MainStage Effects
Contents MainStage Effects Effects overview 6 MainStage Effects introduction 6 Amps and pedals 8 MainStage Amps and Pedals overview 8 Amp Designer 8 Bass Amp Designer 23 Pedalboard 34 Delay effects 50 MainStage Delay effects overview 50 Delay Designer 50 MainStage Echo 66 Loopback 67 MainStage Sample Delay 73 MainStage Stereo Delay 74 MainStage Tape Delay 75 Distortion effects 78 MainStage Distortion effects overview 78 MainStage Bitcrusher 78 MainStage Clip Distortion
MainStage Effects MainStage DeEsser 2 92 MainStage Enveloper 94 MainStage Expander 95 MainStage Limiter 96 Multipressor 97 Noise Gate 101 Equalizers 105 MainStage Equalizers overview 105 Channel EQ 105 Linear Phase EQ 112 Match EQ 118 MainStage Single-Band EQ 123 Vintage EQ Collection 124 Filter effects 130 MainStage Filter effects overview 130 AutoFilter 130 EVOC 20 Filterbank 135 EVOC 20 TrackOscillator 140 Fuzz-Wah 151 Spectral Gate 154 Imaging processors 156 Ma
MainStage Effects MIDI plug-ins 173 Use MIDI plug-ins in MainStage 173 Arpeggiator MIDI plug-in 174 Chord Trigger MIDI plug-in 188 MainStage Modifier MIDI plug-in 191 Modulator MIDI plug-in 192 MainStage Note Repeater MIDI plug-in 197 MainStage Randomizer MIDI plug-in 198 Scripter MIDI plug-in 199 MainStage Transposer MIDI plug-in 214 Velocity Processor MIDI plug-in 215 Modulation effects 218 MainStage Modulation effects overview 218 MainStage Chorus effect 218 MainStage Ensembl
MainStage Effects Reverb effects 267 MainStage Reverb effects overview 267 ChromaVerb 268 MainStage EnVerb 275 MainStage SilverVerb 276 Space Designer convolution reverb 278 MainStage Space Designer overview 278 MainStage Space Designer interface 279 Use impulse responses in MainStage 279 Space Designer envelopes and EQ 284 Space Designer global parameters 291 Specialized effects 296 MainStage Specialized effects overview 296 MainStage Exciter 296 SubBass 297 Utilities and too
Effects overview MainStage Effects introduction MainStage provides an extensive suite of software effect plug-ins that can be used in your concerts. Effects categories include both insert effects and processors that are principally designed for mastering use. Because you’re free to use almost all plug-ins as you see fit, there are few restrictions on the use of effects anywhere in the signal path. Most effects can be used in mono, stereo, or dual mono channels.
Adding a further string to your bow are the flexible, powerful, and fun multi effects units that combine a collection of processors and modulators in one place. See Multi effects. These are ideal for use with urban and dance floor-oriented tracks, but can truly transform any sound you want to run through them. You can manipulate pitch with the Pitch Correction, Pitch Shifter and Vocal Transformer effects. These can be used for subtle corrections or for heavy Cher-like processing of vocals and instruments.
Amps and pedals MainStage Amps and Pedals overview MainStage features an extensive collection of guitar and bass amplifiers and classic pedal effects. You can play live—or process recorded audio and software instrument parts— through these amps and effects. The amplifier models recreate vintage and modern tube and solid-state amps. Builtin effect units, such as reverb, tremolo, or vibrato, are also reproduced. The modeled amplifiers can be paired with a number of emulated speaker cabinets.
The Amp Designer interface is divided into four main parameter sections. • Model parameters: The Model pop-up menu at the bottom of the window is used to choose a preconfigured model, consisting of an amplifier, a cabinet, an EQ type, and a microphone type. The other pop-up menus enable you to independently choose the type of amplifier, cabinet, and microphone. See Build a custom MainStage Amp Designer combo.
Switch between the full and small versions of the interface • Window size: In MainStage, click the disclosure triangle to switch between the full and small versions of the interface. In the small interface, you can access all parameters except microphone selection and positioning. Choose an Amp Designer model You can use the Model pop-up menu to choose a preconfigured model, or you can build a customized model using the Amp, Cabinet, and Mic pop-up menus. See Build a custom MainStage Amp Designer combo.
Model Description Mini Tweed Combo A small amp with a single 10” speaker, used by countless blues and rock artists. It is quite punchy-sounding and can deliver the clean and crunch tones that Tweed combos are known for. Tip: Tweed combos are responsive to playing dynamics. Adjust the knobs to create a distorted sound, then reduce the level of your guitar volume knob to create a cleaner tone. Turn up your guitar volume knob when soloing.
Model Description Modern British Stack 1980s and 1990s descendants of the Vintage British amplifier head, which were optimized for hard rock and metal styles of the time. Tonally, it has a deeper and brighter sound at the low and high end, with a more “scooped” midrange than the Vintage British amp. Brown Stack Unique tones can be coaxed from a British head by running it at lower voltages than its designers intended.
Model Description Small Sunshine Combo A 1 x 12” combo based on a modern amp known for a “big amp” sound. It is brighter than the Sunshine Stack head and has tonal qualities similar to the 1960s British Combo. This amp also sounds good with a 4 x 12” cabinet. Stadium Stack A classic head and 4 x 12” cabinet configuration popular with 1970s arena rock bands. Its tones are cleaner than other Amp Designer 4 x 12” stacks, but it retains body and impact. A good choice if you need power and clarity.
Model Description Boutique Retro Combo A 2 x 12” combo inspired by expensive modern amps that combine the sounds of several 1960s combos. It excels at clean and crunch tones, making it a good choice when you want an old-fashioned flavor but with the crisp highs and defined lows of a modern amplifier. This model has very sensitive tone controls that can deliver countless guitar tones. Pawnshop Combo A 1 x 8” combo based on the inexpensive amps sold in American department stores in the 1960s.
Cabinet Description Modern American 4 x 12 A closed-back 4 x 12” cabinet with a full sound. The lows and mids are denser than the British 4 x 12” cabinets. Studio 1 x 12 A compact-sounding open-back cabinet with full mids and glassy highs. British 2 x 12 A mid 1960s open-back cabinet with an open, smooth tone. British 1 x 12 A small open-back cabinet with crisp highs and low/mid transparency. Boutique British 2 x 12 A 2 x 12” cabinet based on the British 2 x 12.
Build a custom MainStage Amp Designer combo You can use one of the default models or you can create your own hybrid of different amplifiers, cabinets, and so on. You create your own by using the Amp, Cabinet, and Mic pop-up menus, located at the bottom of the window, as well as the EQ pop-up menu. Note: If you create your own hybrid amp combo, you can use the Settings pop-up menu to save it as a setting file, which also includes any parameter changes you have made.
• Old or New Speakers: Amp Designer models based on vintage cabinets capture the character of aged speakers. These may be a bit looser and duller sounding than new speakers, but many players prefer them for their smoothness and musicality. Sounds based on new cabinets tend to have more snap and bite. • Large Speakers or Small Speakers: A larger speaker doesn’t guarantee a larger sound. In fact, the most popular bass guitar cabinet in history uses 8” speakers.
MainStage Amp Designer amplifier controls The amp parameters include controls for the input gain, presence, and master output. The Gain knob is located to the left in the knobs section, the Presence and Master knobs are to the right, and the Output parameter is at the lower-right edge of the interface. Amplifier parameters • Gain knob: Set the amount of preamplification applied to the input signal. This control affects specific amp models in different ways.
Despite these less pleasant-sounding possibilities, it is worth experimenting with various amplifier and EQ combinations, because many can sound good together. EQ parameters • EQ pop-up menu: Click the word EQ or CUSTOM EQ to choose an EQ type. Each EQ model has unique tonal qualities. • Bass, Mids, and Treble knobs: Adjust the EQ frequency ranges as you would with tone knobs on a hardware guitar amplifier. The behavior and response of these knobs changes when different EQ models are chosen.
MainStage Amp Designer effects overview The effects parameters include reverb, tremolo, and vibrato, which emulate the processors found on many amplifiers. These controls are found in the center of the knobs section. Reverb, which is controlled by an On/Off switch in the middle, can be added to either tremolo or vibrato, or it can be used independently. See MainStage Amp Designer reverb effect.
Reverb types Learn about the properties and sonic character of each Amp Designer reverb type. Reverb type Description Vintage Spring This bright, splashy sound has largely defined combo amp reverb since the early 1960s. Simple Spring A darker, subtler spring sound. Mellow Spring An even darker, low-fidelity spring sound. Bright Spring Has some of the brilliance of Vintage Spring, but with less surf-style splash. Dark Spring A moody-sounding spring. More restrained than Mellow Spring.
MainStage Amp Designer microphone parameters Amp Designer provides seven virtual microphone types. As with other components in the tone chain, different selections can yield very different results. After choosing a cabinet, you can set the type of microphone to emulate and can place the microphone, relative to the cabinet. The Mic pop-up menu is near the lower right. The speaker-adjustment graphic appears when you move your pointer in the area above the Mic pop-up menu.
• Ribbon 121: Emulates the sound of a ribbon microphone. A ribbon microphone is a type of dynamic microphone that captures a sound often described as bright or brittle, yet still warm. It is useful for rock, crunch, and clean tones. Tip: Combining multiple microphone types can produce an interesting sound. Duplicate the guitar track, and insert Amp Designer on both tracks.
The Bass Amp Designer interface is divided into four main parameter sections. • Model parameters: The Model pop-up menu at the lower left of the window is used to choose a preconfigured model, consisting of an amplifier, a cabinet, and a microphone type. The other pop-up menus enable you to independently choose the type of amplifier, cabinet, and microphone. See Build a MainStage Bass Amp Designer combo.
Amp model Cabinet Description Modern Amp 3-way speaker array Emulates a 12-tube 360-watt head introduced in 1989. It is suitable for many musical styles and is the ideal choice for highly articulated performances. MainStage Bass Amp Designer cabinet models The table outlines the properties of each cabinet model available in Bass Amp Designer. Cabinet Description Modern Cabinet 15” 1 x 15 inch speaker, closed-back design. Very deep and full tone.
Choose a Bass Amp Designer cabinet Cabinets have a huge impact on the character of a bass guitar sound (see MainStage Bass Amp Designer cabinet models). Whereas certain amplifier and cabinet pairings have been popular for decades, departing from them is an effective way to create fresh-sounding tones. You can try random combinations, but if you consider the variables that determine the “sound” of a cabinet, you can make educated guesses about non-traditional amplifier and cabinet combinations.
The channel signal flow changes when you choose different models from the Cabinet popup menu. Cabinet Blend slider position Channel 1 routing Channel 2 routing Any speaker cabinet model Middle Pre-amp, power amp, cabinet, mic D.I. box Direct (PowerAmp Out) Middle Pre-amp, power amp D.I. box Direct (PreAmp Out) Middle Pre-amp D.I.
Use the MainStage Bass Amp Designer D.I. box The D.I. box is modeled on a highly regarded American D.I. unit. D.I. box parameters MainStage Effects • Boost knob: Set the input gain of the D.I. box. • HF Cut button: Turn on a highpass filter. This is used to reduce noise. • Tone knob: Set the tonal color of the D.I. box. Each number represents a preset EQ curve. • 1: An EQ curve with a -6 dB scoop from 100 Hz to 10 kHz, most pronounced around 800 Hz.
Use the D.I. box only • In MainStage, drag the Blend slider to the far right. Use the D.I. box and the amplifier in parallel • In MainStage, drag the Blend slider to any central position—not to the far right or the far left. MainStage Bass Amp Designer amplifier controls The amp parameters include controls for channel selection, input filter and gain, and master output. The Gain knob is located to the left in the knobs section and the Master knob and Output slider are located at the far right.
MainStage Bass Amp Designer effects overview Bass Amp Designer provides multiple EQ types to sculpt your instrument tones. It provides a basic EQ that mirrors the tonal qualities of the integrated EQ of the amplifier model you choose, if applicable. All amplifier model EQs have identical controls: Bass, Mids, and Treble. See MainStage Bass Amp Designer EQ. Bass Amp Designer also offers an additional Graphic or Parametric EQ that you turn on with the EQ switch above the Master knob at the far right.
MainStage Bass Amp Designer compressor The internal compression circuit is custom-built for use with Bass Amp Designer. It features an AutoGain function that compensates for volume reductions caused by compression. Compressor parameters • Compressor on/off switch: Turn the Compressor on or off. • Hard/Soft switch: Switch between two compression algorithms. • Hard: Stronger compression, with good control over levels, which makes it easier to fit the bass into an arrangement.
• Pre/Post switch: Choose whether the additional EQ is inserted before or after—pre or post—the compressor module in the signal path. Note: This parameter is relevant only if the Compressor is turned on. • Frequency sliders: Set the amount of boost or cut for each frequency band. MainStage Bass Amp Designer Parametric EQ Bass Amp Designer offers an additional Graphic or Parametric EQ that you turn on with the EQ switch above the Master knob at the far right.
MainStage Bass Amp Designer mic parameters Bass Amp Designer offers three virtual microphone types. As with other components in the tone chain, different selections can yield different results. After choosing a cabinet, you can choose the type of microphone to emulate and you can adjust the position of the microphone, relative to the cabinet. The Mic pop-up menu is near the lower right. The speaker-adjustment graphic appears when you move your pointer in the area above the Mic pop-up menu.
• Dynamic 421: Emulates the sound of a German dynamic cardioid microphone. It can capture a wide frequency range and has a slight emphasis of the treble range. It is useful for clean tones. Tip: Combining multiple microphone types can produce an interesting sound. Duplicate the bass guitar track, and insert Bass Amp Designer on both tracks. Select different microphones in each Bass Amp Designer instance while retaining identical settings for all other parameters, then set track signal levels.
Use the MainStage Pedalboard Browser Pedalboard offers dozens of pedal effects and utilities in the Pedal Browser on the right side of the interface. Each effect and utility is grouped into a category, such as distortion, modulation, and so on.
Add a stompbox to the Pedal area In MainStage, do one of the following: • Drag the effect that you want to insert from the Pedal Browser to the appropriate Pedal area position. This can be to the left, to the right, or in between existing pedals. • Double-click an effect in the Pedal Browser to add it to the right of all existing stompboxes in the Pedal area. Note: Double-clicking a stompbox in the Pedal Browser when a stompbox is selected in the Pedal area replaces the selected pedal.
2. Select Setting button: Select a setting, then click Open. One or more stompboxes appear in the Pedal Browser. The name of the imported setting is shown at the bottom of the Pedal Browser. Add an imported pedal to the Pedal area In MainStage, do one of the following: • Pedal area: Drag the stompbox that you want to add from the Pedal Browser to the appropriate Pedal area position. This can be to the left, to the right, or in between existing pedals.
Add a pedal to the Pedal area In MainStage, do one of the following: • Drag the stompbox that you want to insert from the Pedal Browser to the appropriate Pedal area position. This can be to the left, to the right, or in between existing pedals. • Make sure that no pedal is selected in the Pedal area, then double-click a stompbox in the Pedal Browser to add it to the right of all existing effects in the Pedal area. Note: You insert Mixer and Splitter utility pedals in a different way.
Notes on Splitter utility and Mixer utility use Dragging a Splitter utility into the Pedal area automatically inserts a Mixer utility to the far right of all inserted pedals. You cannot drag a Splitter utility to the far right of all inserted pedals, to directly after an inserted Splitter utility, to directly in front of an inserted Mixer utility, or to an empty space in the Pedal area.
Determine the split point between busses When more than one bus is active, a number of dots appear along the “cables”—the gray lines—in the Router. These represent the output (the socket) of the pedal to the lower left of the dot. • In MainStage, click the appropriate dot to determine the split point where the signal is routed between busses. A cable appears between the busses when you click a dot. Note: You cannot create a split point directly before or after the Mixer utility.
