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SOFTUBE USER’S GUIDE  |  iii

Contents

2 

Installation and Authorization 

7

Step 1. License Registration  .   .   .   .   .   .   .   .   .   .   .  7
Step 2. Transfer License to iLok  .   .   .   .   .   .   .   .   .   .   .   .   .  7
Step 3. Installation on Mac OS X    .   .   .   .   .   .   .   .   .   .   .   .  8
Step 3. Installation on Windows   .   .   .   .   .   .   .   .   .   .   .   .  9
Step 4. Activate Plug-Ins.   .   .   .   .   .   .   .   .   .   .   .   .   .   .    10
System Requirements .   .   .   .   .   .   .   .   .   .   .   .   .   .   .   .   12
VENUE System Requirements.   .   .   .   .   .   .   .   .   .   .   .   .    12
AAX DSP Supported Sample Rates    .   .   .   .   .   .   .   .   .   .    13
Plug-In Latencies  .   .   .   .   .   .   .   .   .   .   .   .   .   .   .   .   .   .   14

3 

User Interface 

15

Menu Row  .   .   .   .   .   .   .   .   .   .   .   .   .   .   .   .   .   .   .   .   .    15
Key Commands .   .   .   .   .   .   .   .   .   .   .   .   .   .   .   .   .   .   .   18

4 

Abbey Road Studios Brilliance Pack 

19

Foreword by Peter Cobbin   .   .   .   .   .   .   .   .   .   .   .   .   .   .    19
Introduction   .   .   .   .   .   .   .   .   .   .   .   .   .   .   .   .   .   .   .   .    21
RS127 Rack.   .   .   .   .   .   .   .   .   .   .   .   .   .   .   .   .   .   .   .   .    21
RS127 Box  .   .   .   .   .   .   .   .   .   .   .   .   .   .   .   .   .   .   .   .   .    22
RS135  .   .   .   .   .   .   .   .   .   .   .   .   .   .   .   .   .   .   .   .   .   .   .    23
Credits .   .   .   .   .   .   .   .   .   .   .   .   .   .   .   .   .   .   .   .   .   .   .   23

5 

Active Equalizer 

25

Summary of Contents for AAX DSP

Page 1: ...SupportingVST VST3 AU RTAS AAX Native and AAX DSP Rev Nov 27 2013 User Manual User Manual...

Page 2: ...nd constitutes neither an endorsement nor a recommendation Softube assumes no responsibility with regard to the performance or use of these products Softube products are protected by patents SE526523...

Page 3: ...8 Step 3 Installation onWindows 9 Step 4 Activate Plug Ins 10 System Requirements 12 VENUE System Requirements 12 AAX DSP Supported Sample Rates 13 Plug In Latencies 14 3 UserInterface 15 Menu Row 15...

Page 4: ...ferences Between Passive and Active 58 Finally a Note on Modeling 58 Credits 58 10 MetalAmpRoom 59 Introduction 59 User Interface 60 The Amplifier 62 The Cabinets 63 The Microphones 64 The Balancing S...

Page 5: ...face 115 Gain Staging 117 Sidechain and the Equalizers 117 Credits 117 21 Tube TechCL1BCompressor 119 Foreword by John G Petersen 119 About the CL 1B 119 User Interface 120 Suggested Applications 122...

Page 6: ...ssive Equalizer 165 Summit Audio Grand Channel EQ Section 166 Summit Audio Grand Channel Compressor Section 167 Summit Audio EQF 100 Full Range Equalizer 168 Summit AudioTLA 100Tube Leveling Amplifier...

Page 7: ...roduct online from the Softube webstore and have got the confirmation e mail the license will already be regis tered and you can skip the first step 2 Make sure that you have the latest version of iLo...

Page 8: ...Logic Cubase Studio One Ableton Live etc RTAS Installs RTAS plug ins for Pro Tools 9 2 Run the installer and step through the instructions You will be asked to enter the username and pass word 3 When...

Page 9: ...se with 64 bit compatible hosts RTAS Installs RTAS plug ins for Pro Tools 9 2 Run the installer and step through the instructions You will be asked to enter the username and pass word 3 Before the fin...

Page 10: ...l from the About boxintheplug ins See AboutBox onpage16for more information Products Active Plug ins Cancel OK 1 Select product s from the Products list If you have a previously installed product it w...

Page 11: ...dle Active Plug Ins A list of plug ins that will be visible in your host software OK Save changes and exit Cancel Discard changes and exit If you want to activate all plug ins except one or two it is...

