![M-Audio Pro Tools Recording Studio [31/83] Using de essing effectively](/img/pdf.png)
M-Audio Pro Tools Recording Studio [31/83] Using de essing effectively
![M-Audio Pro Tools Recording Studio [31/83] Using de essing effectively](/views2/1789451/page31/bg1f.png)
Chapter 5: Dynamics III 27
Using De-Essing Effectively
To use de-essing most effectively, insert the De-
Esser after compressor or limiter plug-ins.
The Frequency control should be set to remove
sibilants (typically the 4–10 kHz range) and not
other parts of the signal. This helps prevent de-
essing from changing the original character of
the audio material in an undesired manner.
Similarly, the Range control should be set to a
level low enough so that de-essing is triggered
only by sibilants. If the Range is set too high, a
loud, non-sibilant section of audio material
could cause unwanted gain reduction or cause
sibilants to be over-attenuated.
To improve de-essing of material that has both
very loud and very soft passages, automate the
Range control so that it is lower on soft sections.
De-Esser III Controls
This section describes controls for the De-Esser
plug-in.
De-Esser Levels Section
These controls let you track input, output, and
gain reduction levels.
Input and Output Meters
The Input and Output meters show peak signal
levels before and after dynamics processing:
Green Indicates nominal levels.
Yellow Indicates pre-clipping levels, starting at
–6 dB below full scale.
Red Indicates full scale levels (clipping).
The Clip indicators at the top of each meter in-
dicate clipping at the input or output stage of
the plug-in. Clip indicators can be cleared by
clicking the indicator.
The De-Esser has no control to directly ad-
just the threshold level (the level that an in-
put signal must exceed to trigger de-essing).
The amount of de-essing will vary with the
input signal.
De-Esser III I/O Meter display
Gain
Reduction
meter
Input
meter
Output me-
ter
Содержание
- Essential plug ins p.1
- Legal notices p.2
- Documentation feedback p.2
- Contents p.3
- Chapter 5 dynamics ii p.3
- Chapter 4 d ver p.3
- Chapter 3 air chorus flanger and phase p.3
- Chapter 2 clic p.3
- Chapter 1 introductio p.3
- Chapter 9 sansamp psa p.4
- Chapter 8 rewir p.4
- Chapter 7 mod delay i p.4
- Chapter 6 eq ii p.4
- Chapter 11 other audiosuite plug in p.4
- Chapter 10 structure essentia p.4
- Chapter 1 p.5
- References to pro tools l p.5
- Plug in formats p.5
- Or pro tools m powered in this guide are usually inter changeable with pro tools m powered essential except as noted in the pro tools m powered essential user guide p.5
- Introduction p.5
- Using plug ins in pro tools p.6
- System requirements and compatibility p.6
- Rtas plug ins p.6
- Installing plug ins p.6
- Installing and using plug ins for pro tools m powered essential p.6
- Audiosuite plug ins p.6
- User tips are helpful hints for getting the most from your system p.7
- Shortcuts show you useful keyboard or mouse shortcuts p.7
- Important notices include information that could affect your pro tools session data or the performance of your pro tools system p.7
- Cross references point to related sections in this guide and other essential guides p.7
- Conventions used in this guide p.7
- About www digidesign com p.7
- Click controls p.9
- Chapter 2 p.9
- The note velocity duration and output options in this dialog are for use with midi instrument based clicks and do not affect the click plug in p.10
- Refer to the pro tools p.10
- Information on configuring click op tions p.10
- Creating a click track p.10
- Lfo section p.11
- Chorus section p.11
- Chapter 3 p.11
- Air chorus flanger and phaser p.11
- Air chorus p.11
- Pre delay p.12
- Air flanger p.12
- L r offset p.13
- Feedback p.13
- Eq section p.13
- Retrigger p.13
- Phase invert p.13
- Low cut p.13
- Lfo section p.13
- Air phaser p.14
- Phaser section p.15
- Low cut p.15
- Lfo section p.15
- L r phase p.15
- Feedback p.15
- Center p.15
- Input level p.17
- D verb controls p.17
- D verb p.17
- Clip indicator p.17
- Chapter 4 p.17
- Output meter p.17
- Diffusion p.18
- Algorithm p.18
- Pre delay p.19
- Low pass filter p.19
- Hi frequency cut p.19
- Shared compressor limiter and expander gate features p.21
- Levels section p.21
- Dynamics iii p.21
- Chapter 5 p.21
- Toggling multichannel input and output meters p.22
- Threshold arrow p.22
- The input and output meters display differ ently depending on the type of track mono stereo or multichannel on which the plug in has been inserted p.22
- Phase invert p.22
- Input and output meters p.22
- Gain reduction meter p.22
- When side chain listen is enabled the output meter only displays the levels of the side chain signal see side chain listen on page 29 p.22
- The lfe enable button is not available if the plug in is not inserted on an applicable track p.23
- Pro tools hd and pro tools le with complete production toolkit only p.23
