on peak levels. As a general guideline, material with few transients such as vocals, and Peak mode works better for percussive material with a lot of transient peaks.

If this button is activated, the look-ahead feature of the effect is deactivated. Lookahead produces more accurate processing, but adds a a trade-off. If Live mode is activated, there is no latency, which is better for live processing.

RMS mode works better on

specic amount of latency as

DeEsser reduces excessive sibilance, primarily for vocal recordings. It is a special type of compressor that is tuned to be sensitive to the frequencies produced by the s-sound.

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Side-chain support

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Included Effect Plug-ins Dynamics Plug-ins

Close proximity microphone placement and equalizing can lead to situations where the overall sound is just right, but there is a problem with sibilants.

Display

Shows the spectrum of the input signal.

● To adjust the frequency band, drag the border lines or click in the middle of the band and

● To change the width of the frequency band, hold Shift and drag to the left or right.

Filter

Lo/Hi

drag.

Sets the left and right border of the frequency band. You can set the frequency either in Hz or as a note value. If you enter a note value, the frequency is automatically displayed in Hz accordingly. For example, a note value of A3 sets the frequency to 440 Hz. When you enter a note value, you can also enter a cent offset. For example, enter A5 -23 or C4 +49.

NOTE

Make sure that you enter a space between the note and the cent offset. Only in this case, the cent offsets are taken into account.

Solo

Solos the frequency band. This helps you to nd the appropriate position and width of that band.

Diff

Plays back what DeEsser removed from the signal. This help you to adjust the frequency band, threshold, and reduction parameters, so that only sharp s-sounds are removed, for example.

Dynamics

Reduction

Controls the intensity of the de-essing effect.

Threshold (-50 to 0 dB)

If the Auto option is deactivated, you can use this control to set a threshold for the incoming signal level above which the plug-in starts to reduce the sibilants.

Release (1 to 1000 ms)

Sets the time after which the de-essing effect returns to zero when the signal drops below the threshold.

Auto

Automatically and continually sets an optimum threshold setting independent of the input signal. The Auto option does not work for low-level signals (< -30 db peak level). To reduce the sibilants in such a

le, set the threshold manually.

Side-Chain

Freq (25 Hz to 20 kHz)

If the Side-Chain button is activated, this sets the frequency of the lter. You can set the frequency either in Hz or as a note value. If you enter a note value, the frequency is automatically displayed in Hz accordingly. For example, a note value of A3 sets the frequency to 440 Hz. When you enter a note value, you can also enter a cent offset. For example, enter A5 -23 or C4 +49.

Page 41

Included Effect Plug-ins Dynamics Plug-ins

Q-Factor

Side

Monitor

Live

NOTE

Make sure that you enter a space between the note and the cent offset. Only in this case, the cent offsets are taken into account.

If the Side-Chain button is activated, this sets the resonance or width of the lter.

Activates the internal side-chain lter. You can now shape the input signal according to the lter parameters. Internal side-chaining can be useful for tailoring how the gate operates.

Allows you to monitor the ltered signal.

If this button is activated, the look-ahead feature of the effect is deactivated. Lookahead produces more accurate processing, but adds a specic amount of latency as a trade-off. If processing.

Live mode is activated, there is no latency, which is better for live

Positioning the DeEsser in the Signal Chain

When recording a voice, the position of DeEsser in the signal chain is usually located after the microphone pre-amp and before a compressor/limiter. This keeps the compressor/limiter from unnecessarily limiting the overall signal dynamics.

EnvelopeShaper

EnvelopeShaper can be used to attenuate or boost the gain of the attack and release phase of

audio material.

Included with – – X X X X

Side-chain support

You can use the knobs or drag the breakpoints in the graphical display to change parameter values. Be careful with levels when boosting the gain and if needed reduce the output level to avoid clipping.

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Included Effect Plug-ins Dynamics Plug-ins

Attack (-20 to 20 dB)

Length (5 to 200 ms)

Sets the gain of the attack phase of the signal.

Sets the length of the attack phase.

Expander

Release (-20 to 20 dB)

Sets the gain of the release phase of the signal.

Output

Sets the output level.

NOTE

If side-chaining is supported, the effect can also be controlled from another signal source via the side-chain input. If the side-chain signal exceeds the threshold, the effect is triggered. For a description of how to set up side-chain routing, see the

Expander reduces the output level in relation to the input level for signals below the set threshold. This is useful if you want to enhance the dynamic range or reduce the noise in quiet passages.

You can either use the knobs or drag the breakpoints in the graphical display to change the

Threshold and the Ratio parameter values.

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Operation Manual.

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Side-chain support

– – – – X X

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Included Effect Plug-ins Dynamics Plug-ins

Threshold (-60 to 0 dB)

Determines the level where the expansion kicks in. Only signal levels below the set threshold are processed.

Ratio

Sets the amount of gain boost applied to signals below the threshold.

Soft Knee

If this button is deactivated, signals below the threshold are expanded instantly according to the set ratio (hard knee). If Soft Knee is activated, the onset of expansion is more gradual, producing less drastic results.

Fall (0.1 to 100 ms)

Determines how fast the expander responds to signals below the set threshold. If the fall time is long, more of the early part of the signal passes through unprocessed.

Hold (0 to 2000 ms)

Sets the time the applied expansion affects the signal below the threshold.

Rise (10 to 1000 ms or Auto mode)

Sets the time after which the gain returns to its original level when the signal exceeds the threshold. If the nds the best rise setting for the audio material.

Analysis (Pure Peak to Pure RMS)

Determines whether the input signal is analyzed according to peak or RMS values, or a mixture of both. A value of 0 is pure peak and 100 pure RMS. RMS mode operates using the average power of the audio signal as a basis, whereas operates more on peak levels. As a general guideline, RMS mode works better on material with few transients such as vocals, and Peak mode works better for percussive material with a lot of transient peaks.

Auto Rise button is activated, the plug-in automatically

Peak mode

Live

If this button is activated, the look-ahead feature of the effect is deactivated. Lookahead produces more accurate processing, but adds a specic amount of latency as a trade-off. If processing.

Live mode is activated, there is no latency, which is better for live

Page 44

Included Effect Plug-ins Dynamics Plug-ins

NOTE

If side-chaining is supported, the expansion can also be controlled from another signal source via the side-chain input. If the side-chain signal exceeds the threshold, the expansion is triggered. For a description of how to set up side-chain routing, see the

Gate

Gating, or noise gating, silences audio signals below a set threshold. As soon as the signal level exceeds the threshold, the gate opens to let the signal through.

Operation Manual.

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Attack (0.1 to 1000 ms)

Sets the time after which the gate opens when it is triggered.

NOTE

Deactivate the Live button to make sure that the gate is already open when a signal above the threshold is played back.

Hold (0 to 2000 ms)

Determines how long the gate remains open after the signal drops below the threshold level.

Release (10 to 1000 ms or Auto mode)

Sets the time after which the gate closes (after the set Hold time). If Auto Release is activated, Gate automatically nds the best release setting for the audio material.

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Included Effect Plug-ins Dynamics Plug-ins

Threshold (-60 to 0 dB)

State LED

Analysis (Pure Peak to Pure RMS)

Range

Determines the level at which the gate is activated. Signal levels above the set threshold trigger the gate to open, and signal levels below the set threshold close the gate.

Indicates whether the gate is open (LED lights up in green), closed (LED lights up in red), or in an intermediate state (LED lights up in yellow).

Determines whether the input signal is analyzed according to peak or RMS values, or a mixture of both. A value of 0 is pure peak and 100 pure RMS. RMS mode operates using the average power of the audio signal as a basis, whereas operates more on peak levels. As a general guideline, RMS mode works better on material with few transients such as vocals, and Peak mode works better for percussive material with a lot of transient peaks.

Adjusts the attenuation of the gate when it is shut. If Range is set to minus innite

, the gate is completely shut. The higher the value, the higher the level of the

signal that passes through the shut gate.

Peak mode

Live

If this button is activated, the look-ahead feature of the effect is deactivated. Lookahead produces more accurate processing, but adds a specic amount of latency as a trade-off. If Live mode is activated, there is no latency, which is better for live processing.

Side-Chain Section

Side-Chain

Activates the internal side-chain lter. The input signal can then be shaped according to the lter parameters. Internal side-chaining is useful for tailoring how the gate operates.

Monitor

Allows you to monitor the ltered signal.

Center (50 to 20000 Hz)

If the Side-Chain button is activated, this sets the center frequency of the lter.

Q-Factor

If the Side-Chain button is activated, this sets the resonance or width of the lter.

Filter Type (Low-Pass/Band-Pass/High-Pass)

If Side-Chain is activated, these buttons allow you to set the lter type to low-pass, band-pass, or high-pass.

NOTE

If side-chaining is supported, the gate can also be controlled from another signal source via the side-chain input. If the side-chain signal exceeds the threshold, the gate opens. For a description of how to set up side-chain routing, see the Operation Manual.

