Page 1 DigiRack Plug-ins ™ Version 7.3...
Page 2 Copyright © 2007 Digidesign, a division of Avid Technology, Inc. All rights reserved. This guide may not be duplicated in whole or in part without the express written consent of Digidesign. AudioSuite, Avid, Avid DNA, Avid Xpress, Digi 002, Digi 002...
Page 3: Table Of Contents
About www.digidesign.com ........
Page 4 Trim ..............92 DigiRack Plug-ins Guide...
Page 5 Chapter 7. DigiRack AudioSuite Plug-ins ........95 EQ III .
Page 6 ..............131 DigiRack Plug-ins Guide...
Page 7: Chapter 1. Introduction
Pro Tools|HD systems, and rely on the process- References to Pro Tools LE™ in this guide ing power of Digidesign DSP cards. are usually interchangeable with Pro Tools M-Powered™ or Pro Tools Academic™, ex- The number and variety of TDM plug-ins that...
Page 8: System Requirements
RTAS Plug-ins System Requirements RTAS (Real-Time AudioSuite) plug-ins provide To use DigiRack plug-ins you need any the fol- features and functionality similar to their TDM lowing: counterparts, but unlike TDM plug-ins, they rely • A Digidesign-qualiﬁed Pro Tools system on and are limited by the processing power of running Pro Tools your computer.
Page 9: Conventions Used In This Guide
Pro Tools system. News and Events Get the latest news from Digidesign or sign up for a Pro Tools demo. Shortcuts show you useful keyboard or mouse shortcuts. To learn more about these and other resources available from Digidesign, visit our website (www.digidesign.com).
Page 10 DigiRack Plug-ins Guide...
Page 11: Chapter 2. Installation And Configuration
2 Installation and Conﬁguration Installing Plug-ins Organizing Plug-ins The Digidesign DigiRack plug-ins are installed You can customize how plug-in lists (plug-in when you install Pro Tools. For more informa- menus) are organized in the Insert selector and tion about installing Pro Tools, see the Getting Plug-in selector.
Page 12 Plug-ins that do not have a Manufacturer defined will appear in the “Other” manufacturer folder. Most Digidesign Development Partner plug-ins will be sorted as Digidesign when view by man- ufacturer is enabled. DigiRack Plug-ins Guide...
Page 13 When a plug-in becomes a favorite, it is still Default Plug-ins shown in plug-in category and/or manufacturer You can set a default EQ plug-in and Dynamics sub-menus (if enabled) and its name appears in plug-in, which places them at the top of the In- bold.
Page 14 DigiRack Plug-ins Guide...
Page 15: Chapter 3. Working With Real-Time Plug-Ins
The System Usage window (Window > System TDM Plug-ins Rely on the processing power of Usage) shows how much DSP is available on Digidesign DSP cards. TDM plug-ins run only on your system, and gives an approximation of Pro Tools|HD systems.
Page 16 DSP Sharing Between TDM Plug-ins Improving RTAS Plug-in Performance With Digidesign’s MultiShell™ II technology, different types of TDM plug-ins can share the You can increase the number of RTAS plug-ins same DSP chip at the same time. This lets you si-...
Page 17 RTAS Processors CPU Usage Limit The RTAS Processors setting determines the The CPU Usage Limit controls the percentage of number of processors in your computer allo- CPU resources allocated to Pro Tools host pro- cated for RTAS plug-in processing. cessing tasks such as RTAS plug-in performance and screen redraws.
Page 18 (which ever is greater). If you are on an Choose Setup > Playback Engine. older, slower computer, you may not want to enable this option since doing so can adversely affect performance. Playback Engine dialog, Mbox 2 (Mac OS) DigiRack Plug-ins Guide...
Page 19: Delay In Signal Processing
If you have recorded an instrument on multiple • Mbox 2 Pro tracks using multiple microphones (a drum kit • Digidesign-qualiﬁed M-Audio interfaces for example) and process the different tracks with Pro Tools M-Powered or Pro Tools Ac- with different plug-ins, the tracks may go out of ademic phase.
Page 20 Auxiliary Input to bypass delay Pro Tools automatically suspends delay com- compensation. pensation through the main outputs of the au- Enter the total system delay into the User Off- set ﬁeld. DigiRack Plug-ins Guide...
Page 21: Plug-Ins As Inserts
To record with a plug-in effect, create an Auxil- Plug-ins as Inserts iary Input, insert the desired effect on the Aux- iliary Input track, then route the Auxiliary Input Real-time plug-ins are available as in-line inserts to the audio track to which you want to record. on audio tracks, Auxiliary Inputs, and Master Alternatively, bounce the audio track with the Faders.
