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Guide Part Number 9329-59277-00 REV A 11/08
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ii Drawmer Dynamics Plug-ins Guide contents
Chapter 1. Introduction ...... 1 Contents of the Boxed Version of Your Plug-in ...... 1 System Requirements and Compatibility Information ...... 2 Register Your Plug-ins ...... 2 Working with Plug-ins ...... 2 Conventions Used in This Guide ...... 3 About www.digidesign.com ...... 3
Chapter 2. Installing, Authorizing, and Removing Plug-ins ...... 5 Installing Plug-ins for Pro Tools...... 5 Authorizing Plug-ins for Pro Tools ...... 6 Uninstalling Plug-ins for Pro Tools ...... 7
Chapter 3. Drawmer Dynamics Parameters...... 9 Adjusting Plug-in Parameters ...... 9 Expander Module ...... 11 The Gate Module...... 13 The Compressor Module ...... 18 The Limiter ...... 21 Meters and Indicators ...... 21
Chapter 4. Using Drawmer Dynamics ...... 23 Using Plug-ins as Inserts ...... 23 Inserting Drawmer Dynamics on a Track ...... 23 Using The Gate Module ...... 24 Using the Expander Module ...... 26 Using the Compressor Module ...... 26
Contents iii Appendix A. DSP Requirements...... 27 Drawmer Dynamics DSP Requirements ...... 28
Appendix B. DSP Delays Incurred by TDM Plug-ins ...... 29 Drawmer Dynamics DSP Delay ...... 30
Appendix C. Drawmer Dynamics Demo Sessions ...... 31 Using the Demo Sessions ...... 31
Index ...... 33
iv Drawmer Dynamics Plug-ins Guide chapter 1 Introduction
Thank you for purchasing the Drawmer Dynam- ics plug-in for Pro Tools|HD® systems. Contents of the Boxed Version of Your Plug-in Based in England, Drawmer has a longstanding reputation for creating high-quality, industry- Your Drawmer Dynamics plug-in package con- standard analog and digital signal processing de- tains the following components: vices, including microphone preamplifiers, eso- • Installation disc teric tube equipment, equalizers, and most sig- • Digidesign® Registration Information Card nificantly, dynamics processors. • One of the following authorization cards for The Drawmer Dynamics plug-in is a real-time authorizing plug-ins with an iLok USB Smart TDM plug-in that retains the look and sound of Key (not supplied): tow of Drawmer’s renowned hardware units, the • Activation Card with an Activation Code highly-acclaimed Drawmer DS201 and DL241. – or – There are two configurations of the Drawmer •License Card Dynamics plug-in:
DrawmerECL Providing an Expander, Compres- sor, and Limiter.
DrawmerGCL Providing a Gate, Compressor, and Limiter.
Chapter 1: Introduction 1 System Requirements and Register Your Plug-ins Compatibility Information If you purchase a plug-in online from the Digi- Store (www.digidesign.com) using Internet Acti- To use Drawmer Dynamics, you need the following: vation, you are automatically registered. • An iLok USB Smart Key If you purchase a plug-in boxed version, check • An iLok.com account for managing iLok li- the included Digidesign Registration Informa- censes tion Card for information about how to register • One of the following: online. • A Digidesign-qualified Pro Tools|HD sys- tem or Pro Tools|HD Accel system Registered users receive periodic software update and upgrade notices. – or – • A Digidesign-qualified VENUE system Please refer to the Digidesign website (www.digidesign.com) or the Digidesign Regis- The Drawmer Dynamics plug-in does not tration Information Card for information on support sample rates above 96 kHz. technical support.
Digidesign can only assure compatibility and provide support for hardware and software it has tested and approved. Working with Plug-ins
For complete system requirements and a list of Besides the information provided in this guide, Digidesign-qualified computers, operating sys- refer to the Pro Tools Reference Guide for general tems, hard drives, and third-party devices, refer information on working with plug-ins, includ- to the latest information on the Digidesign web- ing: site: • Inserting Plug-ins on Tracks www.digidesign.com/compatibility • Clip Indicators • The Plug-in Window • Adjusting Parameters • Automating Plug-ins • Using the Librarian
2 Drawmer Dynamics Plug-ins Guide Conventions Used in This About www.digidesign.com Guide The Digidesign website (www.digidesign.com) is All Digidesign guides use the following conven- your best online source for information to help tions to indicate menu choices and key com- you get the most out of your Pro Tools system. mands: The following are just a few of the services and features available. Convention Action Product Registration Register your purchase on- File > Save Choose Save from the line. File menu Support and Downloads Contact Digidesign Control+N Hold down the Control Technical Support or Customer Service; down- key and press the N key load software updates and the latest online Control-click Hold down the Control manuals; browse the Compatibility documents key and click the mouse for system requirements; search the online An- button swerbase or join the worldwide Pro Tools com- Right-click Click with the right munity on the Digidesign User Conference. mouse button Training and Education Study on your own using The names of Commands, Options, and Settings courses available online or find out how you can that appear on-screen are in a different font. learn in a classroom setting at a certified Pro Tools training center. The following symbols are used to highlight im- portant information: Products and Developers Learn about Digidesign products; download demo software or learn User Tips are helpful hints for getting the about our Development Partners and their plug- ® most from your Pro Tools system. ins, applications, and hardware.
News and Events Get the latest news from Important Notices include information that Digidesign or sign up for a Pro Tools demo. could affect your Pro Tools session data or the performance of your Pro Tools system. Pro Tools Accelerated Videos Watch the series of free tutorial videos. Accelerated Videos are de- signed to help you get up and running with Shortcuts show you useful keyboard or Pro Tools and its plug-ins quickly. mouse shortcuts. To learn more about these and other resources Cross References point to related sections in available from Digidesign, visit the Digidesign the Pro Tools Guides. website (www.digidesign.com).
Chapter 1: Introduction 3 4 Drawmer Dynamics Plug-ins Guide chapter 2 Installing, Authorizing, and Removing Plug- ins
Installation Installing Plug-ins for Pro Tools To install a plug-in:
Installers for your plug-ins can be downloaded 1 Do one of the following: from the DigiStore (www.digidesign.com) or can • Download the installer for your computer be found on the plug-in installer disc (included platform from the Digidesign website with boxed versions of plug-ins). (www.digidesign.com). After downloading, make sure the installer is uncompressed An installer may also be available on the (.ZIP on Windows or .SIT on Mac). Pro Tools installer disc or on a software bundle installer disc. – or – • Insert the Installer disc into your computer. Installation steps are essentially the same, re- gardless of the package, system, or bundle. 2 Double-click the plug-in installer application. 3 Follow the on-screen instructions to complete For information on installing plug-ins for the installation. VENUE systems, see the D-Show guide that came with your system. 4 When installation is complete, click Finish (Windows) or Quit (Mac).