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Included Effect Plug-ins Dynamics Plug-ins

Limiter

Limiter is designed to ensure that the output level never exceeds a set output level, to avoid

clipping in following devices.

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Maximizer

Limiter can adjust and optimize the Release parameter automatically according to the audio

material, or it can be set manually. Limiter also features separate meters for the input, output and the amount of limiting (middle meters).

Input (-24 to 24 dB)

Sets the input gain.

Release (0.1 to 1000 ms or Auto mode)

Sets the time after which the gain returns to its original level. If Auto Release is activated, the plug-in automatically material.

Output

Sets the maximum output level.

Maximizer raises the loudness of audio material without the risk of clipping. The plug-in provides two modes, Classic and Modern, that offer different algorithms and parameters.

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nds the best release setting for the audio

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Included Effect Plug-ins Dynamics Plug-ins

Classic

Classic mode provides the classic algorithms from previous versions of this plug-in.

This mode is suited for all styles of music.

Modern

In Modern mode, the algorithm allows for more loudness than in Classic mode. This mode is particularly suited for contemporary styles of music.

Modern mode also provides additional settings to control the release phase:

● Release sets the overall release time.

● Recover allows for a faster signal recovering at the beginning of the release

phase.

Optimize

Determines the loudness of the signal.

Mix

Sets the level balance between the dry signal and the wet signal.

Output

Sets the maximum output level.

Soft Clip

If this button is activated, Maximizer starts limiting or clipping the signal softly. At the same time, harmonics are generated, adding a warm, tube-like characteristic to the audio material.

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Included Effect Plug-ins Dynamics Plug-ins

MIDI Gate

This plug-in gates audio signals. The gate is triggered by MIDI notes.

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Gating, in its fundamental form, silences audio signals below a set threshold. If a signal rises above the set level, the gate opens to let the signal through. Signals below the set level are silenced. MIDI Gate, however, is not triggered by threshold levels, but MIDI notes. Therefore, it needs both audio and MIDI data to function.

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Attack (0 to 500 ms)

Sets the time after which the gate opens when it is triggered.

Hold

Determines how long the gate remains open after a note-on or note-off message. The

Hold Mode settings are taken into account.

Release (0 to 3000 ms)

Sets the time after which the gate closes after the set Hold time.

Note To Attack

Determines to which extent the velocity values of the MIDI notes affect the attack time. The higher the value, the more the attack time increases with high note velocities. Negative values result in shorter attack times with high velocities. If you do not want to use this parameter, set it to 0.

Note To Release

Determines to which extent the velocity values of the MIDI notes affect the release time. The higher the value, the more the release time increases. If you do not want to use this parameter, set it to 0.

Velocity To VCA

Controls to which extent the velocity values of the MIDI notes determine the output volume. At a value of 127, the volume is controlled entirely by the velocity values, and at a value of 0, the velocities have no effect on the volume.

Hold Mode

Sets the Hold Mode.

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Included Effect Plug-ins Dynamics Plug-ins

● In Note On mode, the gate only remains open for the time set with the Hold

● In Note Off mode, the gate remains open for as long as the MIDI note plays.

Setting Up MIDI Gate

To use MIDI Gate for your audio, you need an audio track and a MIDI track.

PROCEDURE

1. Select the audio track to which you want to apply MIDI Gate.

This can be recorded or realtime audio material from any audio track.

2. Select MIDI Gate as an insert effect for the audio track.

3. Select a MIDI track to control the MIDI Gate effect.

You can either play notes on a connected MIDI keyboard or use recorded MIDI notes.

4. Open the Output Routing pop-up menu for the MIDI track and select MIDI Gate.

and Release parameters, regardless of the length of the MIDI note that triggered the gate.

The Hold and Release parameters are applied once a note-off signal has been received.

Applying MIDI Gate

PREREQUISITE

Set up the plug-in properly.

How to apply MIDI Gate depends on whether you are using realtime or recorded MIDI. We assume for the purposes of this manual that you are using recorded audio and play the MIDI in realtime.

PROCEDURE

1. If you use realtime MIDI to trigger the plug-in, make sure the MIDI track is selected.

2. Start playback.

3. If you use realtime MIDI, play a few notes on your keyboard.

RESULT

The MIDI notes trigger the Gate. The plug-in gates the audio signals.

RELATED LINKS

Setting Up MIDI Gate on page 49

MultibandCompressor

MultibandCompressor allows a signal to be split into four frequency bands. You can specify the

level, bandwidth, and compressor characteristics for each band.

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Included Effect Plug-ins Dynamics Plug-ins

NOTE

To compensate for output gain loss that is caused by compression, MultibandCompressor uses an automatic make-up gain. If side-chaining is activated for a frequency band in the side-chain section, the automatic make-up gain is deactivated for this band.

Frequency Band Editor

The frequency band editor in the upper half of the panel is where you set the width of the frequency bands as well as their level after compression. The vertical value scale to the left shows the gain level of each frequency band. The horizontal scale shows the available frequency range.

● To dene the frequency range of the different frequency bands, use the handles at the sides of each frequency band.

● To attenuate or boost the gain of the frequency bands by ±15 dB after compression, use the handles at the top of each frequency band.

Live

Bypassing Frequency Bands

To bypass each frequency band, activate the Bypass Band button in each section.

Soloing Frequency Bands

To solo a frequency band, activate the S button in each section. Only one band can be soloed at a time.

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Included Effect Plug-ins Dynamics Plug-ins

Output (-24 to 24 dB)

Compressor Section

You can specify the Threshold and Ratio by moving breakpoints or using the corresponding knobs. The threshold is marked by the rst breakpoint where the line deviates from the straight diagonal.

Threshold (-60 to 0 dB)

Ratio

Attack (0.1 to 100 ms)

Sets the output level.

Determines the level where the compressor kicks in. Only signal levels above the set threshold are processed.

Sets the amount of gain reduction applied to signals above the set threshold. A ratio of 3:1 means that for every 3 dB the input level increases, the output level increases by 1 dB.

Determines how fast the compressor responds to signals above the set threshold. If the attack time is long, more of the early part of the signal passes through unprocessed.

Release (10 to 1000 ms or Auto mode)

Side-Chain Section

To open the side-chain section, click the SC button at the bottom left of the plug-in window.

IMPORTANT

To be able to use the side-chain function for the bands, global side-chain must be activated for the plug-in.

Frequency

If the Side-Chain button is activated, this sets the frequency of the side-chain lter.

Q-Factor

If the Side-Chain button is activated, this sets the resonance or width of the lter.

Side-Chain

Activates the internal side-chain lter. The side-chain signal can then be shaped according to the lter parameter.

Monitor

Allows you to monitor the ltered signal.

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Included Effect Plug-ins Dynamics Plug-ins

MultibandEnvelopeShaper

MultibandEnvelopeShaper allows a signal to be split into four frequency bands. You can

attenuate or boost the gain of the attack and release phase of audio material for each band.

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Frequency Band Editor

The frequency band editor in the upper half of the panel is where you set the width of the frequency bands as well as their level. The vertical value scale to the left shows the gain level of each frequency band. The horizontal scale shows the available frequency range.

● To dene the frequency range of the different frequency bands, use the handles at the sides of each frequency band.

● To attenuate or boost the gain of the frequency band, use the handles at the top of each frequency band.

Live

Bypassing Frequency Bands

To bypass each frequency band, activate the Bypass Band button in each section.

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Included Effect Plug-ins Dynamics Plug-ins

Soloing Frequency Bands

Output (-24 to 24 dB)

Shaper Section

You can specify the Attack, Length, and Release by moving breakpoints or using the corresponding knobs. Be careful with levels when boosting the gain. You can reduce the output level to avoid clipping.

Attack (-20 to 20 dB)

Length (5 to 200 ms)

Release (-20 to 20 dB)

Sensitivity (-40 to -10 dB)

To solo a frequency band, activate the S button in each section. Only one band can be soloed at a time.

Sets the output level.

Sets the gain of the attack phase of the signal.

Sets the length of the attack phase.

Sets the gain of the release phase of the signal.

Sets the sensitivity of the detection.

Output

Sets the output level.

MultibandExpander

MultibandExpander allows a signal to be split into four frequency bands. You can reduce the

output level in relation to the input level for signals below the set threshold for each band. This is useful if you want to enhance the dynamic range or reduce the noise in quiet passages.

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Page 54

Included Effect Plug-ins Dynamics Plug-ins

Frequency Band Editor

The frequency band editor in the upper half of the panel is where you set the width of the frequency bands as well as their level after expansion. The vertical value scale to the left shows the gain level of each frequency band. The horizontal scale shows the available frequency range.

● To dene the frequency range of the different frequency bands, use the handles at the sides.

● To attenuate or boost the gain of the frequency band after expansion, use the handles on top of each frequency band.