Page 22: Inserting Plug-Ins On Tracks
Choose View > Edit Window > Inserts. ■ Removing an Insert from a Track To remove an insert from a track: Click the Insert selector and select No Insert. ■ Removing a plug-in DigiRack Plug-ins Guide...
Page 23 Conﬁguring Plug-ins During To duplicate an insert: Playback Alt-drag (Windows) or Option-drag (Mac) the ■ insert to a new insert location. The duplicated You can change, add, or remove real-time plug- plug-in retains its original settings and automa- ins and hardware inserts during playback. On tion.
Page 24: The Plug-In Window
Plug-ins” on page 24. created when you install Pro Tools). Safe When enabled, prevents existing plug-in Effect Bypass Button Disables the currently dis- automation from being overwritten. played plug-in. This lets you compare the track with and without the effect. DigiRack Plug-ins Guide...
Page 25 Target Button When multiple Plug-in windows Link Enable Buttons Let you selectively link or are open, clicking this button selects that plug- unlink the controls of specific channels of a in as the target for any computer keyboard com- multi-mono plug-in. Each square represents a mands.
Page 26 Channel selector in the Plug-in window of the multi-mono plug-in. To close all currently open Plug-in windows: Alt-click (Windows) or Option-click (Mac) the ■ Choosing a track from the Plug-in window close box of any currently open Plug-in window. DigiRack Plug-ins Guide...
Page 27 To choose a different insert: Linking and Unlinking Controls on Multi-Mono Plug-ins Click the Insert Position selector and choose ■ an insert from the pop-up menu. When a multi-mono plug-in is used on a multi- channel track, the controls are normally linked. Adjusting the Gain control on one channel, for example, will adjust it for all channels.
Page 28: Clip Indicators
To clear all clip indicators, do one of the following: Alt-click (Windows) or Option-click (Mac) ■ any meter. Press Alt-C (Windows) or Option-C (Mac). ■ Choose Track > Clear All Clip Indicators. ■ DigiRack Plug-ins Guide...
Page 29: Tempo Sync
Using a Key Input for External Side- Tempo Sync Chain Processing Pro Tools provides Tempo Sync to enhance MIDI To use a key input for external side-chain Beat Clock support and overall tempo capabili- processing: ties of plug-ins (such as ReWire client applica- Click the plug-in’s Key Input selector and se- tions) that utilize MIDI Beat Clock.
Page 30: Automating Plug-Ins
Plug-in Controls Default to Auto-Enabled set- ting. • When selected, all applicable controls of newly added plug-ins are enabled for auto- mation. • When not selected, the controls of newly added plug-in must be manually enabled for automation. DigiRack Plug-ins Guide...
Page 31 Enabling Plug-in Parameters for Select the controls to automate and click Add. Automation If there are multiple plug-ins on the same track, you can select from among these by clicking their buttons in the Inserts section of this dia- To enable plug-in controls for automation: log.
Page 32 After the initial automation pass, you can write additional automation to the track without completely erasing the previous pass by choos- ing Auto Touch mode or Auto Latch mode. These modes add new automation only when you actually move the control. DigiRack Plug-ins Guide...
Page 33: Instrument Plug-Ins
Main and Auxiliary Plug-in Outputs Instrument Plug-ins When a plug-in that has both main and auxil- Instrument plug-ins are unique from other plug- iary outputs is inserted on a track, the plug-in’s ins in that they generate audio by synthesis or main outputs are routed through the track that sample playback, and are controlled by MIDI.
Page 34 RTAS plug-ins before TDM track (one voice used for each output) plug-ins. • When you select an AFL/PFL Path output in the Output tab of the I/O Setup dialog (one voice used for each channel) DigiRack Plug-ins Guide...
Page 35: Htdm Plug-In Conversion To Rtas
Limitations for Inserting or HTDM Plug-in Conversion to Removing Plug-ins During RTAS Playback When you use Pro Tools 7.0 or higher to open a When playing back tracks containing RTAS session that was last saved in a version of plug-ins, the following limitations on inserting Pro Tools prior to 7.0, most HTDM plug-ins will or removing plug-ins apply: be automatically converted to their RTAS coun-...
Page 36 DigiRack Plug-ins Guide...