Use MainStage Pedalboard Macro Controls Pedalboard provides eight Macro Targets—A through H—that enable you to map any parameter of an inserted stompbox. You can save different mappings with each Pedalboard setting. Create a Workspace knob for Macro A–H Value. MIDI hardware switches, sliders, or knobs can then be used to control the mapped Pedalboard Macro A–H target parameters in real time. See the Smart Controls chapter for details.
Stompbox Description Double Dragon A deluxe distortion effect. • On/Off switch: Enable/disable the pedal. • Drive knob: Set the amount of saturation applied to the input signal. • Tone knob: Set the cutoff frequency. • Squash knob: Set the threshold for the internal compression circuit. • Contour knob: Set the amount of nonlinear distortion applied to the signal. • Mix knob: Set the ratio between the source and distorted signals.
Stompbox Description Octafuzz A fat fuzz effect that can deliver a soft, saturated distortion. • On/Off switch: Enable/disable the pedal. • Fuzz knob: Set the amount of gain applied to the input signal. • Tone knob: Set the cutoff frequency of the highpass filter. • Level knob: Set the effect output level. Rawk! Distortion A metal/hard rock distortion effect. • On/Off switch: Enable/disable the pedal. • Crunch knob: Set the amount of saturation applied to the input signal.
Stompbox Description Wham A pedal-controlled pitch shifter. • On/Off switch: Enable/disable the pedal. • Tune knob: Set the frequency. • Mix knob: Set the level balance between the source and pitch-shifted signals. MainStage Pedalboard modulation pedals This table describes the modulation effects pedals. Stompbox Description Flange Factory A deluxe flanging effect with precise sound control. • On/Off switch: Enable/disable the pedal.
Stompbox Description Phaze 2 A flexible dual-phaser effect. • On/Off switch: Enable/disable the pedal. • LFO 1/2 Rate knobs: Set the modulation speed in hertz, or synchronized with the host tempo when you enable the Sync button. • Sync button: Turn on to synchronize with the host tempo. • Ceiling/Floor knobs: Determine the frequency range that is swept. • Order knobs: Switch between algorithms, with higher (even) numbers resulting in a heavier phasing effect.
Stompbox Description Roto Phase A phaser effect that adds movement to, and alters the phase of, the signal. • On/Off switch: Enable/disable the pedal. • Rate knob: Set the modulation speed in hertz, or synchronized with the host tempo when you enable the Sync button. • Sync button: Turn on to synchronize with the host tempo. • Intensity knob: Set the strength of the effect. • Vintage/Modern switch: Vintage enables a fixed-frequency internal EQ. Modern disables the EQ.
MainStage Pedalboard delay pedals This table describes the Delay effects pedals. Stompbox Description Blue Echo A simple delay effect. • On/Off switch: Enable/disable the pedal. • Time knob: Set the modulation speed in hertz, or synchronized with the host tempo when you enable the Sync button. • Sync button: Turn on to synchronize with the host tempo. • Repeats knob: Determine the number of delay repeats. • Mix knob: Set the level ratio between source and effect signals.
Stompbox Description Tru-Tape Delay A vintage tape delay effect. • On/Off switch: Enable/disable the pedal. • Norm/Reverse switch: Change the delay playback direction. • Hi/Lo Cut knobs: Adjust the range of the fixed frequency internal EQ. • Dirt knob: Set the amount of input signal gain, which can introduce an overdriven, saturated quality. • Flutter knob: Emulate speed fluctuations in the tape transport mechanism. • Sync button: Turn on to synchronize with the host tempo.
MainStage Pedalboard dynamics pedals This table describes the dynamics pedals. Stompbox Description Squash Compressor A simple compressor effect. • On/Off switch: Enable/disable the pedal. • Sustain knob: Sets the threshold level. Signals above this value are reduced in level. • Level knob: Set the overall output gain. • Attack switch: Set to Fast for signals with fast attack transients, such as drums. Set to Slow for signals with slow attack phases, such as strings.
Delay effects MainStage Delay effects overview Delay effects store the input signal—and hold it for a short time—before sending it to the effect input or output. The delayed signal creates a repeating echo effect after a given time period. Each subsequent repeat is a little quieter than the previous one. Most delays also let you feed a percentage of the delayed signal back to the input. This can result in a subtle, chorus-like effect or cascading, chaotic audio output.
As the name implies, Delay Designer offers significant sound design potential. You can use it for everything from a basic echo effect to an audio pattern sequencer. You can create complex, evolving, moving rhythms by synchronizing the placement of taps. This leads to further musical possibilities when coupled with judicious use of transposition and filtering.
MainStage Delay Designer main display The main display is used to view and edit tap parameters. You can choose the parameter to show and can quickly zoom or navigate through all taps. Main display parameters MainStage Effects • View buttons: Click to choose the parameter or parameters shown in the Tap display. See Use the MainStage Delay Designer Tap display. • Autozoom button: Zoom the Tap display out to make all taps visible.
Use the MainStage Delay Designer Tap display The view buttons determine the parameter shown in the Tap display. The Toggle bar is shown below the view buttons. You can use it to turn parameters on or off for each tap. You can use the Overview display to zoom and to navigate the Tap display area. Tip: If the Overview display is hidden behind a tap, you can move it to the foreground by holding down Shift.
Use Delay Designer tap toggle buttons Each tap has its own toggle button in the Toggle bar. These buttons provide a quick way to graphically turn parameters on and off. The parameter being toggled is determined by the current view button selection. 1. In MainStage, click the view button for the parameter you want to toggle. 2. Click the toggle button of each tap that you want to change: • Cutoff view: Turn the filter on or off. • Reso view: Switch the filter slope between 6 dB and 12 dB.
Note: The Autozoom button needs to be turned off when you manually zoom in the Overview display. When you zoom in on a small group of taps, the Overview display continues to show all taps. The area shown in the Tap display is indicated by the bright rectangle in the Overview display. Move to different sections of the Tap display • In MainStage, horizontally drag the middle of the bright rectangle in the Overview display. The zoomed view in the Tap display updates as you drag.
3. To create new taps, click the Tap button. These are created at the exact moments in time of each click, adopting the rhythm of your click pattern. 4. To finish creating taps, click the Last Tap button. The final tap is added, ending tap recording, and assigning the last tap as the feedback tap (for more information about the feedback tap, see MainStage Delay Designer master parameters).
Edit MainStage Delay Designer taps There is always at least one selected tap. You can easily distinguish selected taps by color—the Toggle bar icons and the Identification bar letters of selected taps are white. You can move a tap backward or forward in time or completely remove it. Note: When you move a tap, you are actually editing its delay time. Select a tap In MainStage, do one of the following: • Click a tap in the Tap display. • Click the tap letter in the Identification bar.
Move a selected tap in time • In MainStage, in the Identification bar, drag a tap to the left to go forward in time, or to the right to go backward in time. This method also works when more than one tap is selected. Note: Editing the Delay Time parameter in the Tap Delay field of the Tap parameter bar also moves a tap in time. For more details about the Tap Delay field and editing taps, see MainStage Delay Designer Tap parameter bar.
Edit a tap parameter in the Tap display 1. In MainStage, click the view button of the parameter you want to edit. 2. Vertically drag the bright line of the tap you want to edit (or one of the selected taps, if multiple taps are selected). If you selected multiple taps, the values of all selected taps are changed relative to each other. Note: The method outlined above is slightly different for the Filter Cutoff and Pan parameters. See the tasks below.
Align the values of several taps 1. In MainStage, Command-click in the Tap display, and drag while holding down the Command key. A line trails behind the pointer as you drag. 2. Click the appropriate position to mark the end point of the line. The values of taps that fall between the start and end points are aligned along the line. Reset the value of a tap In MainStage, you can use the Tap display or Tap parameter bar to reset tap parameters to their default values.
Edit filter cutoff in the Tap display In Cutoff view, each tap actually shows two parameters: highpass and lowpass filter cutoff frequency. • In MainStage, drag the cutoff frequency line—the upper line is lowpass and the lower line is highpass—to independently adjust filter cutoff values. Both cutoff frequencies can be adjusted simultaneously by dragging in the area between them. When the highpass filter cutoff frequency value is lower than that of the lowpass cutoff frequency, only one line is shown.
• To edit the pan position in mono input/stereo output configurations: Drag vertically from the center of the tap in the direction you want to pan the tap or taps. A white line extends outward from the center in the direction you have dragged, reflecting the pan position of the tap or taps. Lines above the center position indicate pans to the left, and lines below the center position denote pans to the right. Left (blue) and right (green) channels are easily identified.
• 2 x delay time: Doubles the delay time of all selected taps. For example, the delay times of three taps are set as follows: Tap A = 250 ms, Tap B = 500 ms, and Tap C = 750 ms. If you select these three taps and choose “2 x delay time,” the taps are changed as follows: Tap A = 500 ms, Tap B = 1000 ms, and Tap C = 1500 ms. In other words, a rhythmic delay pattern unfolds half as fast. (In musical terms, it is played in half time.) • 1/2 x delay time: Halves the delay time of all selected taps.
• Flip buttons: Clicking these buttons reverses the tap position from left to right, or vice versa. For example, if a tap is set to 55% left, clicking the flip button swaps it to 55% right. • Pan field: Set pan position for mono signals or stereo balance for stereo signals. • Pan displays a percentage between 100% (full left) and −100% (full right), which represents the pan position or balance of the tap. A value of 0% represents the center panorama position.
Sync parameters • Sync button: Turn synchronized mode on or off. • Grid pop-up menu: Choose a grid resolution from several musical note durations. The grid resolution (and project tempo) sets the length of each grid increment. As you change grid resolutions, the increments shown in the Identification bar change accordingly. This also determines a step limitation for all taps. For example, imagine a project with a tempo of 120 bpm. The Grid pop-up menu value is set to 1/16 notes.
Master parameters • Feedback button: Turn the feedback tap on or off. • Feedback Tap pop-up menu: Choose a tap as the feedback tap. • Feedback Level knob and field: Set the feedback tap output level before it is routed back into the input. • A value of 0% equals no feedback. • A value of 100% sends the feedback tap back into the input at full volume. Note: If Feedback is enabled and you begin creating taps with the Tap pads, Feedback is automatically turned off.
Loopback MainStage Loopback overview The Loopback plug-in lets you record virtual “tape loops,” play them back repeatedly, and overdub new recordings while previous ones continue playing. You can use Loopback to create simple loops, recurring motifs, or complex, evolving textures. Using Loopback as an audio effect plug-in in an instrument channel strip, you can create looped performances with a single instrument, your voice, or other audio material.
MainStage Loopback interface The Loopback interface resembles a hardware tape-loop device. Use this section to familiarize yourself with various areas of the Loopback interface. MainStage Effects • Waveform display: The waveform display shows the waveform of the recorded audio material, the playhead position, and the ruler. See MainStage Loopback waveform display.
MainStage Loopback waveform display The waveform display shows the waveform of the recorded audio material. The waveform display updates in real time as you record new material. The vertical line in the center of the display is the playhead, which shows the current playback or recording position as the waveform scrolls from right to left. The ruler appears above the waveform, showing bars and beats (musical time).
If the tape loop length has been set, pressing the Fade Out button (or activating a screen control mapped to it) while Loopback is playing clears the buffer, but does not reset the loop length. Pressing the Fade Out button while Loopback is stopped clears the buffer. If the loop length was undefined when Loopback started playing, it also resets the loop length. • Count-in button:Enables a one-bar count-in, using the concert time signature. • Metronome button:Turns the MainStage metronome on or off.
MainStage Loopback Sync, Snap To, and Play From parameters The Sync, Snap To, and Play From pop-up menus in the bar at the bottom of the window control various aspects of playback and synchronization of the audio material. Sync, Snap To, and Play From parameters • Sync pop-up menu:Enables or disables synchronization with the MainStage tempo and clock. • Snap To pop-up menu:Determines how Loopback starts, in play or record mode, when stopped.
All Loopback instances that belong to a group switch between states for the following transport functions when changed in any group member: • Record • Play or Stop • Return to Start • Dragging in the waveform display • Fade Out (time and action) • Count In • Metronome • Undo • Reverse Important: Editing a parameter in one member of a group does not automatically update the parameter value in other group members.
• When Patch or Set is Selected: You can choose one of the following functions to be performed when the patch (or set) containing the Loopback plug-in is selected: Do Nothing (the default); Clear (empties the entire tape loop); Start Playing (starts the plug-in playing at its current settings); Start Recording (starts recording the first take at the current plug-in settings); or Clear and Start Recording (clears the existing tape loop and starts recording the first take at the current plug-in settings).
MainStage Stereo Delay Stereo Delay lets you set the Delay, Feedback, and Mix parameters separately for the left and right channels. The Crossfeed knob (for each stereo side) sets the feedback intensity level of each signal being routed to the opposite stereo side. You can use Stereo Delay on mono tracks or busses when you want to create independent delays for the two stereo sides.
• Feedback Phase button: Invert the phase of the corresponding channel feedback signal. • Crossfeed Left to Right (Right to Left) knob and field: Transfer the feedback signal of the left channel to the right channel, and vice versa. • Crossfeed Phase button: Invert the phase of the crossfed feedback signals. Global and Output Mix parameters • Routing pop-up menu: Choose the internal signal routing. Options include Customized, Straight, Crossfeed, 90/10, 10/90, Ping Pong L/R, Pan L/R, and Rotate L/R.
Tape Delay parameters • Tempo Sync button: Synchronize delay repeats with the project tempo (including tempo changes). The current tempo is shown in the field below the button. Set note values with the Note pop-up menu or Delay Time knob. • Delay Time knob and field: Set the delay time in milliseconds. Notes (and dots) are displayed around the Delay Time knob when synchronized with the project tempo. Click these buttons or dots (or rotate the knob) to choose an exact synchronization value.
MainStage Effects • Freeze button: Capture current delay repeats and sustain them until turned off. • Dry/Wet sliders and fields: Independently control the amount of original and effect signal.
Distortion effects MainStage Distortion effects overview Distortion effects simulate the distortion created by vacuum tubes, transistors, or digital circuits. Vacuum tubes were used in audio amplifiers before the development of digital audio technology. They are still used in musical instrument amplifiers today. When overdriven, tubes produce a musically pleasing distortion that has become a familiar part of the sound of rock and pop music.
Bitcrusher parameters • Mode buttons: Set the distortion mode to Fold, Clip, or Wrap. Signal peaks that exceed the clip level are processed. Note: The Clip Level parameter has a significant impact on the behavior of all three modes. This is reflected in the waveform display, so try each mode button and adjust the Clip Level slider to get a feel for how this works. • • Fold button: Set a softer distortion by halving the level of the center portion of the signal above the threshold.
This unique combination of filters allows for gaps in the frequency spectra that can sound good with this sort of nonlinear distortion. Clip Distortion parameters MainStage Effects • Input Gain knob and field: Set the amount of gain applied to the plug-in input signal. This behaves like a preamplifier for the Drive parameter. • Drive knob and field: Set the amount of additional gain (distortion) applied to the input signal. After being amplified by Drive, the signal passes through a highpass filter.
MainStage Distortion effect The Distortion effect simulates the low fidelity distortion generated by a bipolar transistor. You can use it to simulate playing a musical instrument through a highly overdriven amplifier or to create unique distorted sounds. Distortion parameters • Drive knob and field: Set the amount of saturation applied to the signal. • Tone knob and field: Set the frequency for the high cut filter. Filtering the harmonically rich distorted signal produces a softer tone.