Page 12: ...ase make sure that you always use the latest iLok Li cense Manager It is not included in the Softube installer but can be downloaded from www ilok com All Softube plug ins support both 32 and 64 bit h...

Page 13: ...pressor Focusing Equalizer Metal Amp Room Passive Equalizer Spring Reverb Summit Audio Grand Channel Summit Audio EQF 100 Summit AudioTLA 100A ToneluxTilt ToneluxTilt Live Trident A Range TSAR 1 TSAR...

Page 14: ...4 0 0 Focusing Equalizer 4 0 0 Metal Amp Room 3 0 0 Passive Equalizer 8 0 0 Spring Reverb 0 0 0 Summit Audio Grand Channel 8 4 0 Summit Audio EQF 100 4 0 0 Summit AudioTLA 100A 4 4 0 ToneluxTilt 0 0 0...

Page 15: ...he bottom of the plug in interface you will see a thin black row with some buttons We ll use the Dyna mite plug in as example but the same goes for all plug ins About Box Open the About Box with versi...

Page 16: ...com if there are newer versions of this plug in and all other Softube plug ins that you have installed Plug Ins Control Opens the Plug Ins Control application which allows you to install de activate...

Page 17: ...te plug in the value display will be off for all Dyna mites on your system until you select that option again The different options vary between Windows and Mac and also different formats and plug ins...

Page 18: ...faders simultaneously Key Commands All numbers and labels in the plug in are clickable This allows you to easy select a setting by clicking on the wanted value Hovering above a label will turn the mou...

Page 19: ...recordings especially in popular music Enter the Brilliance boxes these simple passive equalizers were portable versions of the grey RS127s that were rack mounted into the studio control room patchbay...

Page 20: ...these little boxes My assistants Mirek Stiles and Sam O Kell had observed that in various 60s setup sheets the prevailing EQ was marked as RS127 This equalizer was the 127th item made in house by EMI...

Page 21: ...s The pack consists of three plug in modules RS127 Rack The RS127 Rack plug in is a recreation of the origi nal Brilliance Control rack modules which were installed in the studio control rooms RS127 B...

Page 22: ...s a sharper Q or bandwidth At these settings there is also significantly more boost than given by the same settings on the RS127 Rack plug in RS127 Box The RS127 Box plug in recreates the standalone R...

Page 23: ...Gain control sets the amount of boost in decibels It provides up to 10 dB of boost in 2 dB steps The default set ting is 0 Credits Abbey Road Studios product development and documentation Niklas Odelh...

Page 24: ......

Page 25: ...on t get a doubled effect 32dB you will still just have a cut at around 16dB This is very different from how other especially digital equalizers usu ally work And it is of course a big part of its sou...

Page 26: ...ever match reality this sturdy unit actually does what it say it does Width Bypass Select The switch lets you select between a sharp curve leftmost position bypass middle position and a blunt curve ri...

Page 27: ...d are trademarks of their respective owners and in no way constitutes an association or af filiation with Softube Filtek and Labo trademarks are solely used to identify the products whose sound was st...

Page 28: ......

Page 29: ...er The rumour is that when Robert Fripp recorded the feedback parts on Bowie s Heroes he made markings all over the floor in order to find the right position for different notes The Acoustic Feedback...

Page 30: ...the effect trigger more easily The downside is that it doesn t always end very naturally The feedback effect volume is independent of the input guitar volume If you have a low guitar input volume you...

Page 31: ...und Feedback Adjusts how aggressive the feedback is Tolerance Adjusts how easy it is to achieve feedback and how tolerant it is with sloppy playing Tolerance Indicator When the light is on you got ful...

Page 32: ...edback is about to die If the Tolerance Indicator starts to fade make sure that you end your note deliberately before any strange sounds appear This is specially helpful when you have a high Feedback...

Page 33: ...control 1 Assign the expression pedal to the Feedback control 2 Set the Tolerance control to 1 Natural 3 When ever you want to get the feedback started push the pedal hence increasing the Feedback con...

Page 34: ...things but you can start by setting the all controls fully clockwise Mix WET Feedback WILD and Tolerance RAM PANT Then you will only hear the feedback effect with the most aggressive settings on the...

Page 35: ...it works sometimes it doesn t If you need a feedback on a chord you could record it by using two takes On the first take you play the chord without the feedback effect and on the second take you play...

Page 36: ......

Page 37: ...at you do best because music production should be about using your ears not your computer skills WE HAVE IMAGINED TWO TYPES OF USERS The first wants the best possible amp modeling and is willing to sp...

