3
Table Of Contents
- MainStage 3 Effects
- Contents
- Chapter 1: Amps and pedals
- Chapter 2: Delay effects
- Chapter 3: Distortion effects
- Chapter 4: Dynamics processors
- Chapter 5: Equalizers
- Chapter 6: Filter effects
- Filter effects overview
- AutoFilter
- EVOC 20 Filterbank
- EVOC 20 TrackOscillator
- EVOC 20 TrackOscillator overview
- Vocoder overview
- EVOC 20 TrackOscillator interface
- EVOC 20 TrackOscillator analysis in parameters
- Use EVOC 20 TrackOscillator analysis in
- EVOC 20 TrackOscillator U/V detection parameters
- EVOC 20 TrackOscillator synthesis in parameters
- EVOC 20 TrackOscillator oscillators
- EVOC 20 TrackOscillator formant filter
- EVOC 20 TrackOscillator modulation
- EVOC 20 TrackOscillator output parameters
- Fuzz-Wah
- Spectral Gate
- Chapter 7: Imaging processors
- Chapter 8: Metering tools
- Chapter 9: MIDI plug-ins
- Chapter 10: Modulation effects
- Chapter 11: Pitch effects
- Chapter 12: Reverb effects
- Chapter 13: Space Designer convolution reverb
- Chapter 14: Specialized effects and utilities
- Chapter 15: Utilities and tools
- Appendix: Legacy effects
Chapter 4 Dynamics processors 88
DeEsser common parameters
•
Detector and Suppressor frequency displays: The upper display shows the Detector frequency
range. The lower display shows the Suppressor frequency range (in hertz).
•
Smoothing slider: Drag to set the reaction speed for the gain reduction start and end phases.
Smoothing controls both the attack and release times, as they are used by compressors.
Enveloper
Enveloper is an unusual processor that lets you shape the attack and release phases of a signal—
the signal’s transients, in other words. This makes it a unique tool that can be used to achieve
results that dier from other dynamics processors. In contrast to a compressor or expander,
Enveloper operates independently of the absolute level of the input signal—but this works only
if the Threshold slider is set to the lowest possible value.
The most important Enveloper parameters are the two Gain sliders, one on each side of the
central display. These govern the Attack and Release levels of each respective phase.
Boosting the attack phase can add snap to a drum sound, or it can amplify the initial pluck or
pick sound of a stringed instrument. Attenuating the attack causes percussive signals to fade
in more softly. You can also mute the attack, making it virtually inaudible. A creative use for this
eect is alteration of the attack transients to mask poor timing of recorded instrument parts.
Boosting the release phase also accentuates any reverb applied to the aected channel strip.
Conversely, attenuating the release phase makes reverb-drenched tracks sound drier. This is
particularly useful when you are working with drum loops, but it has many other applications
as well.