• Type pop-up menu: Choose the type of distortion. • Growl: Emulates a two-stage tube amplifier similar to the type found in a Leslie 122 speaker cabinet, which is often used with the Hammond B3 organ. • Bity: Emulates the sound of a bluesy (overdriven) guitar amp. • Nasty: Produces hard distortion, suitable for creating very aggressive sounds. • Class AB soft: Emulates a softer crossover distortion encountered in transistorized amplifiers when driving a higher load.
MainStage Phase Distortion The Phase Distortion effect is based on a modulated delay line, similar to a chorus or flanger effect (see MainStage Modulation effects overview). Unlike these effects, however, the delay time is not modulated by a low frequency oscillator (LFO) but rather by a lowpass-filtered version of the input signal itself, using an internal sidechain. This means that the incoming signal modulates its own phase position.
Dynamics processors MainStage Dynamics processors overview Dynamics processors control the perceived loudness of your audio, add focus and punch to tracks and projects, and optimize the sound for playback in different situations. The dynamic range of an audio signal is the range between the softest and loudest parts of the signal—technically, between the lowest and highest amplitudes. Dynamics processors enable you to adjust the dynamic range of individual audio files, tracks, or an overall project.
• Expanders: Expanders are similar to compressors, except that they raise, rather than lower, the signal when it exceeds the threshold. Expanders are used to add life to audio signals. See MainStage Expander. • Limiters: Limiters (also called peak limiters) work in a similar way to compressors in that they reduce the audio signal when it exceeds a set threshold.
• Gain knob and field: Set the amount of gain after input scaling. • Out Ceiling knob and field: Set the maximum output level, or ceiling. The signal does not rise above this. • Lookahead knob and field: Set the playback buffer size (how far in the future the file is analyzed for peaks). Also see the Optimal Lookahead parameter. Values lower than the optimal buffer size are indicated in red.
The interface is divided into two main areas: • Main parameters: The bulk of the interface contains the meters and Threshold, Ratio, Knee, Attack, and other controls. See MainStage Compressor main parameters. • Output or Side Chain parameters: The right side of the interface is shared by two discrete groups of parameters. Click the Side Chain or Output button to view and use the parameters in each group. See MainStage Compressor output parameters and MainStage Compressor side chain parameters.
• Gain Reduction meter/graph: Click either the Meter or Graph button to change the realtime compression amount display. • Input Gain knob and field: Set the level at the compressor input. • Input Gain meter: Displays the level at the compressor input. • Threshold knob and field: Set the threshold level—signals above this threshold value are reduced in level. • Ratio knob and field: Set the compression ratio—the ratio of signal reduction when the threshold is exceeded.
Compressor output parameters • Limiter button: Turn the integrated limiter on or off. Limiting prevents the output of Compressor from exceeding the threshold value. • Limiter Threshold knob and field: Set the threshold level for the limiter. • Distortion knob: Choose whether to apply clipping above 0 dB, and the type of clipping. Soft, Hard, and Clip reduce the signal around the 0 dB line in different ways, resulting in a smoothed or squared off distortion of the signal peaks.
Compressor sidechain parameters • Detection buttons: Choose the way stereo sidechain signals are handled at the sidechain input. • Max button: Turn on to compress both channels if either stereo channel exceeds or falls below the threshold. • Sum button: When enabled, the combined level of both channels must exceed the threshold before compression occurs. • Peak/RMS buttons: Use in conjunction with the Max and Sum buttons.
Compressor envelope times The Attack and Release parameters shape the dynamic response of Compressor. The Attack parameter determines the time it takes after the signal exceeds the threshold level before Compressor starts reducing the signal. Many sounds, including voices and musical instruments, rely on the initial attack phase to define the core timbre and characteristic of the sound.
Use a side chain with Compressor Use of a side chain with a compressor is common. The dynamics (level changes) of another channel strip is used as a control source for compression. For example, the dynamics of a drum groove can be used to rhythmically change the compression, and therefore dynamics, of a guitar, synthesizer, or bass part. The side chain signal is used only as a detector or trigger in this situation.
• Detection meter slider: Drag to set the Threshold, or amplification level, above which gain reduction of the selected frequency is applied. • Reduction meter: Shows the amount of gain reduction applied. • Reduction max field: The maximum level is shown (peak hold). Click to reset. • Reduction meter slider: Drag to set the maximum amount of dynamic gain reduction applied to the selected frequency.
• Set the Range, Frequency and Filter parameter settings to isolate the offending frequency. Use the Filter Solo button, if required, to make the frequency easier to hear and identify. • Set the Threshold and Max Reduction values. MainStage Enveloper Enveloper is an unusual processor that lets you shape the attack and release phases of a signal—the signal transients, in other words. This makes it a unique tool that can be used to achieve results that differ from other dynamics processors.
• Lookahead slider and field: Set the pre-read analysis time for the incoming signal. The Lookahead slider defines how far into the future of the incoming signal Enveloper looks, to anticipate upcoming events. You generally do not need to use this feature, except when processing signals with extremely sensitive transients. If you do raise the Lookahead value, you may need to adjust the attack time to compensate. • Display: Shows the attack and release curves applied to the signal.
• Auto Gain button: Turn on to compensate for the level increase caused by expansion. When Auto Gain is active, the signal sounds softer, even when the peak level remains the same. Note: If you dramatically change the dynamics of a signal (with extreme Threshold and Ratio values), you may need to reduce the Gain knob level to avoid distortion. In most cases, turning on Auto Gain adjusts the signal appropriately. • Knee knob and field: Determine the strength of expansion at levels close to the threshold.
• Output meters: Show output levels of the limited signal. The Margin field shows the highest output level. Click the Margin field to reset it. • Gain knob and field: Set the amount of gain applied to the input signal. • Release knob and field: Set the time it takes for Limiter to stop processing, after the signal falls below the threshold level. • Output Level knob and field: Set the output level of the signal.
See the Multipressor Display, Frequency Band, and Output parameter sections, and use tips. MainStage Multipressor display parameters Multipressor parameters are grouped into three main areas: the graphic display in the upper section, the set of controls for each frequency band in the lower section, and the output parameters at the right. Display parameters • MainStage Effects Graphic display: View and adjust the frequency and gain for each frequency band.
MainStage Multipressor frequency band controls Multipressor parameters are grouped into three main areas: the graphic display in the upper section, the set of controls for each frequency band in the lower section, and the output parameters on the right. Frequency band parameters MainStage Effects • Compression Threshold fields: Set the compression threshold for the selected band. Setting the parameter to 0 dB results in no compression of the band.
• Bypass buttons: Bypass the selected frequency band. • Solo buttons: Turn on to hear compression on only the selected frequency band. • Level meters: The bar on the left shows the input level, and the bar on the right shows the output level. MainStage Multipressor output parameters Multipressor parameters are grouped into three main areas: the graphic display in the upper section, the set of controls for each frequency band in the lower section, and the output parameters on the right.
Compression parameters The Compression Threshold and Compression Ratio parameters are the key parameters for controlling compression. Usually the most useful combinations of these two settings are a low Compression Threshold with a low Compression Ratio, or a high Compression Threshold with a high Compression Ratio. Downward Expansion parameters The Expansion Threshold, Expansion Ratio, and Expansion Reduction parameters are the key parameters for controlling downward expansion.
In Ducker mode, the source signal is reduced in level. Ducking is a common technique used in radio and television broadcasting. When the DJ or announcer speaks while music is playing, the music level is automatically reduced. When the announcement has finished, the music is automatically raised to its original volume level. Noise Gate parameters • Gate/Ducker buttons: Set the operating mode. See Use MainStage Noise Gate. • Threshold knob and field: Set the threshold level.
Use MainStage Noise Gate Set the Reduction knob to the lowest possible value to make sure that sounds below the Threshold value are completely suppressed. Set Reduction to a higher value to reduce lowlevel sounds but still allow them to pass. You can also use Reduction/Ducking to boost the signal by up to 20 dB, which is useful for ducking effects. The Attack, Hold, and Release knobs modify the dynamic response of Noise Gate.
Use Noise Gate in Ducking mode 1. In MainStage, insert Noise Gate into an aux channel strip and click the Ducker button. 2. Assign all channel strip outputs that you want to “duck” (dynamically lower the volume of the mix) to a bus—the aux channel strip chosen in step 1. 3. In the Noise Gate plug-in window header, choose the bus that carries the ducking (vocal) signal from the Side Chain pop-up menu. Note: The ducked side chain is mixed with the output signal after passing through the plug-in.
Equalizers MainStage Equalizers overview An equalizer (commonly abbreviated as EQ) shapes the sound of incoming audio by changing the level of specific frequency bands. Equalization is one of the most-used audio processes, both for music projects and in post-production work for video. You can use EQ to subtly or significantly shape the sound of an audio file, an instrument, a vocal performance, or a project by adjusting specific frequencies or frequency ranges.
You can use Channel EQ to shape the sound of individual tracks or audio files or for toneshaping on an overall project mix. The Analyzer and graphic controls make it easy to view and change the audio signal in real time. Tip: The parameters of Channel EQ and Linear Phase EQ are identical, enabling you to freely copy settings between them. If you replace a Channel EQ with a Linear Phase EQ (or vice versa) in the same effect slot, the current settings are automatically transferred to the new EQ.
• Drag the control point to adjust the center frequency only. Note: Horizontally dragging the control point in band 1 and band 8 adjusts both the frequency and Q. • Hold down Option-Command to adjust the Q and center frequency simultaneously. A “Q” icon is shown at the pointer position. MainStage Channel EQ parameters The central area of the Channel EQ window includes the graphic display and parameters for shaping each EQ band. The master Gain slider is shown at the right.
• • • • • MainStage Effects Band 3 On/Off button: Switch on a parametric filter with three controls. Frequency sets a center frequency. Q sets the width of the frequency band around the center frequency. Gain sets the level of the band. • Band 3 background or control point: Drag the yellow shaded area, curve, or control point to change the frequency and gain values. Click the control point to select the band. • Band 3 horizontal line: Drag vertically to change the gain value.
• • Band 7 vertical line: Drag horizontally to change the Q value. • Band 7 vertical/horizontal lines: Drag to change the gain and Q values. Band 8 On/Off button: Switch on a high cut filter that allows low frequencies to pass and reduces the level of high frequencies near the cutoff (set) frequency. • Band 8 background or control point: Drag the pink control point to change the frequency and Q value. Drag the pink shaded area horizontally to change the frequency value.
Use MainStage Channel EQ shortcut menus The Analyzer and Q-Couple buttons provide additional parameters that you can use to enhance the behavior of Channel EQ. Control-click the Analyzer or Q-Couple button to open a context menu that contains the following parameters. Analyzer • Analyzer Mode: Choose Peak or RMS. • Analyzer Resolution: Choose a sample resolution for the Analyzer: Resolution low (2048 points), Resolution medium (4096 points), or Resolution high (8192 points).
You can reduce or eliminate unwanted frequencies, and you can raise quieter frequencies to make them more pronounced. You can adjust the center frequencies of bands 2 through 7 to affect a specific frequency—either one you want to emphasize, such as the root note of the music, or one you want to eliminate, such as hum or other noise. While doing so, change the Q parameter or parameters so that only a narrow range of frequencies is affected, or widen it to alter a broader frequency area.
As soon as the Analyzer is activated, you can change the scaling from the default dynamic range of 60 dB. Drag vertically on the scale to the right of the graphic display to set the maximum value to anywhere between +20 dB and −80 dB. The Analyzer display is always dB-linear. There are several additional Analyzer parameters in the Channel EQ shortcut menus and the extended parameters. Note: High Analyzer resolutions require significantly more processing power.
Use the Linear Phase EQ graphic display The graphic display shows the current curve of each EQ band. The scale is shown in decibels. The color of each band matches the corresponding button above the display. Each colored band (and corresponding Frequency, Gain, and Q field) is highlighted as you move the pointer across it. Click a curve line segment, the (center frequency) control point, or anywhere in the colored space between the zero line and EQ curve to adjust the band.
Linear Phase EQ parameters • Band 1 On/Off button: Switch on a low cut filter that allows high frequencies to pass and reduces the level of low frequencies near the cutoff (set) frequency. • Band 1 background or control point: Drag the red control point to change the frequency and Q values. Drag the red shaded area horizontally to change the frequency value. • Band 1 vertical/horizontal line: Drag vertically to change the slope.
• • • • Band 5 On/Off button: Switch on a parametric filter with three controls. Frequency sets a center frequency. Q sets the width of the frequency band around the center frequency. Gain sets the level of the band. • Band 5 background or control point: Drag the aqua shaded area, curve, or control point to change the frequency and gain values. Click the control point to select the band. • Band 5 horizontal line: Drag vertically to change the gain value.
• Scale display: Drag vertically to adjust the scaling of the overall EQ curve. Control-click to open a shortcut menu where you can set the EQ dB Scale Mode. • Master Gain slider and field: Set the overall output level of the signal. Use it after boosting or cutting individual frequency bands. • Analyzer button: Turn the Analyzer on or off. Play the audio signal and watch the graphic display to identify peaks and troughs in the frequency spectrum.
MainStage Linear Phase EQ extended parameters Click the disclosure triangle at the lower left to display the extended parameters. • Analyzer Decay slider and field: Set the decay rate (in dB per second) of the Analyzer curve. This is shown as a peak decay in Peak mode or an averaged decay in RMS mode. MainStage Linear Phase EQ use tips Linear Phase EQ is typically used as a mastering tool that is inserted into master or output channel strips.
4. Adjust the frequency parameters of the Linear Phase EQ instance running in Side mode. One typical use would be to reduce the low frequencies and perhaps boost the upper frequencies. This cleans up the bottom end and enhances stereo effects present in the signal. 5. Adjust the frequency parameters of the Linear Phase EQ instance running in Mid mode. Often used to boost or sculpt the low frequencies of signals such as bass.
The Analyzer allows you to visually compare the frequency spectrum of the source file and the resulting curve, making it easier to make manual corrections at specific points within the spectrum. Note: Although Match EQ acoustically matches the frequency curve of two audio signals, it does not match any dynamic differences between the two signals. See the Use MainStage Match EQ, MainStage Match EQ parameters, and Edit the MainStage Match EQ filter curve sections.
• Load: Loads the Current Material Spectrum or Reference Spectrum from a setting file. • Generate: Creates a Current Material Spectrum or Reference Spectrum from an audio file. • Current Learn button: Start or stop the process of learning the frequency spectrum of the project you want to match with the source file or input. • Reference Learn button: Start or stop the process of learning the frequency spectrum of the source file or input.
• Apply slider and field: Determine the impact of the filter curve on the signal. • Values above 100% magnify the effect. • Values below 100% reduce it. • Negative values (−1% to −100%) invert the peaks and troughs in the filter curve. • A value of 100% has no impact on the filter curve. Use MainStage Match EQ These tasks are those commonly used with Match EQ to match the frequency spectrum of a mix with the spectrum of a source audio file. You can adapt some, or all, to your own workflow.
Edit spectra with the Match EQ Action menu This menu provides commands that can be applied to the either the Reference or the Current Material spectrum. • In MainStage, choose one of the following from the Action menu: • Clear Current Material/Reference Spectrum: Clears the current spectrum. • Copy Current/Reference Spectrum: Copies the current spectrum to the Clipboard (this can be used by any Match EQ instance in the current project).
Edit the MainStage Match EQ filter curve You can edit the filter curve in the EQ Curve display by adjusting the various points shown in each band. As you drag a point, the current value is shown, allowing precise changes. Adjust Match EQ curve values In MainStage, do any of the following: • Drag horizontally to shift the peak frequency for the band (over the entire spectrum). • Drag vertically to adjust the gain of the band. • Hold down Shift, then drag vertically to adjust the Q Factor.
Single-Band EQ parameters • Mode buttons: Choose an EQ type. • Low Cut: Low Cut EQ attenuates the frequency range that falls below the selected frequency. • Low Shelf: Low Shelving EQ affects only the frequency range that falls below the selected frequency. • Parametric: Parametric EQ is a simple filter with a variable center frequency. It can be used to boost or cut any frequency band in the audio spectrum, either with a wide frequency range or as a notch filter with a very narrow range.