When you open Pro Tools, you are prompted to authorize your new plug-in
Chapter 2: Installing, Authorizing, and Removing Plug-ins 5 Authorizing Boxed Versions of Authorizing Plug-ins for Plug-ins for Pro Tools Pro Tools If you purchased a boxed version of a plug-in, it Plug-ins are authorized using the iLok USB comes with an Activation Code (on the included Smart Key (iLok), manufactured by PACE Anti- Activation Card). Piracy, Inc. To authorize a TDM plug-in using an Activation Code:
1 Visit www.iLok.com and sign up for an iLok.com account if you do not have an existing iLok.com account.
2 Transfer the license for your plug-in to your iLok USB Smart Key iLok.com account by doing the following: The iLok is similar to a dongle, but unlike a don- • Visit http://secure.digidesign.com/ gle, it is designed to securely authorize multiple activation. software applications from a variety of software • Input your Activation Code (listed on your developers. Activation Card) and your iLok.com User This key can hold over 100 licenses for all of ID. Your iLok.com User ID is the name you your iLok-enabled software. Once an iLok is au- create for your iLok.com account. thorized for a given piece of software, you can 3 Transfer the licenses from your iLok.com ac- use the iLok to authorize that software on any count to your iLok USB Smart Key by doing the computer. following:
The iLok USB Smart Key is not supplied • Insert the iLok into an available USB port with your plug-in or software option. You on your computer. can use the one included with certain • Go to www.iLok.com and log in. Pro Tools systems (such as Pro Tools|HD- • Follow the on-screen instructions for trans- series systems), or purchase one separately. ferring your licences to your iLok.
Authorizing Download Versions of For information about iLok technology and Plug-ins for Pro Tools licenses, see the electronic PDF of the iLok Usage Guide. If you purchased a download version of a plug- in from the DigiStore (www.digidesign.com), 4 Launch Pro Tools. authorize the plug-in by downloading licenses 5 If you have any installed unauthorized plug- from iLok.com to an iLok. ins or software options, you are prompted to au- thorize them. Follow the on-screen instructions See the iLok Usage Guide for details, or visit to complete the authorization process. the iLok Web site (www.iLok.com).
6 Drawmer Dynamics Plug-ins Guide Mac OS X Uninstalling Plug-ins for Pro Tools To remove a plug-in:
If you need to uninstall a plug-in from your sys- 1 Locate and open the Plug-ins folder on your tem, follow the instructions below for your Startup drive (Library/Application Support computer platform. /Digidesign/Plug-ins). 2 Do one of the following: Windows Vista • Drag the plug-in to the Trash and empty the Trash. To remove a plug-in: – or – 1 Choose > Control Panel. • Drag the plug-in to the Plug-ins (Unused) 2 Under Programs, click Uninstall a Program. folder.
3 Select the plug-in from the list of installed ap- plications.
4 Click Uninstall.
5 Follow the on-screen instructions to remove the plug-in.
Windows XP
To remove a plug-in:
1 Choose > Start Control Panel.
2 Double-click Add or Remove Programs.
3 Select the plug-in from the list of installed ap- plications.
4 Click the Remove button.
5 Follow the on-screen instructions to remove the plug-in.
Chapter 2: Installing, Authorizing, and Removing Plug-ins 7 8 Drawmer Dynamics Plug-ins Guide chapter 3 Drawmer Dynamics Parameters
This chapter explains the parameters of the Drawmer Dynamics Expander, Gate, and Com- Adjusting Plug-in Parameters pressor modules. You can adjust plug-in controls by dragging the For information on using Drawmer Dynamics, control’s slider or knob, or by typing a value into see “Using Drawmer Dynamics” on page 23. the control’s text box. Additionally, some plug- ins have switches that can be enabled by click- ing on them.
To adjust a plug-in control:
1 Begin audio playback so that you can hear the control changes in real time.
2 Adjust the controls of the plug-in for the effect you want. Refer to “Editing Parameters Using a Mouse” on page 9 and “Editing Parameters Us- DrawmerECL plug-in ing a Computer Keyboard” on page 10.
Closing the plug-in will save the most recent changes.
Editing Parameters Using a Mouse
You can adjust rotary controls by dragging hori- zontally or vertically. Parameter values increase as you drag upward or to the right, and decrease as you drag downward or to the left. DrawmerGCL plug-in
Chapter 3: Drawmer Dynamics Parameters 9 Keyboard Shortcuts • Type the desired value.
For finer adjustments, Control-drag (Win- In fields that support values in kilohertz, dows) or Command-drag (Mac) the control. typing “k” after a number value will multi- To return a control to its default value, Alt- ply the value by 1,000. For example, type click (Windows) or Option-click (Mac) the con- “8k” to enter a value of 8,000. trol. 3 Do one of the following: Increment & Decrement • Press Enter on the numeric keyboard to in- put the value and remain in keyboard edit- For incremental parameter adjustment, click the ing mode. up or down increment buttons at the right of each parameter text box. – or – • Press Enter on the alpha keyboard (Win- dows) or Return (Mac) to enter the value and leave keyboard editing mode.
To move forward through the different con- trol fields, press the Tab key. To move back- ward, press Shift+Tab. Using the increment and decrement buttons
Editing Parameters Using a Computer Editing Parameters Using a Scroll Keyboard Wheel Some controls have text boxes that display the Some controls have text boxes that display the current value of the parameter. You can edit the current value of the parameter. You can edit the numeric value of a parameter using a scroll numeric value of a parameter with your com- wheel. puter keyboard.
If multiple Plug-in windows are open, Tab and To change control values using a scroll wheel: keyboard entry remain focused on the plug-in 1 Click the text box corresponding to the con- that is the target window. trol that you want to adjust.
To change control values with a computer 2 To increase a value, scroll up with the scroll keyboard: wheel. To decrease a value, scroll down with the scroll wheel. 1 Click the text box corresponding to the con- trol that you want to adjust. Toggling Switches 2 Change the value. • To increase a value, press the Up Arrow on To toggle a switch: your keyboard. To decrease a value, press Click the switch. the Down Arrow on your keyboard. – or –
10 Drawmer Dynamics Plug-ins Guide Auto-Adaptive Expansion Expander Module The Expander has the ability to automatically The Expander is part of the DrawmerECL plug- adapt its settings to audio material. This mode of in and is modelled on the Drawmer DL241 and operation is enabled by turning the Ratio con- DS201 hardware processors. trol fully clockwise to the Soft or Softer setting. It automatically varies ratio and release time de- For more information on using the Expander, pending on the dynamics of the signal being see “Using the Expander Module” on page 26. processed.
