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FXAlg #999: Stereo Analyze

Algorithm Reference-180

Summary of Contents for ALGORITHMS2

Page 1: ...to Mono Distortion except the single hipass filter is replaced with a pair of second order hipass lowpass filters to provide rudimentary speaker cabinet modeling The hipass and lowpass filters are th...

Page 2: ...uces hard or digital clipping but it does approach it at high drive settings When you increase the distortion drive parameter you are increasing the gain of the algorithm until the signal reaches satu...

Page 3: ...Cab Preset Basic Wet Dry 0 to 100 wet Out Gain Off 79 0 to 24 0 dB Dist Drive 0 to 96 dB Warmth 16 to 25088 Hz dc Offset 100 to 100 Cabinet HP 16 to 25088 Hz Cabinet LP 16 to 25088 Hz Bass Gain 79 0 t...

Page 4: ...ker cabinet Cabinet LP A lowpass lter which controls the high frequency limit of a simulated cabinet Bass Gain The amount of boost or cut that the bass shelving lter should apply to the low frequency...

Page 5: ...on stages Each stage is followed by a one pole LP filter There is also a one pole LP in front of the first stage After the distortion there is a 4 band EQ section Bass Treble and two Parametric Mids B...

Page 6: ...actly since we are already doing a lot of lopass filtering inside the distortion itself Possible EQ settings you can try are Treble 20 dB at 5 kHz Bass 6 dB at 100 Hz Mid1 wide 6 dB at 2 kHz Mid2 wide...

Page 7: ...e bass shelving lter should apply to the low frequency signals in dB Every increase of 6 dB approximately doubles the amplitude of the signal Positive values boost the bass signal below the speci ed f...

Page 8: ...setting Mid Tone to 10 0 and both Bass and Treb Tone controls to 0 0 The tone controls are integrated with one of two types of preamp drive circuits TubeAmp and PolyAmp The TubeAmp faithfully models...

Page 9: ...output mix of the algorithm When set at 0 only the cabinet simulator output is fed to the output of the algorithm At 100 only the output of the chorus or flange is heard Left right balance specificall...

Page 10: ...0 dB Warmth 16 to 25088 Hz Bass Tone 0 0 to 10 0 Mid Tone 0 0 to 10 0 Cab In Out In or Out Treb Tone 0 0 to 10 0 Cab Preset Open 12 Cab Pan 100 to 100 Poly Drive 0 0 to 60 0 dB Warmth 16 to 25088 Hz B...

Page 11: ...lator signal that is mixed at the output of the algorithm Note that when Ch Wet Dry or Fl Wet Dry is set to 100 no signal from the cabinet is mixed directly to the output so this parameter has no affe...

Page 12: ...ed for the moving delay circuit MD LFODpth In Flange LFO mode this adjusts an arbitrary LFO excursion amount In ChorTri and ChorTrap modes this controls the chorus detune amount In delay mode this is...

Page 13: ...in VibChor Rotor 2 uses a conventional design which has been set to match the B3 sound as closely as possible but does not quite have the same character as the VibChor Rotor 4 vibrato chorus In VibCho...

Page 14: ...speaker the Doppler shift will sound like vibrato As well as Doppler shift there will be some acoustic shadowing as the speaker is alternately pointed away from you and toward you The shadowing is sim...

Page 15: ...l soft clip the signal Since distortion drive will make your signal very loud you may have to reduce the Out Gain as the drive is increased VibChor Rotor 4 only In Out In or Out Out Gain Off 79 0 to 2...

Page 16: ...n The gain or amplitude of the signal passing through the rotating tweeter high frequency driver Hi Rate The rotation rate of the rotating tweeter high frequency driver The tweeter can rotate clockwis...

Page 17: ...is for the low frequency signal path HiResonate A simulation of cabinet resonant modes expressed as a percentage For realism you should use very low settings This is for the high frequency signal path...

Page 18: ...is passed through a speaker cabinet simulation Block diagram of Distort Rotary The first part of Distort Rotary is a distortion algorithm See the section of this book on FXAlg 723 for details Next th...

Page 19: ...d you may have to reduce the Out Gain as the drive is increased DistWarmth A lowpass lter in the distortion control path This lter may be used to reduce some of the harshness of some distortion settin...