- Lfe enable p.23
- Dynamics graph display p.23
- Side chain section p.24
- See de esser frequency graph display on page 28 for information on using the de es ser s graph display p.24
- Compressor limiter iii p.24
- About compression p.24
- Threshold p.25
- Input output level meters p.25
- Compressor limiter iii controls p.25
- Compressor limiter graph display p.25
- About limiting p.25
- Release p.26
- Attack p.26
- Side chain section p.27
- For more information on the lfe channel refer to the pro tools reference guide p.27
- Look ahead button p.28
- Input output level meters p.28
- Expander gate iii controls p.28
- Expander gate iii p.28
- Expander gate dynamics graph display p.28
- About gating p.28
- About expansion p.28
- Threshold p.29
- Attack p.29
- Side chain section p.30
- Release p.30
- De esser iii p.30
- De esser levels section p.31
- De esser iii controls p.31
- Using de essing effectively p.31
- The de esser has no control to directly ad just the threshold level the level that an in put signal must exceed to trigger de essing the amount of de essing will vary with the input signal p.31
- Input and output meters p.31
- Listen p.32
- Hf only p.32
- Gain reduction meter p.32
- Frequency p.32
- De esser frequency graph display p.32
- Using the side chain input in dynamics iii p.33
- Side chain section p.33
- Side chain listen is not saved with other plug in presets p.33
- Side chain listen p.33
- External key p.33
- Compressor limiter and expander gate only p.33
- Hf frequency control p.34
- Hf and lf filter enable buttons p.34
- Low frequency lf filter type p.34
- Lf frequency control p.34
- High frequency hf filter type p.34
- Using an external key input for side chain processing p.35
- Using a filtered input signal for side chain processing p.35
- Rtas and audiosuite p.37
- Eq iii configurations p.37
- Eq iii p.37
- Chapter 6 p.37
- Peak eq bands only p.38
- Inverting filter gain p.38
- Eq iii controls p.38
- Dragging plug in controls p.38
- Band eq and 2 4 band eq p.38
- Band eq p.38
- Adjusting eq iii controls p.38
- Typing control values p.38
- Using band pass mode p.39
- Resetting controls to default values p.39
- Dragging in the frequency graph display p.39
- Band pass mode does not affect eq iii gain controls p.39
- Adjusting controls with fine resolution p.39
- Output gain control p.40
- Input polarity control p.40
- Input gain control p.40
- Input and output meters p.40
- I o controls p.40
- 7 band eq and 2 4 band eq only p.40
- Eq band controls p.41
- Band gain control p.41
- Band enable button p.41
- 7 band eq and 2 4 band eq only p.41
- Q control p.41
- Frequency control p.41
- Eq type selector p.41
- The frequency graph display in the 7 band eq and the 2 4 band eq shows a color coded control dot that corresponds to the color of the gain control for each band the filter shape of each band is sim ilarly color coded the white frequency response curve shows the contribution of each of the enabled filters to the overall eq curve p.42
- Frequency graph display p.42
- 7 band eq and 2 4 band eq only p.42
- The 7 band eq has the following available bands high pass low notch low pass high notch low shelf low peak low mid peak mid peak high mid peak and high shelf high peak p.43
- High pass low notch p.43
- Band eq p.43
- All seven bands are available for simultaneous use in the factory default setting the high pass low notch and low pass high notch bands are out of circuit the low shelf and high shelf bands are selected and in circuit and the low mid peak mid peak high mid peak bands are in circuit p.43
- The high pass and low notch controls and their corresponding graph elements are displayed on screen in gray p.44
- Low pass high notch p.44
- Low pass filter attenuates all frequencies above the frequency setting at the selected slope while letting all frequencies below pass through p.44
- Low notch eq attenuates a narrow band of fre quencies centered around the frequency set ting the width of the attenuated band is deter mined by the q setting p.44
- High pass filter attenuates all frequencies below the frequency setting at the selected slope while letting all frequencies above pass through p.44
- High notch eq attenuates a narrow band of fre quencies centered around the frequency set ting the width of the attenuated band is deter mined by the q setting p.44
- The low pass notch band is switchable between low pass filter and notch eq functions by de fault this band is set to low pass filter p.44
- The low pass and high notch controls and their corresponding graph elements are displayed on screen in gray p.44
- The high pass notch band is switchable be tween high pass filter and notch eq functions by default this band is set to high pass filter p.44
- The low shelf peak band is switchable between low shelf eq and low peak eq functions by de fault this band is set to low shelf p.45