Features The Expander’s transition from unity gain to Auto-adaptive attack and release for a more maximum gain reduction is then dependant on musical response how far the input level exceeds the threshold setting. Upward expansion capability with a wide Threshold Because the onset of expansion is progressive, Adjustable Ratio with soft-knee options low-level signals will be processed with a lower ratio of expansion while the residual noise dur- Gain reduction LED metering ing pauses will be processed with a higher ratio of expansion (resulting in greater attenuation). This makes the Expander easier to use effectively and more likely to preserve desired audio signals that are only slightly above the residual noise floor. Expander
A common problem with compression is that Expander Parameters maximum gain compensation occurs during ex- tremely quiet passages or during pauses. This re- Threshold Control sults in an increase of background noise, the de- The Threshold control sets the level below gree of which depends on the amount of which expansion starts to take place. Threshold compression applied. range is from –70 dB to +12 dB.
The accepted way of dealing with this problem Setting this control above 0 dB permits upwards is to use an Expander for low-level gating that expansion, where over-compressed material can keeps quiet passages or pauses in the material be re-expanded. clean. A problem with simple expanders is that they may undesirably process low-level audio signals, since the expander has no way of differ- entiating low-level audio signals from noise.
On a vocal track, for example, this can lead to the start or ending of words being accidentally removed, especially if the singer has a wide dy- namic range.
Chapter 3: Drawmer Dynamics Parameters 11 Ratio Control Range Control
The Ratio control sets the amount of attenua- The Range control sets the level to which the Ex- tion applied to the signal as it decreases below pander will close, once the input signal has the Threshold level. fallen below the Threshold setting. Range is from 0 dB (no expansion) to infinity (∞dB). In Ratio range is from 1.1:1 to 50:1. At 1.1:1 the Ex- general, use a much smaller range setting than pander closes only slightly (an input signal that you would with a Gate. is 10dB below the Threshold setting will be out- put at –11 dB). At 50:1 the Expander functions Bypass Switch like a Gate (an input signal that is 2 dB below the Threshold setting will be reduced by The Bypass toggle switch bypasses the Expander. 100 dB). Expander Gain Reduction (GR) Meter To enable the Expander’s ability to automati- cally adapt its settings to audio material, turn This ten-element LED meter indicates from 0 dB the Ratio control fully clockwise until either the to 90 dB of gain reduction. The number of illu- Soft or Softer setting appears. minated LEDs will change as the Range control is adjusted, indicating the maximum gain re- Attack Control duction achievable.
The Attack control sets the rate at which the Ex- pander opens from a closed state. Attack speed ranges from 100 µS (0.0001 seconds) to 1.5 sec- onds. A very fast attack time can sometimes pro- duce audible clicks on low frequency signals.
Release Control
The Release control determines the speed at which the Expander closes to the Range setting once the input signal has fallen below the Threshold level. Release ranges from 50 ms to 2.5 seconds.
With slow, legato audio material, very fast re- lease times can result in audible and possibly undesirable side-effects, due to the gain chang- ing too quickly.
12 Drawmer Dynamics Plug-ins Guide Gate Parameters The Gate Module
The Gate is part of the DrawmerGCL plug-in. It HF & LF Key Filters is based on the highly acclaimed Drawmer These controls adjust the roll-off frequencies of DS201 hardware dynamics processor, which was the Key filters. The LF or low frequency filter instrumental in creating many recording effects ranges from 32 Hz to 4 kHz and attenuates sig- that have become industry standard practice nals below the cut-off frequency at 12 dBs per such as the Gated reverb, and enhanced percus- octave. The HF or high frequency filter ranges sive kick-drums. from 250 Hz to 16 kHz and attenuates signals For more information on using the Gate mod- above the cut-off frequency. When both filters ule, see “Using The Gate Module” on page 24. are used, only the frequency band between the two settings remains. Features These controls do not overlap each other, since Variable high-pass and low-pass filters for fre- this would produce very little audio output. quency-conscious gating
Comprehensive envelope control with attack, Side-Chain/Internal Control hold, release and range Setting this control to Side-Chain enables side- Ultra-fast response time chain processing. Side-Chain processing permits Comprehensive side-chain filtering triggering of the Gate by a mono source or key input other than the gated material itself. Setting Key listen capability for monitoring the effect this control to internal disables side-chain pro- of the Key Filter cessing. (See “Using the Key Side-Chain Circuit” LEDs for clear indication of Gate status on page 24 for more information.) Duck mode for voice-overs Key Listen/Normal Switch
Set this toggle to Key Listen to monitor the au- dio specified as the key input. (See “Using the Key Side-Chain Circuit” on page 24 for more in- formation.) Gate Threshold Control
The Threshold control sets the level below which gating takes place (the level at which the output of the Key Filter triggers the Gate). Threshold ranges from –70 dB to 0 dB. Setting this control fully counter-clockwise closes the Gate.
Chapter 3: Drawmer Dynamics Parameters 13 For most noise removal applications, set the Range Control Threshold as low as is possible, so that none of the desired signal is lost. The Range control sets the level to which the Gate closes after the input signal has fallen be- Attack Control low the Threshold setting. The range is from 0 dB (no gating) to infinity The Attack control sets the rate at which the (fully gated, or no signal). Gate opens from a closed state. Attack ranges from 20 µS (about 1 sample) to 1.7 seconds. When Ducking is enabled, the Range control sets the level to which the signal will be reduced A very fast attack time can sometimes produce when open (triggered). For Ducking set this be- audible clicks on low frequency signals. tween –3 dB and –12 dB. Hold Control Gate/Duck Control The Hold control determines the amount of This toggle switch selects the Gate’s mode of op- time the Gate is held open after the signal falls eration. In Gate mode, a signal above the below the Threshold setting. Hold range is from Threshold will cause the Gate to open. In Duck 2 ms to 2.2 seconds. Hold helps prevent spuri- mode, the audio passes unattenuated until the ous re-triggering of the Gate when using fast re- signal exceeds the Threshold. Ducking is mainly lease times. It is also useful for creating the clas- for applications such as voice-overs or removal sic gated reverb sound often applied to drums. of pops and clicks. The Hold cycle starts when the Threshold is crossed. Audio material with slow attacks re- Bypass Control quires the Hold setting to be at least as long as the Attack setting for it to complete its attack cy- The Bypass control bypasses the Gate. cle. Gate Envelope LED Meter
Release Control This traffic light-style LED shows the active state The Release control determines the speed at of the Gate envelope: which the Gate closes to the Range setting after • When the Gate is closed, the red LED is lit. the input signal has fallen below the Threshold • When the Gate is open, only the green and level. Release range is from 1 ms to 9 seconds. yellow LEDs are lit. Longer releases help retain the original enve- • When the input signal falls below the lopes of the gated audio. threshold, the yellow LED will light then fade over the duration of the release time.
