Operator's Manual
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TA-1VP Vocal Processor
D01141720C TA-1VP Vocal Processor OWNER'S MANUAL IMPORTANT SAFETY PRECAUTIONS ªª For European Customers CE Marking Information a) Applicable electromagnetic environment: E4 b) Peak inrush current: 5 A CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK, DO NOT REMOVE COVER (OR BACK). NO USER- Disposal of electrical and electronic equipment SERVICEABLE PARTS INSIDE. REFER SERVICING TO (a) All electrical and electronic equipment should be QUALIFIED SERVICE PERSONNEL. disposed of separately from the municipal waste stream via collection facilities designated by the government or local authorities. The lightning flash with arrowhead symbol, within equilateral triangle, is intended to (b) By disposing of electrical and electronic equipment alert the user to the presence of uninsulated correctly, you will help save valuable resources and “dangerous voltage” within the product’s prevent any potential negative effects on human enclosure that may be of sufficient health and the environment. magnitude to constitute a risk of electric (c) Improper disposal of waste electrical and electronic shock to persons. equipment can have serious effects on the The exclamation point within an equilateral environment and human health because of the triangle is intended to alert the user to presence of hazardous substances in the equipment. the presence of important operating and (d) The Waste Electrical and Electronic Equipment (WEEE) maintenance (servicing) instructions in the literature accompanying the appliance. symbol, which shows a wheeled bin that has been crossed out, indicates that electrical and electronic equipment must be collected and disposed of WARNING: TO PREVENT FIRE OR SHOCK separately from household waste. HAZARD, DO NOT EXPOSE THIS APPLIANCE TO RAIN OR MOISTURE. -
MPX 1 Presets
MPX 1 Presets The MPX 1 DataBase function can sort the 200 presets into numerical or alphabetical order, show you only those programs that are tagged for specific audio sources (guitars, vocals, etc.), or only those which use specific effects (pitch, chorus, etc.).To select the sorting criteria you want, press Program, then press Options. (The Options LED will blink.) Use either the knob or the < and > buttons to select the sorting option you want. Press Options again to return to Program mode and to re-sort the DataBase. When you return to Program mode, the knob will scroll through the first of the available sub-categories (guitar, vocals, pitch, chorus, etc.) The < and > buttons will jump to the next sorting category. In Program mode, press Value to access Soft Row parameters for each program. Use the < and > buttons to select parameters, and the knob to modify values. Press Value again to exit the Soft Row. If the front panel Tempo LED lights, the program you have loaded can be synchronized to tempo. To set the tempo, press the front panel Tap button twice in time with the beat. (Tempo can also be dialed in as a parameter value, or it can be determined by MIDI Clock.) Be sure to try these effects synchronized with MIDI sequence and drum patterns. If the front panel A or B LED lights, the program you have loaded has parameters patched to the A/B Gide controller. Press the front panel A/B button to glide between the A and B versions of the program. -
Izotope Mixing Guide Principles Tips Techniques
TABLE OF CONTENTS 1: INTRODUCTION ........................................................................................... 5 INTENDED AUDIENCE FOR THIS GUIDE .................................................................. 5 ABOUT THE 2014 EDITION ............................................................................................ 5 ADDITIONAL RESOURCES ............................................................................................. 6 ABOUT iZOTOPE ............................................................................................................... 6 2: WHAT IS MIXING? .......................................................................................7 3: THE FOUR ELEMENTS OF MIXING ........................................................ 8 LEVEL ....................................................................................................................................8 EQ ...........................................................................................................................................8 PANNING .............................................................................................................................8 TIME-BASED EFFECTS ....................................................................................................8 4: EQUALIZATION (EQ) .................................................................................10 WHAT IS EQ FOR? ..........................................................................................................10 -
H9000 Algorithms Manual, Release 1.2.1[5]