Page 20: ...entire algorithm may be bypassed To bypass the rotary the switches in both KB3 FXBus and KB3 AuxFX must be set to Out Block diagram of KB3 FXBus Block diagram of KB3 AuxFX The first effect in the chai...

Page 21: ...se for the entire rotary to be active KB3 AuxFX must also be active Dist Drive Applies a boost to the input signal to overdrive the distortion algorithm When overdriven the distortion algorithm will s...

Page 22: ...er high frequency driver The control is also available in KB3 FXBus For details on the rest of the parameters see the section of this book on FXAlg 733 In Out In or Out Out Gain Off 79 0 to 24 0 dB Lo...

Page 23: ...Threshold The Freq Sweep parameter controls how much the frequency will change with changes in envelope amplitude The frequency range is 0 to 8372 Hz though the minimum setting for Min Freq is 16 Hz N...

Page 24: ...egative so the lter frequency can rise above or fall below the Min Freq setting Resonance The resonance level of the resonant lter Resonance sets the level of the resonant peak In the notch lter this...

Page 25: ...rovided to show the current resonance frequency of the filter The filter Resonance level may be adjusted The resonance is expressed in decibels dB of gain at the resonant frequency Since 50 dB of gain...

Page 26: ...e where 0dB is full scale Retrigger The threshold at which the envelope detector resets such that it can trigger again in fractions of full scale where 0dB is full scale This value is only useful when...

Page 27: ...n stages to avoid clipping You can set the frequency of the LFO using the LFO Tempo and LFO Period controls You can explicitly set the tempo or use the system tempo from the sequencer or MIDI clock Th...

Page 28: ...the width is set to 50 This parameter is active only when the Pulse waveform is selected LFO Smooth Smooths the Saw Saw and Pulse waveforms For the sawtooth waves smoothing makes the waveform more lik...

Page 29: ...elative to unaffected dry signal Out Gain The overall gain or amplitude at the output of the lter FilterType The type of resonant lter to be used May be one of Lowpass Highpass Bandpass or Notch Frequ...

Page 30: ...Morph A B determines which parameter set is active When Morph A B is set to 0 you are hearing the A parameters when set to 100 you are hearing the B parameters The filters may be gradually moved from...

Page 31: ...pressive When morphing from the A parameters to the B parameters A filter 1 moves to B filter 1 A filter 2 moves to B filter 2 and so on For the most normal and predictable results it s a good idea no...

Page 32: ...lation FreqScale The lter frequencies for the A and B parameter sets may be offset with the FreqScale parameters After setting the lter parameters the FreqScale parameters will move each of the four l...

Page 33: ...t f where f is constant phase angle to correct for the sine wave not being 0 at t 0 The sine wave could also be represented with a cosine function which is a sine function with a 90 phase shift To sim...

Page 34: ...roduces a waveform with narrow sharp peaks which seems to rise exponentially from 0 Pulse produces a series of square pulses where the pulse width can be adjusted with the Osc1PlsWid parameter When pu...

Page 35: ...enter and 100 is panned right Osc1 Lvl The level of the con gurable oscillator 0 is off and 100 is maximum This parameter is active only in Osc mode Osc1 Freq The fundamental frequency of the con gura...

Page 36: ...aw and Pulse waveforms For the sawtooth waves smoothing makes the waveform more like a triangle wave For the Pulse wave smoothing makes the waveform more like a sine wave Sinen Lvl The four sine wave...

Page 37: ...cy and the Pitcher frequency match or are harmonically related because otherwise the peaks in the input spectrum won t line up with the peaks in the Pitcher filter If there are enough peaks in the inp...

Page 38: ...rmonic multiples and notches on even harmonic multiples of a frequency one octave down from the Pitch setting OPQH 0 100 100 100 Like 100 100 100 100 except that all the peaks are at all multiples of...

Page 39: ...00 If the Odd parameter is modulated with an FXMOD then one can morph smoothly between the 100 100 100 100 and 100 100 100 100 curves OPQH 100 100 100 100 OPQH 100 100 100 100 OPQH 100 100 100 100 The...

Page 40: ...numbers Ptch Offst An offset from the pitch frequency in semitones This is also available for adding an additional continuous controller mod like pitch bend Odd Wts Pair Wts Quartr Wts Half Wts These...

Page 41: ...VAST shaper will pin at zero the Super Shaper provides 6 more sine intervals before starting to zero pin at 2 50x The maximum shaper amount for Super Shaper is 32 00x Super Shaper at various Amounts P...