In Duck mode, the green LED indicates an un- triggered (resting) state.
14 Drawmer Dynamics Plug-ins Guide Suggestions for Using the Gate Additional Tips for Effective Gating The fastest way to begin using the Expander is to choose one of the presets available in the Librar- Initially, set the LF Key Filter fully counter-clock- ian menu. (See the Pro Tools Reference Guide for wise and the HF Key Filter fully clockwise. This details.) Alternatively, create your own settings lets you hear the full audio spectrum of the key using the procedure that follows. input. Set the Range control fully counter-clock- wise and Key Listen to Normal. To use the Gate: With the Release control set at its midway posi- 1 Bypass the Compressor by clicking the Com- tion, and with suitable program material fed pressor Bypass toggle. into the Gate module, increase the Threshold 2 Choose the key input mode (Side-Chain or In- level from its counter-clockwise position until ternal). If you select Side-Chain, from the Side the Gate starts to operate. This will be indicated Chain Input pop-up, choose the input/bus that by the LEDs. Pauses in the program should now carries the audio you want to use to trigger gat- be silent. If the Threshold setting is too high, the ing. Gate will start to cut out desired audio. If so, ad- just it as low as possible. 3 To hear the key input audio source you have selected to control gating, click Key Listen. If the ends of sounds are obviously being trun- cated, a longer Release time may help. On the 4 To filter the key input so that only certain fre- other hand, if unwanted noise is audible after quencies trigger the plug-in, set the LF Key Filter the desired audio has ended, a shorter Release and HF Key Filter controls to the desired fre- time is more appropriate. quency range.
5 Begin playback. Gating is now controlled by Filtering Out Noise the input/bus you chose as a key input. There may be circumstances when the program 6 Select the desired amount of reduction using material contains unwanted random noise or the Range control. Typically, set this fully other sounds. For example, in a multi-miked counter clockwise. drum kit set up, hi-hat will inevitably leak into 7 Set the Attack, Hold and Release controls. For the snare microphone, snare drum will leak into material with long legato release, use a long Re- the kick drum microphone, and so on. lease time. For material with a lot of low fre- Similarly, when processing audio recorded on quency content, use a slow Attack. location, you may experience problems due to 8 Adjust the Threshold control until the the ver- wind or traffic noise or close-by conversation. If tical VU meter and the LED meters, show gating the unwanted noise is different in pitch to the activity. As a rule, the Threshold should be desired audio, it is often possible, using Key Lis- about 3 dB below the average input level to see ten, to use the filters to tune in to the wanted and hear the dynamic processing. sound while excluding as much of the un- wanted sound as possible. Used carefully, these filters can significantly decrease false triggering of the Gate.
Chapter 3: Drawmer Dynamics Parameters 15 Adjusting Attack Time Effectively The Range control is used to set the level to which the music will drop when the Ducker is The Attack control has a very wide range. At its triggered from the key input. The envelope con- fastest, it can open instantaneously. Conversely, trols determine the rate at which the level will setting the Gate attack time too fast on material drop and then recover. It is usual to select a me- with a slow or moderate attack can cause clicks, dium to fast Attack time, so that the music level particularly if the Threshold has to be set high drops rapidly as soon as the announcer begins to because of excessive background noise. speak—with a slow Release time of a second or This is a common problem with noise gates, es- so. pecially when processing low-frequency audio This will bring the music level back up slowly such as bass guitar or bass drum. With a high and smoothly. Some Hold time will help pre- threshold, a low frequency sine wave will be ig- vent chattering, when the voice on the key in- nored as the signal starts from its zero level put pauses to breathe. This technique can also point. be used to reduce the level of other instruments As this wave climbs towards its peak, the level during a solo. will suddenly exceed the threshold setting. At Besides voice over applications, the Duck func- this point a very fast attack rate will switch the tion of the Gate module can also be used to treat signal through the noise Gate with such a steep a signal where the peaks are too loud and require (almost vertical) leading edge that the low fre- attenuating. In this application, Duck and Side- quency sound will have a single high frequency Chain key input modes should be selected, and square wave added to its first cycle, causing a the Range control adjusted to give the desired click. attenuation to signals above the Threshold set- In cases like these, start with a fast attack time ting. In extreme cases, the ducking action may and moderate threshold, then gradually be used to attenuate signal peaks, and by careful lengthen the attack time until the click disap- use of the filters, it may be possible to remove a pears when the Gate opens. snare drum from a drum mix or clicks and pops from a recording.
Performing Ducking For most ducking applications, the lowest prac- tical Threshold setting must be used. Probably the most common form of Ducking is that used by radio announcers, whereby the vol- ume of the background music being played is Using a Stereo Gate dropped, enabling them to speak over it. In When using the Gate on a stereo signal, be Duck mode the Gate module can perform this aware that the control signal is derived by aver- effect. The music signal is routed to the input aging the left audio channel with the right au- and the announcer's microphone signal is fed dio channel. Where one channel differs signifi- into the key input. (Be sure to set the key input cantly from another in a stereo track, better to Side-Chain.) results may be obtained if the channels are treated as two mono channels. (For a side-chain key signal, the control is always a mono signal.)
16 Drawmer Dynamics Plug-ins Guide By setting up a stereo plug-in with one channel Other applications of the filters include remov- in Gate mode and the other in Duck, the enve- ing unpleasant overtones from direct-injected lope controls can be used to create interesting instruments and warming up digital synthesizer triggered panning effects, simply by feeding a sounds. mono signal into left and right channels and setting the Range control to maximum attenua- Tips For Using Key Inputs and Key tion. Input Filtering
Difficult Material To Gate Complicated Keying As with any Gate, noise can only be removed For a more intricate and musical key input, com- during pauses in the desired material. If noise bine several tracks together by bussing them to contamination is serious enough to be evident Auxiliary Inputs. even during moderately loud program material, simple gating will do little to help. In fact, the Leaving Key Listen Enabled very fact that the Gate produces silence during pauses can make the noise content of the pro- You can use the Gate as a simple filter by en- gram material even more apparent. In extreme abling Key Listen. cases, restricting the Range of the Gate to about –15 dB will adequately reduce noise during Key Filter Propagation Delay pauses but not sufficiently to cause an unaccept- ably dramatic change in noise level as the Gate Key input filtering with high frequency attenu- opens and closes. ation can cause a slight delay in the time the Gate takes to trigger. Under most circumstances Creative Use of the Key Input Filters this will be imperceptible. However, when tran- sient sounds are being processed with the HF The key input filters in the Gate may also be Key Filter control set to a very low value, some used to good effect in situations where the de- degradation of the attack transient may become sired audio does not occupy the full audio spec- apparent. trum. Conventional equalizers seldom have a sharp enough response to remove unwanted Consequently, always set the HF Key Filter con- noise without also removing desired audio. trol to the highest possible value when process- ing percussive sounds and set the Threshold as Used with electric guitar, this produces little be- low as possible. low 100 Hz or above 3 kHz, so setting the Gate to Key Listen mode will enable you to use the fil- Cleaner Keying ters to exclude much of the amplifier hum at the low end and hiss at the top end while having lit- It is often useful to use a Drawmer Dynamic tle effect on the sound of the guitar. The same is plug-in to process the key input before it is used. true for acoustic guitar. The filters can be used to Good results can be achieved by using an Ex- reduce fret noise or a player's breathing. pander (with the Compressor bypassed) on the key input source. This will give the key input source a more accentuated difference between
Chapter 3: Drawmer Dynamics Parameters 17 program and silence. With a cleaner key input, changed as little as possible. Ratio-type com- any associated gating will be more defined, and pressors are generally considered better suited to the Gate’s Threshold settings will be easier to op- creative applications where large amounts of timize. gain reduction are required.