Output parameters • Drive knob: Set the amount of gain/saturation of the chosen vintage EQ output stage. This imparts the distortion and coloration of the original hardware output stage, even if all EQ bands are in a neutral position. • Output Model pop-up menu: Choose a vintage EQ model output stage. You can use the matching output stage model for the active EQ or can choose the output stage of another unit. The output stage allows you to add harmonic distortion to your signals.
The original console module is regarded as a cult classic by many recording engineers, and has been used on countless hit records over the past 40 to 50 years. Vintage Console EQ parameters • In/Out switch: Turn the EQ circuit on or off. • Low Cut button: Turn the low cut/highpass filter on or off. This is a third-order filter set at 18 dB per octave. • Low Cut knob: Set the low cut/highpass filter frequency at 50, 80, 160, or 300 Hz, or set values between these increments.
Frequencies aren’t fixed at the default values, and you can proportionally scale all bands to provide more focus on a portion of the overall frequency spectrum. This flexibility makes it great for precise signal shaping and also a useful tool for tasks such as tuning difficult rooms. Vintage Graphic EQ parameters You can change the standard frequency by dragging the Tune field. • In/Out switch: Turn the EQ circuit on or off. • Tune field: Drag to set the frequency of all band sliders.
The second emulated EQ model (lower) is often paired with the original unit. It’s the perfect partner for the upper unit, adding mid-range flexibility that lets you fine-tune signals in this frequency spectrum, with a beautifully matched tonal signature. Vintage Tube EQ upper unit parameters • In/Out switch: Turn the EQ circuit on or off. • Low Boost knob: Set the amount of low frequency boost, up to 13.5 dB. • Low Atten knob: Set the amount of low frequency attenuation (cut), up to 17.5 dB.
MainStage Effects • Dip knob: Set the amount of attenuation (cut) for the selected Dip frequency, up to 10 dB. • High Freq knob: Set the high range center frequency to 1.5, 2, 3, 4, or 5 kHz, or values between these increments. • High Peak knob: Set the amount of high frequency boost, up to 8 dB.
Filter effects MainStage Filter effects overview Filters are used to emphasize or suppress frequencies in an audio signal, resulting in a change in the tonal color of the audio. MainStage contains a variety of advanced filter-based effects that you can use to creatively modify your audio. These effects are most often used to radically alter the frequency spectrum of a sound or mix. Several filter effects provide a Side Chain input.
AutoFilter lets you choose between different filter types and slopes, control the amount of resonance, add distortion for more aggressive sounds, and mix the original, dry signal with the processed signal. The AutoFilter window is divided into Filter, Envelope, Distortion, LFO, and Output parameter sections. MainStage Effects • Filter parameters: Control the tonal color of the filtered sound. See MainStage AutoFilter filter controls.
MainStage AutoFilter filter controls The Filter parameters precisely tailor the tonal color. Filter parameters • On/off switch: Turn the filter section on or off. • Cutoff knob and field: Set the cutoff frequency for the filter. Higher frequencies are attenuated, whereas lower frequencies are allowed to pass through in a lowpass filter. The reverse is true in a highpass filter.
MainStage AutoFilter envelope controls The envelope is used to shape the filter cutoff over time. When the input signal exceeds the set threshold level, the envelope is triggered. Envelope parameters • On/off switch: Turn the envelope section on or off. • Threshold knob and field: Set an input level that—if exceeded—triggers the envelope or LFO that dynamically modulates filter cutoff frequency. See MainStage AutoFilter LFO controls and MainStage AutoFilter filter controls.
MainStage AutoFilter distortion controls The distortion parameters can be used to overdrive the filter input or filter output. The distortion input and output modules are identical, but their positions in the signal chain— before and after the filter, respectively—result in remarkably different sounds. Distortion parameters • On/off switch: Turn the distortion section on or off. • Pre Filter knob and field: Set the amount of distortion applied before the filter section processes the signal.
• Rate knob and field: Set the speed of LFO modulation. • Sync Phase knob and field: When Sync is active, rotate to set the phase relationship between the LFO rate and the project tempo. This parameter is dimmed when Beat Sync is disabled. • Stereo Phase knob and field: Set the phase relationship of the LFO modulations between the two channels (stereo only). • Retrigger button: Turn on to retrigger the LFO waveform from the start of the cycle each time.
The EVOC 20 Filterbank interface is divided into three main sections: the Formant Filter parameters section in the center of the window, the Modulation parameters section at the bottom, and the Output parameters section along the right side. • Formant Filter parameters: Control the frequency bands in the two filter banks—the upper, blue, filter bank A and the lower, green, filter bank B. See MainStage EVOC 20 Filterbank Formant Filter.
MainStage EVOC 20 Filterbank Formant Filter The parameters in this section provide precise level and frequency control of the filters. Formant Filter parameters • High and Low Frequency parameters: Determine the lowest and highest frequencies allowed to pass by the filter banks. Frequencies that fall outside these boundaries are cut. • The length of the horizontal blue bar at the top represents the frequency range.
• Boost A and Boost B knobs: Set the amount of boost or cut applied to the frequency bands in filter bank A or B. You can use these knobs to compensate for the reduction in volume caused by lowering the level of one or more bands. If you use Boost A and Boost B to set the mix relationship between filter bank levels, you can use Fade AB (see “Fade AB slider” below) to alter the tonal color, but not the levels.
• Fade LFO Intensity slider: Control the amount of Fade AB modulation by the Fade LFO. Tip: LFO modulations are the key to interesting effects. Set up either completely different or complementary filter curves in both filter banks. You can use rhythmic material—such as a drum loop—as an input signal, and set up tempo-synchronized modulations, with different rates for each LFO. Also try inserting a tempo-synchronized delay effect—such as Tape Delay—after the EVOC 20 Filterbank to produce unique polyrhythms.
EVOC 20 TrackOscillator MainStage EVOC 20 TrackOscillator overview EVOC 20 TrackOscillator is a vocoder with a monophonic pitch tracking oscillator. The tracking oscillator tracks, or follows, the pitch of a monophonic input signal. If the input signal is a sung vocal melody, the individual note pitches are tracked and mirrored, or played, by the synthesis engine. EVOC 20 TrackOscillator features two formant filter banks, an analysis bank, and a synthesis filter bank. Each offers multiple input options.
The audio signal arriving at the analysis input passes through the analysis filter bank, where it is divided into bands. An envelope follower is coupled to each filter band. The envelope follower of each band tracks, or follows, volume changes in the audio source—or, more specifically, the portion of the audio that has been allowed to pass by the associated bandpass filter. In this way, the envelope follower of each band generates dynamic control signals.
MainStage EVOC 20 TrackOscillator analysis in controls The parameters in the Analysis In section determine how the input signal is analyzed and used by EVOC 20 TrackOscillator. Analysis In parameters • Attack knob: Determine how quickly each envelope follower—coupled to each analysis filter band—reacts to rising signals. • Release knob: Determine how quickly each envelope follower—coupled to each analysis filter band—reacts to falling signals.
Freeze the input signal in EVOC 20 TrackOscillator • In MainStage, click the Freeze button to hold, or sustain, the sound spectrum of the analysis input signal. By freezing the input signal you can capture a particular characteristic of the signal, which is then imposed as a complex sustained filter shape on the Synthesis section.
EVOC 20 TrackOscillator includes an Unvoiced/Voiced detector. This unit detects the unvoiced portions of the sound in the analysis signal and then substitutes the corresponding portions in the synthesis signal with noise, with a mixture of noise and synthesizer signal, or with the original signal. If the U/V Detector detects voiced parts, it passes this information to the synthesis section, which uses the normal synthesis signal for these portions.
• Level knob: Set the volume of the signal used to replace the unvoiced content of the input signal. Important: Be careful with the Level knob, particularly when using a high Sensitivity value, to avoid internally overloading the EVOC 20 TrackOscillator. MainStage EVOC 20 TrackOscillator Synthesis in controls The Synthesis in section controls various aspects of the tracking signal for the synthesizer. The tracking signal is used to trigger the internal synthesizer.
Tracking oscillator parameters • • FM Ratio field: Set the ratio between Oscillators 1 and 2, which defines the basic character of the sound. Even-numbered values or their multiples produce harmonic sounds, whereas odd-numbered values or their multiples produce inharmonic, metallic sounds. • An FM Ratio of 1.000 produces results resembling a sawtooth waveform. • An FM Ratio of 2.000 produces results resembling a square wave with a pulse width of 50%. • An FM Ratio of 3.
• Max Track field: Set the highest frequency. All frequencies above this threshold are cut, making pitch detection more robust. If pitch detection produces unstable results, reduce this parameter to the lowest possible setting that allows all appropriate input signals to be heard or processed. Choose a root or scale in EVOC 20 TrackOscillator 1. In MainStage, click the green value field under Scale to open the pop-up menu. 2. Choose the scale or chord you want to use as the basis for pitch correction.
Formant filter parameters • Low and High Frequency parameters: Determine the lowest and highest frequencies allowed to pass by the filter section. Frequencies that fall outside these boundaries are cut. • The length of the horizontal blue bar at the top represents the frequency range for both analysis and synthesis—unless Formant Stretch or Formant Shift is used. You can move the entire frequency range by dragging the blue bar.
MainStage EVOC 20 TrackOscillator modulation The parameters in this section control the LFO, which can be used to modulate either the pitch of the tracking oscillator, thus creating a vibrato, or the Formant Shift parameter of the synthesis filter bank. Modulation parameters • Shift Intensity slider: Set the amount of formant shift modulation by the LFO. • Pitch Intensity slider: Set the amount of pitch modulation—vibrato—by the LFO. • Waveform buttons: Set the waveform type used by the LFO.
MainStage EVOC 20 TrackOscillator output controls The output section provides control over the type, stereo width, and level of signal that is sent from EVOC 20 TrackOscillator. Output parameters • Signal pop-up menu: Choose the signal that is sent to the plug-in main outputs. • Voc(oder): Hear the vocoder effect. • Syn(thesis): Hear only the synthesizer signal. • Ana(lysis): Hear only the analysis signal. Note: The last two settings are mainly useful for monitoring purposes.
Fuzz-Wah MainStage Fuzz-Wah effect overview The Fuzz-Wah plug-in emulates classic wah effects, combined with compression and fuzz distortion effects. The name wah wah comes from the sound it produces. It has been a popular effect—usually a pedal effect—with electric guitarists since the days of Jimi Hendrix. The pedal controls the cutoff frequency of a bandpass, a lowpass, or less commonly a highpass filter.
Auto Wah parameters MainStage Effects • On/off button: Turn the Auto Wah effect on or off. • Wah Type pop-up menu: Choose a Wah effect type. • Classic Wah: This setting mimics the sound of a popular wah pedal with a slight peak characteristic. • Retro Wah: This setting mimics the sound of a popular vintage wah pedal. • Modern Wah: This setting mimics the sound of a distortion wah pedal with a constant Q(uality) Factor setting. The Q determines the resonant characteristics.
MainStage Fuzz-Wah effect Compressor The Compressor effect is normally used just before the Fuzz (distortion) effect. This allows you to increase or decrease the perceived gain, thus providing a suitable input level to the distortion circuit. You can, however, place the Compressor at any position in the effects chain or can disable it completely. Compressor effect parameters • On/off button: Turn the Compressor effect on or off. • Ratio knob and field: Adjust the compression slope.
Spectral Gate MainStage Spectral Gate overview Spectral Gate is an unusual filter effect that can be used as a tool for creative sound design. It works by dividing the incoming signal into two frequency ranges—above and below a central frequency band that you specify with the Center Freq and Bandwidth parameters. The signal ranges above and below the defined band can be individually processed with the Low Level and High Level parameters and the Super Energy and Sub Energy parameters.
Use MainStage Spectral Gate One way you can familiarize yourself with the operation of Spectral Gate is to start with a drum loop. Set Center Freq to its minimum value (20 Hz) and Bandwidth to its maximum value (20,000 Hz) to process the entire frequency range. Turn up the Super Energy and Sub Energy knobs, one at a time, and then try different Threshold settings to get a sense of how different Threshold levels affect the sound of Super Energy and Sub Energy.
Imaging processors MainStage Imaging processors overview The imaging processors are tools for manipulating the stereo image. You can use them to make certain sounds, or the overall mix, seem wider and more spacious. You can also alter the phase of individual sounds within a mix to enhance or suppress particular transients. See these topics: • Binaural Post-Processing. • Direction Mixer. • Stereo Spread.
• • Headphone HB—optimized for horizontal directions: For headphone playback, optimized to deliver the most neutral sound for sources placed on, or close to, the horizontal plane. • Headphone DF—averaged over all directions: For headphone playback, utilizing diffuse-field compensation. In this mode, the sound, on average, is most neutral for arbitrarily placed, or moved, sources.
Direction Mixer parameters • Input buttons: Set the input signal type. Use LR if the input signal is a standard left/right signal. Use MS if the signal is middle and side encoded. • Direction knob and field: Set the pan position for the middle—the center of the stereo base—of the recorded stereo signal. When Direction is set to a value of 0, the midpoint of the stereo base in a stereo recording is perfectly centered within the mix.
• Crossover field: Set the frequency where the signal is split between high and low ranges. To type a value, drag vertically or double-click. • Direction High/Low knobs and fields: Independently set the central pan position for the recorded stereo signal in the upper or lower frequency range (set with Crossover). • Spread High/Low sliders and fields: Independently set the stereo spread in LR signals or set the side signal level in MS signals for the upper/lower frequency range (set with Crossover).
XY recordings tend to be balanced in both channels, with good positional information being encoded. XY recording is commonly used for drum recording and is also suitable for larger ensembles and many individual instruments. Typically, XY recordings have a narrower sound field than AB recordings, so they can lack a sense of perceived width when played back. XY recordings can be mixed down to mono.
Stereo Spread parameters • Lower Intensity slider and field: Set the amount of stereo base extension for the lower frequency bands. • Upper Intensity slider and field: Set the amount of stereo base extension for the upper frequency bands. Note: When setting the Lower Int and Upper Int sliders, be aware that the stereo effect is most apparent in the middle and higher frequencies. Distributing low frequencies between the left and right speakers can significantly alter the energy of the overall mix.
Metering tools MainStage Metering tools overview You can use the Metering tools to analyze audio in a variety of ways. These plug-ins provide different views of your audio data that extend the information shown in channel strip meters. The Metering plug-ins have no effect on the audio signal and are intended for use as diagnostic aids. Each meter is specifically designed to view different characteristics of an audio signal, making each suitable for particular studio situations.
Note: BPM Counter also detects tempo variations in the signal and tries to analyze them accurately. If the LED starts flashing during playback, this indicates that BPM Counter has detected a tempo that has deviated from the last received (or set) tempo. As soon as a new, constant tempo is recognized, the LED is solidly lit and the new tempo displayed. • :2 and x2 buttons: Set the displayed tempo to half or double the analyzed rate.
Peak level values are displayed numerically and graphically. You can reset these values by clicking in the display. Level Meter parameters • Level pop-up menu: Choose a display setting using Peak, RMS, Peak & RMS, True Peak, or True Peak & RMS characteristics. • The True Peak options display interpolated sample values. • RMS levels appear as dark blue bars. Peak levels appear as light blue bars. You can also choose to view both Peak and RMS levels simultaneously.
Loudness Meter parameters • M, S, and I fields and meters: Indicate the current momentary, short-term, and integrated signal levels of incoming program material. The signal level for each channel is represented by a blue bar. Signals approaching the 0 dB level (target level) are represented by a yellow bar. When the level exceeds 0 dB, the portion of the bar above the 0 dB point turns red. • Target level line: Drag to set a target level.