Live

Bypassing Frequency Bands

To bypass each frequency band, activate the Bypass Band button in each section.

Soloing Frequency Bands

To solo a frequency band, activate the S button in each section. Only one band can be soloed at a time.

Output (-24 to 24 dB)

Sets the output level.

specic amount of latency as

Page 55

Included Effect Plug-ins Dynamics Plug-ins

Expander Section

You can specify the Threshold and Ratio by moving breakpoints or using the corresponding knobs. The rst breakpoint from which the line deviates from the straight diagonal is the threshold point.

Threshold (-60 to 0 dB)

Ratio

Maximum Reduction

Fall (0.1 to 100 ms)

Hold (0 to 2000 ms)

Determines the level where the expansion kicks in. Only signal levels below the set threshold are processed.

Sets the amount of gain boost applied to signals below the threshold.

Sets the maximum amount by which the level is reduced when the signal falls below the set threshold.

Determines how fast the expander responds to signals below the set threshold. If the fall time is long, more of the early part of the signal passes through unprocessed.

Sets the time the applied expansion affects the signal below the threshold.

Rise (10 to 1000 ms or Auto mode)

Sets the time after which the gain returns to its original level when the signal exceeds the threshold. If the Auto Rise button is activated, the plug-in automatically nds the best rise setting for the audio material.

Output

Sets the output level.

Side-Chain Section

Frequency

If the Side-Chain button is activated, this sets the frequency of the side-chain lter.

Q-Factor

If the Side-Chain button is activated, this sets the resonance or width of the lter.

Side-Chain

Activates the internal side-chain lter. The side-chain signal can then be shaped according to the lter parameters. Side-chaining is useful for tailoring how the effect operates.

Monitor

Allows you to monitor the ltered signal.

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Included Effect Plug-ins Dynamics Plug-ins

Tube Compressor

This versatile compressor with integrated tube-simulation allows you to achieve smooth and warm compression effects. The VU meter shows the amount of gain reduction.

Compressor features an internal side-chain section that lets you lter the trigger signal.

Tube

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Drive (1.0 to 6.0 dB)

Controls the amount of tube saturation.

Input

Determines the compression amount. The higher the input gain, the more compression is applied.

Ratio

Toggles between a low and a high ratio value.

Output (-12 to 12 dB)

Sets the output gain.

Character

Keeps the bass tight and preserves its attacks by decreasing the tube saturation for lower frequencies, and adds brilliance by creating harmonics for higher frequencies.

Attack (0.1 to 100 ms)

Determines how fast the compressor responds. If the attack time is long, more of the initial part of the signal passes through unprocessed.

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Included Effect Plug-ins Dynamics Plug-ins

Release (10 to 1000 ms or Auto mode)

Mix

In/Out Meters

VU Meter

Side-Chain

Side-chain section

Sets the time after which the gain returns to its original level. If Auto Release is activated, the plug-in automatically nds the best release setting for the audio material.

Adjusts the mix between dry signal and wet signal, preserving the transients of the input signal.

Show the highest peaks of all available input and output channels.

Shows the amount of gain reduction.

Activates the internal side-chain lter. The input signal can then be shaped according to the

lter parameters. Internal side-chaining is useful for tailoring how the gate

operates.

Filter Type (Low-Pass/Band-Pass/High-Pass)

If Side-Chain is activated, these buttons allow you to set the lter type to low-pass, band-pass, or high-pass.

Center (50 to 20000 Hz)

If the Side-Chain button is activated, this sets the center frequency of the lter.

Q-Factor

If the Side-Chain button is activated, this sets the resonance or width of the lter.

Monitor

Allows you to monitor the ltered signal.

VintageCompressor

VintageCompressor is modeled after vintage type compressors.

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This compressor features separate controls for Input and Output gain, Attack, and Release. In addition, there is a Punch mode which preserves the attack phase of the signal and a programdependent Auto feature for the Release parameter.

Page 58

Included Effect Plug-ins Dynamics Plug-ins

Input

Output (-48 to 24 dB)

Attack (0.1 to 100 ms)

Determines the compression amount. The higher the input gain, the more compression is applied.

Sets the output gain.

Determines how fast the compressor responds. If the attack time is long, more of the initial part of the signal passes through unprocessed.

Punch

Release (10 to 1000 ms or Auto mode)

Mix

VU Meter

In/Out Meters

VSTDynamics

VSTDynamics is an advanced dynamics processor. It combines three separate effects: Gate, Compressor, and Limiter, covering a variety of dynamic processing functions.

If this is activated, the early attack phase of the signal is preserved, retaining the original punch in the audio material, even with short

Sets the time after which the gain returns to its original level. If Auto Release is activated, the plug-in automatically nds the best release setting for the audio material.

Adjusts the mix between dry signal and wet signal, preserving the transients of the input signal.

Shows the amount of gain reduction.

Show the highest peaks of all available input and output channels.

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Attack settings.

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Included Effect Plug-ins Dynamics Plug-ins

The window is divided into three sections containing controls and meters for each effect. Activate the individual effects using the three different routing options using the Module Congurator button.

Gate, Compressor, and Limiter buttons. You can select between

Gate

Gating, or noise gating, is a method of dynamic processing that silences audio signals below a set threshold. As soon as the signal level exceeds the threshold, the gate opens to let the signal through. The gate trigger input can also be

The following parameters are available:

Input meter

Shows the level of the input signal.

Attack (0.1 to 100 ms)

Determines how fast the compressor responds to signals above the set threshold. If the attack time is long, more of the early part of the signal passes through unprocessed.

Threshold (-60 to 0 dB)

Determines the level at which the gate is activated. Signal levels above the set threshold trigger the gate to open, and signal levels below the set threshold close the gate.

State LED

Indicates whether the gate is open (LED lights up in green), closed (LED lights up in red), or in an intermediate state (LED lights up in yellow).

ltered using an internal side-chain signal.

Release (10 to 1000 ms or Auto mode)

Sets the time after which the gate closes after the set Hold time. If Auto Release is activated, the plug-in automatically nds the best release setting for the audio material.

Hold (0 to 2000 ms)

Determines how long the gate remains open after the signal drops below the threshold level.

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Included Effect Plug-ins Dynamics Plug-ins

Range

Side-Chain

Filter Type (Low-Pass/Band-Pass/High-Pass)

Center (50 to 20000 Hz)

Q-Factor

Monitor

Adjusts the attenuation of the gate when it is shut. If Range is set to minus innite

, the gate is completely shut. The higher the value, the higher the level of the

signal that passes through the shut gate.

Activates the internal side-chain lter. The input signal can then be shaped according to the lter parameters. Internal side-chaining is useful for tailoring how the gate operates.

If Side-Chain is activated, these buttons allow you to set the lter type to low-pass, band-pass, or high-pass.

If the Side-Chain button is activated, this sets the center frequency of the lter.

If the Side-Chain button is activated, this sets the resonance or width of the lter.

Allows you to monitor the ltered signal.

Compressor

Compressor reduces the dynamic range of the audio, making softer sounds louder or louder

sounds softer, or both. It features a separate display that graphically illustrates the compressor curve shaped according to your settings.

Input meter

Shows the level of the input signal.

Graphical display

Visualizes the settings for Threshold and Ratio and allows you to adjust them by dragging the handles.

Gain Reduction meter

Shows the amount of gain reduction.

Threshold (-60 to 0 dB)

Determines the level where the compressor kicks in. Only signal levels above the set threshold are processed.

Ratio

Sets the amount of gain reduction applied to signals above the set threshold. A ratio of 3:1 means that for every 3 dB the input level increases, the output level increases by 1 dB.

Make-Up (0 to 24 dB or Auto mode)

Compensates for output gain loss caused by compression. If Auto Make-Up Gain is activated, the output is automatically adjusted for gain loss.

Attack (0.1 to 100 ms)

Determines how fast the compressor responds to signals above the set threshold. If the attack time is long, more of the early part of the signal (attack) passes through unprocessed.

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Included Effect Plug-ins Dynamics Plug-ins

Release (10 to 1000 ms or Auto mode)

Limiter

A limiter ensures that the output level never exceeds a set threshold to avoid clipping in effects following in the chain. Conventional limiters usually require a very accurate setup of the attack and release parameters to prevent the output level from going beyond the set threshold level.

Limiter adjusts and optimizes these parameters automatically according to the audio material.

Input meter

Gain Reduction meter

Soft Clip

Shows the level of the input signal.

Shows the amount of gain reduction.

If this button is activated, the signal is limited when the signal level exceeds -6 dB. At the same time, harmonics are generated, adding a warm, tube-like characteristic to the audio material.

Output

Sets the maximum output level.

Release (10 to 1000 ms or Auto mode)

Sets the time after which the gain returns to its original level. If Auto Release is activated, the plug-in automatically material.

nds the best release setting for the audio

Output section

Output meter

Shows the level of the output signal.