See “Using the Compressor Module” on page 26 for more information on using the Compressor The Compressor Module module.
The Compressor, which appears in both the DrawmerECL and DrawmerGCL plug-ins, is Compressor Parameters based on Drawmer DL241 Compressor/Limiter harware unit. Threshold Control
Features The Threshold control determines the input level above which gain reduction will be ap- Wide Threshold range for accurate compres- plied. Threshold range is from –64 dB to +0 dB. sion Soft knee compression takes place for signals ex- Auto-adaptive Attack and Release for a more ceeding the threshold level by up to 10 dB. musical response Above this level, conventional ratio compres-
Adjustable Ratio, ranging from very gentle sion is applied. compression to absolute Limiting Ratio Control Soft knee for progressive and unobtrusive compression The Ratio control sets the compression ratio ap- Automatic Gain Make-up calculates the most plied after the 10 dB soft-knee region of the suitable output Gain position for maximum Threshold is exceeded. data dynamic range Ratio ranges from 1.1:1 to infinity. This allows Gain reduction meter hard limiting with adjustable attack and release.
Attack Control
The Attack control sets the rate at which the Compressor will respond to input signals that Compressor exceed the Threshold level setting. Attack ranges from 100µS to 100 ms. The Compressor combines aspects of both tradi- tional ratio-style compressors and soft-knee When Auto Attack and Release is enabled, the compressors, making it equally adept at creative control knobs have no effect. work and subtle level control. Traditionally, soft-knee compressors have been preferable for subtle level control where the original sound is
18 Drawmer Dynamics Plug-ins Guide Auto (Attack & Release) Switch In the signal path, this control comes before the Peak Limiter detector. This fact should be taken This toggle switch disables the Attack and Re- into account when setting the Peak limiter lease rotary controls and instead optimizes the threshold. Driving the gain too hard will often Attack and Release times to suit the dynamics of produce excessive limiting. the material being processed.
Enabling this setting will often produce the sub- Auto Gain Make-Up Switch tlest level control on signals with widely varying With Auto Gain Make-Up on, Gain Make Up is dynamics or complete mixes. adjusted automatically when the Compressor’s Threshold, Attack and Ratio or Limiter Thresh- Release Control old are adjusted, so that the output level is as The Release control sets the rate at which gain close as possible to the Limit Threshold. returns to normal after the input signal level has When set to extremes, the Auto Gain Make- fallen below the Threshold. Release range is up feature cannot restore enough gain to from 50 ms to 5 seconds. make back all the level that would be re- With very long release settings the Compressor quired to repair excessive Compression. may not have enough time to recover between Compressor Gain Reduction Meter the signal peaks. This nine-element LED-style meter indicates With very short release settings low frequency from 0 dB to 30 dB of gain reduction. signals will have a tendency to distort as the Compressor tries to release on the signal sine wave. Limit Threshold Control The Limit Threshold control sets an absolute Gain Control limit in decibels that the output signal is not al- lowed to exceed. This control is normally left in The Gain control has two functions, depending its fully clockwise position, where preventative on the current state of the Auto Gain Make-up limiting will sometimes occur with audio mate- toggle switch. When Auto Gain Make-up is on, rial containing high level peaks. the control has a center-zero and is used as a fine trim for optimum output level. This should be The Compressor Gain control should be used to centered at 0 dBfs, but can be reduced up to ensure that the Peak Limiter operates rarely, if at 9 dB, or driven harder, in which case the signal all. Alternatively, you can deliberately drive it will hit the Limiter. into limiting for creative effects.
When Auto Gain Make Up is turned on, the gain control becomes a ±9 dB trim. In manual mode, Limit Gain Reduction Meter up to 36 dB of gain compensation can be added This five-element LED-style meter indicates for level changes caused by Compression. from 1 dB to 16 dB of gain reduction. The meter scale has been designed so that more sensitive amounts of limiting are displayed, rather than the maximum available.