H9000 Algorithms Manual Eventide Part #141325 Release 1.2.1[5] Aug 22, 2019 Eventide AND Harmonizer ARE REGISTERED TRADEMARKS OF Eventide Inc. COPYRIGHT 2019 Eventide Inc. I Contents IINTRODUCTION 1 The H9000 Family 3 I/O 4 KeY 5 II Algorithms 7 1 - Simple 9 2 - Artist 11 3 - Basics 17 4 - Beatcounter 22 5 - Delays 25 6 - Delays - EffECTED 31 6 - Delays EffECTED 5.1 39 7 - Delays - Loops 42 7 - Delays - Loops 5.1 47 8 - Delays - Modulated 49 8 - Delays Modulated 5.1 59 8 - Delays - Modulated 62 9 - Distortion TOOLS 65 10 - Dual Machines 68 10 - Dual Machines2 72 10 - Dual Machines3 75 11 - Dynamics 78 11 - Dynamics 5.1 83 11 - Dynamics SterEO EQ 85 12 - Equalizers 86 12 - Equalizers 5.1 90 II 12 - Equalizers DoubleP 91 13 - Film - AtmospherES 93 13 - Film - AtmospherES 5.1 96 14 - Filters 98 15 - Fix TOOLS 103 16 - FrONT Of House 105 17 - INST - Clean 109 18 - INST - Distortion 113 19 - INST - Fuzz 120 20 - INST - Polyfuzz 126 21 - INST - SurrOUND 129 22 - Manglers 134 23 - Mastering Suite 137 24 - MIDI KeYBOARD 144 26 - Mix TOOLS 147 30 - Multi EffECTS 149 30 - Multi Effects2 156 32 - ParALLEL EffECTS 159 33 - Panners 164 34 - PerCUSSION 169 35 - Phasers 174 38 - Post Suite 178 39 - Re-mix TOOLS 180 40 - ReVERBS – SterEO 5.1 185 41 - ReVERBS – 5.1 192 42 - ReVERBS - H8000 206 43 - ReVERBS - Chambers 215 44 - ReVERBS - Halls 217 45 - ReVERBS - Plates 220 46 - ReVERBS - PrEVERB 222 47 - ReVERBS - Rooms 224 48 - ReVERBS - Small 229 49 - ReVERBS - SurrOUND 233 50 - ReVERBS - Unusual 239 51 - Ring-mods 246 54 - Shifters 248 III 55 - Shifters - -
Dynamic Range Compression and the Semantic Descriptor Aggressive
applied sciences Article Dynamic Range Compression and the Semantic Descriptor Aggressive Austin Moore Centre for Audio and Psychoacoustic Engineering, School of Computing and Engineering, University of Huddersfield, Huddersfield HD1 3DH, UK; [email protected] Received: 29 January 2020; Accepted: 12 March 2020; Published: 30 March 2020 Featured Application: The current study will be of interest to designers of professional audio software and hardware devices as it will allow them to design their tools to increase or diminish the sonic character discussed in the paper. In addition, it will benefit professional audio engineers due to its potential to speed up their workflow. Abstract: In popular music productions, the lead vocal is often the main focus of the mix and engineers will work to impart creative colouration onto this source. This paper conducts listening experiments to test if there is a correlation between perceived distortion and the descriptor “aggressive”, which is often used to describe the sonic signature of Universal Audio 1176, a much-used dynamic range compressor in professional music production. The results from this study show compression settings that impart audible distortion are perceived as aggressive by the listener, and there is a strong correlation between the subjective listener scores for distorted and aggressive. Additionally, it was shown there is a strong correlation between compression settings rated with high aggressive scores and the audio feature roughness. Keywords: dynamic range compression; music production; semantic audio; audio mixing; 1176 compressor; FET compression; listening experiment 1. Introduction 1.1. Background In addition to general dynamic range control, it is common for music producers to use dynamic range compression (DRC) for colouration and non-linear signal processing techniques, specifically to impart distortion onto program material. -
User Guide: MPC X, MPC Live, MPC One, MPC Touch
User Guide English Manual Version 2.7.2 Table of Contents Introduction ............................................................ 7 MPC Touch ....................................................... 25 System Requirements & Product Support ..... 7 Top Panel ..................................................... 25 About This User Guide ..................................... 7 Rear Panel .................................................... 27 Important Notes ................................................ 8 Basic Concepts ..................................................... 28 Setup .................................................................. 8 1. Connection ................................................ 8 Tutorial ................................................................... 29 2. Installation .................................................. 9 Starting Up ....................................................... 29 3. Getting Started .......................................... 9 Creating a Drum Kit ......................................... 29 Creating a Drum Sequence ............................ 31 Features ................................................................ 10 Saving & Renaming ......................................... 32 Touchscreens .................................................. 10 Editing Note Events ......................................... 34 MPC X .............................................................. 11 Making Basic Sound Edits .............................. 36 Top Panel .................................................... -