Module Congurator

Changes the signal ow through the three effects. Changing the order of the effects can produce different results, and the available routing congurations allow you to quickly compare what works best for a given situation. Click toggle between the following routing congurations:

● G-C-L (Gate-Compressor-Limiter)

● C-L-G (Compressor-Limiter-Gate)

● C-G-L (Compressor-Gate-Limiter)

Module Congurator to

Page 62

Included Effect Plug-ins EQ Plug-ins

EQ Plug-ins

CurveEQ

Voxengo CurveEQ is a spline equalizer for professional music and audio production applications. CurveEQ shows the lter response you are designing by means of a spline, that is, a smooth

curvy line. This way you can see how the EQ alters the sound.

DJ-EQ

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CurveEQ implements spectrum matching technology that allows you to transfer the spectral

shape of one recording to another. In other words, you can copy the frequency balance of existing time-proven mixes so that other mixes can be improved. The switched between linear-phase and minimum-phase modes. CurveEQ also features a customizable spectrum analyzer. Furthermore, you can display, save, and load static spectrum plots for comparison and matching purposes.

For detailed information about CurveEQ and its parameters, refer to the documentation provided by Voxengo at http://www.voxengo.com.

DJ-EQ is an easy-to-use 3-band parametric equalizer that resembles the EQs found on typical DJ mixers. This plug-in is designed for quick sound xes.

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lters of CurveEQ can be

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Graphical display

Allows you to set the amount of boost or attenuation for the low, mid, or high band by dragging.

● To set the low, mid, and high frequency gain, click and drag the corresponding

band handle.

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Included Effect Plug-ins EQ Plug-ins

Low Frequency Gain/Mid Frequency Gain/High Frequency Gain

Cut Low Frequencies/Cut Mid Frequencies/Cut High Frequencies

Output meter

Frequency

Frequency is a high-quality equalizer with 8 fully parametric bands. The bands can act as either

shelving lter, as peak or notch lter (band-pass), or as cut lter (low-pass/high-pass).

● To ne-adjust the gain, press Shift and drag.

● To set a parameter to zero, press Ctrl/Cmd and click it.

Set the amount of boost or attenuation for the low, mid, and high band.

Cut the low, mid, and high band.

Shows the level of the output signal.

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Main Layout

Reset

Alt-click this button to reset all parameter values.

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Included Effect Plug-ins EQ Plug-ins

Auto Listen for Filters

Global Settings

Show/Hide Keyboard

Output

Band Settings

If this option is activated and you edit a parameter of a band, the corresponding frequency range is isolated. This helps you to focus on a particular frequency range and allows you to locate unwanted frequencies in your audio.

Opens the settings dialog for the spectrum display.

Shows/Hides the keyboard below the graphical editor.

On the keyboard, color indicators reect the center frequencies of all active equalizer bands. You can adjust the frequency of a band by dragging its color indicator. If you drag the color indicator of a band to a key, the band is set to its exact frequency.

Adjusts the overall output level.

Activate/Deactivate Band

Activates/Deactivates the corresponding band.

NOTE

● To activate/deactivate a band, you can also double-click the corresponding

handle in the graphical editor.

● If a band is deactivated, you can still modify its parameters.

Switch Processing

Allow you to switch between left/right, stereo, and mid/side processing. In Left/ Right or Mid/Side processing mode, you can make different settings for the two

channels.

IMPORTANT

When using Mid/Side processing mode, we recommend that you activate Linear Phase in order to avoid unwanted sound colorization.

NOTE

This setting is only available for stereo tracks.

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Included Effect Plug-ins EQ Plug-ins

Linear Phase

Filter type

Activates/Deactivates linear phase mode for the corresponding band.

Linear phase mode avoids unwanted frequency dependent phase shifts of the audio signal that might occur with standard minimum phase equalizing.

NOTE

● Linear phase mode leads to an increase in latency.

● In rare cases, for example, when using low cut ltering with a high slope for

bass signals, also an unwanted pre-ringing effect may be audible.

You can choose between the lter types Low Shelf, Peak, High Shelf, and Notch. For band 1 and 8, you can also select the types Cut 6, Cut 12, Cut 24, Cut 48, and Cut

96.

● Low Shelf boosts or attenuates frequencies below the cutoff frequency by the

specied amount.

● Peak boosts or attenuates frequencies at the set frequency value with a bell

shaped lter.

● High Shelf boosts or attenuates frequencies above the cutoff frequency by the

specied amount.

● Notch boosts or attenuates frequencies at the set frequency value with a very

narrow

● Cut attenuates frequencies below (band 1) or above (band 8) the set

frequency. You can choose between different slopes: 6 dB, 12 dB, 24 dB, 48 dB, or 96 dB per octave.

lter.

Freq

Sets the frequency of the corresponding band. You can set the frequency either in Hz or as a note value. If you enter a note value, the frequency is automatically changed to Hz. For example, a note value of A3 sets the frequency to 440 Hz. When you enter a note value, you can also enter a cent offset. For example, enter A5 -23 or C4 +49.

NOTE

● You can adjust the Freq parameter of a band in the graphical editor by Alt-

clicking the corresponding handle and moving the mouse left and right.

● Ensure that you enter a space between the note and the cent offset. Only in

this case, the cent offsets are taken into account.

If the band is active, the frequency value is reected as a highlighted key on the keyboard below the graphical editor.

For Peak and Notch lters, this parameter controls the width of the band. For Low Shelf and High Shelf lters, it adds a drop or a boost, depending on the gain setting

of the band. For Cut lters, it adds a resonance.

NOTE

● You can adjust the Q parameter of a band in the graphical editor by Shift-

clicking the corresponding handle and moving the mouse up and down. Alternatively, you can point on the handle and turn the mouse wheel.

● This parameter is not available for Cut 6 lters.

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Included Effect Plug-ins EQ Plug-ins

Gain

Invert Gain

Global Settings

● To open the Global Settings, click Global Settings above the spectrum display.

Spectrum Display

Show Spectrum

Sets the amount of attenuation/boost for the corresponding band.

NOTE

● You can adjust the Gain parameter of a band in the graphical editor by Ctrl/

Cmd-clicking the corresponding handle and moving the mouse up and down.

● This parameter is not available for Cut lters.

Inverts the value of the gain parameter. Positive gain values become negative and vice versa.

Activates/Deactivates the spectrum display.

Peak Hold

Holds the peak values of the spectrum display for a short time.

Smooth

Determines the reaction time of the spectrum display. Lower values result in faster reaction times.

Bar Graph

If this option is activated, the frequency spectrum is analyzed into 60 separate bands that are displayed as vertical bars.

Two Channels

If this option is activated, the spectrum of the left and right channels are displayed separately.

Slope

Tilts the spectrum display around the 1 kHz pivot.

EQ Curve

Show Curve

Shows/Hides the EQ curve in the spectrum display.

Filled

If this option is activated, the EQ curve is lled. Amount allows you to specify the degree of coverage between 10 and 80 %.

GEQ-10/GEQ-30

These graphic equalizers are identical, except for the number of available frequency bands (10 and 30).

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Included Effect Plug-ins EQ Plug-ins

Each band can be attenuated or boosted by up to 12 dB, allowing for ne control of the frequency response. In addition, there are several preset modes available that can add color to the sound of

You can draw response curves in the main display by clicking and dragging with the mouse. You have to click one of the sliders before you drag across the display.

At the bottom of the window, the individual frequency bands are shown in Hz. At the top of the display, the amount of attenuation/boost is shown in dB.

Output

Flatten

Range

Invert

Mode pop-up menu

GEQ-10/GEQ-30.

Sets the overall gain of the equalizer.

Resets all the frequency bands to 0 dB.

Allows you to adjust how much a set curve cuts or boosts the signal.

Inverts the current response curve.

Allows you to set the lter mode that determines how the various frequency band controls interact to create the response curve.

EQ Modes

The Mode pop-up menu in the lower right corner allows you to select an EQ mode, which add color or character to the equalized output in various ways.

True Response

Applies serial lters with an accurate frequency response.

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Included Effect Plug-ins EQ Plug-ins

Digital Standard

Classic

VariableQ

ConstQ asym

ConstQ sym

Resonant

In this mode, the resonance of the last band depends on the sample rate.

Applies a classic parallel lter structure where the response does not follow the set gain values accurately.

Applies parallel lters where the resonance depends on the amount of gain.

Applies parallel lters where the resonance is raised when boosting the gain and vice versa.

Applies parallel lters where the resonance of the rst and last bands depends on the sample rate.

Applies serial lters where a gain increase of one band lowers the gain in adjacent bands.

StudioEQ

Studio EQ is a high-quality 4-band parametric stereo equalizer. All four bands can act as fully

parametric peak lters. In addition, the low and high bands can act as either shelving lters (three types) or as cut lters (low-pass/high-pass).

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Page 69

Included Effect Plug-ins EQ Plug-ins

Main Layout

Reset

Show Input/Output Spectrum

Output

Auto Gain

Band Settings

Alt-click this button to reset all parameter values.