You can set a size by dragging the lower corners of the plug-in window. The View popup menu provides further Display, Meters, or Full items that show a partial view or the complete plug-in interface. Control-click in the main display when a partial view is enabled to switch between modes. Although you can insert MultiMeter directly into any channel strip, it is more commonly used in the master channel strip of MainStage—when you are working on the overall mix.
MainStage MultiMeter Analyzer parameters In Analyzer mode, the main display shows the frequency spectrum of the input signal as 31 or 63 independent frequency bands. Each frequency band represents one-third of an octave or a major second. The Analyzer parameters are used to activate Analyzer mode and to customize the appearance of the incoming signal in the main display. MultiMeter Analyzer parameters • Analyzer button: Switch the main display to Analyzer mode.
MainStage MultiMeter Goniometer parameters A goniometer helps you to judge the coherence of the stereo image and determine phase differences between the left and right channels. Phase problems are easily spotted as trace cancelations along the center line (M—mid/mono). The idea of the goniometer was born with the advent of early two-channel oscilloscopes.
RMS and peak levels are shown simultaneously, with RMS levels appearing as dark blue bars and Peak levels appearing as light blue bars. When the level exceeds 0 dB, the portion of the bar above the 0 dB mark turns red. • Peak and RMS fields: Peak and RMS values are displayed numerically (in dB increments) above the Level Meter. Click the display to reset values. Loudness Meter shows the momentary loudness level.
MainStage MultiMeter Correlation Meter Correlation Meter gauges the phase relationship of a stereo signal. Correlation Meter scale values indicate the following: • A +1 correlation value indicates that the left and right channels correlate 100%. In other words, the left and right signals are in phase and are the same shape. • Correlation values to the right of the center position indicate that the stereo signal is mono compatible.
• Return Rate pop-up menu: Shown only in mono instances. Choose how quickly analyzed signals return from peak/maximum levels to zero or incoming signal levels. This is expressed in dB per second. Note: This parameter is shown below the MainStage MultiMeter Level and Loudness Meters when a stereo instance is active. MainStage Tuner utility and plug-in You can tune instruments connected to your system with the Tuner utility or plug-in.
Use the Tuner utility 1. In MainStage, click the Tuner icon on the control bar. The Tuner utility window opens. 2. Play a single note on the instrument and watch the Graphic Tuning and Keynote displays. If the note is flat or sharp of the keynote, orange segments are shown in the Graphic Tuning display, the Keynote is shown in orange, and the Tune Deviation display indicates how far (in cents) the note is off pitch. 3.
MIDI plug-ins Use MIDI plug-ins in MainStage MIDI plug-ins are inserted in software instrument channel strips and process or generate MIDI data—played from a MIDI region or a MIDI keyboard—in real time. Included are the Arpeggiator, Chord Trigger, and Modulator, along with plug-ins for transposition, randomization and other processing. Scripter enables you to create your own MIDI processing and generation scripts.
Remove a MIDI plug-in • In MainStage, click the arrows near the right edge of the MIDI plug-in label that you want to remove, then choose No Plug-in from the pop-up menu. Bypass a MIDI plug-in 1. In MainStage, click the Bypass button near the left edge of the MIDI plug-in label. The plug-in label is dimmed. All parameter settings of the plug-in are retained when bypassed. 2. Click the Bypass button to restore the MIDI plug-in.
• Control parameters: This area contains the Play and Latch controls. See MainStage Arpeggiator MIDI plug-in control parameters. • Note order parameters: The note order parameters determine the arpeggio type and include four variations or inversions, the arpeggio octave range, and the arpeggio speed. See MainStage Arpeggiator MIDI plug-in note order parameters. • Advanced parameters: The advanced Arpeggiator controls are divided into four groups.
• • Gated Transpose: This option is the same as Transpose Latch mode with the difference that the arpeggio only plays while a key is pressed. As soon as the key is released, the arpeggio is muted. • Add: Play keys—one by one, or simultaneously as a chord—to add them to the latched arpeggio. You can play the same key multiple times and the note repeats the number of times it is struck.
Note order parameters All note order parameters can be changed while an arpeggio is playing. Changes are immediate and are seamlessly applied to the running arpeggio. • Rate knob and field: Set the arpeggiator rate. Choose from: 1/4, 1/8, 1/16 (including triplet and dotted notes), and 1/32. You can also click the field to choose a value from a pop-up menu. The LED indicates the rate and briefly changes color at the start of each new cycle. • Direction buttons: Set the arpeggio direction.
In Inversions mode: • Position 1: The arpeggio repeats without inverting the held notes. • Position 2: The arpeggio is inverted once during the first repetition. Once repeated, the arpeggio restarts. • Position 3: The arpeggio is inverted twice, once each during the first and the second repetition. Once the second repetition is played, the arpeggio restarts. • Position 4: The arpeggio is inverted three times, once each during the first, second, and third repetitions.
Note order Variation 1 Variation 2 Variation 3 Variation 4 Up and down Plays from the lowest to highest note in consecutive order, then plays from the highest to the lowest note, and restarts when all keys are played. Plays from the lowest to highest note in consecutive order, then plays from the second highest to the second lowest note, and restarts when all keys are played. This two-step variation works with pairs of notes. The second note of the pair plays first.
Note order Inversion 1 Inversion 2 Inversion 3 Inversion 4 Up Plays the original chord, then three inversions in consecutive order and restarts. Playback order: original, 1, 2, 3. Plays the second inversion first. Playback order: 1, original, 2, 3. Plays the third inversion first. Playback order: 2, original, 1, 3. This variation, which consists of three steps, plays up and overlaps. Playback order: original, 2, 1, 3.
Note: When you capture a live performance, grid values are not retained. Pattern parameters • Pattern button: Open the Arpeggiator pattern parameters, where you can edit and adjust pattern settings. • Live button: Turn on Live mode, where you can add rests, ties, and chords in real time with onscreen buttons or MIDI keyboard keys. See MainStage Arpeggiator MIDI plug-in Live mode. • Arrow button (Live mode only): Capture the currently playing velocities, rests, ties, and chords.
Live mode parameters • Rest button: Insert a rest at the current arpeggiator step position. A position identification number is assigned to the rest, ensuring that its rhythmic position (step number) within the arpeggio is retained, even when different note order presets are chosen. Note: Rests can only be added while building the arpeggio, which means that at least one key must be held if you want to add a rest.
• Velocity/length bars: Drag vertically to set the velocity for each active step. Drag left to reduce step length. Drag right to increase step length or to create a tie to the next step. • Where multiple velocity/length bars exist, click above them to draw in the velocity of several steps. • Drag a velocity/length bar toward the left to reduce the step length. Dragging to the right increases the step length. This enables you to create different arpeggiator grooves.
• • Custom: This menu item is shown automatically when any pattern changes have been made. It can be considered the “current state” pattern preset. Previous/Next Pattern button: Choose the previous or next pattern preset. MainStage Arpeggiator MIDI plug-in options parameters Click the Options button to set global Arpeggiator playback parameters, such as note length and velocity. Options parameters • Options button: Set global Arpeggiator playback parameters, such as note length and velocity.
• Cycle Length knob: Set a length for the arpeggio. You can choose from the following: • By Grid: Matches the arpeggio length to the host application division setting. This is useful for rhythmically synchronizing the arpeggio length with other regions. • 1 to 32: Set the arpeggio length to the specified number of notes. • As played: The arpeggio length is determined by the length of played notes.
Resize the Arpeggiator MIDI plug-in keyboard display The default keyboard range spans the 88 notes from C0 to C7. • In MainStage, click the keyboard, then drag left or right to reveal additional octaves, in one octave increments. Set up a keyboard split in the Arpeggiator MIDI plug-in By default, the complete MIDI key range (0–127) is used solely for arpeggiating. You can split your MIDI keyboard into several zones to control Arpeggiator plug-in functions with MIDI keys.
Remote control the Arpeggiator MIDI plug-in with a MIDI keyboard Most Arpeggiator parameters can be remote controlled using a MIDI keyboard. By default, only a few Remote commands are available. You can resize the Remote zone to make more commands available. 1. In MainStage, you must first click the Keyboard Split button to display the Remote (Key editor) button. The type and number of available remote keys is determined by the Remote zone range.
Learn a MIDI controller in the Arpeggiator MIDI plug-in 1. In MainStage, choose a parameter from any of the Destination pop-up menus. 2. Choose Learn from any of the MIDI Controller pop-up menus. 3. Move a controller on your MIDI keyboard to assign it to the Destination parameter. The Learn feature has a 20-second time out facility. If you do not move a controller on your MIDI device within 20 seconds, Learn mode is automatically disabled.
Use the MainStage Chord Trigger MIDI plug-in Chord Trigger is straightforward to use: choose a mode (single or multi), set a chord trigger range, select a trigger key, then set up a chord. You can also transpose chords and quickly assign multiple chords—onscreen or with your MIDI keyboard. Define the chord trigger range The shaded chord trigger range is shown on the upper keyboard.
Transpose chords in the chord trigger range (Multi Chord mode only) You may want to transpose triggered chords in some circumstances. For example, in Multi Chord mode you can move the entire chord trigger range upward by two semitones to change a chord progression in C-Major (starting with the C trigger key) into a progression that plays in D-Major, starting with the D trigger key. • In MainStage, drag the center of the chord trigger range left or right.
3. Play the note selected as the Learn button remote control on your MIDI keyboard. The Learn button label changes to “Trigger Key” and the button begins to blink. 4. Play a trigger key—within the chord trigger range—on your MIDI keyboard. This enables the trigger key for chord assignment. The Learn (Trigger Key) button label changes to “Chord.” 5. Play the note or notes you want to assign to the trigger key on your MIDI keyboard.
Modifier parameters • Input Thru button: Define whether or not the input event is sent to the output in addition to the reassignment. • Input Event pop-up menu: Choose or learn the type of MIDI input event that you want to reassign or filter. • Re-Assign To pop-up menu: Choose or learn the type of MIDI output event. You can also learn parameters for plug-ins in the same channel strip. If set to Off, the event type chosen in the Input pop-up menu is filtered.
Both the LFO and envelope can be assigned to output any continuous controller, aftertouch, plug-in parameter (in the same channel strip), or pitch bend message. You can also specify a step width for the continuous outputs of the LFO and envelope, resulting in modulations that are reminiscent of classic Sample & Hold circuits. MainStage Modulator MIDI plug-in LFO Modulator LFO parameters MainStage Effects • LFO on/off button: Turn the LFO on or off. • Waveform Shape buttons: Select a waveform shape.
• • Symmetry slider: Adjust the symmetry of the waveform. This deforms the waveform in the following ways: • Triangle: Shapes the triangle waveform into either an upward-sawtooth or downward-sawtooth waveform. A symmetry value of 0 results in a perfect triangle waveform. • Sine: Changes the angle of the waveform, resulting in a sawtooth-like waveform with peaks that lean left or right. A symmetry value of 0 results in a perfect sine waveform. • Square: Symmetry acts as a pulse width control.
• Oscilloscope: Displays the shape of the LFO control signal before it is scaled. • MIDI Channel pop-up menu (extended parameter): Click the disclosure triangle at the lower left. Choose a MIDI output channel. Assign a MIDI event to a plug-in parameter You can assign and send MIDI events to plug-ins in the same channel strip, allowing you to control parameters without using MIDI CC messages. 1. In MainStage, choose Learn Plug-in Parameter from the To pop-up menu. 2.
• Trigger switch: Determine if the envelope is triggered by the LFO or by incoming MIDI note on messages. • LFO: The envelope is retriggered when the LFO reaches its (positive) peak value. See MainStage Modulator MIDI plug-in LFO. Note: The envelope ignores incoming LFO triggers if it is currently completing an envelope pass. • Single: After all notes have been released, the envelope is re-triggered by the first MIDI note on message it receives.
MainStage Note Repeater MIDI plug-in This plug-in mimics an audio delay by generating repeating MIDI notes. Note Repeater parameters • Input Thru button: Turn on to pass incoming MIDI note events to the output in addition to the delayed note events. Turn off to send only the delayed notes to the output. • Delay Sync button: Synchronize the plug-in with the project tempo. Set the delay time with the Delay slider.
MainStage Randomizer MIDI plug-in The Randomizer plug-in randomizes incoming MIDI events in real time. Randomizer parameters • Event Type pop-up menu: Choose the MIDI event type that you want to randomize. • Input Range sliders: Set the upper and lower limit for the range of values that are affected. Only parameter values that fall within the range are processed. All values outside the range pass through the plug-in.
• Seed slider (extended parameter): Specify a starting point (or seed) for randomization. An example is when using the Randomizer plug-in to randomize a piano melody. If you bounce the piano part, your randomized melody is saved as an audio file. If you bounce the song again, with Seed set to Random, the two bounces sound different. If Seed is set to the same specific value for both bounces, they are identical.
Use the MainStage Scripter MIDI plug-in Script Editor The Script Editor is used to edit JavaScript code, enabling you to write your own MIDI plugins. Plug-in creation is in real time, which means that you can change and test your plug-in functions immediately. You can define interface elements, such as sliders and menus, that are shown in the Scripter plug-in window and can create the underlying logic and functions addressed by these onscreen controls.
Create and store a Scripter plug-in 1. In MainStage, open the Scripter plug-in. 2. Click the Open Script In Editor button. 3. Type (or copy and paste existing) JavaScript code in the Code Editor. 4. Click the Run Script button. 5. Test your plug-in to verify it behaves as intended. 6. Assuming no errors are shown in the Interactive Console, save the host document, setting, or patch containing the script.
HandleMIDI is called with one argument, which is a JavaScript object that represents the incoming MIDI event. HandleMIDI and JavaScript Event object use is shown in the examples. Load the corresponding Tutorial setting to view the script in the Script Editor. This will help you to understand the syntax structure and layout of code and comments. See Use the MainStage Scripter MIDI plug-in Script Editor. Tutorial script 1: Simple Pass Through Pass MIDI events through the plug-in.
Important: To enable the GetTimingInfo feature, you need to add var NeedsTimingInfo = true; at the global script level (outside of any functions). Tutorial script 4: Process MIDI Callback Text following /* shows comments that explain the JavaScript code. /* Define NeedsTimingInfo as true at the global level to enable GetHostInfo() */ var NeedsTimingInfo = true; function ProcessMIDI() { var info = GetTimingInfo(); /* get a TimingInfo object from the host if the transport is running */ if (info.
MainStage Scripter MIDI plug-in SetParameter function The SetParameter() function allows you to programmatically set the value of a control. Usage is similar to the MainStage Scripter MIDI plug-in GetParameter function, but you need to add a second argument for the value you want to set. • The first argument describes which parameter is accessed. This can be either an integer (index) or a string (parameter name). • The second argument is the value that you want to set (this is always a number).
Tutorial script 6: Parameter Changed Callback Print parameter changes to the plug-in console. This example also creates a slider in the plug-in window and assigns the ParameterChanged function to it. Text following /* shows comments that explain the JavaScript code. var PluginParameters = [{name:"Slider", type:"lin", minValue:0, maxValue:1, numberOfSteps:100, defaultValue:0}]; /* create a slider with a value range of 0.0 to 1.
Event methods • Event.send(): Send the event. • Event.sendAfterMilliseconds(number ms): Send the event after the specified value has elapsed (can be an integer or a floating point number). • Event.sendAtBeat(number beat): Send the event at a specific beat (floating point number) in the host timeline. • Event.sendAfterBeats(number beat): As above, but uses the beat value as a delay in beats from the current position. • Event.trace(): Print the event to the plug-in console. See Use the Trace object.