Page 38: ...ettings of the amp by clicking the knob and dragging the mouse up and down or left to right Switches can be switched either by clicking on them or by click and dragging the mouse In some hosts you can...

Page 39: ...pecial sounding tone stack it s been very popular among bass players dur ing the last decades When the High Low switch is set to HIGH the amplifier will work and act just like the real thing The LOW m...

Page 40: ...one of our other Amp Room plug ins with the amp modeling bypassed The Cabinets Click and drag left right on the background to change cabinets 8x10 The industry standard 8x10 doesn t need much present...

Page 41: ...CEPT a good sounding amp Since a lot of engineers and produc ers prefer to work with both the raw D I signal and the mic ed signal using the amp signal for charac ter and the D I signal for focus or l...

Page 42: ...ference to the sound Phase invert If you have the balance fader somewhere in the middle you should make it a habit to toggle the Phase Invert switch It can make a huge difference to the sound Output S...

Page 43: ...to the D I bottom section The two signals are mixed with the D I Amp Balance fader AMPLIFIER CABINET DI LIMITER DI TONE CTRL PHASE INVERT MAIN INPUT BYPASS AMP BYPASS CAB OUTPUT VOLUME D I AMP BALANC...

Page 44: ...we have absolutely no clue what kind of 4x12 we meas ured It sounded excellent had no labels on and wasn t for sale The small cabinet was a half open 1x12 cabinet with a Celestion 20W 15ohm driver Bu...

Page 45: ...king this piece unique The extremely fast attack all the subtle and some times not so subtle distortion that comes from the different parts of the compressor and the extremely careful way the signal i...

Page 46: ...start User Interface THE CONTROLS OF the FET Compressor are divided into two sections First of all we have the big knobs Input Ratio Attack Release and Output which are the knobs that you will use eve...

Page 47: ...n Reduction meter is used to monitor the amount of gain reduction in the compressor The FET Compressor has only one detector so if a stereo signal is present the gain reduction will be the same for bo...

Page 48: ...the gain reduc tion Another trick is to apply filtering so that only certain frequencies cause the detector to compress the signal If you for example compress a drum kit If the Ratio knob is set at A...

Page 49: ...ed in the VU meter section Remote ProTools only Whenever automation is used or if an external you might want to keep the boominess of the bass drum but compress the cymbals and snare Set the Low Cut t...

Page 50: ...row down the detec tors frequency bands by adding some Low Cut and High Cut filtering It doesn t work on all program material but it s worth a try I want some cool drum bus tricks Ok here are our favo...

Page 51: ...rum doesn t trigger the compressor at about 200 300 Hz In most cases this will make the bass drum sound fatter and louder compared to the rest of the kit 2 Pumping Drums Set Ratio on ALL Release on SL...

Page 52: ......

Page 53: ...set out to model two vintage equalizers as exactly as possible The result are the passive and active equalizer that are probably installed on your computer right now The active is the most traditional...

Page 54: ...rio Passive Active Pack The Focusing Equalizer is a part of a trio together with the Passive Equalizer and the Active Equalizer The Pas sive and Ac t ive have very diff erent sounds wh ile this unit c...

Page 55: ...us on the Low and High Cut faders Try to set these so that you filter out all the unwanted parts of the signal For most instruments other than bass and bass drum you can go pretty high up with the Low...

Page 56: ...igh Adjust the gain of the filters The Low and High Gain will only boost the low and high frequencies If you need to cut you will have to use the Low and High Cut fad ers EqualizerType Choose between...

Page 57: ...range Stereo Indicator Lights up if the plug in has been activated in stereo mode Remote Control Indi cator ProTools only Whenever automation is used or if and external control surface is connected th...

Page 58: ...that there are a lot of other differences that make up for the characteristic sounds and not many of these are easy to put in a table like this 1 The Passive EQ doesn t have any cutting bell filters 2...

Page 59: ...her sound Just playing around with different cabinets and mic settings is a science in itself and we have worked really hard to make it as easy as possible for you to find the sound you look for To ma...

Page 60: ...le It has no knobs with dubious or unintuitive functionality and no added gadgets or ridiculously fake sounding effects We simply provide you with the same tools you have in a real studio but in digit...

Page 61: ...the background while holding the Shift key toggles through the cabs without any sliding animations Amp Panel Top Area In the amp panel you can alter the settings of the amp by clicking the knob and dr...

Page 62: ...resents one whole amp and the RHYTHM channel Lead OFF is a simulation of the same amp but with the input stage taken from an amplifier with a lower gain The LEAD channel is the main channel the one to...

