3
Table Of Contents
- Soundtrack Pro 3 Effects Reference
- Contents
- Introduction to the Soundtrack Pro Plug-Ins
- Delay Effects
- Delay Designer
- Getting to Know the Delay Designer Interface
- Getting to Know Delay Designer’s Main Display
- Using Delay Designer’s View Buttons
- Zooming and Navigating Delay Designer’s Tap Display
- Creating Taps in Delay Designer
- Selecting Taps in Delay Designer
- Moving and Deleting Taps in Delay Designer
- Using Delay Designer’s Tap Toggle Buttons
- Editing Parameters in Delay Designer’s Tap Display
- Aligning Delay Designer Tap Values
- Editing Filter Cutoff in Delay Designer’s Tap Display
- Editing Pan in Delay Designer’s Tap Display
- Editing Taps in Delay Designer’s Tap Parameter Bar
- Editing Delay Designer Taps with the Shortcut Menu
- Resetting Delay Designer Tap Values
- Synchronizing Taps in Delay Designer
- Using Delay Designer’s Master Section
- Working with Delay Designer in Surround
- Stereo Delay
- Tape Delay
- Delay Designer
- Distortion Effects
- Dynamics Processors
- Equalizers
- Filter Effects
- Imaging Processors
- Metering Tools
- Modulation Effects
- Pitch Effects
- Reverb Effects
- Space Designer Convolution Reverb
- Getting to Know the Space Designer Interface
- Working with Space Designer’s Impulse Response Parameters
- Working with Space Designer’s Envelope and EQ Parameters
- Working with Space Designer’s Filter
- Working with Space Designer’s Global Parameters
- Using Space Designer’s Input Slider
- Using Space Designer’s Latency Compensation Feature
- Using Space Designer’s Definition Parameter
- Using Space Designer’s Rev Vol Compensation
- Using Space Designer’s Output Sliders
- Working with Pre-Dly (Predelay) in Space Designer
- Using Space Designer’s IR Start Parameter
- Using Space Designer’s Spread Parameters
- Automating Space Designer
- Specialized Effects and Utilities
- Utilities and Tools
The filters allow only very high (loud) signal peaks to pass. In the drum kit example, you
could remove the hi-hat signal, which is higher in frequency, with the High Cut filter and
allow the snare signal to pass. Turn monitoring off to set a suitable Threshold level more
easily.
Surround Compressor
The Surround Compressor, based on the Compressor, is specifically designed for
compression of complete surround mixes. It is commonly inserted in a surround output
channel strip, or in audio or aux channel strips—busses—that carry multichannel audio.
You can adjust the compression ratio, knee, attack, and release for the main, side, surround,
and LFE channels, depending on the chosen surround format. All channels include an
integrated limiter and provide independent threshold and output level controls.
You can link channels by assigning them to one of three groups. When you adjust the
threshold or output parameter of any grouped channel, the parameter adjustment is
mirrored by all channels assigned to the group.
LFE section
Main section
Link section
The Surround Compressor is divided into three sections:
• The Link section at the top contains a series of menus where you assign each channel
to a group.
• The Main section includes controls common to all the main channels, and the threshold
and output controls for each channel.
• The LFE section on the lower right includes separate controls for the LFE channel.
57Chapter 3 Dynamics Processors