audio-design multitrackstudio Manuale Utente
Attack controls how fast the Compressor will attenuate loud signals, while Release controls the time it
takes to stop attenuating after a loud signal ended. Low Release times can cause distortion at low
frequencies.
frequencies.
Gain sets the amount of gain applied after the compressing action is done. As the Compressor attenuates
loud parts the overall level drops. The Gain control compensates for this level drop. By activating the Auto
Gain button the Compressor will automatically adjust the Gain control.
Gain button the Compressor will automatically adjust the Gain control.
Program selects the program used:
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Clean is as transparent as possible. This is a 'feedforward' compressor, which is the way typical
modern compressors work.
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Vintage is less transparent, but has more character. This is a 'feedback' compressor, which is the
way older (tube or opto) compressors work.
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Warm Vintage is like Vintage, but modified so it produces more even harmonics.
The Side Chain section is available with the Clean program only.
Typical applications of Side Chain section's effect slot are:
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Use an EQ effect to attenuate the bass frequenties in order to avoid the compressor overreacting to
it, which can lead to "pumping".
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Use an EQ effect to boost certain unwanted frequencies, so the compressor attenuates them
The Transfer Curve (bottom left) shows the effect of the Treshold, Ratio and Knee settings. It ignores the
effect of the Gain knob. The horizontal axis represents the input, the vertical axis represents the output. The
Level History (top left) shows the relative amount of time the input signal is at a certain level (the higher
Level History (top left) shows the relative amount of time the input signal is at a certain level (the higher
the bar, the more time). The Level History will be reset when either the Transport is started or the
Compressor window pops up. You can be reset it manually using the F5 key.
7.5 Convolutor
The Convolutor effect processes the audio signal using an impulse response file. Its main purpose is
generating Reverb. In this case the effect will typically be used in an Effect Return section.
Convolutor window
In simple terms the Convolutor works like this: If you clap your hands in a hall you hear a few seconds of
reverb. It's not hard to imagine that knowing this reverb it is possible to calculate the hall's response to a
guitar (or any sound). This indeed is the case. We use ideal handclaps (impulses) and generalized reverbs
guitar (or any sound). This indeed is the case. We use ideal handclaps (impulses) and generalized reverbs
(impulse responses). When viewed in an editor an impulse looks like one small dot (and the rest is just
silence). Now you can understand what the convolutor does: a recording of a guitar contains lots of dots in
the editor, and the convolutor treats every single dot as a handclap. Adding all the handclaps makes the
hall's response to the guitar!
Note that if you whistle in a hall the hall's response only contains tones you whistled. This is a necessary
condition for creating the exact response: the thing you want to model may not generate frequencies you
didn't put in. This means you cannot use the Convolutor to generate distortion or to shift pitch.
Using the Load button you can load an impulse response file. You can organize your impulse responses
just like you can sampler patches (see Organizing your patches).
Length Limit controls the part of file that's actually being used. The lower this value, the lower the
Convolutor's CPU usage.