Page 63: ...o to get a more scooped sounds Depending on how the rest of the mix sounds and the exact posi tions of the mics the Black Cabinet could need a bit of work with the amp s tone stack and perhaps some ex...

Page 64: ...o the left in both cabinet views is a classic dynamic microphone It has a tight mid range that often makes out the core of the sound The character is focused and controlled when the mic is close to th...

Page 65: ...you balance the track fully towards one side set Stereo Width MONO If you balance the track halfway to wards one side set Stereo Width half way between STEREO and MONO Example Settings One Mic Mic Ba...

Page 66: ...sing Amps or Cabs You can choose to bypass the amp or the cabinet by selecting amp bypass or cab bypass from the small box in the lower right corner This is very useful if you want to use Metal Amp Ro...

Page 67: ...ce this is a passive circuit all knobs will interfere with each other and changing something in the treble might do something in the bass or mid as well The smooth and sparkling high boost filter is g...

Page 68: ...f graphics rendering Thanks to Stefan Fand n and the crew at Deluxe Music for letting us borrow the gear than that but that s too techni cal to put in a user s guide Presence Gain Control Use this to...

Page 69: ...on vocal tracks to get that vintage vibe The Springs and Ten sion parameters let you morph between a typical guitar amp reverb and a smoother studio reverb thus making the Spring Reverb plug in a ver...

Page 70: ...you set Mix fully clock wise on WET every time you use Spring Reverb as a send effect Springs Controls the number of springs in use There are three sets of springs in the reverb unit and you can choos...

Page 71: ...he Mix knob will typically be set between 0 and 20 It is easy to drench your recording with a reverb that is as characteristic as Spring Reverb Shake BOOOM Since we don t want you to smack your comput...

Page 72: ...e send return volumes of your DAW should be kept low Easy does it Controlling the Character In terms of character Spring Reverb goes from vin tage grit full of character to semi smooth still with char...

Page 73: ...this monster EQF 100 Full Range Equalizer Four full bands of equalization two cut filters two VU meters and a warm output distortion makes this equalizer extremely versatile It can be used on any type...

Page 74: ...suited for vocals bass or brass User Interface The user interfaces of the individual units are the same as the individual plug ins so please see their respective chapter for more informa tion EQF 100...

Page 75: ...sound before the compressor default or the other way around Left posi tion Eq before compres sor Right position com pressor before eq It is also possible to click on the pilot lamps of each unit to e...

Page 76: ...eters are calibrated so that a 9dBRMS signal reads 0 VU Sidechain and the Equalizer No the equalizer does not affect the external sidechain of the compressor Credits Oscar berg modeling Arvid Ros n mo...

Page 77: ...U meter hits the red Added Functionality To make an already sexy equalizer even sexier we decided to add two beautiful VU meters to the unit We also added the Output Volume so that you easily can leve...

Page 78: ...th Gain Boost Cut Type Shelving Bell Low and High Cut Low Band VU Meter and OutputVolume High Band Low Mid Band User Interface The user interface consists of four separate bands of equalization low lo...

Page 79: ...el If outboard preamps are being used try sending the output of the preamp into the EQF 100 This EQ is also per fect before or after a compressor and for side chain effects such as de essing Frequency...

Page 80: ...Find the approximate frequency to be attenuated low mid low mid high high Set the bandwidth to wide ten the Boost Cut Bypass switch to Cut minus and the filter type to resonant high and low bands only...

Page 81: ...he detector part of the compressor a k a sidechain filtering Parallel Inject Parallel Compression Parallel compression ie mixing a compressed signal together with the original signal is a standard pra...

Page 82: ...ime Meter Select Allows monitoring the output level output or the amount of gain reduction taking place reduction Gain Output volume Unity gain is at 25 The value display in the lower menu bar will sh...

Page 83: ...sometimes be very useful together with slower attack times when you get loud transients Use the Saturation knob to limit the transients Saturation LED Indicates distortion at the output You will get...

Page 84: ...ter Only one of the low cut filters is active at a time or both bypassed by setting the Low Cut frequency parameter to off Mono and Stereo Operation The Summit Audio TLA 100A plug in can operate in bo...

Page 85: ...that sounded like it wasn t there On top of that we added a loudness feature to the TILT knob allowing the engineer to boost both low and high at the same time much like a loud ness control used in po...

Page 86: ...P1a discrete mic preamp module and has been a godsend for engineers and producers that need to take control of their sound in a fast and effective manner Often the Tilt knob is all you need to make a...