Chapter 3: Drawmer Dynamics Parameters 19 Bypass (Compressor and Limiter) With Auto Gain Make-up disabled, rotate the Switch Gain control until as near to 0 dB (full scale) sig- nal output is seen at the VU meter. For greater This toggle switch bypasses the Compressor and simplicity, select Auto Gain Make-Up. Peak Limiter. Normally it is used to compare the unprocessed signal with the processed signal. Background Noise
Additional Suggestions for Using Compression during a mix increases the subjec- the Compressor tive level of background noises during pauses and quiet passages. Unless the noise problem is Setting up the Compressor is simpler if the Ex- serious, the Expander can attenuate this noise to pander or Gate is initially set to Bypass and the a very high degree, without compromising the Peak Limiter threshold set to maximum. This desired audio signal. lets you adjust the Compressor in isolation. Attack Times Ratio Amount The longer the attack time, the longer the Com- The Ratio setting depends on how much the sig- pressor takes to respond to increases in signal nal dynamics need controlling. As a rule, higher level and a slow attack time is often used to ac- ratios provide a higher degree of control but also centuate the beginning of percussive or plucked tend to be more audible in operation when high sounds such as drums, basses and guitars. a long levels of gain reduction are required. The soft- attack time can also permit peaks to pass unat- knee feature of the Compressor makes this far tenuated. The limiter will pick these up, so it is less pronounced. Overall, a higher ratio can be quite common with slow attack times to see in- used than on conventional compressors with- creased limiter activity. A fast attack time will out compromising the sound quality. bring the input signal under control very quickly. Effective Gain Reduction Pumping If the Attack & Release switch is set to Auto, set- ting up is simply a matter of adjusting the Pumping refers to heavy compression with incor- Threshold control until the desired amount of rectly set envelope parameters. This results in gain reduction occurs. You can judge this partly very audible gain changes when the compressor by ear and partly by observing the gain reduc- attacks and releases. It is often an indication tion meter. that the release time is too long. Release time should be set short enough so that the gain has A maximum gain reduction of between 8 dB returned to normal before the next signal peak and 12 dB is usually adequate. If more gain re- occurs, and, in general, it should be set as short duction is necessary, consider applying com- as possible before audible gain pumping occurs. pression during recording and then further compression while mixing. In most cases, an output of 0 dBfs is the opti- mum output level. Lower output levels can be set using the Limiter Threshold. You might want to do this so that later inserts can better receive
20 Drawmer Dynamics Plug-ins Guide an optimized signal level at their input. If so, set the Peak Limiter Level to the desired output The Limiter value then adjust the Compressor Auto or man- If the Compressor module is used with higher ual Gain control to ensure minimum Limiter ac- ratios, it will function as a Limiter. In addition tivity. to this feature, there is a separate auto-adaptive Peak Limiter. This not only catches any peaks Peak Limiter Bypass that a slow Compressor attack might pass The Peak Limiter has no bypass control. How- through unprocessed, but also lets the user set ever, turning the Level control fully clockwise an absolute output signal level that will not be will prevent virtually all limiting. To use the exceeded. Limiter while effectively bypassing the Com- Limiting is extremely valuable in digital record- pressor, turn the Compressor Threshold fully ing where an absolute maximum recording level counter clockwise to its maximum of +0 dB. exists. When overdriven with Gain, it can also Then set the Ratio to its lowest setting of 1.1:1 if be used creatively to produce deliberate level- Gain Make-Up is set to manual. Set the Gain to pumping effects. 0 dB if Auto Gain is enabled.
Compensating for Apparent Dullness in Compressed Material Meters and Indicators
Compression can sometimes seem to have the Drawmer Dynamics provides several types of effect of dulling audio material. Most of the en- LED-type signal meters and indicators. ergy in typical broadband music is contained within the bass range. This high energy causes Peak Input LED the Compressor to operate, causing any quieter, high frequency sounds occurring at the same The Peak Input LED indicates peaks in input sig- time to be reduced in level. That is why the cym- nals. At 1.0 dB below digital full scale the LED is bals and hi-hats in a heavily compressed drum amber. At –0.01 dB, (just below full scale input) track seem to dip in level whenever a loud bass it is red. If the Peak Input LED frequently flashes drum or snare drum beat occurs. red, the input signal is clipping and should be reduced. The solution is to use less compression or in- crease the attack time to allow the leading edge of the brighter sounds to pass through the Com- pressor before gain reduction occurs. Though Peak Input LED the semi-soft-knee compression systems used in Drawmer Dynamics modules tend to minimize this effect, in extreme cases, it may be necessary to add a little artificial brightness to the pro- cessed sound using equalization or some form of exciter.
Chapter 3: Drawmer Dynamics Parameters 21 VU Meter Stereo Input Balance
The sixteen-element LED VU Meter shows out- This control, which appears only when Draw- put levels after processing. Metering ranges from mer Dynamics is used in stereo, lets you correct 60 dB below full scale to 0 dBfs. Green LEDs in- an imbalance between stereo input images with- dicate levels below –4 dB. Yellow LEDs indicate out introducing any gain. (Stereo dynamic con- levels from –3 dB to –1 dB. An amber LED indi- trol is best achieved with a mix that is equally cates –0.5 dB and turns red for peaks held at centered.) 0dBfs.
Stereo Input Balance control
The LEDs show relative input balance and how far off center the incoming stereo mix is. A per- fectly matching stereo input should produce vir- tually no LED activity, regardless of audio level.
When centered, the Stereo Input Balance con- trol has no effect. Moving the control to the left VU meter (stereo) attenuates the right input signal by up to 6 dB and pans the image to the left. Moving the fader to the right attenuates the left input signal by up to 6 dB and pans the image to the right.
Peak input LEDs appear at both ends of the meter.
22 Drawmer Dynamics Plug-ins Guide chapter 4 Using Drawmer Dynamics
Drawmer Dynamics is a real-time TDM plug-in. It processes audio non-destructively in real time. Inserting Drawmer Dynamics It does not alter the original source audio, but on a Track only applies its effects during playback. To use Drawmer Dynamics in a Pro Tools ses- sion, add it to a track as an insert.
Using Plug-ins as Inserts To show inserts in the Mix window:
To use the Drawmer Dynamics plug-in, you Choose View > Mix Window > Inserts. must insert it in-line on an audio, Auxiliary In- put, or a Master Fader track. To insert Drawmer Dynamics on a track:
When more than one insert is used on a track, Click the Inserts selector on a track and select they process the audio in series, each effect be- the plug-in that you want to use. ing added to the previous one, from top to bot- tom in the Mix window. To remove Drawmer Dynamics from a track:
Click the Insert selector and choose No Insert. Pre-Fader Operation
Drawmer Dynamics functions as a pre-fader in- sert, meaning that its level is not affected by a track’s volume fader (except when used on a Master Fader).
For this reason, clipping can occur if you boost its gain to extremes. This is particularly true on tracks recorded at high amplitude. Watch on- screen metering to identify and rectify clipping if it occurs.
Chapter 4: Using Drawmer Dynamics 23 To use the DrawmerGCL to gate out hi-hats from a Using The Gate Module snare track:
The Gate is part of the DrawmerGCL plug-in. 1 Insert the DrawmerGCL on the snare drum track. Using the Key Side-Chain Circuit 2 Ensure the Key Input selector is set to No Key Input. The DrawmerGCL features internal and external Key side-chain capabilities. The side-chain cir- 3 Set the Key section to the Internal setting. cuit takes an internal or external Key input and Internal Key Listen uses that source to trigger affect the gate’s be- switch havior. Use the internal low- and high-pass Key filters to take advantage of frequency-conscious gating.
You can use the external sidechain feature to trigger the gate from an external source such as another mic or instrument.
Using the Internal Key Filters LF Key HF Key Filter Filter A common production technique is to use Key filter controls to filter out specific frequencies Key filters section from triggering the gate’s threshold. 4 Solo the snare drum. For example, hi-hat bleed into a snare mic is a 5 Begin playback. common problem. If you try to gate out the hi- hats, you might have to set a threshold so high 6 Adjust the threshold of the gate so you can that some of the snare drum’s hits are inaudible. hear gating.