Page 37: Chapter 4. Working With Audiosuite Plug-Ins
chapter 4 Working with AudioSuite Plug-ins AudioSuite plug-ins differ from TDM and RTAS Compressor/Limiter III Processes audio with plug-ins in that they are used to process and compression, or limiting. modify audio files on disk rather than nonde- Chorus Processes audio with chorusing. structively in real time.
Page 38: The Audiosuite Window
Edit window. Processing will not be applied Settings to regions in the Audio Regions List. Preview Bypass Process Select button button button AudioSuite window Selection Reference pop-up menu (Invert plug-in shown) DigiRack Plug-ins Guide...
Page 39 Region List Applies AudioSuite processing only Use In Playlist On, Reference = Playlist When to regions currently selected in the Audio Re- Use in Playlist is enabled and the Selection Ref- gions List. Processing will not be applied to re- erence menu is set to Playlist, only regions se- gions located in tracks and playlists in the Edit lected in tracks in the Edit window will be re-...
Page 40 Entire Selection Uses the entire selection for relative to the averaged peak level within all se- analysis. All regions will be analyzed and pro- lected channels and tracks. cessed relative to the entire selection. DigiRack Plug-ins Guide...
Page 41 Preview Bypass The Preview button lets you audition the effect When Bypass is enabled, the selected audio is of a plug-in before you process the audio. By ad- auditioned without AudioSuite processing. The justing the plug-in controls while you listen to Bypass button applies only to previewing.
Page 42 Mono Mode Processes each contiguous channel within a selected region as a separate mono track. For example, a region comprised of six mono tracks would be processed as six mono tracks. DigiRack Plug-ins Guide...
Page 43: Audiosuite Processing Preferences
Stereo Mode Processes each contiguous pair of AudioSuite Processing channels within a selected region as a stereo Preferences track. When applied to an odd number of chan- nels, the plug-in processes the last odd, un- Before you begin using AudioSuite plug-ins, use paired channel as mono, using the left channel the Preferences dialog (Setup >...
Page 44 ﬁles during AudioSuite processing. Settings Accesses options for the currently se- lected Default Dither plug-in. In the case of the Digidesign Dither plug-in, this lets you to turn noise shaping on or off. See “Noise Shaping” on page 60 for more information.
Page 45: Using Audiosuite Plug-Ins
Track Selection Follows Regions List Selection Using AudioSuite Plug-ins options in the Editing page of the Preferences di- alog. Refer to the Pro Tools Reference Guide for an AudioSuite plug-ins can be applied to whole re- explanation of these Preferences. gions, partial regions, or selections that are made up of whole and partial regions across one When processing a single audio channel...
Page 46 File from the File Mode pop-up menu. one if necessary. Click the Preview button to begin audition For more information, see “Channel Mode processing of the selected material. Button” on page 36. DigiRack Plug-ins Guide...
Page 47: Chapter 5. Adjusting Plug-In Controls
chapter 5 Adjusting Plug-in Controls Editing Parameters Using a Mouse Adjusting Plug-in Controls You can adjust rotary controls by dragging hor- You can adjust plug-in controls by dragging the izontally or vertically. Parameter values increase control’s slider or knob, or by typing a value into as you drag upward or to the right, and decrease the control’s text box.
Page 48 Mix/Edit) for linked control of multiple in- and leave keyboard editing mode. serts. For more information, see the Pro Tools Reference Guide. To move forward through the different con- trol fields, press the Tab key. To move back- ward, press Shift+Tab. DigiRack Plug-ins Guide...
Page 49: Chapter 6. Digirack Real-Time Tdm And Rtas Plug-Ins
AudioSuite menu: EQ III can be operated from the following con- 7 Band (“7-Band EQ 3”) trol surfaces: 2–4 Band (“4-Band EQ 3”) • Digidesign D-Control 1 Band (“1-Band EQ 3”) • Digidesign ProControl • Digidesign Control|24 • Digidesign 002 •...
Page 50 This changes a gain boost to a cut (+9 to –9) or a gain cut to a boost (–9 to +9). 1 Band EQ window Gain values cannot be inverted on Notch, High- Pass, Low-Pass, or shelving bands. DigiRack Plug-ins Guide...
Page 51 Dragging in the Frequency Graph Display Using Band-Pass Mode You can adjust the following by dragging the You can temporarily set any EQ III control to control points directly in the Frequency Graph Band-Pass monitoring mode. Band-Pass mode display: cuts monitoring frequencies above and below the Frequency setting, leaving a narrow band of Frequency Dragging a control point to the right mid-range frequencies.