Page 87: ...izer the Shape switch which lets you select between a Tilt style equalizer or a Loudness equalizer and finally the Tilt knob with which you adjust the amount of the equaliza tion When using the Tilt k...

Page 88: ...sound or help you get rid of problematic frequencies in a track The Low Pass filter cut off frequency goes from 16 Hz to 1 kHz and will at tenuate the signal 6dB per octave When the 12 dB Oct switch...

Page 89: ...ll always be below 0 dB When the Boost Ceiling is set to its maximum it will work as the ordinary TILT When set between there will be some boosting of frequencies but never more than you dialed in Buy...

Page 90: ......

Page 91: ...mber 17 2009 Background The Trident A Range is a legendary piece of equipment As only thirteen A Range consoles were ever made it remains a holy grail for sound engineers and producers around the worl...

Page 92: ...ime and used by Flemming Rasmussen when recording albums such as Metallica s Ride the Lightning Master of Puppets and And Justice for All The A Range channel features four bands of equalization and hi...

Page 93: ...The four equalizer bands have two controls each a frequency selector knob and a gain fader The fader will boost the signal up to 15 dB by dragging the fader to the right and attenuate the signal by 1...

Page 94: ...ug in The range of the output volume is 30 dB to 10 dB Low Pass and High Pass Filters The Low Pass and High Pass filters are controlled by three buttons respectively which sets the cut off frequency f...

Page 95: ...o Developments The original unit is owned by Flemming Rasmus sen at Sweet Silence Studios ALL VISUAL AND AURAL REFERENCES TO THE TRIDENT A RANGE ARE TRADEMARKS BEING MADE WITH WRITTEN PERMISSION FROM...

Page 96: ......

Page 97: ...to use And that led us to the second re quirement it need to be easy to use We didn t want a reverb with fifty parameters so complicated that no one ever dares to change anything and by that forces t...

Page 98: ...ercussive sounds Early Reflections The early reflections are the very first echoes that reach the listener and help the listener to decide the size of the room Introduction TSAR 1 STANDS FOR True Ster...

Page 99: ...FAST for a more chorus y effect Reverb Mix The mix between the direct signal and the reverb signal including early reflections OutputVolume Sets the output volume of every thing including dry signal P...

Page 100: ...redelay and Early Reflections Since the early reflections are not affected by the Predelay and by themselves have an inherent and inde pendent delay you need to tune the Predelay so that it match the...

Page 101: ...1 8 5 s and Density to 25 40 Early Reflections on LARGE and about 40 ms Predelay enhances this effect Room and Chamber Settings A shorter Reverb Time and higher Densities you get the sound of a room...

Page 102: ...ix and is often easier to use even if they may sound a bit unnatural on its own Density vs Size Use a high density reverb to get the sound of a small space and a low density reverb to get the sound of...

Page 103: ...DARK will often give the most natural sounding reverb tails The Reverb Tone will only affect the reverb tail not the early reflections High Cut Sets high frequency attenuation for both the reverb tai...

Page 104: ...large ER Type may need a longer Predelay than a small ER Type The approximate delay times for the three different ER Types are listed below SMALL 9 16 ms MEDIUM 30 70 ms LARGE 45 80 ms Diffusion Sets...

Page 105: ...slow modulation rate Suitable for extremely long reverb times and legato instruments FAST Same type of modulation as SLOW but with a faster modulation rate All three types of modulation are based on r...

Page 106: ...Dryer recordings can still benefit from a little room sound on the snare or kit Used in the right amount it can make a good recording great with out adding any apparent reverb Guitar Hall A small hal...

Page 107: ...Medium Brighter and a little less reverb time than the larger hall this one adds even more clarity to orchestral work This is the hall to use for vocal ensembles opera or spoken word Jazz Club Perfec...

Page 108: ...ts so that you see where we got the inspiration from 224 Small Concert Hall Spacious and expansive low density initially then builds to a smooth reverb tail 224 Large Concert Hall A large empty concer...

Page 109: ...ns diffusion density and decay time All these parameters have been meticulously fine tuned to give as natural sounding result as possible for every setting Use the Time parameter to decide which type...

Page 110: ...TSAR 1 Reverb plug in is a true stereo re verb and for best performance you should always use it with a stereo output even if you have a mono input But it does work in both stereo and mono How the dif...

Page 111: ...ng the warmth and natural com pression from tubes with the features and versatility of a digital delay There are three tube sections in Tube Delay one in the direct signal section one in the delay fee...

