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Legal Notices

This guide is copyrighted 2008 by Digidesign, adivision of AvidTechnology, Inc. (hereafter

Digidesign), with all rights reserved. Undercopyright laws, this guide may not be duplicatedin whole or in part without the written consent ofDigidesign.

003, 96 I/O, 96i I/O, 192 Digital I/O, 192 I/O, 888|24 I/O,882|20 I/O, 1622 I/O, 24-Bit ADAT Bridge I/O,AudioSuite, Avid, Avid DNA, Avid Mojo, AvidUnity, Avid Unity ISIS,Avid Xpress, AVoption, Axiom, BeatDetective,

Bomb Factory, Bruno, C|24, Command|8, Control|24,D-Command, D-Control, D-Fi, D-fx, D-Show, D-Verb,DAE, Digi 002, DigiBase, DigiDelivery,Digidesign,Digidesign Audio Engine, Digidesign IntelligentNoise Reduction, Digidesign TDM Bus, DigiDrive,DigiRack, DigiTest, DigiTranslator, DINR, D-Show,DV Toolkit, EditPack, Eleven, HD Core, HD Process,Hybrid, Impact, Interplay, LoFi, M-Audio,MachineControl, Maxim, Mbox, MediaComposer,MIDI I/O, MIX, MultiShell, Nitris, OMF,OMF Interchange, PRE, ProControl, Pro Tools M-Powered,

Pro Tools, ProTools |HD, Pro Tools LE, QuickPunch,Recti-Fi, Reel Tape, Reso, Reverb One, ReVibe,RTAS, Sibelius , Smack!, SoundReplacer, SoundDesigner II, Strike, Structure, SYNC HD, SYNC I/O,Synchronic, TL Aggro, TL AutoPan, TL Drum Rehab,TL Everyphase, TL Fauxlder, TL In Tune, TLMasterMeter, TL Metro, TL Space, TL Utilities,Transfuser, Trillium Lane Labs, Vari-Fi Velvet, X-Form, and XMON are trademarks or registeredtrademarks ofDigidesign and/or Avid Technology,Inc. Xpand! is Registered in the U.S. Patent and

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Product features, specifications, systemrequirements, and availability are subject tochange without notice.

Guide Part Number 9329-59273-00 REV A 11/08

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contents

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

Plug-in Formats. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ..

. . . . . . . 2

System Requirements and Compatibility . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . 3

Plug-ins for Pro Tools. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . 3

Plug-ins for VENUE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ... . . . . . . 3

Conventions Used in This Guide . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . 4

About w w w .dig i desig n.com . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . 4

Chapter 2. Click . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . 5

Click Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ... . . . . . . 5

Creating a Click Track . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . 6

Chapter 3. DigiRack D-Fx Plug-ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . 7

Chorus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . 7

Flanger . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . 8

Multi-Tap Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . .. . . . 9

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

. . . . . . . 10Selecting Audio for AudioSuite Delay Processing . . . . . . . . . . . . . . . . . . . . . . . . . . .. . .. . . 11

Chapter 4. Dither . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . .. . 13
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Dither Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . 14

Chapter 5. D-Verb. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . .. . 15

D-Verb Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ... . . . . . 15

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Chapter 6. Dynamics III . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

Shared Compressor/Limiter and Expander/Gate Features . . . . . . . . . . . . . .. . . 19

Compressor/Limiter III . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

Expander/Gate III . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26

De-Esser III . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

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

31

Chapter 7. EQ III . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

EQ III Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36

7 Band EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41

24 Band EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46

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

47

Chapter 8. Mod Delay II. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51

Mod Delay II Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51

Multichannel Mod Delay II . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53

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

53

Chapter 9. Pitch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55

Pitch Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . .

55

Chapter 10. Pitch Shift . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . .. . . . . . .

59

Chapter 11. POW-r Dither . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61

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

61

Chapter 12. ReWire . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63

ReWire Requirements. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65

Using ReWire . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66

Quitting ReWire Client Applications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68

Tempo and Meter Changes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69

Looping Playback . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69

Automating ReWire Input Switching . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70

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Chapter 13. Signal Generator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . .. . . 71

Signal Generator Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . 71

AudioSuite Processing with Signal Generator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . 72

Chapter 14. SignalTools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . 73

SurroundScope . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. .. . . . . 73

PhaseScope . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . 74

SignalTools Display Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ... . . . . . 75

SignalTools Level Meters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ... . . . . . 77

Chapter 15. TimeAdjuster . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . .. . . 79

TimeAdjuster Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . 79

Using TimeAdjuster for Manual Delay Compensation . . . . . . . . . . . . . . . . . . . . . . .. .. . . . . 80

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

. . . . . . . 81

Chapter 16. Time Compression/Expansion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . 83

Chapter 17. Time Shift . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . .. . . . 85

Time Shift Displays and Controls. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ... . . . . . 85

Post Production Pull Up and Pull Down Tasks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . 90

AudioSuite Input Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . 91

AudioSuite Preview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

. . . . . . . 91AudioSuite TCE Plug-in Preference . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . .. . . . 91

Processing Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . .. . . 92


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Chapter 18. Trim . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . 93

Trim Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

. . .. . . . 93

Chapter 19. Other AudioSuite Plug-ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . 95

DC Offset Removal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . 95

Duplicate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

. . .. . . . 95

Gain. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . .. . . . 96

Invert . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . 96

Normalize. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . .. . . 97

Reverse . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. .. . . . . . 98

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Appendix A. DSP Requirements for TDM Plug-ins . . . . . . . . . . . . . . . . . . . . . . .. . . . .. . 99

DSP Requirements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . 100

Appendix B. DSP Delays Incurred by TDM Plug-ins . . . . . . . . . . . . . . . . . . . . .. . . . . . 103

Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. .. . . . . . . . 105


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chapter 1

Introduction

Plug-ins are special-purpose softwarecompo-

nents that provide additional signal processing

and other functionality to Pro Tools

. The Digi-

Rackplug-ins included with Pro Toolsprovide

a comprehensive suite of digit alsignal process-

ing effects that include EQ,dynamics, delay, and

other essential functions.

References to Pro Tools LE in this guideare usually interchangeable with Pro Tools

M-Powered, exceptas noted in the

Pro Tools M-Powered Setup Guide.

The DigiRackplug-ins installed with Pro Tools

include:

DigiRack Click DigiRack D-Fx plug-ins

Chorus

Flanger

Multi-Tap Delay

Ping-Pong Delay

DigiRack Dither

DigiRack D-Verb

DigiRack Dynamics III Comp ressor/Limiter

Expand er/Gate

De-Esser

DigiRack EQ III

7 Band

24Band

1 Band

DigiRack ModDelay II

DigiRack Pitch

DigiRack Pitch Shift

DigiRack POW-r Dither

DigiRack ReWire

DigiRack SignalGenerator

DigiRack Signal Tools

SurroundScope

PhaseScope

DigiRack TimeAdjuster

DigiRack Time Compression/Expansion

DigiRack Time Shift

DigiRack Trim

Chapter 1: Introduction 1


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Othe rDigiRack AudioSuite Plug-ins

DC Offset Removal

Duplicate

Gain

Invert

Normalize

Reverse

Plug-in FormatsThere are three plug-in formats used in

Pro Tools:

TDMplug-in s (real-time , DSP-based)

RTASplug-ins (real-time, host-b ased)

AudioSuiteplug-ins (non-real-time, file-

base dprocessing)

TDM Plug-ins

(Pro Tools HD and VENUE Only)

TDM (Time Division Multiplexing) plug-ins

function as track inserts, are applied to audio

duri ng playback, andprocess audio non-de-

structively in real time. TDM plug-ins are de-

signed for use with Pro Tools HD softwar e on

ProTools|HD

systems, and rely on theprocess-

ing power of Digidesign DSP cards.

The number and variety of TDM plug-ins that

you can use simultaneo usly in asession are lim-

ited only by the amou nt of DSP available. Youcan increase available DSP by inst alling addi-

tiona l DSP cards (such as HD Core, HD Accel,

or HD Process cards) in your compu ter. This

power-on-demand aspect is asignificant advan-

tage of Pro Tools |HDsystems.

RTAS Plug-ins

RTAS (Real-Time AudioSui te)plug-in sprovide

features and functionality similar to their TDM

counte rparts, but unlike TDMplug-ins, they rely

on and arelimited by the processing power of

yourcomp uter. The more powe rful your com-

puter, the greater the number and varie ty of

RTASplug-ins that you can use simultan eously.