Confidential
:: CONFIDENTIAL :: Ozone 7 | Copyright © 2015, iZotope, Inc. 10/14/15 :: CONFIDENTIAL :: Ozone 7: Essential Mastering Tools It’s now faster and easier to produce a full, polished sound with the critically-acclaimed set of mastering and mixing tools in Ozone music production software. Glue a mix together, control dynamic range, and add deep, rich character. Bring the best sonic characteristics of analog hardware to your digital recordings. Ozone 7 includes the Maximizer, the Dynamic EQ (formerly available only in Ozone Advanced), the new Vintage Limiter, Export Formats, and more. Use Ozone as a plug-in or a standalone application for the final mastering touch you need before exporting to a variety of popular formats. Ozone 7 Key Features ● Get essential mastering and mixing tools: Maximizer, Dynamic EQ (now in both Standard and Advanced), the new Vintage Limiter, and more. ● Quickly achieve authentic sounds for any genre and style with a comprehensive bank of presets. ● Master within your audio editing software with Ozone as a plug-in or in its own environment with the standalone options. (Continued …) Ozone 7 | Copyright © 2015, iZotope, Inc. 10/14/15 :: CONFIDENTIAL :: Powerful processing for mastering and mixing Transparent and Dynamic Masters The highly-regarded Ozone Maximizer helps you achieve transparent mixes with less pumping and distortion. Updated for Ozone 7, the Maximizer features a brand new frequency-specific IRC IV algorithm to deliver transparent mixes with even less pumping and distortion. Smooth out an unwieldy mix or tame the kick drum peaks without affecting the vocals. The Dynamic EQ lives and breathes with your audio for finer control over your sound. -
Force User Guide
User Guide English Manual Version 1.0 Table of Contents Introduction ............................................................. 6 Tutorial ................................................................... 14 Support .............................................................. 6 Starting Up ...................................................... 14 About This User Guide ..................................... 6 Launching Clips .............................................. 14 Important Notes ............................................... 6 Editing Clips & Tracks .................................... 17 Clip Edit Mode ........................................... 18 Setup ........................................................................ 7 Region View ................................................... 20 Event View ...................................................... 22 List View ......................................................... 23 Features ................................................................... 8 Track Edit Mode ........................................ 24 Top Panel .......................................................... 8 Renaming & Saving ........................................ 27 Display ....................................................... 11 Using the Browser ..................................... 29 Rear Panel ....................................................... 12 Mixing Tracks ................................................. 30 Front Panel ..................................................... -
All About Audio Equalization: Solutions and Frontiers
applied sciences Review All About Audio Equalization: Solutions and Frontiers Vesa Välimäki 1,* and Joshua D. Reiss 2 1 Department of Signal Processing and Acoustics, Aalto University, Espoo 02150, Finland 2 Centre for Digital Music, Queen Mary University London, London E1 4NS, UK; [email protected] * Correspondence: vesa.valimaki@aalto.fi; Tel.: +358-50-569-1176 Academic Editor: Gino Iannace Received: 15 March 2016; Accepted: 19 April 2016; Published: 6 May 2016 Abstract: Audio equalization is a vast and active research area. The extent of research means that one often cannot identify the preferred technique for a particular problem. This review paper bridges those gaps, systemically providing a deep understanding of the problems and approaches in audio equalization, their relative merits and applications. Digital signal processing techniques for modifying the spectral balance in audio signals and applications of these techniques are reviewed, ranging from classic equalizers to emerging designs based on new advances in signal processing and machine learning. Emphasis is placed on putting the range of approaches within a common mathematical and conceptual framework. The application areas discussed herein are diverse, and include well-defined, solvable problems of filter design subject to constraints, as well as newly emerging challenges that touch on problems in semantics, perception and human computer interaction. Case studies are given in order to illustrate key concepts and how they are applied in practice. We also recommend preferred signal processing approaches for important audio equalization problems. Finally, we discuss current challenges and the uncharted frontiers in this field. The source code for methods discussed in this paper is made available at https://code.soundsoftware.ac.uk/projects/allaboutaudioeq. -