Page 112: ...a model of a tube preamp you can use the dry signal path to color or distort audio passing through it like you might use a real tube preamp Try moving the Mix control to full left and notice the colo...

Page 113: ...after the original signal in Tube Delay is one second In millisecond mode Tempo Sync off Delay Time will adjust the time from 1 to 1000 ms The first half of the control goes from 1 to 100 ms the secon...

Page 114: ...am Block diagram of the Tube Delay effect As you can see the dry signal direct signal isn t very dry it is affected by both the tone stack and the tube circuits in the Direct Drive knob For simplicity...

Page 115: ...or Pultec vibe It makes it easier to add some eq or compression if necessary at a later stage Take the time to get to know the individual units and we assure you that you won t get disappointed There...

Page 116: ...r Primary use More exact sound sculpting than the PE 1C Vocal and snare drum equalization in the 200Hz 7kHz range CL 1B opto compressor Primary use It s a compressor Bypass and routing panel The routi...

Page 117: ...ys approxi mately the same when you bypass the unit That way it will be easier to bypass and compare the audio and also to switch order of the compressor and equalizers CL 1B Compressor Gain Staging J...

Page 118: ......

Page 119: ...the CL 1B is now avail able for all workstation users We hope you will enjoy the excellence of the TUBE TECH CL 1B plug in Yours sincerely John G Petersen President Lydkraft Tube Tech About the CL 1B...

Page 120: ...where the compressor begins its action It is defined as the point where the gain is reduced by 1 dB The Threshold control is continuously vari able from 20 dB to 40 dB Meter Select Select what the VU...

Page 121: ...n the input signal for example get a fast release when the peak disap pears then superseded shortly thereafter by the release time selected by the Release control The time the peak disappears to the p...

Page 122: ...ds on the same ma terial as is being compressed EXTERNAL Use an external side chain if your hosts supports it to control the gain reduction In many plug in formats such as RTAS VST3 and AU it is possi...

Page 123: ...Gatu framework and DSP programming Niklas Odelholm GUI and framework programming Ulf Ekel f 3D rendering Original hardware was designed by John G Petersen at Lydkraft ApS TUBE TECH IS A REGISTERED TRA...

Page 124: ......

Page 125: ...well designed that almost whatever setting you use it will sound good And that is good product design and prob ably the reason to why everybody needs a Pultec style equalizer About the ME 1B Just like...

Page 126: ...he original hardware but is useful in a plug in Low Frequency Section The low frequency section consists of a sweepable bell shaped peak filter and a gain knob Low Frequency Sets the center frequency...

Page 127: ...n The high frequency section consists of a sweepable bell shaped peak filter and a gain knob High Frequency Sets the center frequency of the peak filter The frequency settings are 1 5 2 3 4 and 5 kHz...

Page 128: ...are setup Buying Recommendations The best way to get as close as possible to the original Pultec Midrange EQ sound in hardware is to get the ME 1B from Tube Tech They make great gear Period Every time...

Page 129: ...he original Pultec The final testing before shipping the PE 1A was the EQ 1P and the PE 1A on different channels on a stereo track making sure that each and every setting behaved exactly the same Toda...

Page 130: ...Gain control It isn t included in the original hardware but we thought it might be useful in a plug in Low Frequency Section Boost The Boost knob goes from 0 to 14 dB and controls a low shelf filter...

Page 131: ...l 0 to 18 dB using a high shelf filter Atten Sel Sets the cut off frequency for the high frequency Atten control The frequency settings are 5 kHz 10 kHz and 20 kHz Output Gain Section Output Gain The...

Page 132: ...ions The best way to get as close as possible to the origi nal Pultec sound in hardware is to get the PE 1C from Tube Tech As mentioned on Tube Tech s web page the sound of a PE 1C is exactly like the...

Page 133: ...included in the installer 3 Awe You realize all the potential that is in this little thing and start to think about all the cool things you can do with it Solution Do it But don t despair It doesn t t...

Page 134: ...Three different ways to detect the signal Play around and try them out Range Sets maximum amount of gain reduction Advanced Leave at 60 dB as a start Output Sets output volume Lower the volume if the...

Page 135: ...g Detector Source INT internal source Detector Type AVG slow attack or PEAK fast attack Threshold Adjust to set amount of limiting as read from the GAIN REDUCTION meter Release Adjust to set release t...

Page 136: ...Threshold Adjust to set the threshold of expansion Release Adjust to set release time Range 60 20 dB Output 15 0 dB Procedure 1 Set the Release and Range to their min positions CCW 2 Adjust the Thresh...