Because of this dependen ce on the CPU orhost

processing, the mor e RTASplug-ins you use con-curre ntly in a session, the greater the impact it

will have on other aspects of your systems per-

formance , such as maximu m track count, num-

ber of available voices, the density of edits pos-

sible, and latency in automation andrecording.

RTASplug-ins can be used with Pro Tools HD,

Pro Tools LE.

AudioSuite Plug-ins

AudioSuite plug-ins are used to process and

mo dify audio files on disk, ratherthan nonde-

structively in real time. Depending on how you

configure anon-real-time Audio Suite plug-in, it

either creates an entirely new audio file,oralters

the original source audio file. Audio-Suite plug-

ins can be used on all Pro Tools systems and

Avid software.

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System Requirements andCompatibility

To use DigiRackplug-ins you need any the fol-lowing:

A Digidesign-qualified Pro Tools

system running Pro Tools

A Digidesign-qualified Pro Tools system

and a third-party software applicat ion that

supports theDigide sign TDM, RTAS, or

Audio Suite plug-in stand ards

A qualified Avid

Xpress

, AvidXpress

DV, or Avid DNA system(AudioSuite

only)

A qualified Digidesign VENUE system

(TDMonly )

Digidesign can only assure compatibil ity and

provide support forhardwa re and software it has

tested and approved.

For complet e system requirem ents and a list of

Digidesign-qualified computers, oper ating sys-

tems, hard drives, and third-party devices, refer

to the latest information on the Digi design web-

site:ww w. digidesign .com/compatibility

Plug-ins for ProTools

Installing

The Digidesign DigiRackplug -ins are installed

when you install Pro Tools. Formore informa-

tion about installing Pro Tools, see the Setup

Guide tha t camewith your system.

Ifinstal ling multiple packages ofplug-ins, do so

in the followi ng order:

1 DigiRackplug-ins (installed with Pro Tools).

2 Packs and other bundles included wi th your

Digides ign system.

3 Any additional plug-ins. Check with the man-

ufacturer of yourplug-ins forcompatibility in-

form ation and support.

Using Plug-ins in ProToolsRefer to the Pro Tools Reference Guide for

information on working with plug-ins,

including:

Inserting plug-ins on tracks

Plug-in Window controls

Adjusting plug-in contro ls Automating plug-ins

Using side-chain inputs

Using plug- in presets

Clip indicators

Plug-ins for VENUE

Installing

VENUE-compatible Digidesign DigiRack plug-

ins arepre-ins talled on your VENUE system and

are updated whe n you upda te VENUE software.

Formore information about install ing VENUEsoftware, see thedocumen tation that came with

yourVENUE system.

Using Plug-ins with VENUE

Refer to the documentation that came with your

VENUE system for information on working withplug-ins.

Chapter 1: Introduction 3
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Conventions Used inThisGuide

All Digidesign guides use the following conve n-tions to indicate menu choi cesand key com-

mands:

Convention Action

File > Save Choose Save from the

File menu

Control+N Hold down theControl key and

Control-click Hold down the

Control key and click

the mouse button

Right-click Click with theright mouse

The names of Commands, Options, andSettings

that appear on-screen are in a different font.

The following symbols are used tohighlight im-

portant information:

User Tips are helpful hints forgetting themost from your Pro Tools system.

ImportantNotices include informa tion that

could affectyourPro Tools session data or

the performance of your Pro Toolssystem.

Shortcuts show you usefulkeyboard or

mouse shortcuts.

Cross References point to relatedsections in

this guide and otherDigidesign guides.

About ww w.digidesign.com

The Digidesign website (www .digidesign.c om) is

yourbest online source for information to help

you get the most out of your Pro Toolssystem.

The following are just a few ofthe services and

features available.

Product Registration Register yourpurchase

online.

Support and Downloads Contac tDigide signTechnical Support orCustomer Service; down-

load software updates and the latest onli ne

manuals; browse the Compatibility docum ents

forsystem requireme nts; search the online An-

swerbase ; or join the worldwide Pro Tools com-

munity on the Digidesign User Con ference.

Training and Education Study on your own

using courses avai lable online or find out how

you can learn in a classroom sett ing at a

certified

Pro Tools training cent er.

Products and Developers Learn about

Digidesign products; download demosoftware or

learn about our Development Partners and their

plug- ins, applications, and hardware.

News and Events Get the latest news from

Digides ign or sign up for a Pro Tools demo.

Pro Tools Accelerated Videos Watch the

series of free tutorial videos. Accelerated Videos

are de- signed to help you get up and running

with

Pro Tools and its plug-ins quickl y.

http://www.digidesign.com/http://www.digidesign.com/http://www.digidesign.com/http://www.digidesign.com/http://www.digidesign.com/http://www.digidesign.com/http://www.digidesign.com/http://www.digidesign.com/


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chapter 2

Click(TDM and RTAS)

The Clickplug-in creates an audio clickdur ing

session play back that you can use as a tempo ref-

erence when performing and recording. The

Click plug-in receives its tempo and meter data

from the Pro Tools application, enabling it to

follow any changes in tempo and meter in a ses-

sion. The Clickplug-in is a mono-only plug-in.

Several click sound presets are included.

Click plug-in

Click Controls

MIDI In LED Illuminate s each time the

Click plug-in receives a click message from

the Pro Tools application, indic ating the

click tempo.

Accented Controls the output level ofthe

accent beat (beat 1 of each bar) of the audio

click.

Unaccented Contro ls the output level ofthe

unaccented beats of the audio click.

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Creating a ClickTrack

To create a click track with the Clickplug-

in:

1 Ensure that the Options > Click isenabled.

2 Choose Track > Create Click Track.

Pro Tools creates a new Auxiliary Input track

named Click with the Clickplug-in already in-

serted . In the Edi twindow, the tracks Track

Height is set toMini.

To manually create a click track withtheClick plug-in:

1 Select Options > Click to enable the Click

op- tion (or enable the Metronome button in

the Transport).

2 Create new a mono Auxiliary Input track

and insert the Clickplug-in.

3 Select a click sound preset.

4 Choose Setup > Click/Countoff and setthe

Click and Count off opti ons as desi red.

The Note, Velocity, Duration, and Output

options in this dialog areforuse with MIDI

instrument-based clicks and do not affect

the Clickplug-in.

Click Options dialog

5 Begin playback. A click is generat ed

according to the tempo and meter of thecurrent session and the settings in the

Click/Coun toff Options dialog.

Refer to the Pro Tools ReferenceGuide for

more information on configuring Click op-

tions.


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6 Digidesign Legacy Plug-ins Guide


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chapter 3

DigiRack D-Fx Plug-ins(AudioSuite Only)

D-Fx provides four modules:

Chorus

Flanger

Multi-Tap Delay

Pin-Pong Delay

Chorus(AudioSuite Only)

Chorus adds a shimmering quality toaudio ma-

terial by combining atime-delayed, pitch-

shifted copy of an audio signal with itself.

Chorus plug-in

The Chorus plug-in was formerlycalled

D-fx Chorus. It is fully compati ble with all

settings and presetscreated for D-fx

Chorus.

Gain Adjusts the input volume of the chor us toprevent clipping or increase the level of the pro-

cessed signal. This slider is set to a default of

+3 dB. If your source audio has been recorded

very close to peak level, this +3 dB default set-

ting could cause clipping. Use this control to re-

duce the inp utlevel.

Selecting the Sum Inputs button sums the dryinpu t signals (mon o or stereo) befor eprocessing

them. The dry signal then appea rs in the center

of the stereo fieldand the wet, effected signal

will beoutput in stereo.

When the Sum Inputs button is selected, the

LFO waveform on the right channel isautomat-

ically phase inverted toenhance the mono-ste-reo effect.

Sum Inputs button

Mix Adjusts the balance between the effected

signal and the original sign aland controls the

depth ofthe effect. Mix is adjustable from 0% to

100%.

Low-Pass Filter Contro ls the cutofffrequency

of the Low-Pass Filter. Use this to atte nuate the

high frequ ency content of the feedback signal.

The lower the setting, the more high frequencies

are removed from the feedback signal.

Chapter 3: DigiRack D-Fx Plug-ins 7


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The range of the Low-Pass Filter is 20 Hzto

19.86 kHz, with a maximum value ofOff(which

effectively mean sbypass).