Shows the spectrum before and after ltering.

Adjusts the overall output level.

If this button is activated, the gain is automatically adjusted, keeping the output level nearly constant regardless of the EQ settings.

Activate/Deactivate Band

Activates/Deactivates the corresponding band.

NOTE

● If a band is deactivated, you can still modify its parameters.

Freq

NOTE

● You can adjust the Freq parameter of a band in the graphical editor by Alt-

clicking the corresponding handle and moving the mouse left and right.

● Ensure that you enter a space between the note and the cent offset. Only in

this case, the cent offsets are taken into account.

Inv

Inverts the gain value of the lter. Use this button to lter out unwanted noise. When looking for the frequency to omit, it sometimes helps to boost it in the rst place (set the lter to positive gain). After you have found the frequency of the noise, you can use the Inv button to cancel it out.

For Peak lters, this parameter controls the width of the band. For Shelf lters, it adds a drop or a boost, depending on the gain setting of the band. For Cut lters, it adds a resonance.

NOTE

● You can adjust the Q parameter of a band in the graphical editor by Shift-

clicking the corresponding handle and moving the mouse up and down. Alternatively, you can point on the handle and turn the mouse wheel.

Page 70

Included Effect Plug-ins Filter Plug-ins

Gain

Sets the amount of attenuation/boost for the corresponding band.

NOTE

● You can adjust the Gain parameter of a band in the graphical editor by Ctrl/

● This parameter is not available for Cut lters.

Filter type

For the low and high band, you can choose between three types of shelving lters, a peak lter (band-pass), and a cut lter (low-pass/high-pass). If Cut mode is selected, the Gain parameter is xed.

● Shelf I adds resonance in the opposite gain direction slightly above the set

● Shelf II adds resonance in the gain direction at the set frequency.

● Shelf III is a combination of Shelf I and II.

Filter Plug-ins

Cmd-clicking the corresponding handle and moving the mouse up and down.

frequency.

DualFilter

DualFilter lters out specic frequencies while allowing others to pass through.

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Position

Sets the lter cutoff frequency. If you set this to a negative value, DualFilter acts as a low-pass

lter. Positive values cause DualFilter to act as a high-pass lter.

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Resonance

Sets the sound characteristic of the lter. With higher values, a ringing sound is heard.

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Included Effect Plug-ins Filter Plug-ins

MorphFilter

MorphFilter lets you mix low-pass, high-pass, band-pass, and band-reduction lter effects,

allowing for creative morphings or mixtures between two

lters.

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Filter A buttons

Allow you to select the characteristic of the rst lter.

● Low Pass

Eliminates high-frequency signal components. Filter slopes of 6, 12, 18, and 24 dB per decade are available.

● Band Pass

Allows signals falling within a certain frequency range to pass through. Filter slopes of 12 and 24 dB per decade are available.

Filter B buttons

Allow you to select the characteristic of the second lter.

● High Pass

Eliminates low-frequency signal components. Filter slopes of 6, 12, 18, and 24 dB per decade are available.

● Band Rejection

Lets all frequencies pass, except those in the stop band. Filter slopes of 12 and 24 dB per decade are available.

Resonance Factor

Sets the resonance value of both lters simultaneously.

Frequency

Sets the cutoff frequency of both lters simultaneously.

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Included Effect Plug-ins Filter Plug-ins

Graphical display

Output meter

Morph Factor

PostFilter

This effect allows quick and easy ltering of unwanted frequencies, creating room for the important sounds in your mix.

Visualizes the settings for all parameters. The handle allows you to adjust the Morph Factor and the Frequency parameters simultaneously.

Shows the level of the output signal.

Allows you to mix the output between both lters.

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PostFilter combines a low-cut lter, a notch lter, and a high-cut lter. You can make settings by

dragging the curve points in the graphical display, or by adjusting the controls below the display section.

Graphical display

Visualizes the settings for all parameters.

Level meter

Shows the output level, giving you an indication of how the ltering affects the overall level of the edited audio.

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Included Effect Plug-ins Filter Plug-ins

Low-Cut Freq (20 Hz to 1 kHz, or Off)

Low-Cut Slope

Low-Cut Preview

Notch Freq

Allows you to eliminate low-frequency noise. The lter is inactive if the curve point is located all the way to the left. You can set the frequency either in Hz or as a note value. If you enter a note value, the frequency is automatically changed to Hz. For example, a note value of A3 sets the frequency to 440 Hz. When you enter a note value, you can also enter a cent offset. For example, enter A5 -23 or C4 +49.

NOTE

Ensure that you enter a space between the note and the cent offset. Only in this case, the cent offsets are taken into account.

Allows you to choose a slope value for the low-cut lter.

Use this button between the Low Cut controls and the graphical display to switch the lter to a complementary high-cut lter. This deactivates any other lters, allowing you to listen only to the frequencies that you want to lter out.

Sets the frequency of the notch lter. You can set the frequency either in Hz or as a note value. If you enter a note value, the frequency is automatically changed to Hz. For example, a note value of A3 sets the frequency to 440 Hz. When you enter a note value, you can also enter a cent offset. For example, enter A5 -23 or C4 +49.

NOTE

Ensure that you enter a space between the note and the cent offset. Only in this case, the cent offsets are taken into account.

Notch Gain

Adjusts the gain of the selected frequency. Use positive values to identify the frequencies that you want to

Notch Gain Invert

This button inverts the gain value of the notch lter. Use this button to lter out unwanted noise. When looking for the frequency to omit, it sometimes helps to boost it the noise, you can use the Invert button to cancel it out.

Notch Q-Factor

Sets the width of the notch lter.

Notch Preview

Use the Preview button between the notch lter controls and the graphical display to create a band-pass lter with the peak lter's frequency and Q. This deactivates any other lters, allowing you to listen only to the frequencies you want to lter out.

Notches buttons (1, 2, 4, 8)

These buttons add additional notch lters to lter out harmonics.

rst (set the notch lter to positive gain). After you have found frequency of

lter out.

High-Cut Freq (3 Hz to 20 kHz, or Off)

This high-cut lter allows you to remove high-frequency noise. The lter is inactive if the curve point is located all the way to the right. You can set the frequency either in Hz or as a note value. If you enter a note value, the frequency is automatically changed to Hz. For example, a note value of A3 sets the frequency to 440 Hz. When you enter a note value, you can also enter a cent offset. For example, enter A5 -23 or C4 +49.

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Included Effect Plug-ins Filter Plug-ins

High-Cut Slope

High-Cut Preview

StepFilter

StepFilter is a pattern-controlled multimode lter that can create rhythmic, pulsating lter

effects. You can also trigger pattern steps individually via MIDI.

NOTE

Ensure that you enter a space between the note and the cent offset. Only in this case, the cent offsets are taken into account.

Allows you to choose a slope value for the high-cut lter.

This button between the High Cut controls and the graphical display allows you to switch the lter to a complementary low-cut lter. This deactivates any other lters, allowing you to listen only to the frequencies you want to lter out.

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General Operation

StepFilter can produce two simultaneous 16-step patterns for the lter cutoff and resonance

parameters, synchronized to the sequencer tempo.

The horizontal axis shows the pattern steps 1 to 16 from left to right, and the vertical axis determines the (relative) lter cutoff frequency and resonance settings. The higher up on the vertical axis a step value is entered, the higher the relative lter cutoff frequency or lter resonance setting.

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Included Effect Plug-ins Filter Plug-ins

By starting playback and editing the patterns for the cutoff and resonance parameters, you can hear how your lter patterns affect the sound source connected to StepFilter.

If Sync is deactivated, StepFilter allows you to trigger pattern steps individually via MIDI notes.

Setting Step Values

● To enter a step, click in the pattern grid windows.

● Individual step entries can be dragged up or down the vertical axis, or directly set by

● Change the value for a step by dragging it up or down.

● Draw in a curve by clicking and dragging in the display.

Selecting New Patterns

● Patterns are saved with the project, and up to 8 different cutoff and resonance patterns

● Use the Pattern slots to select a new pattern. New patterns are all set to the same step

clicking in an empty grid box. By click-dragging left or right, consecutive step entries are set at the pointer position.

can be saved internally. Both the cutoff and resonance settings are saved together in the 8 pattern slots.

value by default.

StepFilter Parameters

Filter Type

Sets the lter type. A low-pass, a band-pass, and a high-pass lter are available.

Filter Mode

Allows you to choose between two lter modes. Classic mode is compatible with previous versions of this plug-in. Modern mode provides an additional Hard Clip parameter.

Mix

Sets the level balance between the dry signal and the wet signal.

Base Cutoff

Sets the base lter cutoff frequency. Values set in the Cutoff grid are relative to the Base Cutoff value.

Base Resonance

Sets the base lter resonance. Values set in the Resonance grid are relative to the Base Resonance value.