Page 42: ...ntrols provide the same type of shaping as VAST shapers but can go to 6 00x Parameters PAGE 1 PAGE 2 In Out When set to In the effect is active when set to Out the effect is bypassed Out Gain The over...

Page 43: ...plified Impulse Response of LaserVerb With appropriate parameter settings this effect produces a descending buzz or whine somewhat like a diving airplane or a siren being turned off The descending buz...

Page 44: ...are summed and run through a single mono LaserVerb The 1 PAU version does not have the cross coupling control but does have output panning LaserVerb Parameters PAGE 1 LaserVerb and LaserVerb Lite PAGE...

Page 45: ...ts Panning ranges from 100 fully left through 0 centered through to 100 fully right Dly Coarse You can set the overall delay length from 0 to 2 seconds 3 PAU or 0 to 1 3 seconds 2 PAU Lengthening the...

Page 46: ...signal An infinite ratio will compress all signal levels above the threshold level to the threshold level zero slope For ratios between infinity and 1 1 increasing the input will increase the output...

Page 47: ...he attack time You have the choice of using the compressors in feed forward or feedback configuration For feed forward set the FdbkComprs parameter to Out for feedback compression set it to In The fee...

Page 48: ...is longer than one of the other times Signal Dly For the feed forward setting Signal Dly is the time in ms by which the input signal should be delayed with respect to compressor side chain processing...

Page 49: ...the signal the expander must measure the signal level Since musical signal levels will change over time the expansion amounts must change as well You can control how fast the expansion changes in resp...

Page 50: ...e signal level when the signal drops below the threshold turning on expansion SmoothTime A lowpass lter in the control signal path It is intended to smooth the output of the expander s envelope detect...

Page 51: ...rs and a parametric mid range filter Compressor with side chain equalization Using side chain equalization allows you to compress your signal based on the spectral frequency content of your signal For...

Page 52: ...he smoothing time is longer than one of the other times Signal Dly The time in ms by which the input signal should be delayed with respect to compressor side chain processing i e side chain pre delay...

Page 53: ...st the treble signal above the speci ed frequency Negative values cut the treble signal above the speci ed frequency SCTrebFreq The center frequency of the side chain treble shelving lters in interval...

Page 54: ...old level to the threshold level zero slope For ratios in between infinite and 1 1 increasing the input will increase the output but by less than it would if there was no compression The compressor is...

Page 55: ...ression for the lower compression segment Above the upper threshold the signal is compressed even further by the ratio corresponding to the upper threshold You may use the upper segment as a limiter i...

Page 56: ...e attack before it actually happens or releasing the expander before the attack happens This feature works whether the side chain is configured for feed forward or feedback A meter is provided to disp...

Page 57: ...an one of the other times Signal Dly The time in ms by which the input signal should be delayed with respect to compressor side chain processing i e side chain pre delay This allows the compression to...

Page 58: ...itude of the signal Positive values boost the treble signal above the speci ed frequency Negative values cut the treble signal above the speci ed frequency Treb Freq The center frequency of the treble...

Page 59: ...he signal An infinite ratio will compress all signal levels above the threshold level to the threshold level zero slope For ratios in between infinite and 1 1 increasing the input will increase the ou...

Page 60: ...he compressor to start to cut in when there is an increase in signal level attack above the threshold Rel Band Band is Low Mid or High The time for the compressor to stop compressing when there is a r...

Page 61: ...for side chain processing When you select both channels the sum of the left and right input amplitudes is used The gate is opened when the side chain amplitude rises above a level that you specify wit...

Page 62: ...f how long the gate should remain open Super Gate signal envelope when Retrigger is Off If Ducking is turned on then the behavior of the gate is reversed The gate is open while the side chain signal i...

Page 63: ...els The output gains are calculated before the nal output panning L R Pan Both of the gated signal channels can be panned between left and right prior to nal output This can be useful when the gate is...

Page 64: ...ld Atk Time The time for the gate to ramp from closed to open reverse if Ducking is on after the signal rises above threshold Rel Time The time for the gate to ramp from open to closed reverse if Duck...

Page 65: ...n provide punch The transfer applied to the hipass signal can be used to generate additional high frequency content when set to a non zero value As the value is scrolled away from 0 harmonic content i...