Delay Sets the delay time between the originalsignal and the chorused signal. The higher the

setting, the longer the delay and the wider the

chorusing effect. Delay is adjustable from 020

mill iseconds.

LFO Rate Adjusts the rate of the LFO(low fre-

quency oscillat or) applied tothe delayed signal

as modulation. Thehigher the setting, the more

rapid the modulation. You can select either a

sine wave or a triangle wave as a modulation

source, using the LFO Waveform selector.

LFO Width Adjusts the intensi ty of the LFO ap-

plied to the delayed signal asmodulation. The

higher the setting, themor e inten se the mod u-

lation. Use the LFO Wavefo rm selector to select

a sine ora triangle wave as a modu lation source.

Feedback Cont rols the amoun t offeedbac kap-

plied from the output of the delayed signal back

into its input. Negative settings provide a more

inte nseeffect.

LFO Waveform Selects a sine wave ortriangle

wave for the LFO. This affects the char acterof

the modulatio n. The sine wave has a gentler

ramp and peakthan the triangle wave.

Flanger

(AudioSuite Only)

The Flanger animat es and adds a swirli ng, mov-

ing quali ty to audio material bycombin g a time-

delayed copy of an audiosignal with itself.

The Flanger uses a through-zero flanging algo-

rithm that results in a tape-like flangi ng effect.

This tech nique delays the original dry signal by

256 samples , then modulates the delaye dsignalback and forth in time in relat ion to the dry sig-

nal, passing through its zero point on the way.

Flanger plug-in

The Flanger plug-in was formerly called

D-fx Flanger. It is fully compat ible with all settings and presets created for D-fx

Flanger.

Gain Adjusts the input volum e of the flange r to

prevent clipping or increase the level of the pro-

cessed signal. This slider is set to a default of

+3 dB. If your source audio has been recorded

very close to peak level, this +3 dB default set-

ting could cause clipping. Use this control to re-

duce the inp utlevel.

Selecting the Sum Inputs button sums the dry

input signals (mono and stereo) before process-

ing them. The dry signal then appears in the

center of the stereo field and the wet, effected

signal will beoutput in stereo.



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When the Sum Inputs button is selected, the

LFO waveform on the right channel isphase in-

verted to enhance the mono-stereo effect.

Mix Adjusts the balance between theeffectedsignal and the original signal and controls the

depth of the effect. Mix is adjustable from 0% to

100%.

High-Pass Filter Controls the cutofffrequency

of the high-pass filter. Use this to attenuate the

frequency content ofthe feedback signal and

the frequencyrespons e of the flanging . The

higher the setting, the more low frequencies are

removed from the feed back signal.

LFO Rate Adjusts the rate of the LFO(low fre-

quency oscillator) applied tothe delayed signal

as modulation. Thehigher the setting, the more

rapid the modulation. You can select either a

sine wave or a triangle wave as a modulat ion

source, using the LFO Waveform selector.

LFO Width Adjusts the intensi ty of the LFO ap-

plied to the delayed signal asmodulation. The

higher the setting, themore inten se the modu-

lation.

Feedback Cont rols the amoun t offeedbac kap-

plied from the output of the delayed signal back

into its input. Negative settings provide a more

inte nseeffect.

LFO Waveform Selects a sine wave ortriangle

wave for the LFO. This affects the char acterof

the modulatio n. The sine wave has a gentler

ramp and peakthan the triangle wave.

Multi-Tap Delay

(AudioSuite Only)

The Multi-Tap Delay adds up to fourindepe n-

dently-controllable delays ortapsto the origi nal

audio signal. Use the Multi-tap delay to add spa-

tialization orcomp lex rhythmic echo effects to

audio material. You can individually control the

delay time and number ofrepetitions of each of

the four taps.

Multi-Tap Delay plug-in

The Multi-Tap Delay plug-in was formerly

called D-fx Multi-TapDelay. It is fully

compati ble with allsettings and presets cre-

ated forD-fxMulti -Tap Delay.



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Gain Provides individual control of the input

level for each of the four delay lines (or taps).

Individually a djust the Gain for each of the four

taps, either toprevent clipping or to increase t he

level ofthe processed signal.

Selecting the Sum Inpu ts button sums the dry

inpu t signals (mon o orstereo)beforeproces sing

them. The dry signal then appears in the center

of the stereo field and the wet, effected signal

will beoutput in stereo.

Feedback Provid es individual control over theamount of feedback app liedfrom the output of

the delay into its input for each tap. It also con-

trols the number of repeti tions of the delayed

signal. For the feedback feature tofunction, the

Gain slider for that tap must be raised above its

lowest setting.

Pan Provides individual control over the

appar- ent location of each of the four taps in

the stereo field.

Delay Sets the delay time between the original

signal and the delayed signal. The higher the

setting, the longer the delay. This control is ad-

justable from 01500 millis econds (1.5 seco nds).

Mix Adjusts the balance between theeffected

signal and the original signal and controls the

depth of the effect. Mix is adjustable from 0% to

100%.

Ping-Pong Delay

(AudioSuite Only)

The Ping-Pong Delay plug-in adds acontrollable

delay to the original audio signal. Use the Ping-

Pong delay to add spatialization, and panned

echo to audiomate rial. This plug -in feeds back

delayedsignals to their opposite chann els, creat-

ing a characteristic ping -pong echo effect.

Ping-Pong Delay plug-in

The Ping-Pong Delay plug-in was formerly

called D-fx Ping-PongDelay. It is fully com-

patible with allsettings and presets created

forD-fx Ping-PongDelay.

Gain Adjusts the input volume of the Ping-Pong

Delay to prev ent clipping or toincrease the level

of the processe d signal.

Mix Adjusts the balance between the effected

signal and the original signaland controls the

depth ofthe effect. Mix is adjustable from 0% to

100%.

Delay Sets the delay time between theoriginal

signal and the delayed signal. The higher the

sett ing, the long erthe delay. This control is ad-

justable from 01500 milliseco nds (1.5 seconds).

Low-Pass Filter Contro ls the cutofffrequency

of the low-pass filter. Use this to attenuate the

high frequ ency content of the feedback signal.The lower the setting, the more high

frequencies are removed from the feedback

signal.


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The range of the Low-Pass Filter is 20 Hzto

19.86 kHz, with a maximum value ofOff(which

effectively mean sbypass).

Feedback Cont rols the amoun t offeedbac kap- plied from the output of the delay into its input.

It also controls the numberof repetitions of the

delayedsign al.

Cross-Feedback Cross-Feed backfeeds the de-

layed signals to their opposite channel: The left

channel delay is fed to the right channel input

and vice-versa. The result is a stereo echo thatping-pongs back and forth between theright

and left channels.

Selecting Audio forAudioSuite Delay Processing

Because delays add addition al material to the

end ofselected audio (a delay tap) , make a selec-

tion that is longer than theoriginal source ma-

terial so AudioSuite can write the additional de-

layed audio to the audio file.

Selecting only the original mat erial, without

leaving additional space at the end results in the

delayed audio being cutoff at the end of the se-

lection. Toaccommo date delayed audio that

comes after the source audio, place the region

in a track, and select the desired audio plus an

amou nt ofblankspace at the end ofthe region

equal to the amount of delay that you have

added in the plug-in. Theplug-in will then have

space at the end ofthe region in which to writethe finaldelay.



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chapter 4

Dither(TDM and RTAS)

The Dither plug -in minimizesqua ntization arti-

facts when reducing the bit depth of an audio

signal to 16-, 18-, or20-bit resol ution.

For more advanced dithering, use the Digi-

Rack POW-r Ditherplug-in. See

Chapter 11, POW-rDither.

Dither plug-in

Whenever you are mixing down orbouncing todisk and your destination bit dep th is lower

than 24-bit, insert adither plug-in on a Master

Fader trackthat controls the output mix.

Using a dither plug-in on a Master Faderis pref-

erable to an Auxiliary Inputbecause Master

Fader inserts arepost-fader. As apos t-fade rin-

sert, thedith er plug-in can process chang es in

Master Fader level.

For more information on usingDither, see

the Pro Tools ReferenceGuide.

The Dither plug-in has user-s electable bit resolu-

tion and a noise shaping on/offoption.

If you are mixing down to an analog desti-

nation with any 24-bit capable interface,

you do not need to use Dither. This allows

maximumoutputfidelity from the 24-bit

digital-to-analogconvertors oftheinterface.

Chapter 4: Dither 13


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Dither Controls

Bit Resolution

Use this pop-u p menu to choose one ofthree

possible resolutions for the Ditherprocessi ng.