NOTE

Very high Base Resonance settings can produce loud ringing effects at certain frequencies.

Rate

If Sync is activated, Rate allows you to specify the base note value for synchronizing the pattern playback to the tempo of the host application (1/1 to 1/32, straight, triplet, or dotted).

If Sync is deactivated, you can trigger pattern steps individually via MIDI.

Hard Clip

Adds more high frequency harmonics and distortion to the signal. This parameter is only available in

Modern mode.

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Included Effect Plug-ins Filter Plug-ins

Glide

Applies glide between the pattern steps, causing values to change more smoothly.

Output

Sets the output level.

RELATED LINKS

Creating Variations for StepFilter Patterns on page 76 Controlling StepFilter via MIDI on page 76

Creating Variations for StepFilter Patterns

You can copy a pattern of the StepFilter to another pattern slot. This is useful for creating variations on a pattern of this plug-in.

PROCEDURE

1. Select the pattern that you want to copy.

2. Click the Copy button.

3. Select another pattern slot.

4. Click the Paste button.

RESULT

The pattern is copied to the new slot, and can now be edited to create variations.

Controlling StepFilter via MIDI

StepFilter allows you to trigger steps individually via MIDI notes.

PREREQUISITE

● Your project contains a MIDI track that is routed to the MIDI input of a track that uses StepFilter as an insert plug-in.

● In StepFilter, Sync is deactivated.

PROCEDURE

● Do one of the following:

● Use the note C0 to increase the step number by one.

● Use the notes from C1 to D#2 to trigger the steps 1 to 16 directly.

ToneBooster

ToneBooster is a lter that allows you to raise the gain in a selected frequency range. It is

particularly useful if it is inserted before AmpSimulator in the plug-in chain, greatly enhancing the tonal varieties available.

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Page 77

Included Effect Plug-ins Filter Plug-ins

Gain

Tone

Width

Mode selector

Adjusts the gain of the selected frequency range by up to 24 dB.

Sets the center lter frequency.

Sets the resonance of the lter.

Sets the basic operational mode of the lter: Peak or Band Mode.

WahWah

RELATED LINKS

AmpSimulator on page 11

WahWah is a variable slope band-pass lter that can be auto-controlled by a side-chain signal (if supported) or via MIDI modeling the well-known analog pedal effect.

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Side-chain support

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You can independently specify the frequency, width, and the gain for the Lo and Hi Pedal positions. The crossover point between the Lo and Hi Pedal positions lies at 50.

Page 78

Included Effect Plug-ins Mastering Plug-ins

WahWah Parameters

Pedal

Pedal Control (MIDI)

Freq Low/Freq High

Width Low/Width High

Gain Low/Gain High

Filter Slope selector

NOTE

Controls the lter frequency sweep.

Allows you to choose the MIDI controller that controls the plug-in. Set this to Automation if you do not want to use MIDI realtime control.

Set the frequency of the lter for the Lo and Hi pedal positions.

Set the width (resonance) of the lter for the Lo and Hi pedal positions.

Set the gain of the lter for the Lo and Hi pedal positions.

Allows you to choose between two lter slope values: 6 dB or 12 dB.

If side-chaining is supported, the Pedal parameter can also be controlled from another signal source via the side-chain input. The louder the signal, the more the lter frequency is raised so that the plug-in acts as an auto-wah effect. For a description of how to set up side-chain routing, see the Operation Manual.

MIDI Control

For realtime MIDI control of the Pedal parameter, MIDI must be directed to the WahWah plugin.

If WahWah is used as an insert effect (for an audio track or an FX channel), it is available on the Output Routing pop-up menu for MIDI tracks.

If WahWah is selected on the Output Routing menu, MIDI data is directed to the plug-in from the selected track.

Mastering Plug-ins

UV22HR

UV22HR is an advanced version of Apogee's renowned UV22 dithering algorithm, capable of

dithering to 8, 16, 20, or 24 bits.

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Page 79

Included Effect Plug-ins Modulation Plug-ins

8, 16, 20, 24 bit

These buttons allow you to select the intended bit resolution for the nal audio. As when using the internal dithering, it is important to set this to the correct resolution.

Applies a normal dither gain.

Applies a lower level of dither noise.

Auto black

If this option is activated, the dither noise is gated during silent passages.

IMPORTANT

Dithering should always be applied post-fader on an output bus.

Modulation Plug-ins

AutoPan

This auto-pan effect provides several parameters to modulate the left/right stereo position. You can use presets or create individual curves for the modulation waveform. for chopping effects by linking the modulation of left and right channel.

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Side-chain support

NOTE

The panning effect of this plug-in works only on stereo tracks.

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Page 80

Included Effect Plug-ins Modulation Plug-ins

Waveform display

Shows the shape of the modulation waveform and allows you to manually adjust the shape of the waveform. To draw an individual curve, click a node and move the mouse. To draw a straight line,

Waveform presets

Allows you to select presets for the modulation waveform.

● Sine creates a smooth sweep.

● Triangle creates a ramp, that is, a linear movement from full right to full left

and back.

● Pulse creates an instant jump to full right, then to full left, and then back to

center.

● Random One Shot creates a random curve. Click this button again to create a

new random curve.

● Random Continuous automatically creates a new random curve after each

period.

Phase

Sets the offset for the starting point of the curve. If multiple AutoPan plug-ins are used on different tracks, for example, different offset settings for each track allow for a more organic overall sound.

Factor

If Sync is activated, this parameter multiplies the sync rate by the selected factor. This allows you to create very slow movements in panorama.

Shift-click a node and move the mouse.

Rate

Sets the auto-pan speed and shows the movement within the panorama. If Sync is deactivated, the speed is set in Hertz. If tempo values.

Sync

Activates/Deactivates tempo sync.

Sync is activated, you can set the speed in

Page 81

Included Effect Plug-ins Modulation Plug-ins

Link

Width

Smooth

Chopper

Chopper allows you to create a tremolo with or without an additional panning effect.

If this button is activated, left and right channel are modulated simultaneously. This results in a chopping effect instead of auto-panning.

In this mode, Width sets the intensity of the volume modulation.

Sets the amount of deection to the left and right side of the stereo panorama. If Link is activated, this parameter sets the intensity of the volume modulation.

NOTE

If side-chaining is supported, the Width parameter can also be controlled from another signal source via the side-chain input. For a description of how to set up side-chain routing, see the

Allows you to smooth the transition between individual steps of the panorama curve.

Operation Manual.

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Waveform buttons

Allow you to select the modulation waveform.

Depth

Sets the intensity of the effect. This can also be set by clicking and dragging in the graphical display.

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Sync

The button above the Speed knob activates/deactivates tempo sync.

Speed

If tempo sync is activated, this is where you specify the base note value for temposyncing the effect (1/1 to 1/32, straight, triplet, or dotted).

Page 82

Included Effect Plug-ins Modulation Plug-ins

Mono

Mix

Chorus

This plug-in is a single-stage chorus effect. It works by doubling the audio that is sent into it with a slightly detuned version.

If tempo sync is deactivated, the tremolo speed can be set freely with the Speed knob.

If this option is activated, Chopper acts as a tremolo effect only. If this option is deactivated, the modulation waveforms of the left and the right channel are phaseshifted, creating an additional panning effect.

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Side-chain support

Delay

Affects the frequency range of the modulation sweep by adjusting the initial delay time.

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Width

Sets the depth of the chorus effect. Higher settings produce a more pronounced effect.

Spatial

Sets the stereo width of the effect. Turn clockwise for a wider stereo effect.

Mix

Page 83

Included Effect Plug-ins Modulation Plug-ins

Rate

Sync

Waveform Shape

Lo Filter/Hi Filter

NOTE

If side-chaining is supported, the modulation can also be controlled from another signal source via the side-chain input. If the side-chain signal exceeds the threshold, the modulation is controlled by the side-chain signal’s envelope. For a description of how to set up side-chain routing, see the

If Sync is activated, Rate allows you to specify the base note value for synchronizing the modulation sweep to the tempo of the host application (1/1 to 1/32, straight, triplet, or dotted).

If Sync is deactivated, the sweep rate can be set freely with the Rate knob.

Activates/Deactivates tempo sync.

Allows you to select the modulation waveform, altering the character of the chorus sweep. A sine and a triangle waveform are available.

Allow you to roll off low and high frequencies of the effect signal.

Operation Manual.

Cloner

Cloner adds up to 4 detuned and delayed voices to the signal, for rich modulation and chorus

effects.

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Page 84

Included Effect Plug-ins Modulation Plug-ins

Graphical display

Shows the panning position of each voice in the stereo spectrum.

Voices

Sets the number of voices. Each voice has a Detune and a Delay slider.

Detune slider (1 to 4)

Sets the relative amount of detune for each voice. Positive and negative values can be set. If set to zero, no detune takes place for that voice.

Delay slider (1 to 4)

Sets the relative delay amount for each voice. If set to zero, no delay takes place for that voice.