You can use the DrawmerGCL to keep the hi-hat 7 Click Key Listen to listen to how the filters are (which operates at a higher fundamental fre- acting on the snare drum. quency than a snare drum) from opening the 8 Adjust the HF Key Filter control to around gate, which allows you to set the gate’s thresh- 1kHz, so that you hear mostly snare drum. You old lower and preserve all of the drum hits. will hear the hi-hat slowly disappearing from the gated snare channel.
9 Click the Key Listen switch to normal.
10 Fine-tune the threshold, attack, and release so that all snare hits are preserved, but the hi-hat is effectively gated out of the snare mic.
24 Drawmer Dynamics Plug-ins Guide Using a Key Input for External Side- 5 Set the Key section to the Side-Chain setting. Chain Processing Sidechain Key Listen With external side-chain processing, a plug-in's switch detector is triggered by an external signal (such as a separate reference track or audio source) known as the key input.
An effective use of this feature is to use the snare drum as the trigger for opening gates inserted on room mics, giving the snare an extra added “pop.” LF Key HF Key To use a snare to trigger gating on a room or Filter Filter ambient mic track: DrawmerGCL Key filter controls 1 Insert the DrawmerGCL on your room or am- 6 Click Key Listen to hear the audio source (in bient drum mic tracks. this case, the snare drum) you have selected to 2 On the snare track, click the send selector to control the side-chain input. choose any open bus send. 7 Begin playback. Gating is now controlled by 3 Set the snare’s output bus send that you se- the snare, which you chose as the key input. lected to “0.” 8 Adjust the Noise Gate’s Threshold to fine tune 4 On the room or ambient mic track, click the side-chain triggering. Key Input selector and select the bus carrying 9 Adjust other parameters to achieve the exact the audio from the snare track. effect you want.
Selecting a Key Input
Chapter 4: Using Drawmer Dynamics 25 Using the Expander Module Using the Compressor Module
The Expander Module is part of the Draw- The Compressor appears in both the Draw- merECL. merECL and DrawmerGCL plug-ins.
The fastest way to begin using the Expander is to The fastest way to begin using the Compressor is choose one of the presets in the Librarian menu. to choose one of the presets available in the Li- (See the Pro Tools Reference Guide for details.) Al- brarian menu. (See the Pro Tools Reference Guide ternatively, create your own settings using the for details.) procedure that follows. Alternatively, create your own settings using the To use the Expander: procedure that follows.
1 Bypass the Compressor by clicking the Com- To use the Compressor: pressor Bypass toggle. 1 Bypass the Gate or Expander by clicking their 2 Select the desired amount of reduction using Bypass toggle. the Range control. 2 Turn on Auto Attack & Release. 3 Set the Attack and Release controls based on 3 the character of the audio material you want to Turn on Auto Gain Make-up. expand. For material with long, legato release, 4 Set the Limiter control fully clockwise. set a long Release. For material with a lots of low 5 frequency content, set a slow Attack. For sharp, Set the Ratio control. For vocals, try 2.5:1 or percussive sounds, set a short Attack. less. For full mixes use even less. For dynamic single tracks, use more. 4 Set the Ratio control based on the character of the audio material. Try a maximum setting of Adjust the Threshold control until the vertical 2.5:1 for vocals, and higher ratios for dynamic, VU meter and the Compressor Gain Reduction full mix material. (GR) meter show activity. As a rule, the Thresh- old should be 6 dB to 10 dB below the average 5 Adjust the Threshold control until the vertical input level to hear much change. VU meter and the Expander Gain Reduction (GR) meter begin to light.
As a rule, the Threshold should be between 6 dB to 10 dB below the average input level. Use a section of audio material with pauses and adjust the threshold to be as low a dB level as possible while still attenuating the noise during pauses. Listen carefully to how the sounds come in after the pauses and how cleanly they fade away again. If the Expander changes the sound in an unacceptable way, the Threshold is probably set too high.
26 Drawmer Dynamics Plug-ins Guide appendix a DSP Requirements
The number of TDM plug-ins you can use at one Not all plug-ins are supported on all types of time depends on how much DSP power is avail- chips. The following tables indicate the number able in your system. Since the TDM hardware on of compatible chips per card. Pro Tools cards provide dedicated DSP for plug- ins, plug-in performance isn’t limited by CPU Using Multi-Mono Plug-ins on processing power. Greater-Than-Stereo Tracks The DSP tables in this appendix show the theo- Plug-ins used in multi-mono format on greater- retical number of instances of each plug-in that than-stereo tracks require one mono instance can be powered by a single DSP chip on per channel of the multi-channel audio format. Pro Tools|HD cards. DSP usage differs according For example, a multi-mono plug-in used on a to card type. 5.1 format track, requires six mono instances DSP tables show the theoretical maximum since there are six audio channels in the 5.1 for- performance when no other plug-ins or sys- mat. tem tasks (such as I/O) are sharing avail- able DSP resources. You will typically use Monitoring DSP Usage more than one type of plug-in simulta- neously. The data in these tables are pro- The System Usage window (Window > System vided as guidelines to help you gauge the Usage) shows how much DSP is available in your relative efficiency of different plug-ins on system and how it is being used in the current your system. They are not guaranteed per- Pro Tools session. formance counts that you should expect to For more information about DSP usage and see in typical real-world sessions and usage. allocation, see the Pro Tools Reference There are a total of nine DSP chips on a Guide. Pro Tools|HD card (HD Core, HD Process, and HD Accel). HD Core and HD Process cards pro- vide identical chip sets. HD Accel cards provide newer, more powerful DSP chips (making the HD Accel card ideal for DSP-intensive plug-ins, and for high sample rate sessions).
27 Drawmer Dynamics DSP Requirements
The Drawmer plug-ins have the following DSP requirements:
HD Accel Card Table 1. Maximum instances of plug-ins per DSP chip for an HD Accel card, at different sample rates, (mono and stereo).
Compatible DSP Chips per HD Accel Sample Rate: 44.1/48 kHz 88.2/96 kHz Card
Plug-in Mono Stereo Mono Stereo
DrawmerECL 8442 9
DrawmerGCL 8442 9
HD Core and HD Process Cards Table 2. Maximum instances of plug-ins per DSP chip for an HD Core or HD Process card, at different sample rates (mono and stereo).
Compatible DSP Chips per HD Core or Sample Rate: 44.1/48 kHz 88.2/96 kHz HD Process Card
Plug-in Mono Stereo Mono Stereo
DrawmerECL 4221 9
DrawmerGCL 4221 9
28 Drawmer Dynamics Plug-ins Guide appendix b DSP Delays Incurred by TDM Plug-ins
Virtually all TDM plug-ins incur some amount of signal delay.