Set this con trol to the maximumbit resolution

of yourdestination.

16-bit Recommended for output todigital de-

vices with a maxim umresolution of 16 bits,

such as DAT and CD recorders.

18-bit Recommended for output todigital de-

vices with a maxim umresolution of 18bits.

20-bit Recommended for output to digital de-

vices that support a full 20-bit recording data

path, suchthe Sony PCM-9000 opti cal master-

ing recorder, orthe Alesis ADAT XT 20. Use thissetting foroutput to analo g devices if you are us-

ing a 20-bit audio interface, such as the

882|20 I/O audio interface. The 20-bit setting

can also be used for output todigital effects de-

vices that support 20-bit input and output, since

it provides for a lower noise floor and greater dy-

namic range when mixing 20-bit signals directly

into Pro Tools .

Noise Shaping

Noise shaping can furth er improve audio perfor-

mance and reduce perceived noise inherent in

dithered audio. Noise shaping uses filtering toshift noise away from frequencies in the middle

of the audio spectrum (around 4 kHz), where

the human ear is most sensitive.

The Noise Shaping button engag es ordisengages

Noise shaping. Noise shaping is on when the

button is highlighted inblue.

The DigiRack Dither plug-in only provides

eight channels ofuncorrelated dithering

noise. IfDigiRack Dither is used on mo re

than eight tracks, the dithering noise begins

to repeat and ditherperformance is im-

paired. Forexample, if two QuadDigiRack Dithers are used, both Quadinstances of

Dither will have alloftheir dither noise un-

correlated. However, any additional in-

stances ofthe Dither plug-in will begin to

repeat the dithering noise.



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chapter 5

D-Verb(TDM, RTAS, and AudioSuite)

D-Verb is a studio-quali ty rever bprovided in

TDM, RTAS, and AudioSui te forma ts.

The TDM version of the D-Verb plug-in is

not supported at 192 kHz; use the RTAS

version instead.

level. If this meter clips, it ispossible that the

signal clipped on input before it reached

D-Verb. Monitor your send or insert signal levels

closely to help prevent this from happening .

Clip Indicator

The Clip indicator shows ifclipping has oc-

D-VerbControls

D-Verbplug-in

OutputMeter

The Output mete r indica tes the output level of

the proces sed signal . With the stereo version of

D-verb, it represents thesummed stereo output.

It is important tonote that this meter indicates

the output level of the signal not the input

curred. It is a clip-hold indicator. Ifclipping oc-curs at any time during audio playback, the clip

lights remain on. To clear the clip indicator,

click it. With longer reverb times there is a

greaterlikeli hood of clipping occurri ng as the

feedback eleme nt of the reverb builds up and ap-

proaches a high output level. See also Clip In-

dicators on page 22.

Input Level

The Input Level slider adjusts the inputvolume

of the reverb to prevent thepossibility of clip-

ping and/or increase the level of the process ed

signal.

Mix

The Mix slider adjusts the balance between the

dry signal and the effected signal, giving you

control over the depth ofthe effect. This control

is adjustable from 100% to 0%.


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Chapter 5: D-Verb 15


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Algorithm

This control selects one of seven reverb algo-

rithms : Hall, Church, Plate, Room 1, Room 2,

Ambience, orNonli near. Selecting an algorithmchanges the preset prov ided for it. Switching the

Size setti ngchanges character istics of the algo-

rithm that are not altered by adjusti ng the decay

time and other user-adjustable controls. Each of

the seven algorithms has adistinctly different

character:

Hall A good general purpose conc ert hall witha natural character. It is useful over a large

range of size and decay times and with a wide

range ofprogram ma terial.Setting Decay to its

maximum value will produce infinite

reverberation.

Church A dense, diffuse space simu lating a

church orcathed ral with a long decay time,

high dif fusion, and some pre-delay.

Plate Simulates the acoustic character ofa

metal plate-based reverb. This type ofreverb

typical ly has high initial diffusi on and a rela-

tively brig ht sound, making itparticularly good

for certain percussive signals and vocal process-

ing. Plate reverb has the general effect of thick-

ening the initial sound itself.

Room 1 A medium-sized, na tural,rich-

sounding room that can beeffectivelyvaried in

size between verysmall and large, with good

results.

Room 2 A smaller, brighter rever berant

characteristic than Room 1, with a useful

adjustme nt range that extends to very small.

Ambient A transparent respo nse that is useful

for adding a sense of space without adding a lot

of depth or density. Extreme settings can create

in- teresting results.

Nonlinear Produces a reverb eration with a

natu- ralbuildup and an abrupt cutoff similar

to a gate. This unnatural decay character istic is

particularly useful onpercussion, since it can

add an aggressive characteristic to sounds wi th

strongattacks.

Size

The Size control, in conjunction with the Algo-

rithm cont rol, adjusts the overal lsize of the re-

verberant space. There are three sizes: Small, Me-dium, and Large. The character of the

reverberation chang es with each of these set-

tings (as does the rela tive value of the Decay set-

ting). The Sizebuttons can be used tovary the

range of a reverb from large tosmall. Generally,

you should select an algori thm first, and then

choose the sizethat approximates the size of the

acoustic space that you are trying to create.

Diffusion

Diffusi on sets the degree to which initial echo

density increases over time. High set tings result

in high initial build-up ofecho density. Low set-

tings cause lowinitial buildup. This control in-teractswith the Size and Decay con trols to affect

the overall reverb density. High settings ofdiffu-

sion can be used to enha ncepercussion. Use low

or moderate settings for clearer and mo re natu-

ral-sounding vocals and mixes.

Decay

Decay controls the rate at which the reverb de-

cays after the original direct signal stops. The

value of the Decaysetting is affected by the Size

and Algorit hm controls. This control can beset

to infini ty on most algorithms forinfini te re-

verb time s.



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Pre-Delay

Pre-Delay determine s the amo unt of timethat

elapses betwe en the original audio event and

the onset of rever beration. Under natural condi-tions, the amount ofpre-de lay depends on the

size and construction of the acoustic space, and

the relative position ofthe sound sourceand the

listener. Pre-Delay attempts toduplicate this

phenome non and is used tocreate a sense of dis-

tance and volumewithin an acoustic space. Long

Pre-Delay settings place the reverb erant field

behind rather than on top of the original audio

signal.

Hi Frequency Cut

Hi Frequency Cut controls the decaycharac ter-

istic of the high frequency components of the

reverb. It acts inconjunction with the Low-PassFiltercontrol to create the overall high fre-

quency contourof the reverb . When set rela-

tively low, high frequencies decay more quickly

than low frequencies, simu lating the effect of air

absorpt ion in ahall. The maximum value of this

control is Off (which effectively means bypass).

Low-Pass Filter

Low-Pass Filter controls the overall high fre-

quency content of the reverb by setting the fre-

quency above w hich a 6 dB per octave filterat-

tenuates theprocessed signal. The maximum

value of this control is Off (which effectively

means byp ass).

Chapter 5: D-Verb 17


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chapter 6

Dynamics III(TDM, RTAS, and AudioSuite)

Dynamics IIIprovides three modules:

Comp ressor/Limiter

Expander/Gate

De-Esser

All Dynamics III modules are available in TDM,

RTAS, and AudioSuite formats.

Dynamic s III supports 44.1 kHz, 48 kHz,88.2 kHz, 96 kHz, 176.4 kHz and 192 kHz sam-

ple rates. Compres sor/Limi terand Ex-

pander/Gate modules work with mono, stereo,

and greater-than -stereo multic hannel formats

up to 7.1. The De-Esser module works with

mono andstereo formats only.

In addition to standard controls in each mod-ule, Dynamics III also provides agraph to track

the gain transfer curve in the Compressor /Lim-

iter andExpand er/Gate plug-ins, and a fre-

quency graph to display which frequencies trig-

ger the De-Esser and which frequencies will be

Shared Compressor/Limiterand Expander/GateFeatures

The following parts of the user interface are

shar ed between the Compressor/Limiter and Ex-

pander /GateDynamics IIIplug -ins.

Levels Section

The indicators and controls in the Levels section

let you track input, output, and gain reduction

levels, as well as workwith phase invert and the

thresholdsetting.

See De-Esser Levels Section on page 29

for more information on De-Esser III In-

put/Output Levelcontrols.