- The low shelf and low peak gain controls and their corresponding graph elements are dis played on screen in red p.45
- Low shelf low peak p.45
- Low shelf eq boosts or cuts frequencies at and below the frequency setting the amount of boost or cut is determined by the gain setting the q setting determines the shape of the shelv ing curve p.45
- Low peak eq boosts or cuts a band of frequen cies centered around the frequency setting the width of the affected band is determined by the q setting p.45
- The mid peak band boosts or cuts frequencies centered around the frequency setting the width of the band is determined by the q set ting p.46
- The mid gain control and its corresponding graph elements are displayed on screen in yel low p.46
- The low mid peak band boosts or cuts frequen cies centered around the frequency setting the width of the band is determined by the q set ting p.46
- The low mid gain control and its correspond ing graph elements are displayed on screen in brown p.46
- Mid peak p.46
- Low mid peak p.46
- High peak eq boosts or cuts a band of frequen cies centered around the frequency setting the width of the affected band is determined by the q setting p.47
- High mid peak p.47
- The high shelf peak band is switchable between high shelf eq and high peak eq functions by default this band is set to high shelf p.47
- The high mid peak band boosts or cuts frequen cies centered around the frequency setting the width of the band is determined by the q set ting p.47
- The high mid gain control and its correspond ing graph elements are displayed on screen in green p.47
- High shelf high peak p.47
- High shelf eq boosts or cuts frequencies at and above the frequency setting the amount of boost or cut is determined by the gain setting the q setting determines the shape of the shelv ing curve p.47
- Switching between the 2 4 band eq and 7 band eq p.48
- For pro tools hd using a 2 4 band eq in stead of a 7 band eq saves dsp resources p.48
- Filter usage with 2 4 band eqs p.48
- Changing from 7 band to 2 4 band p.48
- Changing from 2 4 band to 7 band p.48
- 4 band eq p.48
- The 1 band eq may be set to any one of six eq types high pass notch high shelf low shelf peak and low pass by clicking the correspond ing icon in the eq type selector p.49
- High pass filter p.49
- Eq types p.49
- Band eq p.49
- Band controls p.49
- The individual eq types have some combina tion of the following controls as noted below p.49
- The high pass filter attenuates all frequencies below the frequency setting at the selected rate 6 db 12 db 18 db or 24 db per octave while letting all frequencies above pass through no gain control is available for this filter type p.49
- The frequency graph display in the 1 band eq shows a control dot that indicates the center fre quency peak shelf and notch filters or the cutoff frequency high pass and low pass fil ters for the currently selected filter type p.49
- Peak eq p.50
- Notch filter p.50
- Low shelf eq p.50
- High shelf eq p.50
- Low pass filter p.51
- Rtas and audiosuite p.53
- Mod delay ii controls p.53
- Mod delay ii p.53
- Chapter 7 p.53
- Selections for moddelay ii audiosuite processing p.55
- Multichannel mod delay ii p.55
- It is not possible to exceed the maximum delay length for a particular version of mod delay ii consequently when adjust ing any of the tempo controls tempo me ter duration and groove you may not be able to adjust the control across its full range if you encounter this behavior switch to a version of mod delay ii that has a longer delay time for example switch from medium delay to long delay p.55
- Chapter 8 p.57
- Rtas only p.57
- Rewire p.57
- Pro tools does not support sending audio to rewire client applications p.57
- Not all rewire client applications support automatic launch from a rewire mixer ap plication for these applications launch the rewire client application separately and then select it as a plug in insert in pro tools p.57
- Exchange of additional metadata such as controller and note names between pro tools and rewire clients is not sup ported p.57
- Using rewire p.59
- Rewire requirements p.59
- If the client application does not support auto launch launch it manually some re wire client applications may need to be launched and configured before launching pro tools such as cycling 74 s max msp others may need to be launched after pro tools is launched such as ableton live for more information consult the manufacturer s documentation for your re wire client application p.59
- Client software must support the same sample rate as the session using rewire for example third party client software that does not support sample rates beyond 48 khz cannot be used in 96 khz pro tools sessions p.59
- Recording midi continuous controller data over rewire p.60
- Midi automation with rewire p.60