Page 137: ...frequencies to trig the detector This mode can be used for de essing or it can be used rather creatively when in creased sensitivity to high frequencies is desirable EXT External source or side chaini...

Page 138: ...low the threshold the signal will be reduced by another 19 dBs PEAK Fast attack time about 50 s useful for hard limiting of transient material Inf 1 ratio in LIMIT mode and 1 2 ratio in EXP modes for...

Page 139: ...imiting the Range control gives you a very powerful tool to create a zone in which the limit ing occurs If you for example limit a drum track and the Gain Reduction meter reads 40 dB in the peaks you...

Page 140: ...f zone 3 being let through It s different but sounds somewhat similar to that of a paral lel or New York style compression Release Classic release time control Determines the rate at which a gain is r...

Page 141: ...limit fast transients Limiting Modes There are two basic limiting modes the AVG and PEAK detection On top of this you can use the built in pre emphasis high frequency filter Detec tor Source DS FM to...

Page 142: ...t longer high frequency sounds like in sss PEAK mode Good for drum track limit ing if you want to limit the cymbal sibliants Setup a good limiting without using the DS FM mode and then toggle between...

Page 143: ...Threshold Setup the threshold level according to your side chain source level Release Tune by ear Classic voice over usually needs longer release times than ducking strings ducking under a 4 4 bass d...

Page 144: ...Limiting Mode limit Detector Type gate Detector Source DS FM or INT In the category Weird Limiting we can find the negative ratio stuff The negative limiting mode is a very special case and is normall...

Page 145: ...of distortion and release times to get fat snare and bass drum sounds Toggle the DS FM switch to include exclude cymbals and is pretty efficient to use on drums or heavy met al guitar if you want a m...

Page 146: ...when you needed to tighten up poorly performed background vocals or horn sec tions Use the player with the best timing as key and use the Hard Keying mode on the other players to assure that all off...

Page 147: ...ENSE ALL SPECIFICATIONS SUBJECT TO CHANGE WITHOUT NOTICE ALL RIGHTS RESERVED Mono and Stereo Operation Inserting the Dyna mite in Stereo mode makes it behave just as the real unit in Stereo Couple mod...

Page 148: ......

Page 149: ...ool to create your own Because after all only you know exactly what sound you want Product Philosophy Everything about this product is authentic The raw and dynamic sound is an absolute replica of wha...

Page 150: ...ing what you do best because music pro duction is about using your ears not your computer skills Supernormalize The supernormalize feature from the beginning the internal name of a slightly magic comp...

Page 151: ...ob and dragging the mouse up and down Switches will be switched either by clicking on them or by click and dragging the mouse up and down RoomView Bottom Area In the Room View you can do two things se...

Page 152: ...o warm speakers about to break power amp distor tion Perfect when you need a charact eristically distorted edge and a powerful roar First Use Set all parameters in the middle 12 o clock Turn down the...

Page 153: ...between distortion and a clean sound Change the Volume to get more or less distortion and move the microphone closer to the cabinet to get a tighter sound with more bass frequencies Bass Middle and T...

Page 154: ...ontrol the amount of distortion If you for example have too much distortion in the bass frequencies try turning down the Bass knob Electrically speaking the tone controls are located before the preamp...

Page 155: ...wo channels To complicate things further this amp doesn t have a normal tone stack EQ but a single tone control which attenuates high frequencies when turned clock wise different to what one would exp...

Page 156: ...ect doesn t sound anything like a real world vibrato opera singer style vibrato it s a lovely effect that gives the sound that special touch Vib TremVolume Volume control of the Vib Trem channel This...

Page 157: ...lf Ekel f graphics programming and 3D rendering Micko 3D rendering Papa Bear collages and graphic profiling Bypassing Amps or Cabs You can choose to bypass the amp or the cabinet by selecting amp bypa...

Page 158: ......

Page 159: ...or more information about Rack Extensions please visit www propellerheads se Products Currently Available Trident A Range Saturation Knob FET Compres sor TSAR 1 Reverb TSAR 1R Reverb Valley Peo ple Dy...

Page 160: ...ualizer Focusing Equalizer Active Equalizer and FET Compressor are available with a ProChannel compatibility Saturation Knob is included in Sonar X1 Producer Expanded UAD Powered Plug Ins All Amp Room...

Page 161: ...tion These sections outline the Avid ICON control sur face mappings for the center sections Some buttons on the ICON is not included in this overview such as the Link and Sidechain buttons but can hav...