Page 52 Output Gain Control (7 Band EQ and 2–4 Band EQ Only) EQ III can be controlled from any supported control surface, including Digidesign’s The Output Gain control sets the output gain af- D-Control, D-Command, ProControl, Con- ter EQ processing, letting you make up gain or trol|24, Digi 002, or Command|8.
Page 53 EQ Band Controls Band Gain Control Each Peak and Shelf EQ band has a Gain control The individual EQ bands on each EQ III config- for boosting or cutting the corresponding fre- uration have some combination of the follow- quencies. Gain controls are not used on High- ing controls, as noted below.
Page 54 The Frequency Graph display in the 1 Band EQ shows a control dot that indicates the center fre- quency (Peak, Shelf and Notch Filters) or the cutoff frequency (High-Pass and Low-Pass filters) for the currently selected filter type. Control dot Frequency response curve DigiRack Plug-ins Guide...
Page 55 7 Band EQ Input/Output Level meters Input/Output Level Polarity controls Frequency Graph High-Pass/ Display Low Notch Low-Pass/ High Notch High Shelf/Peak Peak Shelf/Peak Low-Mid High-Mid Peak Peak 7 Band EQ and 2–4 Band EQ window The 7 Band EQ has the following available bands: High-Pass/Low Notch, Low-Pass/High Notch, Low Shelf/Low Peak, Low-Mid Peak, Mid Peak, High-Mid Peak, and High Shelf/High Peak.
Page 56 6, 12, 18, or 24 dB/oct LPF Slope Values 6, 12, 18, or 24 dB/oct Low Notch Q Range 0.1 to 10.0 High Notch Q Range 0.1 to 10.0 Low Notch Q Default High Notch Q Default DigiRack Plug-ins Guide...
Page 57 Low Shelf/Low Peak The Low Shelf and Low Peak Gain controls and their corresponding graph elements are dis- The Low Shelf/Peak band is switchable between played on-screen in red. Low Shelf EQ and Low Peak EQ functions. By de- Low Shelf EQ and Low Peak EQ control values fault, this band is set to Low Shelf.
Page 58 Low-Mid Peak Q Range 0.1 to 10.0 Mid Peak Q Range 0.1 to 10.0 Low-Mid Peak Q Default Mid Peak Q Default Low-Mid Peak Gain Range –18 dB to +18 dB Mid Peak Gain Range –18 dB to +18 dB DigiRack Plug-ins Guide...
Page 59 High-Mid Peak High Peak EQ Boosts or cuts a band of frequen- cies centered around the Frequency setting. The The High-Mid Peak band boosts or cuts frequen- width of the affected band is determined by the cies centered around the Frequency setting. The Q setting.
Page 60 Peak bands (Low Shelf/Peak, Low-Mid Peak, Mid-Peak, High-Mid Peak and High Shelf/Peak) counting as one filter. Each of the Band-pass and Notch filters (High-Pass, Low Notch, Low- Pass and High-Notch) counts as two filters. DigiRack Plug-ins Guide...
Page 61 1 Band EQ EQ Types High-Pass Filter Input Level and Polarity controls Frequency Graph The High-Pass filter attenuates all frequencies display below the Frequency setting at the selected rate (6 dB, 12 dB, 18 dB, or 24 dB per octave) while letting all frequencies above pass through.
Page 62 The Q setting determines the shape of the through. No gain control is available for this fil- shelving curve. ter type. 1 Band EQ set to Low-Shelf EQ 1 Band EQ set to Low-Pass Filter DigiRack Plug-ins Guide...
Page 63: Eq Ii
Automating EQ III Controls Even if an EQ III band is bypassed, for example, when the filter capacity of a 2–4 Band EQ is sur- All EQ III plug-in controls can be automated in passed, its controls are still available for automa- Pro Tools.
Page 64: Click
Click/Countoff Options Choose Options > Click to enable the Click dialog. option (or enable the Click button in the Trans- port window). Refer to the Pro Tools Reference Guide for more information on configuring Click op- tions. DigiRack Plug-ins Guide...
Page 65: Dither
Automatically Create Click Track In New Dither is a form of randomized noise used to Sessions minimize quantization artifacts in digital audio systems. Quantization artifacts are most audible To have Pro Tools automatically create a click when the audio signal is near the low end of its track when you create a new session, enable the dynamic range, such as during a quiet passage or Automatically Create Click Track In New Ses-...