- If you experience system performance prob lems while using pro tools with rewire cli ent applications you may need to increase the pro tools cpu usage limit p.60
- You must select the rewire device from which you want to record midi controller data leaving the track s midi input set to all does not record any midi data over re wire p.61
- If your external midi controller is correctly mapped to the corresponding rewire client application s parameters and it is correctly routed through pro tools use your midi controller to adjust the parameter you want to record p.61
- Playing back midi continuous controller data over rewire p.62
- If you quit pro tools before quitting rewire client applications a warning dialog may appear stating that one or more rewire applications did not terminate to avoid this quit all rewire client applications be fore quitting pro tools p.62
- Tempo and meter changes p.62
- Quitting rewire client applications p.62
- Pro tools supports tempo values from 30 300 bpm when slaved to a rewire cli ent application pro tools playback will be restricted to this range even if the client ap plication s tempo is outside this range ad ditionally some rewire client applications such as reason may misinterpret pro tools meter changes resulting in mis matched locate points and other unexpected behavior to prevent this avoid using meter changes in pro tools when using reason as a rewire client p.62
- Looping playback p.63
- If you create a playback loop by making a selection in the pro tools timeline once playback is started any changes made to loop or playback markers within the rewire client application will deselect the pro tools timeline selection and remove the loop p.63
- For information on drawing automation see the pro tools reference guide p.63
- Automating rewire input switching p.63
- Sansamp psa 1 p.65
- Rtas and audiosuite p.65
- How the psa 1 works p.65
- Chapter 9 p.65
- Tips and tricks p.66
- Psa 1 controls p.66
- Pre amp versus drive p.66
- Peace and unity p.66
- Louder and cleaner p.66
- Structure essential p.67
- Loading structure essential p.67
- Introduction p.67
- Getting started p.67
- Chapter 10 p.67
- Making sound p.68
- Loading a quickstart patch p.68
- Loading a patch manually p.68
- Using smart knobs p.69
- Using key switches p.69
- Finding missing samples p.69
- Structure essential parameters p.70
- Smart knobs p.70
- Master output volume p.70
- Keyboard section p.70
- Key switches p.70
- The display does not show parameter values of incoming automation as multiple parameters in different patches could be changing simultaneously only values ed ited using the mouse are shown p.71
- Patch list p.71
- Info display p.71
- Remove patch p.72
- Remove all patches p.72
- Patch module controls p.72
- Patch menu p.72
- Paste patch parameter p.72
- Paste patch p.72
- Load new patch p.72
- Duplicate patch p.72
- Cut patch p.72
- Copy patch p.72
- Automation channel p.72
- Add patch p.72
- Copy samples to session folder p.73
- Patches can not be saved individually with structure essential the status of the plug in can be saved as a settings file or with the session only p.73
- Loading patches p.73
- Find missing samples p.73
- Patch edit sub pages p.74
- Main page p.74
- Edit 1 sub page p.74
- Filter section p.75
- Filter envelope section p.75
- Edit 2 sub page p.75
- Amplifier section p.75
- Amp envelope section p.75
- Browser page p.76
- Browser controls p.77
- Other audiosuite plug ins p.79
- Chapter 11 p.79
- Audiosuite only p.79
- Reverse p.79
- Effects p.81
- Dynamics ii plug in p.81
- Distortio p.81
- Numerics p.81
- Diffusion contro p.81
- Inverting gain eq iii p.81
- Delay plug i p.81
- Instruments p.81
- Decay contro p.81
- Clip indicator p.81
- Info display structure free p.81
- Click plug i p.81
- Info displa p.81
- Church algorith p.81
- Host processin p.81
- Cabinet simulatio p.81
- Hi frequency cut contro p.81
- Browser structure free p.81
- Harmonic generatio p.81
- Hall algorith p.81
- Band 2 4 band or 1 band eq iii p.81
- Guitar p.81
- Audiosuite p.81
- Frequency graph display eq iii p.81
- Amp simulatio p.81
- Flange p.81
- Algorithm contro p.81
- Extra long delay plug i p.81
- Signal generator plug i p.82
- Long delay plug i p.82
- Keyboard section structure free p.82
- Sibilant p.82
- Key switche p.82
- Short delay plug i p.82
- Sansamp psa p.82
- Rtas plug in p.82
- Reverse plug i p.82
- Pre delay contro p.82
- Working with plug in p.82
- Plug ins p.82
- Websit p.82
- Patch list structure free p.82
- Tube sound p.82
- Patch edit sub pages structure free p.82
- Tempo syn p.82
- Output mete p.82
- Tdm plug in p.82
- Mod delay ii plug in p.82
- Structure fre p.82
- Midi output selecto p.82
- Smart knobs structure free p.82
- Midi beat cloc p.82
- Slap delay plug i p.82
- Medium dela p.82
- Size contro p.82
- Low pass filter contro p.82
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