Phase

Invert

gai nreduced.Inpu

t

mete

r

Output

meter

Peak

hold

indicators

Threshol

d

arro


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Gain Reduction meter

Peakhold indicators

I/O Meter display (stereo instance shown)

Chapter 6: Dynamics III 19

Input and Output Meters G i R d i M


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Input and Output Meters

The Input (In) and Output (Out) meters show

peak signal levels before and afterdynamics pro-

cessing:

Green Indi cates nomina l levels.

Yellow Indicat es pre-clipping levels, starting at

6 dBbelow full scale.

Red Indicates full scale levels (clipp ing).

The clip indicators at the top of theOutputmeters indicate clippi ng at theinput or output

stage of the plug -in.Clip indicators can be

cleared byclicking the indicator.

The Input and Output meters display differ-

ently depending on the type of track (mono,

stereo, ormultichannel) on which the plug-

in has beeninserted.

When Side-Chain Listen is enabled, the

Output meter only displays the levels of the

side-chain signal. SeeSide-Chain Listen

on page 31.

Toggling Multichannel Input and OutputMeters

With multicha nnel track types LCRS and

higher, both Input and Output mete rscannot

be shown at the same time. Clickeither the In-

put orOutput button todisplay the appropriate

level meter. TheInput/Output meters display is

toggle d toOutput by default.

Gain Reduction Meter

The Gain Reduction (GR) mete rind icates the

amou nt the input signal is attenu ated (in dB)

and shows different colors during dynamics pro-cessing:

Light Orange Indicates that gain reduction is

within the knee and hasnot reache d the full

ratio ofcomp ression.

Dark Orange Indicates that gain reduction is

being applied at the full ratio (for example,2:1).

Threshold Arrow

The orange Threshold arrow next to the Input

meter indicate s the curren tthreshold , and can

be dragge d up ordownto adjust the threshold.

When amulticha nnel instance of the plug-in

has been configured to show only the Output

meter, the Threshold arrow is not displayed.

Phase Invert

The Phase Invert button inverts the phase (po-

larity) of the input signal, tohelp compensateforphase anomalies that can occur eitherin

multi-microphone environments orbecau se of

mis-wiredbala ncedconnections.

Input andOutput

Meter

buttons

Input and Output meter buttons



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LFE Enable Use this graph as a visual guideline to see how


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LFE Enable

(Pro Tools HD and Pro Tools LE withComplete

Production Toolkit Only)

The LFE Enable button (located in the Options

section) is on by default, and enables plug-in

processing of the LFE (low frequenc y effects)

channel on amultichan nel track formatted for

5.1, 6.1, or 7.1 surround formats. Todisable LFE

processing, deselect this butto n.

Use this graph as a visual guideline tosee how

much dynamics processing you are applying.

Threshol

d

Output

signal level(y-axis)

LFE Enable button (Compressor/Limiter IIIshown)

Dynamics graphdisplay

Inputsignal

level(x-axis)

The LFE Enable button is not available if

the plug-in is notinserted on an applicable

track.

Dynamics Graph Display

The Dynamics Graph display used with the

Compressor/Limiter and Expander/Gate plug-

insshows a curve that represents the level of

the input signal (on the xaxis) and the level of

the output signal (on the yaxis). Theorange

vertical line represents thethr eshold.

The Compressor/Limit erand Expander/Gate

plug -ins also feature an animated, mult i-color

cursor in their gain transfer curve displays.

The gain transfercurve of theCompressor/Lim-

iter and Expander/Gate plug-ins shows a mov-ing ball cursor that shows the amount ofinput

gain (x-axis) and gain reduction (y-axis) being

applie d to the incomin gsignal.

Gain transfer curve and cursor showingamount of compression


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To ind icate overshoots (when an incom ing sig-


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nal peak is too fast for thecurrent compres sion

setting) the cursortemporar ily leaves the gain

transfe rcurve.

The cursor changes color to indicate theamount

of compression applied, asfollows:

Dynamics III Plug-in Compression Amount

Cursor Color Compression Amount

white no compression

light orange below full ratio

dark orange full ratio amount

See De-Esser Frequency Graph Display on

page 30 forinformation on using the De-Es-

sersgraphdisplay.

Side-Chain Section

Forinform ation on using the Side-Chain section

of the Comp ressor/Limite rorExpande r/Gate,

see Using theSide-Chain Input in Dynamics

III on page 31.

Compressor/Limiter III

The Compress or/Limiter plug-in applies either

compression or limiting to audio material, de-pendin g on the ratio ofcomp ression used.

Compressor/Limiter III

About Compression

Comp ression reduces the dynami c rangeofsig-

nals that exceed a chosen threshold by a specific

amou nt. The Threshold control sets the level

that the signal must exceed to trigger compres-

sion.TheAttack control sets how quickly the

compres sor responds to the front ofanaudio

signal once it crosses the selec tedthreshold. The

Release control sets the amount of time that it

takes for thecompressors gain to return to its

origin al level after the input signal drops below

the selected threshold.

To use compression most effectively, the attack

time should be set so tha t signal s exceed the

threshold level long enough to cause an increase

in the average level. This helps ensure that gain

reduction does not decre ase the overall volume

too drastically, or eliminate desired attacktran-

sients in the prog ram material.

Of cours e, compression has many creative uses

that break these rules.


About Limiting Compressor/Limiter III Controls


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Limiting prevents signal peaks from ever ex-

ceeding a chosen threshold, and isgenerally

used to preve nt short-term peaks from reaching

their full amplitude. Used judiciously, limit ing

produces higher average levels, while avoidi ng

overload (clipping or distortion), bylimiting

only some short-term transients in the source

audio. Topreve nt the earfrom hearing the gain

changes, extr emely short attack and release

times are used.

Limiting is used to remove onl yoccas ional

peaks because gain reduction on successive

peaks would benoticeable. Ifaudio material

contains many peaks, the threshold should be

raised and the gain manually reduced sothat

only occ asional, extreme peaks are limited.

Limiting generally begins with the ratioset at10:1 and higher. Large ratios effectively limit the

dynamic range of the signal toaspecific value

by setting an absoluteceiling for the dynamic

range.

Compressor/Limiter III Controls

This section describes controls for theCompres-

sor/Limite rplug-in.

Input/Output Level Meters

The Input and Output meters show peak signal

levels before and after dynamics processing. See

Levels Section on page 19 for more informa-

tion.

Unlike scales on analog compressors, meteringscales on a digital device reflect a 0 dB value that

indicates full scale (fs)the full-code signal

level. There isno headroom above 0 dB.

Compressor/Limiter Graph Display

The Dynamics Graph display lets you visually

see how much expa nsion orgating you are ap-plying to your audio material. See Dynamics

Graph Display on page 21.

Threshold

The Threshold (Thresh) control sets the level

that an input signal must exceed totrigger com-

pression or limiting. Signals that exceed thislevel will be compressed. Signals that are below

it will beunaffected.

This control has an appro ximate range of60 dB

to 0 dB, with a setting of 0 dBequivalent to no

compression orlimitin g. The default value for

theThreshold control is 24 dB.


An orange arrow on the Inp ut meter indicates

h t th h ld d l b d dAttack


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the current threshold, and can also be dragged

up or down to adjustthethreshold setting.

Threshol

darro

w

Threshold arrow on input meter

The Dynamics Graph display also shows the

threshold as an orange vertic al line.

Threshold

Threshold indicator on Dynamics Graphdisplay

This control ranges from 60 dB (lowest gain) to

0 dB (highest gain).

Ratio

The Ratio control sets the compression ratio, or

the amou nt ofcompression applied as the input

signal exceeds thethreshold. Forexample, a 2:1

compression ratio means that a 2 dBincrease of

level above the threshold produces a 1 db in-

crease in output.

This control ranges from 1:1 (nocompression)

to 100:1 (hard limitin g).

The Attack control sets the attack time , orthe

rate at which gain is reduced after theinput sig-

nal crosses the threshold.

The smaller the value, the faster theattack. The

faster the attack, the more rapidly the Compres-

sor/Limiterapplie sattenuation to the signal. If

you use fast attack times, you shoul d generally

use aproportionally longer release time, partic-

ularly with material that contains many peaks in

close proximity.

This control range s from 10 s (fastest attack

time) to 300 ms (slowest attacktime).

Release

The Release control sets the length oftime it

takes for the Compressor/Limit erto be fully de-activat ed after the inp utsignal drops below the

threshold.