Page 162: ...ency Frequency Frequency Frequency Frequency Output Gain Gain Gain Gain Gain In In In In In In In HPF LF LMF MF HMF HF LPF Levels D Command EQ Center Section Page 1 D Command EQ Center Section Page 2...

Page 163: ...nter Section Page 1 Page 2 D Control Compressor Gate Center Section Low Filter Hi Filter Ratio Range Release Threshold Q Slope Q Slope Input Levels Output Input Input Input Input High Cut High Cut Loo...

Page 164: ...n In In In In Frequency Frequency Frequency Frequency Frequency Frequency Frequency Output Gain Gain Gain Gain Gain In In In In In In In HPF LF LMF MF HMF HF LPF Levels D Command EQ Center Section Pag...

Page 165: ...ain Gain Gain Gain Gain Gain Gain Gain In In In In In In In In Frequency Frequency Frequency Frequency Frequency Frequency Frequency Output Gain Gain Gain Gain Gain In In In In In In In HPF LF LMF MF...

Page 166: ...trol EQ Center Section Summit Audio Grand Channel EQ Section Link button controls Compressor Before EQ Low Bandwidth Low Bandwidth High Bandwidth High Bandwidth Low Mid Bandwidth Low Mid Bandwidth Hig...

Page 167: ...Low Filter Hi Filter Ratio Range Release Threshold Q Slope Q Slope Input Levels Output Summit Audio Grand Channel Compressor Section Link button controls Compressor Before EQ Gain Reduction Gain Redu...

Page 168: ...n HPF LF LMF MF HMF HF LPF Levels D Command EQ Center Section Page 1 D Command EQ Center Section Page 2 D Control EQ Center Section Low Bandwidth Low Bandwidth High Bandwidth High Bandwidth Low Mid Ba...

Page 169: ...Frequency D Command Compressor Gate Center Section Page 1 Page 2 D Control Compressor Gate Center Section Low Filter Hi Filter Ratio Range Release Threshold Q Slope Q Slope Input Levels Output Gain Re...

Page 170: ...n Gain Gain In In In In In In In In Frequency Frequency Frequency Frequency Frequency Frequency Frequency Output Gain Gain Gain Gain Gain In In In In In In In HPF LF LMF MF HMF HF LPF Levels D Command...

Page 171: ...equency Frequency Frequency Output Gain Gain Gain Gain Gain In In In In In In In HPF LF LMF MF HMF HF LPF Levels D Command EQ Center Section Page 1 D Command EQ Center Section Page 2 D Control EQ Cent...

Page 172: ...In In In Frequency Frequency Frequency Frequency Frequency Frequency Frequency Output Gain Gain Gain Gain Gain In In In In In In In HPF LF LMF MF HMF HF LPF Levels D Command EQ Center Section Page 1 D...

Page 173: ...e Hyst Attack Gain Hold Frequency Frequency D Command Compressor Gate Center Section Page 1 Page 2 D Control Compressor Gate Center Section Low Filter Hi Filter Ratio Range Release Threshold Q Slope Q...

Page 174: ...uency D Command Compressor Gate Center Section Page 1 Page 2 D Control Compressor Gate Center Section Low Filter Hi Filter Ratio Range Release Threshold Q Slope Q Slope Input Levels Output Threshold T...

Page 175: ...Gain Gain Gain Gain Gain In In In In In In In In Frequency Frequency Frequency Frequency Frequency Frequency Frequency Output Gain Gain Gain Gain Gain In In In In In In In HPF LF LMF MF HMF HF LPF Le...

Page 176: ...In In In In In In In Frequency Frequency Frequency Frequency Frequency Frequency Frequency Output Gain Gain Gain Gain Gain In In In In In In In HPF LF LMF MF HMF HF LPF Levels D Command EQ Center Sect...

Page 177: ...e Hyst Attack Gain Hold Frequency Frequency D Command Compressor Gate Center Section Page 1 Page 2 D Control Compressor Gate Center Section Low Filter Hi Filter Ratio Range Release Threshold Q Slope Q...

Page 178: ......

Page 179: ...or or its licensors 4 No right title or interest in or to any trademark service mark logo or trade name of Licensor or its licensors is granted to End Users 5 The End User is granted a non exclusive a...

Page 180: ...AND NOT LICENSOR OR AN AUTHORIZED REPRESENTATIVE OF THE LI CENSOR ASSUME THE JURISDICTIONS SOME STATES DO NOT ALLOW THE EXCLUSION OF IMPLIED WARRANTY SO THE ABOVE EXCLU SION MAY NOT APPLY TO YOU 13 NE...

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