Phil Spector and the Wall of Sound by Steven Quinn a Thesis Presented To
Phil Spector and the Wall of Sound by Steven Quinn A thesis presented to the Honors College of Middle Tennessee State University in partial fulfillment of the requirements for graduation from the University Honors College Spring 2019 Phil Spector and the Wall of Sound by Steven Quinn APPROVED: ____________________________ Name of Project Advisor List Advisor’s Department ____________________________________ Name of Chairperson of Project Advisor List Chair’s Department ___________________________ Name of Second Reader List Second Reader’s Department ___________________________ Dr. John Vile Dean, University Honors College OR (NOT BOTH NAMES) Dr. Philip E. Phillips, Associate Dean University Honors College 2 Acknowledgments A special thank you to my thesis mentor John Hill and my second reader Dan Pfeifer for all of their help and support. I also want to say thank you to the faculty at MTSU who helped me out along the way. A thank you to my parents for all of their encouragement and everyone who helped me create this project by playing a part in it. Without your endless support and dedication to my success, this would have never been possible. Abstract Phil Spector was one of, if not the most influential producer of the 1960s and was an instrumental part in moving music in a new direction. With his “Wall of Sound” technique, he not only changed how the start of the decade sounded but influenced and changed the style of some of the most iconic groups ever to exist, including The Beach Boys and the Beatles. My research focused on how Spector developed his technique, what he did to create his iconic sound, and the impact of his influence on the music industry. -
Fft-Based Dynamic Range Compression
Proceedings of the 14th Sound and Music Computing Conference, July 5-8, Espoo, Finland FFT-BASED DYNAMIC RANGE COMPRESSION Leo McCormack and Vesa Valim¨ aki¨ Acoustics Lab, Dept. of Signal Processing and Acoustics Aalto University, FI-02150, Espoo, Finland leo.mccormack, [email protected] ABSTRACT ample, side-chain compression can be used to reduce the amplitude of a bass guitar signal to coincide with a kick Many of the dynamic range compressor (DRC) designs drum transient. This temporally dependent “ducking” in that are deployed in the marketplace today are constrained the bass guitar signal may then allow the two instruments to operate in the time-domain; therefore, they offer only to better complement one another. In the production of temporally dependent control of the amplitude envelope of dance music, this technique is commonly utilised in the a signal. Designs that offer an element of frequency de- more extreme case, by allowing the kick drum transient to pendency, are often restricted to perform specific tasks in- conspicuously carve out temporally dependent holes in the tended by the developer. Therefore, in order to realise a amplitude of other signals; resulting in a pumping effect more flexible DRC implementation, this paper proposes a that pulses in time with the music [10]. generalised time-frequency domain design that accommo- Serial and parallel compression techniques have also be- dates both temporally-dependent and frequency-dependent come widely used, as they allow for even greater control dynamic range control; for which an FFT-based imple- of the amplitude envelope of signals by utilising multiple mentation is also presented. -
The Delay by ALEX CASE Part 1 of Our Look at Having Audio Wait Around a Bit Before Hitting Your Ears Fir St Some Mus I C
PAR T 13 The Delay BY ALEX CASE Part 1 of our look at having audio wait around a bit before hitting your ears Fir st some mus i c . Hum or sing Fig u r e 1 explains what’s going on a random delay time, dial in a mus i - along with me the tune at the console. Ho w do you set up cal delay time instead. Should it ‘C o m fo r t ab l y Numb’ from The Wall by the delay unit itself? Most delays repeat with a quarter note rhyt h m , Pink Floyd . You know the first line: ha ve avai l a ble the controls shown in an 8th note, a triplet,...? Hello (Hello...hello...hello). Is there Fig u r e 2: input and/or output level , One way to do this is simply by lis- any b o d y in there? de l a y time, and reg e n e r ation control . te n i n g . Typ i c a l l y, we use the snare to This is a classic use of a long delay. Input/output levels are self- ‘tune’ a delay—to set a musical delay The drea m y, di s t u r b e d , out of mind exp l a n a t o r y. De l a y time can be fixed ti m e . Ev en if you plan to add delay state of our friend Pink is enhanced or var i a ble—using the three modula- to the voc a l , the piano, or the guitar, by (the entire, brilliant roc k and rol l tion controls (rat e , depth and it is usually easiest to use the snare ar ra n g e m e n t , including) this rep e a t - shape)—as we’ll see in later exa m - for setting the delay time both in g , ge n t l y fading echo .