Page 66: ...r cut of the high shelving lter Hi Delay Adjusts the number of samples the hipass signal is delayed Hi Mix Adjusts the output gain of the hipass signal Lo Delay Adjusts the number of samples the lopas...

Page 67: ...ient of the input signal giving it more definition Conversely delaying the higher bands relative to the lower bands brings out the low frequency transient information which can provide punch One chann...

Page 68: ...in a dry output signal Lo Drive Mid Drive Hi Drive Adjusts the input into each transfer Increasing the drive will increase the effects Lo Xfer Mid Xfer1 Mid Xfer2 Hi Xfer1 Hi Xfer2 Adjusts the intens...

Page 69: ...ifferent LFO shapes as follows LFO Shapes available for Tremolo and Tremolo BPM An additional shape modifier is 50 Weight This bends the LFO shape up or down relative to its 6dB point At 0dB there is...

Page 70: ...eat etc Rate Scale Tremolo This multiplies the speed of the LFO rate into the audio range When above 19x the values increment in semitone steps These steps are accurate when LFO Rate is set to 1 00 Hz...

Page 71: ...width is set to 50 This parameter is active only when the Pulse waveform is selected 50 Weight The relative amount of attenuation added when the LFO is at the 6dB point This causes the LFO shape to bo...

Page 72: ...LFO shapes see the previous section of this book FXAlgs 961 962 variable center attenuation and a rate scaler that scales LFO rate into the audible range for a new flavor of amplitude modulation effe...

Page 73: ...put program material before it is auto panned At 0 the input image is shrunk to a single point source allowing maximum panning excursion At 100 the original width is maintained leaving no room for pan...

Page 74: ...is a percentage of the available excursion space after Origin is adjusted If Origin is set to full left 100 or full right 100 then there will be no room for LFO excursion Control of six different LFO...

Page 75: ...eo speaker array For the smoothest tracking a widely accepted subjective reference is 3dB Values above 3dB will cause somewhat of a bump in level as an image passes through the center Values below 3dB...

Page 76: ...f the image and may have different optimal settings depending on the amount of stereo content in the inputs To match the optimal settings specified by SRS Labs the bass and treble gains should be set...

Page 77: ...g only the low frequencies of the difference signal you can greatly improve your sense of stereo envelopment without destroying your stereo sound field Envelopment is the feeling of being surrounded b...

Page 78: ...f the difference signal if you suspect one channel is delayed with respect to the other RMS Settle Controls how fast the RMS meters can rise or fall with changing signal levels DiffBassG By boosting t...

Page 79: ...the signal that contains stereo spatial information The Stereo Image algorithm has controls to change the relative amounts of sum or center versus difference signals By increasing the difference signa...

Page 80: ...ntermediate stereo result you can increase the sense of acoustic envelopment the sense of being surrounded by an acoustic space DiffBassG is the gain parameter of a bass shelf lter on the difference s...

Page 81: ...cy response of all the bands is shown in the Figure 1 The dual graphic equalizer has a separate set of controls for the two mono channels Filter Response of Each Bandpass Filter Like all graphic equal...

Page 82: ...Hz G 12 0 to 24 0dB 1000Hz G 12 0 to 24 0dB 62Hz G 12 0 to 24 0dB 2000Hz G 12 0 to 24 0dB 125Hz G 12 0 to 24 0dB 4000Hz G 12 0 to 24 0dB 250Hz G 12 0 to 24 0dB 8000Hz G 12 0 to 24 0dB 500Hz G 12 0 to...

Page 83: ...the high frequency signals in dB Every increase of 6 dB approximately doubles the amplitude of the signal Positive values boost the treble signal above the speci ed frequency Negative values cut the...

Page 84: ...ers The parameter values are fixed at NoDpth and have no function except to connect sources to meters To use the algorithm save a Multieffect and Studio containing the algorithm then go to one of the...

Page 85: ...on the meters are the signals to which you are listening The Invert parameters provide a polarity reversal to the input signals This polarity reversal occurs before sum and differences The Invert par...

Page 86: ...etered left meter and passed to the left output Choices are L left R right L R 2 normalized sum L R 2 normalized difference and polarity inverted versions of these R Out Mode Determines which signal i...

Page 87: ...FXAlg 999 Stereo Analyze Algorithm Reference 180...

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