Detune

Sets the overall amount of detune for all voices. If set to zero, no detune takes place regardless of the

Natural

Changes the pitch algorithm that is used for detune.

Humanize (Detune)

Sets the amount of detune variation if Static Detune is deactivated. With Humanize, the detune is continuously modulated for a more natural effect.

Static (Detune)

Activate this button to use a static amount of detune.

Detune slider settings.

Mix

Page 85

Included Effect Plug-ins Modulation Plug-ins

Spatial

Output (-12 to 12 dB)

Delay

Humanize (Delay)

Static (Delay)

Flanger

This is a classic anger effect with added stereo enhancement.

Spreads the voices across the stereo spectrum. Turn the control clockwise for a deeper stereo effect.

Sets the output gain.

Governs the overall depth of the delay for all voices. If set to zero, no delay takes place regardless of the

Controls the amount of delay variation if Static Delay is deactivated. With Humanize, the delay is continuously modulated for a more natural effect.

Activate this button to use a static delay amount.

Delay slider settings.

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Side-chain support

Delay

Affects the frequency range of the modulation sweep by adjusting the initial delay time.

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Feedback

Determines the character of the anger effect. Higher settings produce a more metallic sounding sweep.

Mode

Allows you to toggle between LFO and Manual mode.

In LFO mode, you can dene the sweep rate or sync it to the project tempo. In Manual mode, you can change the sweep manually.

Page 86

Included Effect Plug-ins Modulation Plug-ins

Rate

Sync

Spatial

Mix

Lo Range/Hi Range

Waveform Shape

If Sync is activated, Rate allows you to specify the base note value for synchronizing the anger sweep to the tempo of the host application (1/1 to 1/32, straight, triplet, or dotted).

If Sync is deactivated, the sweep rate can be set freely with the Rate knob.

Activates/Deactivates tempo sync.

Sets the stereo width of the effect. Turn clockwise for a wider stereo effect.

Set the frequency boundaries for the anger sweep.

Allows you to select the modulation waveform, altering the character of the anger sweep. A sine and a triangle waveform are available.

Metalizer

Lo Filter/Hi Filter

Allow you to roll off low and high frequencies of the effect signal.

NOTE

Metalizer feeds the audio signal through a variable frequency lter, with tempo sync or time modulation and feedback control.

Included with X X X X X X

Operation Manual.

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Page 87

Included Effect Plug-ins Modulation Plug-ins

Mix

On/Off

Activates/Deactivates lter modulation. If it is deactivated, Metalizer works as a static lter.

Speed

If tempo sync is activated, this is where you specify the base note value for synchronizing the effect to the tempo of the host application (1/1 to 1/32, straight, triplet, or dotted).

If tempo sync is deactivated, the modulation speed can be set freely with the Speed knob.

Sync

Activates/Deactivates tempo sync.

Mono

Switches the output to mono.

Feedback

Determines the character of the metal effect. Higher settings produce a more metallic sound.

Sharpness

Governs the character of the lter effect. The higher the value, the narrower the affected frequency area, producing a sharper sound and a more pronounced effect.

Tone

Governs the feedback frequency. The effect of this is more noticeable with high

Feedback settings.

Output

Sets the output level.

Page 88

Included Effect Plug-ins Modulation Plug-ins

Phaser

Phaser produces the well-known swooshing phasing effect with additional stereo enhancement.

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Side-chain support

Feedback

Determines the character of the phaser effect. Higher settings produce a more pronounced effect.

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Width

Sets the intensity of the modulation effect between higher and lower frequencies.

Mode

Allows you to toggle between LFO and Manual mode.

In LFO mode, you can dene the sweep rate or sync it to the project tempo. In

Manual mode, you can change the sweep manually.

Rate

If Sync is activated, Rate allows you specify the base note value for tempo-syncing the phaser sweep (1/1 to 1/32, straight, triplet, or dotted).

If Sync is deactivated, the sweep rate can be set freely with the Rate knob.

Sync

Activates/Deactivates tempo sync.

Spatial

If you are using multi-channel audio, the Spatial parameter creates a 3-dimensional impression by delaying modulation in each channel.

Mix

Lo Filter/Hi Filter

Allow you to roll off low and high frequencies of the effect signal.

Page 89

Included Effect Plug-ins Modulation Plug-ins

NOTE

RingModulator

RingModulator can produce complex, bell-like enharmonic sounds.

Operation Manual.

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Ring modulators work by multiplying two audio signals. The ring modulated output contains added frequencies generated by the sum of, and the difference between, the frequencies of the two signals.

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RingModulator has a built-in oscillator that is multiplied with the input signal to produce the

effect.

Oscillator

Waveform buttons

Allow you to select the oscillator waveform: square, sine, saw, or triangle.

LFO Amount

Controls how much the oscillator frequency is affected by the LFO.

Env. Amount

Controls how much the oscillator frequency is affected by the envelope that is triggered by the input signal. Left of center, a loud input signal decreases the oscillator pitch, whereas right of center the oscillator pitch increases if it is fed a loud input.

Frequency

Sets the oscillator frequency ± 2 octaves within the selected range.

Page 90

Included Effect Plug-ins Modulation Plug-ins

Roll-Off

Range

LFO

Waveform buttons

Speed

Env. Amount

Invert

Attenuates high frequencies in the oscillator waveform, to soften the overall sound. This is best used with harmonically rich waveforms (square or saw, for example).

Determines the frequency range of the oscillator in Hz.

Allow you to select the LFO waveform: square, sine, saw, or triangle.

Sets the LFO speed.

Controls how much the input signal level – via the envelope generator – affects the LFO speed. With negative values, a loud input signal slows down the LFO, whereas positive values speed it up at loud input signals.

Inverts the LFO waveform for the right channel of the oscillator, which produces a wider stereo effect for the modulation.

Rotary

Envelope Generator

The envelope generator parameters control how the input signal is converted to envelope data, which can then be used to control oscillator pitch and LFO speed.

Attack

Controls how fast the envelope output level rises in response to a rising input signal.

Decay

Controls how fast the envelope output level falls in response to a falling input signal.

Lock R>L

If this button is activated, the L and R input signals are merged, and produce the same envelope output level for both oscillator channels. If the button is deactivated, each channel has its own envelope that affects the two channels of the oscillator independently.

Level Settings

Mix

Sets the level balance between the dry signal and the wet signal.

Output

Sets the output level.

This modulation effect simulates the classic effect of a rotating speaker.

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Page 91

Included Effect Plug-ins Modulation Plug-ins

A rotary speaker cabinet features speakers rotating at variable speeds to produce a swirling chorus effect, commonly used with organs.

Speed settings

Speed Mod Control (MIDI)

This pop-up menu allows you to select the MIDI controller that controls the rotary speed. If you do not want to use MIDI realtime control, set this to Automation. If you select Pitchbend as MIDI controller, the speed changes with an up or down ick of the bender. If other MIDI controllers are used, the speed changes at MIDI value

64.

Speed selector (stop/slow/fast)

Allows you to control the speed of the rotary speaker.

Speed Mod

If the Speed Change Mode setting is set to the right side, this knob allows you to modulate the rotary speed.

Speed Change Mode

If this is set to the left, the speed selector settings are taken into account. If this is set to the right, you can modulate the speed with the Speed Mod knob and/or with a MIDI controller that you can select on the Speed Mod Control (MIDI) pop-up menu.

Additional settings

Overdrive

Applies a soft overdrive or distortion.

CrossOver

Sets the crossover frequency (200 to 3000 Hz) between the low and high frequency loudspeakers.

Horn

Slow

Allows for a ne adjustment of the high rotor slow speed.

Fast

Allows for a ne adjustment of the high rotor fast speed.

Accel.

Allows for a ne adjustment of the high rotor acceleration time.

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Included Effect Plug-ins Modulation Plug-ins

Amp Mod

Freq Mod

Bass

Slow

Fast

Accel.

Amp Mod

Level

Controls the high rotor amplitude modulation.

Controls the high rotor frequency modulation.

Allows for a ne adjustment of the low rotor slow speed.

Allows for a ne adjustment of the low rotor fast speed.

Allows for a ne adjustment of the low rotor acceleration time.

Adjusts the modulation depth of the amplitude.

Adjusts the overall bass level.

Microphones

Phase

Adjusts the phasing amount in the sound of the high rotor.

Angle

Sets the simulated microphone angle. 0 = mono, 180 = a mic on each side.

Distance

Sets the simulated microphone distance from the speaker in inches.

Final Settings

Output

Sets the output level.

Mix

Sets the level balance between the dry signal and the wet signal.

Directing MIDI to the Rotary

For realtime MIDI control of the speed parameter, MIDI must be directed to Rotary.

● If Rotary is used as insert effect (for an audio track or an FX channel), it is available on the

Output Routing pop-up menu for MIDI tracks. If Rotary is selected on the Output Routing pop-up menu, MIDI is directed to the plug-in from the selected track.