Release times should be set long enough that if

signal levels repeatedly rise above the threshold,

the gain reduction recovers smoot hly. If the

release time is too short , the gain can rapidly

fluctuate asthe compr essor repeatedly tries torecover from the gain reduction. Ifthe release

time is too long, a loud sectio n ofthe audio ma-

terial could cause gain reduction that cont inues

through sof tsections ofprogram material with-

out recove ring.

This control ranges from 5 ms (fastest release

time) to 4 seconds (slowest release time).



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g g

Knee Gain


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The Knee control sets the rate at which the com-

pressorreaches full compression once the

threshold has been exceeded.

As you increase this cont rol, it goes fromapply-

ing hard-kne e compress ion tosoft-k nee

compression:

With hard-kne e comp ression,compres sion

begins wh en the input signal exceeds the

threshold. This cansound abrupt and is ideal

for limiting.

With soft -knee compression, gentle compres-

sion begins and increases gradually as the in-

put signal approaches the thr eshold, and

reaches full compression after exceeding the

threshold. This creates smoothercompres-

sion.

The Gain control lets you boost overall output

gain to compen sate for heavil y compre ssed or

limited signals.

This contr ol ranges from 0 dB (no gain boos t)to

+40 dB (loudest gain boost), with thedefault

value at 0 dB.

For more information on the LFEchannel,

refer to the Pro Tools Reference Guide.

Side-Chain Section

The side-chain is the split-off signal used by the

plug-ins dete ctor to trigge rdynami csprocess-

ing. The Side-Chain section lets you toggle the

side-chain between the internal input signal or

an extern al key input, and tailor theequaliza-

tion of the side-chain signal sothat the trigger-ing ofdynamic sprocessing becomes frequency-

sensitive. See Using the Side-Chain Input in

Dynamic s III on page 31.

Hard knee Soft knee

Graph examples of hard and soft knee compression

For example, a Knee setting of 10 dBwould be

the gain range over which the ratio gradually in-

creased to the set ratioamo unt.

The Gain Reduct ion meter displays lightorange

while gain reduction has not exceeded the knee

setting, and switchesto dark orange when gain

reduction reaches the full ratio.

This control ranges from 0 db (hardest respo nse)

to 30 db (softest respo nse).


Expander/Gate IIIExpander/Gate III Controls


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p /

The Expand er/Gate plug-in applies expansion or

gating to audio material, depending on the ratio

setti ng.

Expander/Gate III

About Expansion

Expansion decreases the gain ofsignals that fall

below a chosen thresho ld. They are particularly

useful for reducing noise or signal leakage that

creeps into recorded material as its level falls, as

often occurs in the case of headphone leakage.

About Gating

Gating silences signals that fall below achosen

threshold. To enable gating, simply set the Ratio

and Range controlstotheir maxim um values.

Expanders can be thought of as soft noise gatessince they provide a gentler way ofreducing

noisy low-level signals than thetypical ly abrupt

cutoff of a gate.

This section describes cont rols forthe Ex-

pander /Gate plug-in.

Input/Output Level Meters

The Input and Output meters show peak signal

levels before and after dynamics processing. See

Levels Sectio n on page 19 for more informa-

tion.

Expander/Gate Dynamics Graph DisplayThe Dynamics Graph display lets you visually

see how much expa nsion orgating you are ap-

plying to youraudiomaterial. See Dynami cs

Graph Display on page 21.

Look Ahead Button

Normally, dynamics processingbeginswhen

the level of the input signalcrossesthe thresh-

old. When the Look Ahead button is enabled,

dyn amicsprocessing begins 2 milliseconds be-

fore the level of the input signal crosses the

threshold.

Look Ahead control

The Look Ahead control is useful foravoiding

the loss of transients that mayhave been other-

wise cut off or trimme d in a signal.


Threshold Ratio


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The Thres hold (Thres h) control sets the level be-

low which an input signal must fall to trigger ex-

pansion or gating. Signals that fall below the

threshold will be reduced in gain. Signals that

are above it will be unaffected.

An orange arrow on the Inp ut meter indicates

the current threshold, and can also be dragg ed

up or down to adjustthethreshold setting.

Threshol

d

arrow

Threshold arrow on Input meter

The Dynamics Graph display also shows the

threshold as an orange vertic al line.

Threshold

Threshold indicator on Dynamics Graphdisplay

This control has an approximate range of60 dB

to 0 dB, with a setting of 0 dBequivalent to no

compression orlimiting. The default value for

the Threshold control is 24 dB.

The Ratio control sets the amount ofexpansion.

Forexample, if this is set to 2:1, it will lower sig-

nals below the threshold by one half. Athigh erratio levels (such as 30:1 or 40:1) the Ex-

pander /Gate functions like a gate bycutting off

signals that fall below thethres hold. As you ad-

just the ratio control, refer to the built-in graph

to seehow the shape of the expansion curve

changes.

This control range s from 1:1 (no expan sion) to100:1 (gating).

Attack

The Attack control sets the attack time , orthe

rate at which gain is reduced after theinput sig-

nal crosses the threshold. Use this along with

the Ratio setting tocon trol how soft the Ex-pander s gainreduction curve is.

This control range s from 10 s (fastest attack

time) to 300 ms (slowest attacktime).

Hold

The Hold control specifies the dur ation (in sec-onds or milliseconds) duringwhich the Ex-

pander /Gate will stay in effect after the initial at-

tackoccurs. This can be used as a funct ion to

keep theExpander /Gate in effect for longer peri-

ods of time with a single crossing of the thresh-

old. It can also be used to preven t gate chatter

that may occur ifvarying input levels near the

threshold cause the gate to close and open very

rapidly.

This control ranges from 5 ms (shortest hold) to

4 seconds (longest hold).



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Release

The Release control sets how long it takes for theDe-Esser III


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The Release control sets how long it takes for the

gate to close after the input signal fallsbelow the

threshold level and thehold time has passed.

This control ranges from 5 ms (fastest release

time) to 4 seconds (slowest release time).

Range

The Range control sets the depth of the Ex-

pander/Gate when clos ed. Setting the gate to

higher range levels allows more and more ofthe

gated audio tha t falls below the threshold to

peek through the gate at all times.

This control ranges from 80 dB (lowestdepth)

to 0 dB (highest depth).

Side-Chain Section

The side-chain is the split-off signal used by the

plug-i nsdetector to triggerdynamicsprocess-

ing. The Side-Chainsection lets you toggle the

side-chain betwe en the internal input signal or

an external key input, and tailor theequaliza-

tion of the side-chain signal sothat the trigger-

ing ofdynamicsprocessing becomes frequency-

sensitive. See Using the Side-C hain Input in

Dynamic s III on page 31.

De-Esser III

The De-Esser reduces sibilants and otherhigh

frequ ency noises that can occur in vocals, voice-

overs, and wind ins trument s such as flutes. These

sounds can cause peaks in an audio signal andlead todistortion.

The De-Esser reduces these unwan tedsounds us-

ing fast-acting compression. The Threshold con-

trol sets the level above which compression

starts, and the Frequency (Freq) con trol sets the

frequ ency band in which the De-Esseroperates.


Using De-Essing Effectively

To use de essing most effectively insert the De

De-Esser III Controls


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To use de-essing most effectively, insert the De-

Esser after compres soror limite rplug-ins.

The Freque ncy control should be set toremove

sibilants (typically the 410 kHz range) and not

other parts of the signal. This helps preve nt de-

essing from changing the original character of

the audio material in an undesired manner.

This section describes cont rols for the De-Esser

plug-in.

De-Esser Levels Section

These controls let you track input, output, and

gain reduction levels.

Similarly, the Range control should beset to a

level low enough so that de-essing is trigge red

only by sibilants. Ifthe Range is set too high, a

loud, non-sibilant section of audio material

could cause unwanted gain reduction orcause

sibilants to be over-attenuated.

To improve de-essing of material that hasboth

very loud and very soft passages, automate the

Range control so that it is lower on soft sections.

The De-Esser has no control todirectly ad-

just the threshold level(the level that an

in-

Input

mete

r

De-Esser III I/O Meterdisplay

Input and OutputMeters

Outp

ut

meter

Gain

Reductio

n meter

put signalmust exceed to trigger de-essing).

The amount of de-essing will vary with the

inputsignal.

The Input and Output meters show peak signallevels before and after dynamics processi ng:

Green Indicates nominal levels.

Yellow Indicates pre-c lippi ng levels, starting at

6 dB below full scale.