If you are working with mono tracks, or are pro- cessing all channels with the same plug-in, the signal delays are not long enough to be signifi- cant and should not be a concern.
This signal delay is significant only if you use a plug-in on one channel of a stereo or multichan- nel signal but not the others, since this can cause the channels to be slightly out of phase.
Pro Tools systems provide automatic Delay Compensation (and other methods) to com- pensate for signal processing delays. For de- tailed information, see the Pro Tools Refer- ence Guide.
Table 3 shows the delays inherent in each Draw- mer Dynamics plug-in.
DSP Delays Incurred by TDM Plug-ins 29 Drawmer Dynamics DSP Delay
≈ Table 3. Samples of delay incurred by each TDM plug-in on Pro Tools|HD cards
Samples of Delay on Plug-in Pro Tools|HD Cards
DrawmerECL 7
DrawmerGCL 7
30 Drawmer Dynamics Plug-ins Guide appendix c Drawmer Dynamics Demo Sessions
Several demo sessions are included with Draw- About the Demo Sessions mer Dynamics. These sessions illustrate how to use the plug-in during typical recording scenar- Following are brief descriptions of each demo ios. session and the features they illustrate.
“Gated Tones” Demo
Using the Demo Sessions This session illustrates keying of two different tone bursts from an existing short drum loop us- Before opening a demo session, you must have ing the Gate. The three-channel session uses two already installed and authorized the Drawmer Gates. The key input is from the original drum Dynamics plug-in. track.
To open a demo session: The unprocessed audio in this session is 1 Locate and open the demo sessions folder very loud. Turn down your monitoring sys- (Digidesign/Drawmer Dynamics/Drawmer Dy- tem if you plan to bypass the Gate. namics Demo/Demo Sessions). “Snare” Demo 2 Double-click the desired demo session. This session illustrates a gated reverb effect us- 3 When the session opens, press the Spacebar to ing the Gate and a modified variation of begin playback. “Gate&Comp Staccato” setting with a reduced 4 Click Bypass to compare the track with and Gate Threshold to compensate for low signal without dynamics processing. level. Notice how the reverberated sound is shortened. Imagine that the reverb could also be high level noise. Gate Release greatly affects the output.
Appendix C: Drawmer Dynamics Demo Sessions 31 “Noise Removal” Demo “Extra-Clean-Key & Drum” Demo
This session illustrates how to use the Expander This session illustrates keying of a short drum to effectively remove excessive background hiss loop from a composite track of mixed sine wave from a short drum loop. Use the Bypass button tones. The tone mix is first cleaned using the Ex- to compare the processed and unprocessed au- pander assigned to the first mixer insert button. dio. This audio is then used as a key input. The result is a cleaner key signal for the Gate. “Wrong & Right” Demo This demo includes automation that shows how This session illustrates the right and wrong way you can vary the Threshold parameter to ignore to use a Gate. The same bass guitar audio ap- a key input. pears on two tracks. Both tracks have the same Gate assigned, but each has differing parameter “Clean & Dirty Drums” Demo settings. Notice that using the wrong Threshold, Attack, Hold and Release settings can give very This session illustrates three different styles of poor results from low frequency signals. Use processing using both the Gate and the Ex- Solo and Mute to compare the effect of the right pander. There are three audio tracks, each of and wrong settings. which demonstrates a different effect: The left audio channel (“Rhythm
centrally. In reality, the amount of ducking in The center channel carries audio that has this demo is excessive, and often as little as 3 dB been over processed. This shows the kind of ef- of attenuation may be sufficient. fect that can be achieved with this type of dou- ble-pass processing. The main vocal track utilizes the Expander to re- move headphone spill/background noise.
Try inverting the Gate/Duck switch of one of the Gates. This will result in distinct panning of the outputs during the duration of the vocal track.
32 Drawmer Dynamics Plug-ins Guide index
A “Snare” 31 Activation Code 6 “VoxOver” 32 adjusting plug-in parameters “Wrong & Right” 32 computer keyboard 10 DrawmerECL 1 keyboard shortcuts 10 DrawmerGCL 1 mouse 9 DSP delays inherent in plug-ins 29 scroll wheel 10 DSP requirements 27 toggling switches 10 ducking 16 Attack parameter 12, 14, 18 adjusting 16 E Auto-Attack and Release 19 Expander 11 Auto Gain Make-Up parameter 19 auto-adaptive expansion 11 auto-adaptive expansion 11 features 11 Auto-Attack and Release 19 parameters 11 suggestions for using 26 B boxed version 1 F Bypass parameter 12, 14, 20 filtering noise 15
C G clipping levels 23 Gain parameter 19 Compressor 18, 26 gain reduction 20 features 18 Gain Reduction Meter 12 parameters 18 Gate 13, 24 Compressor Gain Reduction Meter 19 features 13 computer keyboard gating difficult material 17 adjusting plug-in parameters 10 parameters 13 suggestions for using 15 D using in stereo 16 decrement buttons 10 Gate Envelope LED meter 14 delay Gate/Duck parameter 14 DSP-induced delays 29 guide conventions 3 demo sessions 31 “Clean & Dirty Drums” 32 H “Extra-Clean-Key & Drum” 32 HF & LF Key Filters 13 “Gated Tones” 31 Hold parameter 14 “Noise Removal” 32
Index 33 I pre-fader insert operation 23 increment and decrement buttons 10 pumping 20 inserting plug-ins on a track 27 inserts 23 R installing plug-ins 5 Range parameter 12, 14 Ratio parameter 12, 18 K registration 2 Key Input Release parameter 12, 14, 19 using effectively 17 removing Drawmer Dynamics 23 Key Input Filters removing plug-ins 7 parameters 13 propagation delay 17 S using effectively 17 scroll wheel Key Listen 17 adjusting plug-in parameters 10 Key Listen/Normal parameter 13 Side-Chain Key Side-Chain 24 Using 24 keyboard shortcuts side-chain filters 24 adjusting plug-in parameters 10 Side-Chain/Internal parameter 13 Stereo Input Balance parameter 22 L switches LF Key Filter 13 adjusting plug-in parameters 10 Limit Threshold parameter 19 System Usage window 27 Limiter 21 T M TDM plug-ins mouse DSP requirements 27 adjusting plug-in parameters 9 Threshold parameter 11, 13, 18
N U noise uninstalling plug-ins background 20 Mac 7 filtering 15 Windows Vista 7 Windows XP 7 P package contents 1 V Peak Input LED 21 VU meter 22 Peak Limiter 21 plug-ins W adjusting parameters 9 website 3 as inserts 23 installing 5 pre-fader operation 23 registration 2 removing 23
34 Drawmer Dynamics Plug-ins Guide www.digidesign.com
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