Page 93

Included Effect Plug-ins Modulation Plug-ins

StudioChorus

StudioChorus is a two-stage chorus effect that adds short delays to the signal and modulates

the pitch of the delayed signals to produce a doubling effect. The two separate stages of chorus modulation are independent and are processed serially (cascaded).

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Delay

Affects the frequency range of the modulation sweep by adjusting the initial delay time.

Width

Sets the depth of the chorus effect. Higher settings produce a more pronounced effect.

Spatial

Sets the stereo width of the effect. Turn clockwise for a wider stereo effect.

Mix

Rate

If Sync is activated, Rate allows you to specify the base note value for synchronizing the modulation sweep to the tempo of the host application (1/1 to 1/32, straight, triplet, or dotted).

If Sync is deactivated, the sweep rate can be set freely with the Rate knob.

Sync

Activates/Deactivates tempo sync.

Page 94

Included Effect Plug-ins Modulation Plug-ins

Waveform Shape

Lo Filter/Hi Filter

NOTE

Tranceformer

Tranceformer is a ring modulator effect that modulates incoming audio by an internal, variable

frequency oscillator, producing new harmonics. You can use a second oscillator to modulate the frequency of the rst oscillator, in sync with the song tempo if needed.

Allows you to select the modulation waveform, altering the character of the chorus sweep. A sine and a triangle waveform are available.

Allow you to roll off low and high frequencies of the effect signal.

Operation Manual.

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Mix

Sets the level balance between the dry signal and the wet signal.

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Waveform buttons

Allow you to select a pitch modulation waveform.

Waveform display

Allows you to modify the Pitch and Depth parameters simultaneously by dragging.

Pitch

Sets the frequency of the modulating oscillator.

Activate/Deactivate Pitch Modulation

Activates/Deactivates the modulation of the pitch parameter.

Page 95

Included Effect Plug-ins Modulation Plug-ins

Speed

Sync

Depth

Mono

Output

Tremolo

If tempo sync is activated, this is where you specify the base note value for synchronizing the effect to the tempo of the host application (1/1 to 1/32, straight, triplet, or dotted).

If tempo sync is deactivated, the modulation speed can be set freely with the Speed knob.

The button above the Speed knob activates/deactivates tempo sync.

Sets the intensity of the pitch modulation.

Switches the output to mono.

Sets the output level.

Tremolo produces amplitude modulation.

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Side-chain support

Rate

If Tempo Sync is activated, this is where you specify the base note value for temposyncing the effect (1/1 to 1/32, straight, triplet, or dotted).

If Tempo Sync is deactivated, the modulation speed can be set freely with the Rate knob.

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Sync

Activates/Deactivates tempo sync.

Depth

Governs the depth of the amplitude modulation.

Spatial

Adds a stereo effect to the modulation.

Page 96

Included Effect Plug-ins Modulation Plug-ins

Output

NOTE

Vibrato

Vibrato creates pitch modulation.

Sets the output level.

Operation Manual.

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Side-chain support

Depth

Sets the intensity of the pitch modulation.

Rate

If Tempo Sync is activated, this is where you specify the base note value for temposyncing the effect (1/1 to 1/32, straight, triplet, or dotted).

If Tempo Sync is deactivated, the modulation speed can be set freely with the Rate knob.

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Sync

Activates/Deactivates tempo sync.

Spatial

Adds a stereo effect to the modulation.

NOTE

Page 97

Included Effect Plug-ins Network Plug-ins

Network Plug-ins

VST Connect CUE Mix

Included with – – – – X X

This plug-in is described in detail in the separate document VST Connect SE.

VST Connect SE

Included with – – – – X X

This plug-in is described in detail in the separate document VST Connect SE.

Other Plug-ins

LoopMash FX

LoopMash FX is a live performance effect offering DJ effects that can be controlled by a MIDI

keyboard.

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Page 98

Included Effect Plug-ins Other Plug-ins

Quantize Note

Performance Controls

By clicking these buttons during playback, you can apply effects to your overall performance.

An effect is applied as long as you keep the button pressed.

NOTE

The effects can be automated. The automation of effect parameters is described in the

Operation Manual.

Backspin

Reverse

Sets the note value on which the quantize grid of the effects is based.

Simulates a turntable backspin.

Plays the slice in reverse.

Tapestart

Simulates a tapestart, that is, speeds the slice up.

Scratch

Plays the slice as if scratched.

Slowdown

Applies a slowdown.

Tapestop 1

Simulates a tapestop, that is, slows the slice down, rst lightly then abruptly.

Tapestop 2

Simulates a tapestop, that is, slows the slice down, smoothly.

Stutter

Plays only the initial portion of a slice and repeats it 2, 3, 4, 6, or 8 times during one slice length.

Slur

Page 99

Included Effect Plug-ins Other Plug-ins

Cycle

Staccato

Mute

Triggering the Performance Controls with Your MIDI Keyboard

You can trigger the performance controls with your MIDI keyboard starting from C3 upwards. You can also use the virtual keyboard for triggering the performance controls (for information about the virtual keyboard see the Operation Manual).

Stretches the slice over 2 or 4 slice lengths.

Sets up a short cycle over 4, 2, or 1 slice. This short cycle is always set up within the loop range that is set in the ruler. Setting up a cycle over 1 slice means that this slice is repeated until you release the button.

Shortens the slice.

Mutes the slice.

Controlling LoopMash FX with a MIDI Keyboard

PROCEDURE

1. Create an audio track and import an audio le, a drum loop, for example.

2. Insert LoopMash FX as an insert effect.

3. Play back the drum loop in a cycle.

4. Create a MIDI track.

5. On the Output Routing pop-up menu for the MIDI track, select LoopMash FX.

RESULT

You can trigger the different LoopMash FX performance effects with a MIDI keyboard.

Randomizer

Randomizer allows you to create variations of a sound. By setting specic parameter values, you

can determine how much these parameters are randomized. This is helpful if you want to use an audio le, for example, the sound of a closing door, several times in your project and let it sound different every time.

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Page 100

Included Effect Plug-ins Other Plug-ins

NOTE

This plug-in is recommended for use in oine processing. Using it as a realtime plug-in might increase the latency.

Randomizer allows you to dene the range within its parameters are allowed to change. Pitch, Impact, Color, and Timing act as metaparameters. This means that when you modify one of

these metaparameters, a whole set of parameters is modied in the background.

Pitch

Sets the maximum pitch change.

This parameter allows for very basic and effective sound variations. It is especially suitable for voices and tonal sounds but can also give good results on atonal noises.

Impact

Sets the maximum variations of attack and envelope settings.

This parameter allows for variations of the onsets and transitions of sounds. Even sounds without hard attacks may get interesting variations.

Color

Sets the maximum amount of coloration.

This parameter allows you to change the tonal balance of the fundamental frequency and its harmonics. This can give good results on rich sounds, for example, squeaks and effects but also on voices.

Timing

Sets the maximum timing change.

This parameter allows you to vary the timing of sounds that have a recognizable pattern. At extreme settings, this may change the order of segments within a sound.

NOTE

Setting the above parameters to a value of 5 causes a noticeable yet natural sounding variation. Values higher than 8 alter the sound drastically.

RELATED LINKS

Creating Variations of Audio Events on page 101

100

Steinberg Nuendo - 10.0 Plug-in Reference

Specifications and Main Features

Frequently Asked Questions

User Manual

Table of Contents

Included Effect Plug-ins

Ambisonics Plug-ins

VST AmbiConverter

Delay Plug-ins

ModMachine

MonoDelay

PingPongDelay

StereoDelay

Distortion Plug-ins

AmpSimulator

BitCrusher

DaTube

Distortion

Distroyer

Grungelizer

Magneto II

Quadrafuzz v2

SoftClipper

VST Amp Rack

VST Bass Amp

Dynamics Plug-ins

Brickwall Limiter

Compressor

DeEsser

EnvelopeShaper

Expander

Gate

Limiter

Maximizer

MIDI Gate

Setting Up MIDI Gate

Applying MIDI Gate

MultibandCompressor

MultibandEnvelopeShaper

MultibandExpander

Tube Compressor

VintageCompressor

VSTDynamics

EQ Plug-ins

CurveEQ

DJ-EQ

Frequency

Global Settings

GEQ-10/GEQ-30

StudioEQ

Filter Plug-ins

DualFilter

MorphFilter

PostFilter

StepFilter

Creating Variations for StepFilter Patterns

Controlling StepFilter via MIDI

ToneBooster

WahWah

Mastering Plug-ins

UV22HR

Modulation Plug-ins

AutoPan

Chopper

Chorus

Cloner

Flanger

Metalizer

Phaser

RingModulator

Rotary

StudioChorus

Tranceformer

Tremolo

Vibrato

Network Plug-ins

VST Connect CUE Mix

VST Connect SE

Other Plug-ins

LoopMash FX