RedIndicates full scale levels (clipping).

The Clip indicators at the top of each meter in-

dicate clipping at the input oroutput stage of

the plug-in. Clip indicators can be clearedby

clicking theindicator.



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p y

Gain Reduction Meter

The Gain Reduction meter indicat es the amount

Listen

When enabled the Listen button lets you mon


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the input signal is attenuated, in dB. This meter

shows different colorsduring de-essing:

Light Orange Indicates that gain reduction is

being applied, but has not reached the

maximum level set by the Range control.

Dark Orange Indicates that gain reduction

has reached the maximum level set by the

Range control.

Frequency

The Freque ncy (Freq) control sets the frequ ency

band in which the De-Esseroperates. When HF

Only is disabled, gain is reduced in frequencies

within the spec ified range. When HF Only is en-

abled, the gain of frequencies above the speci-

fied value will be reduced.

This control ranges from 500 Hz(lowest fre-

quency) to 16 kHz (high estfrequency ).

When enabled, the Listen button lets you mon-

itor the sibila nt peaks usedby the De-Esser as a

side-chain to triggercompression. This is usefulforlisteningonly to the sibilance forfine-tuning

De-Esser contro ls. To monitor the whole output

signal without this filtering, deselect the Listen

button.

De-Esser Frequency Graph Display

The De-Esser Frequency Graph display shows acurve that represents the level ofgain reduction

(on the y-axis) for the range of the output sig-

nal's frequency (on the x-axis). The white line

represents the current Frequency setting, and

theanimat ed orange line represents the level of

gain reduction being appli ed to the signal.

Use this graph as a visual guideline tosee how

much dynami cs processing you are applying at

differe nt points in the frequency spectrum.

Range

The Range control defines the maximum

amou nt of gain reduction possible when asignal

is detected at the frequency set by the Frequency

control.

This control ranges from 40 dB(maxi mum de-

essing) to 0 dB (node-ess ing).

Gain

(y-axis)

Currentgain

reduction

Frequency

Range

HF Only

When the HF Only button is enabled, gain re-

duction is applied only to the active fre quency

band set by the Freque ncy control. When the HF

Only button is disabled, the De-Esser applies

gain reduction to the entire signa l.

Frequency

(x-axis)

De-Esser graph display


Using the Side-Chain Inputin

Side-Chain Section

The Side- Chain section lets you toggle the side-


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inDynamics III

(Compressor/Limiter

and Expander/Gate Only)

Dynamic s processor s typically use the detected

amplitude oftheir input signal to trigger gain re-

duction. This split-offsignal is known as the

side-chain. The Compressor/Limiter and Ex-

pander/Gate plug-ins feature external key capa-bilities and filters forthe side-chai n.

With external key side-chain processing, you

trigger dynamics processing using an exter nal

signal (such as a separate reference track or au-

dio source) instead of the input signal. This ex-

ternal source is known as the key input.

With side-chain filters, you can make dynamics

processing more or less sensitive to certain fre-

quencies. Forexample, you might con figure the

side-chain so that certain lowerfrequencies on

a drum tracktriggerdynamicsprocessing.

y gg

chain between the internal input signal or an

external key inp ut,listen to the side-chain, and

tailor the equalization of the side-ch ain signal so

that the triggering of dynamics processi ngbe-

comesfrequ ency-sensit ive.

External KeySide-Chain Listen

HFFilter

Enable

LF

FilterEnable

Compressor/Limiter and Expander/Gate Side-Chain

External Key

The External Key toggles exter nalside -chain

processing on or off. Whe nthi sbutto n is high-lighted, the plug-in uses the amplitude of a sep-

arate reference track or external audio sourceto

trigger dynamics processing. When thi sbutton is

dark gray, the External Key isdisabled and the

plug -in uses the amplitude ofthe input signal to

trigger dynamics processin g.

Side-Chain Listen

When enabled, this control lets you listen to the

internal or external side-chaininput by itself, as

well as monitor its levels with the Output meter.

This is especially useful for fine-tuning the plug-

ins filtersettings or external key input.

Side-Chain Listen is not saved with other

plug-in presets.



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HF and LF Filter Enable Buttons

The HF Filter Enable and LF Filter Enable but-

l h di fil i f

HF Frequency Control

The Frequ ency control sets the frequ ency posi-


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tons toggle the corresp onding filterin or out of

the side-chain. When thisbutton is highlighted,

the filter is applied to the side-chain signal.

When this button is dark gray, the filter isby-

passed and available for activatio n.

tion for the Band-Pass or Low-Pass filter, and

ranges from 80 Hz to 20 kHz.

Low-Frequency (LF) FilterType

The LF filter section lets you filter lowerfrequen-

HF

Band-

Pass

LF

Band

-Pass

Low

-Pas

s

High-

Pas

s

HF

Frequen

cy

Control

LFFrequen

cy

HFFilter

Enable

LFFilterEnable

cies out of the side-chain signal so that only cer-

tain bands of low frequencies orhigher frequen-

cies are allowed to passthro ugh to trigger

dynamics processing. The LF side-chain is swit-chable between Band-Pass and High-P ass filters.

Band-Pass Filter Makes triggering ofdynamics

processi ng more sensitive tofrequencies within

the narrow bandcentered around the Frequency

sett ing,and rolling off at a slope of 12 dB per oc-

tave.

High-Pass Filter Makes triggering ofdynamics

processi ng more sensitive tofrequ encies above

the Freque ncy settingrolling off at a slope of

12 dB per octave.

HF and LF Filter Side-Chain

High-Frequency (HF) FilterType

The HF filter section lets you filter higherfre-

quencies out of the side-chain signal so that

only certain bands ofhigh frequencies or lower

frequenciespassthrough to trigger dynamics

processing. The HF side-chain filter is switchablebetween Band-Pass and Low-Pass filters.

Band-Pass Filter Makes triggering ofdynamics

processing more sensitive tofrequencies within

the narrow bandcentered around the Frequency

setti ng,and rolling off at a slope of 12 dB per oc-

tave.

Low-Pass Filter Makes triggering ofdynamics

processing more sensitive tofreque ncies below

the Frequency setting rolling off at a slope of

12 dB per octave.

LF Frequency Control

The Frequ ency control sets the frequ ency posi-

tion for the Band-Pass or High-Pass filter, and

ranges from 25 Hz to 4 kHz.



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Using an External Key InputforSide-Chain

Using a Filtered Input Signal forSide-Chain Processing


53/157

Side ChainProcessing

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

1 Click the Key Input selector and select the in-

put or bus carrying the audio from the reference

track or external audio source.

Selecting a KeyInput

To use the filtered input signal to trigger

dynamics processing:

1 Ensure the Key Input sele ctoris set to No Key

Input.

Key Input selector

2 Ensure that the External Keybutton is dis-

abled (dark gray).


2 Click External Key to activate extern al side-

chain processing.


Side-Chain section

3 To listen to the signal that will be used to

control side-chain input, click Side-Ch ain

Listen to enable it(highlighted ).

4 To filter the key input so that only specificfre- quencies trigger the plug-in, use the HF and

LF controls to select the desired fre quency

range.

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

bus that you chose as an external key input to

trigger its effect.

6 Adjust the plug-in s Threshold (Thres h) con-

trol to fine-tune external key inp uttriggering.

7 Adjust other controls to achieve the desired ef-

fect.

Side-Chain section

3 To listen to the signal that will be used to

control side-chain input, click Side-C hain

Listen to enable it(highlig hted).

4 To filterthe side-chain input so that only

specific frequ encies within the input signal

trigger the plug-in, use the HF and LF controls to

select the desired frequency range.

5 Begin playback. The plug-in uses the

filtered inpu t signal to trigger dynamic sprocessing.

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

plug -in controls.



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chapter 7EQ III(TDM, RTAS, and AudioSuite)

The EQ IIIplug -in provides ahigh-quality

7 Band, 24 Band, or 1 Band EQ foradjustingthe frequency spectrum ofaudio material.

EQ III is available in the following formats:

7 Band: TDM, RTAS, and AudioSuite

24 Band: TDM and RTAS only

1 Band: TDM, RTAS, and AudioSuite

EQ III supports all Pro Tools sessionsample

rates: 192 kHz, 176.4 kHz, 96 kHz, 88.2 kHz,

48 kHz, and 44.1 kHz. EQ IIIoperates as a

mono , mul ti-mono , orstereo plug-in.