Tutorial script 7: Event Creation In MainStage, this example replaces every received MIDI event with a modulation control change message. • Text following /* shows comments that explain the JavaScript code. Tip: You can use the JavaScript “new” keyword to generate a new instance of an Event object of any type. function HandleMIDI() { var cc = new ControlChange; cc.number = 1; /* make a new control change message */ /* set it to controller 1 (modulation) */ cc.value = 100; cc.
The code shown below controls any plug-in parameter with the modwheel. To test the function in Tutorial script 15, insert any plug-in or software instrument on the same channel and run the script. Choose Learn plug-in parameter in the menu, then click any plug-in parameter to control it with the modwheel. To create a menu for the modwheel target, name the menu entry and set it to a “target” type.
• TimingInfo.blockStartBeat: A floating point number indicates the beat position at the start of the process block. An alternative is to use the beatPos property. See Use the MIDI event beatPos property. • TimingInfo.blockEndBeat: A floating point number indicates the beat position at the end of the process block. • TimingInfo.blockLength: A floating point number indicates the length of the process block in beats. • TimingInfo.tempo: A floating point number indicates the host tempo. • TimingInfo.
Usage example for Trace() object function HandleMIDI(event) { Trace("Hello World!"); var int = 1; var float = 1.234; var str = "Teststring"; Trace("The following is a float variable: " + float + " And now we inspect an integer: " + int + " And here's a test string: " + str); } Use the MIDI event beatPos property Every MIDI event in Scripter has a property called “beatPos” that carries the exact beat position of the event. This makes more exact event timing possible and also handles loops correctly.
Text following /* shows comments that explain the JavaScript code. var NeedsTimingInfo = true; /* needed to make beatPos work */ function HandleMIDI(event) { var on = new NoteOn; on.pitch = 60; /* make a new note on */ /* set its pitch to C3 */ on.beatPos = event.beatPos; /* copy beat position from incoming event */ on.
Load the corresponding Tutorial setting to view the script in the Script Editor. This will help you to understand the syntax structure and layout of code and comments. See Use the MainStage Scripter MIDI plug-in Script Editor. Tutorial script 10: Event Detection In MainStage, this script passes all events through and sends an “all notes off” message when receiving a MIDI continuous controller 20 event. • Text following /* shows comments that explain the JavaScript code.
Tutorial script 11: Slider Creation In MainStage, type the following in the Script Editor window to create a slider named “Parameter x” with a default range of 0 to 1. It is set to the mid-point value of 0.5. var PluginParameters = [{name:"Parameter x", defaultValue:0.5}]; Tutorial script 12: Slider Ranges In MainStage, type the following in the Script Editor window to create a linear slider type, with five possible positions (steps), and a range from 0 to 5.
In MainStage, this code example converts modulation events into note events and provides a slider to determine note lengths. • Text following /* shows comments that explain the JavaScript code. var PluginParameters = [{name:"Note Length", minValue:0, maxValue: 100, unit:"%"}]; /* create a slider (default range 0 - 100) */ function HandleMIDI(event) { if(event instanceof ControlChange && event.number == 1) { /* if event is MIDI cc1 (modwheel) */ var note = new NoteOn; /* create a NoteOn object */ if(event.
Transposer parameters • Transpose slider: Transpose incoming MIDI Notes by ± 24 semitones. • Root pop-up menu: Choose the root note for the scale. • Scale pop-up menu: Choose one of several preset scales or create your own custom scale (User) with the onscreen keyboard. • Keyboard: Click notes to turn them on or off. Notes that are turned off are excluded from the User scale.
• Range Learn checkbox (extended parameter): Select to turn on Learn mode, then play a (low) key on your MIDI keyboard to set the Input Min value. Play a (high) key to set the Input Max value. Once both keys have been played, Learn mode is automatically turned off, and the Range Learn checkbox is cleared. MainStage Velocity Processor MIDI plug-in Compress/ Expand In Compress/Expand mode, the Velocity Processor MIDI plug-in behaves like an audio compressor.
MainStage Velocity Processor MIDI plug-in Value/Range In Value/Range mode, the Velocity Processor MIDI plug-in can behave like an audio limiter. Value/Range mode parameters • Value/Range switch: Value limits all incoming MIDI velocities to the value set with the Value slider. Range limits only notes within the range set with the Note Range Min/Max sliders. • Value slider: Set a fixed velocity for all processed notes. • Range sliders: Set a note range to be processed.
Modulation effects MainStage Modulation effects overview Modulation effects—such as chorus, flanging, tremolo, and phasing—are used to add motion and depth to your sound. Perceived width can be altered with the MainStage Spreader effect. Both motion and space can be introduced with the Rotor Cabinet effect. Modulation effects typically delay the incoming signal by a few milliseconds and use an LFO to modulate the delayed signal. The LFO may also be used to modulate the delay time in some effects.
You can use the Chorus effect to enrich the incoming signal and create the impression that multiple instruments or voices are being played in unison. The slight delay time variations generated by the LFO simulate the subtle pitch and timing differences heard when several musicians or vocalists perform together. Using chorus also adds fullness or richness to the signal, and it can add movement to low or sustained sounds. Chorus parameters • Rate knob and field: Set the frequency, or speed, of the LFO.
Ensemble parameters • LFO1/LFO2/Random on/off buttons: Enable or disable LFO 1, LFO 2, or the random LFO independently. • Rate fields: Set the frequency of LFO 1, LFO 2, and random modulation. • Intensity fields: Set the amount of LFO 1, LFO 2, and random modulation. • Graphic display: Shows and lets you edit the shape and intensity of LFO 1, LFO 2, and random modulations.
Flanger parameters • Sync button: Synchronize the modulation speed with the project tempo. Choose musical note values with the Rate knob. • Rate knob and field: Set the frequency, or speed, of the LFO. • Intensity knob and field: Set the modulation amount. • Feedback knob and field: Set the amount of the effect signal that is routed back to the input. This can change the tonal color and can make the sweeping effect more pronounced. Negative Feedback values invert the phase of the routed signal.
Although rich, combined flanging and chorus effects are possible, the Modulation Delay is capable of producing some extreme modulation effects. These include emulations of tape speed fluctuations and metallic, robot-like modulations of incoming signals. Modulation Delay parameters • Mod Intensity knob and field: Set the modulation amount. • Time knob and field: Set the basic delay time.
• Mix slider and fields: Determine the balance between the two LFOs. • Phase knob and field: Control the phase relationship between individual channel modulations. Available only in stereo instances. • At 0°, the extreme values of the modulation are achieved simultaneously for both channels. • At 180° or −180°, you achieve the greatest possible distance between the modulation phases of both channels. Note: The LFO Phase parameter is available for use only if the Link L & R button is active.
• Sweep Mode pop-up menu: Choose a mode that determines the impact of incoming signal levels on the frequency range. Set the frequency range with the Ceiling and Floor controls. • Ceiling/Floor sliders and fields: Determine the frequency range affected by LFO modulations. Drag the green slider area between Ceiling and Floor to move the entire range. • Rate 1/2 knobs and fields: Set the speed for each LFO. • Sync buttons: Synchronize the modulation speed of each LFO with the project tempo.
MainStage Ringshifter interface The Ringshifter interface consists of six main sections. • Mode buttons: Determine whether Ringshifter operates as a frequency shifter or a ring modulator. See Set the MainStage Ringshifter mode. • Oscillator parameters: Configure the internal sine wave oscillator, which modulates the amplitude of the input signal in both of the frequency shifter modes as well as in the ring modulator OSC mode. See MainStage Ringshifter oscillator parameters.
Ringshifter mode parameters • Single Freq Shift button: Turn on to generate a single, shifted effect signal. The oscillator Frequency control determines whether the signal is shifted to a positive value on the right side of the Frequency knob or to a negative value on the left side. • Dual Freq Shift button: Turn on to produce one shifted effect signal for each stereo channel—one is shifted up, the other is shifted down.
MainStage Ringshifter delay parameters The effect signal is routed through a delay, following the oscillator. Delay parameters • Time knob and field: Set the delay time. You can choose from: hertz values, when running freely, or note values, including triplet and dotted notes, when the Sync button is active. • Sync button: Synchronize the delay with the project tempo. You can choose musical note values with the Time knob.
• Sensitivity slider and field: Determine how responsive the envelope follower is to the input signal. At lower settings, the envelope follower reacts only to the most dominant signal peaks. At higher settings, the envelope follower tracks the signal more closely but may react less dynamically. • Attack slider and field: Set the response time of the envelope follower. • Decay slider and field: Set the time it takes the envelope follower to return from a higher to a lower value.
Ringshifter Output parameters MainStage Effects • Dry/Wet knob and field: Set the mix ratio of the dry input signal and the wet effect signal. • Feedback knob and field: Set the amount of signal routed back to the effect input. Feedback adds an edge to the Ringshifter sound and is used for a variety of special effects. • Feedback, in combination with a slow oscillator sweep, produces a rich phasing sound.
Rotor Cabinet effect MainStage Rotor Cabinet effect overview The Rotor Cabinet effect emulates the rotating loudspeaker cabinet of a Hammond organ. Also known as the Leslie effect, it simulates both the rotating speaker cabinet, with and without deflectors, and the microphones that pick up the sound. You have full control of the MainStage Rotor Cabinet effect motor controls and can choose from a range of microphone types.
• Deflector switch: Click to emulate a Leslie cabinet with the horn deflectors removed or attached. A Leslie cabinet contains a double horn, with a deflector at the horn mouth. This deflector makes the Leslie sound. You can remove the deflector to increase amplitude modulation and decrease frequency modulation. MainStage Rotor Cabinet effect motor controls The Rotor Cabinet effect provides the following motor control parameters.
MainStage Rotor Cabinet effect microphone types The Rotor Cabinet effect provides modeled microphones that pick up the sound of the Leslie cabinet. You can specify the microphone type with these parameters. Also see MainStage Rotor Cabinet effect mic processing controls. • Upper/Lower Microphones: Choose a microphone type for the horn and drum speakers when Real Cabinet is chosen in the Type pop-up menu. See MainStage Rotor Cabinet effect overview.
Mic processing parameters • Mic Position switch: Choose either the front or rear position for the virtual microphone. See MainStage Rotor Cabinet effect microphone types. • When Real Cabinet is chosen in the Type pop-up menu: • • • Horn knob: Set the stereo width of the Horn deflector microphone. • Drum knob: Set the stereo width of the Drum deflector microphone.
• Depth knob and field: Set the intensity of the chosen chorus effect type. If a vibrato effect type is chosen, this parameter has no effect. • Stereo Phase knob and field: Determine the phase relationship between left and right channel modulations. If you set the knob to free, you can set the modulation speed of the left and right channels independently. • Rate Left knob and field: Set the modulation speed of the left channel when Stereo Phase is set to free.
MainStage Tremolo effect Tremolo modulates the amplitude of the incoming signal, resulting in periodic volume changes. Tremolo is commonly used in vintage guitar combo amps, where it is sometimes incorrectly referred to as vibrato. The graphic waveform display shows all parameters except Rate. Tremolo parameters • Sync button: Synchronize the modulation speed with the project tempo. Choose musical note values with the Rate knob. • Rate knob and field: Set the frequency of the LFO.
Multi Effects MainStage Multi Effects overview The Multi effects units provide a one-stop shop solution for a number of musical situations where you need to highlight or enhance a musical part or song section. While the included multi effects processors can be used subtly or traditionally, they are truly creative tools that excel at transformative changes to your music. • Phat FX is a “coloring” multi-effect unit designed primarily for use with drum, bass, and guitar parts.
Phat FX MainStage Phat FX overview Phat FX is a powerful “coloring” multi-effect designed primarily for use with drum, bass, and guitar parts, adding warmth, punch and presence where required. It can, of course, be used with any type of signal. Phat FX combines several effect processors, filters, and modulators in a flexible tool that can be used to quickly enhance your projects. Three distortion units are included, which can be used separately or blended together to create an endless variety of tones.
MainStage Phat FX processors The parameters of all Phat FX processors are described in the respective sections below. Bandpass parameters The Bandpass unit passes the portion of a signal occupying a band surrounding the cutoff frequency and rolls off the portions above and below that band. The Reject Mix knob lets you restore (mix in) the signal that was not band passed at the Bandpass unit position within the overall signal chain.
• Cutoff knob and field: Set the cutoff frequency for the filter. Higher frequencies are attenuated and lower frequencies are allowed to pass in a lowpass (LP) filter. The reverse is true in a highpass (HP) filter. When in a bandpass (BP) mode, cutoff determines the center frequency of the band that is allowed to pass. The comb and other filter types change the names and behaviors of the filter controls. • Res knob and field: Boost or cut signals in the frequency band that surrounds the cutoff frequency.
Compressor parameters The compression unit tightens up your audio by smoothing out dynamics and increasing the overall volume. • On/off button: Enable/disable the compressor effect. • Amount knob and field: Set the level of compression. • Release knob and field: Set the time it takes for the compression circuit to stop reducing the signal. • Type pop-up menu: Choose an emulated compressor circuit. The choices are Classic, Clip, Platinum, Studio VCA and FET, Classic VCA, or Vintage VCA, FET, and Opto.
Envelope follower parameters The envelope follower tracks incoming signal levels and generates a control signal that is used to modulate other Phat FX parameters. A common use of the envelope follower is to track a sidechain input signal that is used to control filter parameters. • On/Off button: Enable/disable the envelope follower. • Target pop-up menu: Choose a modulation target from any active effect processor or master control.
MainStage Phat FX global controls The XY pad provides real-time control of up to four target parameters. Drag the blue control point to simultaneously modulate your targets. The parameters of the XY pad and the Master controls are described in the respective sections below. XY pad parameters Changes to XY pad Target pop-up menus are reflected by blue rings and dots around target parameter knobs, which make it easy to identify a target parameter.
Effects order strip: Drag the name of an active (lit) or inactive (dimmed) effect horizontally to change the effects order. MainStage Phat FX filter types Phat FX provides dozens of filter types. Phat FX filter types: lowpass, bandpass, highpass A lowpass (LP) filter passes the portion of a signal below a specified cutoff frequency and rolls off the portion above that frequency.
Phat FX filter types: comb filters A comb filter mixes the original signal with one or more copies of the signal, which are delayed by a very short time interval. At some frequencies this mixture causes phase cancelations, while at other frequencies it causes reinforcements. The result is a spiky frequency spectrum with multiple resonant peaks. Graphically, these peaks resemble the teeth of a comb, which gives this filter type its name. Phat FX offers three comb filter designs, each with its own character.
Phat FX filter types: distortion Phat FX filters offer several distortion effects. • Bitcrusher is a harsher-sounding digital effect. • Downsampler is a lo-fi digital effect (similar to Bitcrusher but is frequency dependent). • Mech is a metallic-sounding distortion. • Tube is a classic tube distortion effect. The filter controls work as follows when the filter type is set to a distortion effect: • Amount: Controls the intensity of the distortion effect.
Horizontally drag the name of the effect in the Effects order strip at the bottom of the window to determine the order of the effects chain. MainStage Step FX processors The parameters of all Step FX processors are described in the respective sections below. Mod FX parameters The modulation FX unit provides chorus-like effects, ranging from soft through to heavy tone warping. MainStage Effects • On/off button: Enable/disable the Mod FX unit. • Delay knob and field: Set the initial delay time.
Delay parameters A syncable stereo delay unit with integrated filter. See MainStage Step FX filter types. • On/off button: Enable/disable the delay effect. • Filter Type pop-up menu: Choose a lowpass (LP), bandpass (BP), highpass (HP), or lowpass/low cut hybrid (LP+LoCut) filter type. • Feedback knob and field: Set the amount of feedback for the left and right delay signals. Higher values result in more delay repeats. • Cutoff knob and field: Set the cutoff frequency for the chosen filter type.
Reverb parameters A simple reverb unit that can add space to your parts. • On/off button: Enable/disable the reverb effect. • Type pop-up menu: Choose a reverb characteristic. Each option provides a different tonal color and response. • Time knob and field: Set the length of the reverb tail. • Mix knob and field: Set the level of the original versus reverb signal. MainStage Step FX step modulator global controls The Step Modulator is the heart of Step FX.
• • Gate Mix: Gate Mix is the best Gate choice in most cases. In this mode, a Depth value of 0% results in no change to the sound. As the Depth value increases, the volume associated with the minimum step value decreases until at 100% it results in silence. Negative Depth values invert step values. When multiple Gate modulators are used, the Gate Mix value is multiplied by existing Gate values.
• Append Duplicate: Duplicate all active steps and copy them to the step immediately following the last step. For example, steps 1 to 10 would be copied to create a 20step modulation pattern. • Append Reverse Duplicate: Duplicate all active steps, reverse their order, then copy them to the step immediately following the last step. For example, steps 1 to 4 with values of 15, 20, 30, and 70 would be copied to create an 8-step modulation pattern with values of 15, 20, 30, 70, 70, 30, 20, and 15.
Also see the sections on Step FX modulator global controls and playback controls. Step modulator pattern display controls • Pattern display: Use to change the modulation pattern length, edit the level and length of individual steps, tie steps, and enable or disable steps. • Level/length bars: Drag vertically to set the level/amount for each active step. Drag left to reduce step length. Drag right to increase step length or to create a tie to the next step.
MainStage Step FX global controls The XY pad provides real-time control of up to four target parameters. Drag the blue control point to simultaneously modulate your targets. The parameters of the XY pad and the Master controls are described in the respective sections below. XY pad parameters Changes to XY pad Target pop-up menus are reflected by blue rings and dots around target parameter knobs, which make it easy to identify a target parameter.
MainStage Step FX filter types Step FX provides dozens of filter types. Step FX filter types: lowpass, bandpass, highpass A lowpass (LP) filter passes the portion of a signal below a specified cutoff frequency and rolls off the portion above that frequency. A bandpass (BP) filter passes the portion of a signal occupying a band surrounding the cutoff frequency and rolls off the portions above and below that band.
Step FX filter types: comb filters A comb filter mixes the original signal with one or more copies of the signal, which are delayed by a very short time interval. At some frequencies this mixture causes phase cancelations, while at other frequencies it causes reinforcements. The result is a spiky frequency spectrum with multiple resonant peaks. Graphically, these peaks resemble the teeth of a comb, which gives this filter type its name. Step FX offers three comb filter designs, each with its own character.
Step FX filter types: distortion Phat FX filters offer several distortion effects. • Bitcrusher is a harsher-sounding digital effect. • Downsample is a lo-fi digital effect (similar to Bitcrusher but is frequency dependent). • Mech is a metallic-sounding distortion. • Tube is a classic tube distortion effect. The filter controls work as follows when the filter type is set to a distortion effect: • Amount: Controls the intensity of the distortion effect.
XY pad pop-up menus: Clicking the name of the effect at the top of the XY pad opens a pop-up menu. Choose an effect type for either the left or right XY Pad. • Filter: Removes frequencies above a cutoff frequency and accentuates frequencies around the resonance value. X sets the cutoff frequency and Y sets the resonance value.
• Downsampler slider: Changes the resolution of incoming audio, making the sound thinner, gritty, or peaky, similar to Bitcrusher distortion. Click the Settings button to access the following additional parameter: Downsampler: Extreme introduces a sympathetic, ringing frequency to your audio signal. Classic downsamples the audio to “roughen it up.” • Reverse button: Reverses playback of incoming audio. Touch-sensitive effect variations are available on the left and right sides of the button.
Pitch effects MainStage Pitch effects overview You can use the pitch effects to transpose or correct the pitch of audio signals. These effects can also be used for creating unison or slightly thickened parts, or even for creating harmony voices. You can also define a scale to automatically correct some, but not all, sung notes in a vocal performance, for example. This enables you to effectively perfect an imperfect vocal take.
Note: Polyphonic recordings, such as choirs, and highly percussive signals with prominent noisy portions cannot be corrected to a specific pitch. Despite this, you may want to try the plug-in on some drum sounds, such as toms and congas because it can deliver interesting results. MainStage Pitch Correction effect parameters Pitch Correction parameters MainStage Effects • Use Global Tuning button: Turn on to use project Tuning settings for the pitch correction process.
• Response slider and field: Determine how quickly the voice reaches the corrected destination pitch. Singers use portamenti and other gliding techniques. If you choose a Response value that’s too high, seamless portamenti turn into semitone-stepped glissandi, but the intonation is perfect. If the Response value is too low, the pitch of the output signal won’t change quickly enough.
Bypass individual notes in a scale in the Pitch Correction effect • In MainStage, to exclude notes from correction, click the small bypass buttons (“byp”) above the green (black) and below the blue (white) keys. This is particularly useful for “blue” notes. Blue notes are notes that slide between pitches, making the major and minor status of the keys difficult to identify. As you may know, one of the major differences between C minor and C major is the Eb (E flat) and Bb (B flat), instead of the E and B.
Pitch Shifter MainStage Pitch Shifter overview Pitch Shifter provides a simple way to combine a pitch-shifted version of the signal with the original signal. See Use MainStage Pitch Shifter. Pitch Shifter parameters • Semi Tones knob and field: Set the pitch shift value in semitones. • Cents knob and field: Control detuning of the pitch shift value in cents (1/100th of a semitone). • Mix knob and field: Set the balance between the effect and original signals.
Use MainStage Pitch Shifter Pitch Shifter is used most effectively when you take a structured approach. Use pitch shifting 1. In MainStage, you can set the amount of transposition, or pitch shift, by dragging the Semi Tones slider. 2. To set the amount of detuning, drag the Cents slider. 3. Choose the algorithm that best matches the material you are working with from the Timing pop-up menu.
Vocal Transformer parameters • Pitch knob and field: Determine the amount of transposition applied to the input signal. See Use MainStage Vocal Transformer. • Robotize button: Turn Robotize mode on or off. This mode is used to augment, diminish, or mirror the melody. See Use MainStage Vocal Transformer. • Pitch Base slider and field: Available only in Robotize mode. Transpose the note that the Tracking parameter is following. • Tracking slider, field, and buttons: Available only in Robotize mode.
Use the Vocal Transformer Pitch and Formant parameters • In MainStage, rotate the Pitch knob to transpose the pitch of the signal upward or downward. Adjustments are made in semitone steps. Incoming pitches are indicated by a vertical line below the Pitch Base field. Transpositions of a fifth upward (Pitch = +7), a fourth downward (Pitch = −5), or by an octave (Pitch = ±12) are the most useful harmonically. As you alter the Pitch parameter, you might notice that the formants don’t change.
2. Click one of the following buttons to immediately set the Tracking slider to one of these most useful values: • −1 button: Set the slider to −100%. All intervals are mirrored. • 0 button: Set the slider to 0%. Delivers interesting results, with every syllable of the vocal track being sung at the same pitch. Low values turn sung lines into spoken language. • 1 button: Set the slider to 100%. The range of the melody is maintained. Higher values augment, and lower values diminish, the melody.
Reverb effects MainStage Reverb effects overview You can use reverb effects to simulate the sound of acoustic environments such as rooms, concert halls, caverns, or an open space. Sound waves repeatedly bounce off the surfaces—walls, ceilings, windows, and so on— of any space, or off objects within a space, gradually dying out until they are inaudible. These bouncing sound waves result in a reflection pattern, more commonly known as a reverberation (or reverb).
Digital recording introduced digital reverb effects, which consist of thousands of delays of varying lengths and intensities. The time differences between the original signal and the arrival of the early reflections can be adjusted by a parameter known as predelay. The average number of reflections in a given period of time is determined by the density parameter. The regularity or irregularity of the density is controlled with the diffusion parameter.
• Details window: Provides access to advanced parameters such as Width, Quality, and Modulation. The graphic display shows an editable Output EQ that you can use to shape the ChromaVerb output signal. MainStage ChromaVerb main display and Damping EQ The main window contains the most commonly used parameters and shows a Damping equalizer overlay in the graphic display. The details window contains advanced parameters and shows the built-in six band Output EQ.
• Graphic display: Shows a real time visualization of changes to parameter values and the incoming signal. A Damping EQ curve is overlaid on the display. You can change the Damping EQ curve in the display or with the fields below it. The Damping EQ adjusts the frequencies of the decay signal. It is divided into four bands, with independent high and low shelving EQ bands, and two parametric EQ bands.
ChromaVerb main window control parameters • Attack knob and field: Set the attack phase of the reverb. This affects either the volume or the density build-up time, depending on the chosen room type. • For the following room types the Attack parameter increases volume over time: Theatre, Dense Room, Smooth Space, Reflective Hall, Strange Room, Airy.
MainStage ChromaVerb Output EQ The details window contains advanced parameters and shows the built-in six band Output equalizer. The main window contains the main window controls and shows a Damping EQ overlay in the graphic display. Click the Main or Details buttons at the upper right to switch between windows. ChromaVerb Output EQ parameters • Output EQ on/off button: Turn on to enable the Output EQ, which adjusts frequencies of the overall combined reverb and source signal.
• Band 4 On/Off button: Switch on a high parametric filter with three controls. Frequency sets a center frequency. Q sets the width of the frequency band around the center frequency. Gain sets the level of the band. When active, you can change band parameters directly in the graphic display. • • Band 5 On/Off button: Switch on a high shelving filter that adjusts the level of high frequencies and has a minimal impact on frequencies below the cutoff (set) frequency.
• Mod Depth slider and field: Set the depth of LFO modulation. The range is determined by the chosen room type. • Mod Source buttons: Choose a sine, random, or noise waveform for the LFO. • Smoothing slider and field: Change the shape of the LFO waveform. The random waveform is smoothed and the sine and noise waveforms are saturated. • Early/Late Mix slider and field: Set the level of early and late reflections. These vary depending on the Distance parameter value. See main window controls.
Room Type Description FX - Bloomy A large space reverb with moderate reflection density that creates blooming decays. MainStage EnVerb EnVerb is a versatile reverb effect with a unique feature: it allows you to adjust the envelope—the shape—of the diffuse reverb tail. EnVerb is divided into two areas: • Time parameters: The graphic display shows and lets you adjust levels over time (the envelope) of the reverb.
• Dry Signal Delay handle and field: Determine the delay of the original signal. Set a suitable level with the Dry slider in the Mix section. • Predelay field: Set the time between the original signal and the start point of the reverb attack phase—the very beginning of the first reflection. • Hold (Sustain) handle and field: Drag horizontally to set the duration of the reverb sustain phase. See Sustain parameter. EnVerb sound parameters • Density knob and field: Set the reverb density.
MainStage Effects • Low Cut slider and field: Filter frequencies below the set value out of the reverb signal. This affects only the tone of the reverb signal, not the original signal. • High Cut slider and field: Filter frequencies above the set value out of the reverb signal. This affects only the tone of the reverb signal, not the original signal. • Modulation On/Off button: Enable or disable the LFO. This affects the Rate, Phase, and Intensity parameters.
Space Designer convolution reverb MainStage Space Designer overview Space Designer is a convolution reverb effect that you can use to place your audio signals in exceptionally realistic recreations of real-world acoustic environments. Space Designer generates reverb by convolving, or combining, an audio signal with an impulse response reverb sample.
MainStage Space Designer interface The Space Designer interface consists of the following main sections: • Impulse response parameters: Use to load, save, or manipulate recorded or synthesized impulse response files. The chosen impulse response file determines what Space Designer uses to convolve with your audio signal. See Use impulse responses in MainStage.
Important: To convolve audio in real time, Space Designer must first calculate any parameter adjustments to the impulse response. This requires a moment or two following parameter edits and is indicated by waveform changes in the main display. Impulse response parameters • Sampled IR button: Switch to Sampled IR mode. In this mode, an impulse response sample is used to generate reverberation. When you first click the Sampled IR button, a Load impulse response window opens.
• Length knob and field: Adjust the length of the impulse response. This control works in conjunction with the Size knob. • Size knob and field: Adjust the sample rate of the loaded impulse response file, thereby changing the perceived size of the reverb by widening or narrowing the room. Size can also be used to preserve the original length of the impulse response when changing the sample rate with the Quality pop-up menu.
Use Synthesized IR mode In Synthesized IR mode, Space Designer generates a synthesized impulse response based on the values of the Length, Envelope, Filter, EQ, and Spread parameters. Note: You can switch between a loaded impulse response sample and a synthesized impulse response without losing the settings of the other. • In MainStage, click the Synthesized IR button above the main display.
• Low: This setting effectively halves the sample rate. If the project sample rate is 96 kHz, the impulse response sample rate is converted to 48 kHz. If the project sample rate is 44.1 kHz, the impulse response sample rate is converted to 22.05 kHz, and so on. When you select a half sample rate, the impulse response becomes twice as long. The highest frequency that can be reverberated is halved.
Set impulse response lengths • In MainStage, rotate the Length knob to set the length of the impulse response— sampled or synthesized. The Length knob setting changes the decay value, depending on the current Size knob value. To clarify, a Length value of 100% and a Size value of 100% result in a decay that is the full length of the loaded impulse response. All envelopes are automatically calculated as a percentage of the overall length.
MainStage Space Designer display mode bar The display mode bar is used to switch the main display and parameter bar between envelope and Output EQ views. • In Sampled IR mode: The IR Sample pop-up menu is shown in the display mode bar, beside the Volume Env and Filter Env buttons. See Use impulse responses in MainStage. • In Synthesized IR mode: The Density Env buttons are shown in the display mode bar, beside the Volume Env and Filter Env buttons. See MainStage Space Designer density envelope.
The positions of nodes in the main display indicate the current parameter value shown in the parameter bar below—for Init Level, Attack, Decay, and other envelope parameter values. If you edit any numerical value in the parameter bar, the corresponding node moves in the main display, and vice-versa. Change an envelope value numerically in Space Designer • In MainStage, vertically drag the parameter field—Attack, for example—in the parameter bar at the bottom of the main display.
MainStage Space Designer volume envelope The volume envelope is used to set the reverb initial level and to control volume changes over time. You can edit all volume envelope parameters numerically, and you can also edit many of them graphically. See Edit Space Designer envelopes in MainStage. Volume envelope parameters • Init Level field: Set the initial volume level of the impulse response attack phase. It is expressed as a percentage of the full-scale volume of the impulse response file.
Click the Filter Env On/Off button to enable the filter envelope and the filter itself. You can use the envelope to control the filter cutoff frequency over time. You can adjust all filter envelope parameters, either numerically in the parameter bar or graphically in the main display using the techniques discussed in Edit Space Designer envelopes in MainStage. Main filter parameters • • Filter mode pop-up menu: Set the filter mode.
MainStage Space Designer density envelope The density envelope controls the density (the average number of reflections) of the synthesized impulse response over time. You can adjust the density envelope numerically in the parameter bar, and you can graphically edit the Init Level, Ramp Time, and End Level parameters using the techniques described in Edit Space Designer envelopes in MainStage. Note: The density envelope is available only in Synthesized IR mode.
• EQ On/Off button: Turn on to enable the Output EQ, which adjusts frequencies of the overall combined reverb and source signal. • Band 1 On/Off button: Switch on a highpass filter that allows high frequencies to pass and reduces the level of low frequencies near the cutoff (set) frequency. When active, you can change band parameters directly in the graphic display. • • Band 1 background or dot: Drag the red shaded area to change the frequency and gain values.
Space Designer global parameters MainStage Space Designer global parameters The global parameters affect the overall input, output, or behavior of the effect. See Use Space Designer global controls in MainStage and Use Space Designer output controls in MainStage. Note: Some parameters discussed in this section are available only in Sampled IR or Synthesized IR mode. Most parameters are available in both modes.