EQ III can be oper ated from the following con-

trol surfaces:

Digidesign D-Command

Digidesign D-Control

Digidesign ProCont rol

Digidesign C|24

Digidesign Control|24

Digidesign 003

Digidesign Digi 002

Digidesign Command|8

Mackie HUI -compatible controllers

EQ III has a Frequency Graph displ ay that shows

the resp onse curve for the curren t EQ settingson a two-dimensional graph of freque ncy and

gain. The frequency graph display also lets you

modify freque ncy, gain and Q settings for indi-

vidual EQ bands by dragging theircorrespond-

ing points in the grap h.

By choosing from the 7 Band, 24 Band, or

1 Band versions of the EQ IIIplug-in, you canuse only the numberof EQbands you need for

each track,conservin g DSP capac ity on

Pro Tools|HD systems.

EQ III Configurations

The EQ IIIplug-in appears as three separatechoices in the plug-in insert pop-up menu and

in the AudioSui temenu:

1 Band (1-Band EQ3)

24 Band (4-Band EQ 3)

7 Band (7-Band EQ3)

Chapter 7: EQ III 35

1 Band EQ

The 1 Band EQ is available in TDM, RTAS, and

AudioSuite forma ts.

EQ III Controls

dj i l


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The 1 Band EQ has its own window, with six se-lectable filter types.

1 Band EQ window

7 Band EQ and 24 Band EQ

The 7 Band EQ is available in TDM, RTAS, and

Audio Suite formats. The 24 Band EQ is avail-

able in TDM andRTASformats only.

The 7 Band EQ and the 24 Band EQshare the

same wind ow and ident icalcontrols,but with

the 24 Band EQ, alimited number ofthe seven

available bands can be active at the same time.

7 Band EQ and 24 Band EQ window

Adjusting EQ III Controls

You can adjust the EQ IIIplug-incontrols by

any of the following met hods:

Dragging Plug-in Controls

The rotary controls on the EQ IIIplug-in can be

adjusted by dragging over themhorizontally or

vertically. Dragging up or to the right incre-

ment s the cont rol.Draggin g down or to the left

decrements the control.

Dragging a plug-in control

Typing Control Values

You can enter control values directly byclicking

in the correspo nding text box, typing a value,

and pressing Enter(Windows) or Return (Mac).

Typing a control value

Inverting Filter Gain

(Peak EQ Bands Only)

Gain values can be inverted on any PeakEQ

band by Shift-c licking its control dot in the Fre-

quency Graph display, or itsGain knob in the

plug -in window. Thischang es a gain boost to a

cut (+9 to 9) ora gain cut to aboos t (9 to +9).

Gain values cannot be inverted on Notch, High-

Pass, Low-Pass, or shelving bands.


Dragging in the Frequency GraphDisplay

You can adjust the followi ngbydragging the

Resetting Controls to Default Values

You can reset any on-screen control to its de-

fault value by Alt-clicking (Wind ows) orOption-


58/157

control points directly inthe Frequ ency Graph

display:

Frequency Dragging a control point to the

right increases the Frequ ency setting. Dragging a

control poi nt to the left decreases the

Frequency setting.

Gain Dragging a control point up increases the

Gain setting. Dragging acontrol point down de-

creases the Gain sett ing.

Q Start-d ragging (Windows) orCont rol-drag-

ging (Mac) a control point up increases the Q

setting . Start-d raggin g(Windows ) orCont rol-

dragging (Mac) acontrol point down decreases

the Qsetting.

Dragging a control point in the FrequencyGraph display

Adjusting Controls with Fine

Resolution

Controls and contr ol points canbeadjusted

with fine resol utionby holding the Cont rol key

(Windows) or the Command key (Mac) while

adjusting the contro l.

y g ( ) p

clicking (Mac OS) directly on the control or on

its corresponding text box.

Using Band-Pass Mode

You can temporarily set any EQ IIIcontrol to

Band-Pass monitoring mode. Band-Pass mode

cuts monitoring frequencies above and below

theFrequ ency sett ing, leaving a narrow band ofmid-range frequencies. It is especially useful for

adjusting limited bandwid th in order to solo and

fine-tune each individual filterbefore re- verting

the control to not ch filter orpeaking filter type

operations.

Band-Pass mode does not affect EQIIIGain

controls.

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

Hold Start+Shift (Windows) orControl+Shift

(Mac), and drag any rot arycon trol orcon trol

point horizontal ly or vertical ly.

EQ III interactive graph displaying Band-Pass mode

When monitor ing in Band-Pass mode, the Fre-

quency and Q controls funct ion differently.

Frequency Sets the frequency above andbelow which other frequenc ies are cut off,

leaving a narrow band of mid-rangefrequencies.

Chapter 7: EQ III 37

Q Sets the width of the narrowband ofmid-

range frequencies center edaround the Fre-

quency sett ing.

Input Gain Control

The Input Gain control sets the input gain of the

plug-in before EQ proces sing, letting you make


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To switch an EQ III control out of Band-Passmode:

Release Start+Sh ift (Windows) orCon-

trol+Shift (Mac).

Using a Control Surface

EQ III can be controlled from any supported

control surface, including Digidesig ns

D-Cont rol, D-Command , ProControl ,C|24,

003, Digi 002, orComman d|8. Referto the guide

that came with the control surface for details.

I/O Controls

The following Input and Output controls arefound on all EQ IIIconfigurations, except where

noted otherwise.

Input and OutputMeters

ClipIndicators

InputPolarity

OutputGain

p g p g g y

up gain orprevent clipping at the plug-in input

stage.

Output Gain Control

(7 Band EQ and 24 Band EQ Only)

The Output Gain control sets the output gain af-

ter EQprocessing, letting you make up gain or

prevent clipping on the cha nnel where the plug-

in isbeing used.

Input Polarity Control

The Input Polarity button inverts thepolari ty of

the input signal, to help compensate forphase

anomalie soccurring in multi-micro phone envi-ronments, orbecause of mis-wired bala nced

connec tions.

Input and Output Meters


Theplasma-style Input and Output metersshow

peak signal levelsbefore and afterEQ process-

ing, and indicate them asfollows:

Green Indicates nominal levels

Control

InputGain

Control

Contr

ol

Yellow Indicates pre-c lipping levels, starting at

6 dB below full scale

Red Indicates full scale levels (clipping)

I/O controls and meters for 7 BandEQ and24 Band EQ (top) and 1 Band EQ

(bottom)

When using the stereo version of EQ III, the In-

put and Output mete rs displa y the sum of the

left and right channels.

The Clip indicators at the farrigh t ofeachmeterindicate clipping at the input oroutput stage of

the plug-in. Clip indicators can be clear edby

clicking theindicator.



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EQ Band Controls

The individual EQ bands on each EQ IIIconfig-

uration have some combination of the follow-

ing controls as noted below

Band Gain Control

Each Peak and Shelf EQband has a Gain control

forboosting or cutting thecorresponding fre-


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ing controls, as noted below. quencies. Gaincontrols are not used on High-

Pass, Low-Pass, orNotch filters.

Frequency

control

EQtypeselector

Qcontrol

BandEnable

button

Frequency Control

Each EQband has a Frequ ency control that sets

the center frequency (Peak,Shelfand Notch

EQs) or the cutofffrequ ency (High-Pass and

Low-Passfilters) for thatband.

Gaincontrol

EQ Band controls (7 Band EQ Low-Mid bandshown)

EQ Type Selector

On the 1 Band EQ, the EQ Type selectorlets you

choose any one of six avai lable filter types:

High-Pass, Notch, High-Shelf, Low-Shelf, Peak,

and Low-Pass.

On the 7 Band EQ and the 24 BandEQ, the

HPF, LPF, LF, and HF sections have EQ Type se-lectors to toggle between the two available filter

types in each section.

Band Enable Button


The Band Enable button on each EQband tog-gles the corresponding band inand out of cir-

cuit. When a Band Enable button is highlighted,

the band is incircuit. When a Band Enable but-

ton is dark gray, the band isbypassed andavail-

able foractivation. On the 24Band EQ, when a

Band Enable button islight gray, the band is by-

passed and unavailable.

Q Control

Peak and Notch On Peak and Notch bands,

the Q control changes the width of the EQ

band. Higher Q values represent narrower

band- widths. LowerQ values represent widerband- widths.

ShelfOn Shelfbands, the Q control changes the

Q of the shelving filter. Higher Q values repre-

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