• Volume Compensation: Disable or enable the internal impulse response volume matching function. The reverb volume compensation feature attempts to match the perceived—not the actual—volume differences between impulse response files. It should generally be left on, although it may not work with all types of impulse responses. If you have an impulse response that is of a different level, turn off volume compensation, then adjust input and output levels accordingly.
Use the Space Designer Input slider The Input slider works only in stereo channel configurations. It is not shown in mono channels. • In MainStage, drag the Input slider to determine how a stereo signal is processed. • Stereo setting (top of slider): The signal is processed on both channels, retaining the stereo balance of the original signal. • Mono setting (middle of slider): The signal is processed in mono.
These guidelines are intended to help you design realistic-sounding spaces that are suitable for various signals. If you want to create unnatural sound stages or otherworldly reverbs and echoes, experiment with the Predelay parameter. Change the impulse response start point The IR Offset parameter affords a number of options that can be quite creative, particularly when combined with the Reverse function. See MainStage Space Designer global parameters.
Use the Space Designer Spread parameters The X-Over (crossover) slider setting and Hi and Lo Spread knob values enhance the perceived width of the signal. This occurs without losing the directional information of the input signal normally found in the higher frequency range. Low frequencies are spread to the sides, reducing the amount of low frequency content in the center—allowing the reverb to encompass the mix.
Specialized effects MainStage Specialized effects overview MainStage includes specialized effects designed to address tasks encountered during production or performance. • MainStage Exciter adds life to your recordings by generating artificial high frequency components. • SubBass generates an artificial bass signal that is derived from the incoming signal. MainStage Exciter Exciter generates high frequency components that are not part of the original signal.
Exciter parameters • Frequency field: Drag vertically to set the cutoff frequency of the highpass filter. The input signal passes through the filter before (harmonic) distortion is introduced. • Frequency display: Shows the frequency range used as the source signal for the excite process. You can drag the green line or handle to set the cutoff frequency. • Dry Signal button: Turn on to mix the original (pre-effect) signal with the effect signal. Turn off to hear only the effect signal.
MainStage SubBass parameters SubBass provides the following parameters. SubBass parameters • High Ratio knob and field: Adjust the ratio between the generated signal and the upper frequency band of the original signal. • High Center knob and field: Set the center frequency of the upper frequency band. • High Bandwidth knob and field: Set the width of the upper frequency band. • Graphic display: Shows the selected upper and lower frequency bands. • Freq.
Use the High parameters and the Low parameters to define the two frequency bands that SubBass uses to generate tones. High Center and Low Center define the center frequency of each band, and High Bandwidth and Low Bandwidth define the width of each frequency band. The High Ratio and Low Ratio knobs define the transposition amount for the generated signal in each band. This is expressed as a ratio of the original signal. For example, a Ratio value of 2 transposes the signal down one octave.
Utilities and tools MainStage Utility processors and tools The tools found in the Utility category can help with routine tasks and situations you may encounter during production. Examples include the Gain plug-in, which you can use to adjust the level or phase of input signals, and MainStage I/O utility, which you can use to integrate external audio effects into MainStage channel strips. Also included is Auto Sampler which simplifies the creation of sampler instruments.
Where you place Auto Sampler in the signal chain, relative to other plug-ins, determines whether those plug-ins become part of the sound of the resulting sampler instrument. • Plug-ins placed beforeAuto Sampler in the signal chain are part of the sound of the resulting sampler instrument. • Plug-ins placed afterAuto Sampler in the signal chain are not part of the sound of the resulting sampler instrument.
• Input Gain slider: Adjust the input gain so notes are sampled at a sufficiently high level, without clipping. You can play notes on the keyboard display and view the levels in the graphic display to see if any notes are clipping (appear red). If notes clip, reduce the input gain level until no clipping occurs. Note: The Input Gain slider controls only the input recording level to Auto Sampler, not the channel strip volume.
• Auto Loop pop-up menu: Choose if loop points are automatically determined by Auto Sampler, and if so, which method or algorithm to use. • None: No auto-looping is performed. • Search: The audio content is analyzed and the optimal loop in each sample is set, without adding a loop crossfade. This is useful if the sampled sound contains clearly looping sections.
2. If you are sampling an external device such as a synthesizer, do all of the following: • Connect the instrument to your computer (both audio and MIDI). • Create an external instrument channel strip. In the Add Channel Strip dialog, be sure to set the MIDI input, MIDI output, MIDI channel, and (audio) Input for the channel strip. • Click keys on the Auto Sampler onscreen keyboard to make sure the instrument can receive MIDI Note messages.
MainStage Gain plug-in Gain amplifies (or reduces) the signal by a specific decibel amount. It is very useful for quick level adjustments when you work with automated tracks during post-processing—for example, when you have inserted an effect that doesn’t have its own gain control, or when you want to change the level of a track for a remix version. Gain plug-in parameters • Gain knob and field: Set the amount of gain.
MainStage I/O utility I/O utility lets you use external audio effects units in a similar way to the use of internal effects. Note: I/O utility is not practical unless you are using an audio interface that provides discrete inputs and outputs, either analog or digital, that are used to send signals to and from the external audio effects unit. I/O utility parameters • Output Volume slider and field: Adjust the level of the output signal.
Use an external effects unit with I/O utility 1. In MainStage, connect an output of your audio interface with the input on your effects unit, and connect the output of your effects unit with an input on your audio interface. Note: These can be either analog or digital connections, depending on the features of your audio interface and effects unit, and each connection can be either an output or an output pair. 2.
• Frequency knob and field: Set the frequency of the oscillator (the default is 1 kHz). You can also double-click this field and enter a value ranging from 1 Hz to 22 kHz, exceeding the possible values that can be set with the knob. If you enter “1,” a 1 Hz test tone is the result. • Level knob and field: Set the overall output level. This parameter is common to both modes. • Dim button: Reduce the output level by 50%. This parameter is common to both generator modes.
Legacy effects MainStage Legacy effects overview Legacy effects are included for project compatibility. These plug-ins are inserted when you load a project (that contains these plug-ins) created with an older MainStage version. You can use these plug-ins or you can replace them with other effect plug-ins available in MainStage. You cannot directly insert these plug-ins in MainStage unless you override the effects plug-in menu. Display and insert legacy plug-ins in MainStage 1.
AVerb parameters • Predelay slider and field: Determine the time between the source signal and the early reflections of the reverb signal. • Reflectivity knob and field: Define how reflective the imaginary walls, ceiling, and floor are. In other words, emulate how hard the walls are and what they are made of. Glass, stone, timber, carpet, and other materials have a dramatic impact on the tone of the reverb. • Room Size knob and field: Define the dimensions of simulated rooms.
• New American Bright: Based on the New American Basic amp, this model emphasizes the frequency range above 2 kHz. Suitable for rock and heavy metal. • Top Class DI Warm: Famous DI box simulation, suitable for reggae and pop recordings. Mid frequencies, in the range between 500 and 5000 Hz, are deemphasized. • Top Class DI Deep: Based on the Top Class DI Warm, this model is suitable for funk and fusion. The mid frequency range is strongest around 700 Hz.
The Detector parameters are on the left and the Suppressor parameters are on the right. The center section includes the Detector and Suppressor displays and the Smoothing slider. DeEsser Detector parameters • Frequency knob and field: Set the frequency range for analysis. • Sensitivity knob and field: Set the degree of responsiveness to the input signal. • Monitor pop-up menu: Choose the signal you want to monitor and adjust.
If you use Denoiser too aggressively, you may encounter artifacts that are less pleasant than the existing noise. Use the three Smoothing knobs to reduce or eliminate these artifacts. See MainStage Legacy Denoiser smoothing controls. Denoiser main parameters • Threshold slider and field: Set the threshold level to a point below which the noise signals are reduced.
Denoiser smoothing parameters • Frequency knob and field: Adjust how smoothing is applied to neighboring frequencies. If Denoiser recognizes that only noise is present on a certain frequency band, use the Frequency parameter to smooth the neighboring frequencies to avoid artifacts. The higher you set the Frequency parameter, the more the neighboring frequency bands are changed. • Time knob and field: Set the time required to reach maximum noise reduction. This is the simplest form of smoothing.
• Attack slider and field: Control how quickly the volume is reduced. If you want the music mix signal to be gently faded out, set this slider to a high value. The Attack value also controls whether or not the signal level is reduced before the threshold is reached. The earlier this occurs, the more latency is introduced. Note: Ducker does not work with live (real-time) ducking signals. The ducking signal must be an existing recording.
DJ EQ parameters • High Shelf slider and field: Drag to set the amount of gain for the high shelving filter. • Frequency slider and field: Drag to set the center frequency of the parametric EQ. • Q-Factor slider and field: Drag to set the range (bandwidth) of the parametric EQ. • Gain slider and field: Drag to set the amount of gain for the parametric EQ. • Low Shelf slider and field: Drag to set the amount of gain for the low shelving filter.
• Q fields: Set the Q or bandwidth of each band—the range of frequencies around the center frequency that are altered. At low Q factor values, the EQ covers a wider frequency range. At high Q values, the effect of the EQ band is limited to a narrow frequency range. The Q value can significantly influence how audible your changes are—if you are working with a narrow frequency band, you usually need to cut or boost more drastically to notice the difference.
Parametric EQ parameters • Gain slider and field: Drag to set the amount of cut or boost. • Frequency slider and field: Drag to set the cutoff frequency. • Q-Factor slider and field: Drag to set the Q (bandwidth). MainStage Legacy Silver EQ Silver EQ includes three bands—a high shelving EQ, a parametric EQ, and a low shelving EQ. You can adjust the cutoff frequencies for the high shelving and low shelving EQs. You can adjust the center frequency, gain, and Q factor of the parametric EQ.
GoldVerb MainStage Legacy GoldVerb overview GoldVerb allows you to edit both the early reflections and diffuse reverb tail separately, making it easy to precisely emulate real rooms. GoldVerb is divided into four parameter areas: • Early reflections parameters: Used to emulate the original signal first reflections as they bounce off the walls, ceiling, and floor of a natural room. See MainStage Legacy GoldVerb early reflections controls. • Reverb parameters: Control the diffuse reverberations.
GoldVerb early reflections parameters • Predelay slider and field: Set the time between the start of the original signal and the arrival of the early reflections. • Extremely short: Predelay settings can color the sound and make it difficult to pinpoint the position of the signal source. • Very long: Predelay settings can be perceived as an unnatural echo and can divorce the original signal from its early reflections, leaving an audible gap between them.
• High Cut knob and field: Filter frequencies above the set value from the reverb signal. Uneven or absorbent surfaces—wallpaper, wood paneling, carpets, and so on, tend to reflect lower frequencies better than higher frequencies. The High Cut filter mimics this effect. If you set the High Cut filter to its maximum value, the reverb sounds like it is reflecting off stone or glass. • Density knob and field: Control the density of the diffuse reverb tail.
Grooveshifter source material parameters • • Beat and Tonal buttons: Select the type of source, or input, material you are using. • Beat button: The beat algorithm is optimized for percussive input material. The Grain Size slider is disabled when you select Beat. • Tonal button: The tonal algorithm is optimized for tonal input material. Because this algorithm is based on granular synthesis, the Grain Size slider is available when you select Tonal.
The Guitar Amp Pro window is organized into several parameter sections. • Amp section: The model parameters at the top are used to choose the type of amp, EQ model, and speaker. The knobs in the V-shaped section are used to set tone, gain, and level. See MainStage Legacy Guitar Amp Pro amplifier models, MainStage Legacy Guitar Amp Pro cabinet models, and MainStage Legacy Guitar Amp Pro EQ. • Effects section: Provides parameters to control the built‑in tremolo, vibrato, and reverb effects.
• US Hot Top 100W: This amp produces very fat sounds, even at low Master settings, that result in broad sounds with a lot of “oomph.” • Custom 50W: With the Presence parameter set to 0, this amp model is suitable for smooth fusion lead sounds. • British Clean (GarageBand): Simulates the classic British Class A combos used continuously since the 1960s for rock music, without any significant modification. This model is ideally suited for clean or crunchy rhythm parts.
• • UK 4 x 12 (GarageBand): Classic closed enclosure with four 12” speakers (black series), suitable for rock. • US 1 x 12 open back (GarageBand): Open enclosure of an American lead combo with a single 12” speaker. • US 1 x 12 bass reflex (GarageBand): Closed bass reflex cabinet with a single 12” speaker. • DI Box: Bypasses the speaker simulation section.
• Master knob: Set the output volume of the amplifier—going to the speaker. For tube amplifiers, increasing the Master level typically produces a more compressed and saturated sound, resulting in a more distorted and powerful—that is, louder—signal. High Master settings can produce an extremely loud output that can damage your speakers or hearing, so ramp this up slowly.
Microphone position parameters • Centered button: Places the microphone in the center of the speaker cone, also called on-axis. This placement produces a fuller, more powerful sound, suitable for blues or jazz guitar tones. • Off-Center button: Places the microphone on the edge of the speaker, also referred to as off-axis. This placement produces a tone that is brighter and sharper, but also thinner—suitable for cutting rock or R & B guitar parts.
PlatinumVerb MainStage Legacy PlatinumVerb overview PlatinumVerb allows you to edit both the early reflections and diffuse reverb tail separately, making it easy to precisely emulate real rooms. PlatinumVerb splits the incoming signal into two bands: each is processed and can be edited separately.
Set MainStage Legacy PlatinumVerb early reflections PlatinumVerb provides the following early reflections parameters. PlatinumVerb early reflections parameters • Predelay slider and field: Set the time between the start of the original signal and the arrival of the early reflections. • Extremely short: Predelay setting can color the sound and make it difficult to pinpoint the position of the signal source.
MainStage Legacy PlatinumVerb reverb parameters PlatinumVerb provides the following reverb parameters. PlatinumVerb reverb parameters MainStage Effects • Initial Delay slider and field: Set the time between the original signal and the diffuse reverb tail. • Spread slider and field: Control the width of the reverb stereo image. At 0%, the effect generates a monaural reverb. At 200%, the stereo base is artificially expanded.
• Reverb Time slider and field: Determine the reverb time of the high frequency band. Most natural rooms have a reverb time somewhere in the range of 1 to 3 seconds. This time is reduced by absorbent surfaces, such as carpet and curtains, and soft or dense furnishings, such as sofas, armchairs, cupboards, and tables. Large empty halls or churches have reverb times of up to 8 seconds, with some cavernous or cathedral-like venues extending beyond that.
• Release knob and field: Set the time it takes for Silver Compressor to stop reducing the signal, after the signal falls below the threshold. • Ratio slider and field: Set the ratio by which the signal is reduced, when it exceeds the threshold. MainStage Legacy Silver Gate Silver Gate is a simplified version of the Noise Gate plug-in. See Use MainStage Noise Gate.
Speech Enhancer parameters • Denoise slider and field: Determine the noise floor in the recording, from –60 dB to –20 dB, and thus the amount of noise reduction required. Settings toward –60 dB allow more noise to pass; settings toward –20 dB increasingly suppress background noise but also proportionately increase artifacts. • Mic Correction checkbox: Turn on to improve the frequency response of recordings made with your built-in microphone.
Apple Inc. © 2020 Apple Inc. All rights reserved. Use of the “keyboard” Apple logo (Option-Shift-K) for commercial purposes without the prior written consent of Apple may constitute trademark infringement and unfair competition in violation of federal and state laws. Apple, the Apple logo, Final Cut Pro, Finder, FireWire, GarageBand, iMovie, iPad, iPhoto, iPod, iSight, iTunes, iTunes Store, Jam Pack, Logic, Logic Pro, Mac, Macintosh, MainStage, QuickTime, and Ultrabeat are trademarks of Apple Inc.