Page 66 See “Noise Shaping” on this is the maximum resolution available from page 60 for more information. the 18-bit digital-to-analog convertors of these devices. Refer to the Pro Tools Reference Guide for details on using the Dither plug-in during mixdown. DigiRack Plug-ins Guide...
Page 67: Pow-R Dither
Noise Shaping POW-r Dither Noise shaping improves audio performance and (Pro Tools HD and Pro Tools LE Only) lessens our perception of the noise inherent in dithering schemes by shifting audible noise The POW-r Dither plug-in is an advanced type components into a less audible range.
Page 68: D-Verb
Hall A good general purpose concert hall with a natural character. It is useful over a large range of size and decay times and with a wide range of program material. Setting Decay to its maxi- mum value will produce infinite reverberation. DigiRack Plug-ins Guide...
Page 69 Church A dense, diffuse space simulating a Diffusion church or cathedral with a long decay time, Diffusion sets the degree to which initial echo high diffusion, and some pre-delay. density increases over time. High settings result Plate Simulates the acoustic character of a in high initial build-up of echo density.
Page 70: Dynamics Iii
Dynamics III also provides a graph to track the gain transfer curve in the Compressor/Lim- iter and Expander/Gate plug-ins, and a fre- quency graph to display which frequencies trig- ger the De-Esser and which frequencies will be Typing a control value gain reduced. DigiRack Plug-ins Guide...
Page 71 Editing Parameters Using a Computer Enabling Buttons Keyboard To enable a button, click it. Some controls have text boxes that display the current value of the parameter. You can edit the Using a Control Surface numeric value of a parameter with your com- Dynamics III can be controlled from any sup- puter keyboard.
Page 72 Click either the Input or Output Meter button to dis- play the appropriate level meter. The Input/Out- put level meters display is toggled to Output by default. Input and Output Meter buttons Input and Output meter buttons DigiRack Plug-ins Guide...
Page 73 LFE Enable Use this graph as a visual guideline to see how much dynamics processing you are applying. (Pro Tools HD Systems Only) Threshold The LFE Enable button (located in the Options section) is on by default, and enables plug-in processing of the LFE (low frequency effects) channel on a multichannel track formatted for 5.1, 6.1, or 7.1 surround formats.
Page 74 This helps ensure that gain reduction does not decrease the overall volume too drastically, or eliminate desired attack tran- sients in the program material. Of course, compression has many creative uses that break these rules. DigiRack Plug-ins Guide...
Page 75 About Limiting Compressor/Limiter III Controls Limiting prevents signal peaks from ever ex- This section describes controls for the Compres- ceeding a chosen threshold, and is generally sor/Limiter plug-in. used to prevent short-term peaks from reaching their full amplitude. Used judiciously, limiting Input/Output Level Meters produces higher average levels, while avoiding The Input and Output meters show peak signal...
Page 76 For example, a 2:1 compression ratio means that a 2 dB increase of level above the threshold produces a 1 db in- crease in output. This control ranges from 1:1 (no compression) to 100:1 (hard limiting). DigiRack Plug-ins Guide...
Page 77 Knee Gain The Knee control sets the rate at which the com- The Gain control lets you boost overall output pressor reaches full compression once the gain to compensate for heavily compressed or threshold has been exceeded. limited signals. As you increase this control, it goes from apply- This control ranges from 0 dB (no gain boost) to ing “hard-knee”...
Page 78 Look Ahead control The Look Ahead control is useful for avoiding the loss of transients that may have been other- wise cut off or trimmed in a signal. DigiRack Plug-ins Guide...
Page 79 Threshold Ratio The Threshold control sets the level below The Ratio control sets the amount of expansion. which an input signal must fall to trigger expan- For example, if this is set to 2:1, it will lower sig- sion or gating. Signals that fall below the thresh- nals below the threshold by one half.
Page 80 If the Range is set too high, a loud, non-sibilant section of audio mate- rial could cause unwanted gain reduction or cause sibilants to be over-attenuated. DigiRack Plug-ins Guide...
Page 81 To improve de-essing of material that has both The clip indicators at the top of each meter indi- very loud and very soft passages, automate the cate clipping at the input or output stage of the Range control so that it is lower on soft sections. plug-in.
Page 82 In Pro Tools TDM 6.9.x and lower, RTAS plug-ins do not provide external key side- chain processing. If you want to use side- chain processing, use the TDM versions of plug-ins on Pro Tools|HD systems. DigiRack Plug-ins Guide...
Page 83 With side-chain filters, you can make dynamics Side-Chain Listen processing more or less sensitive to certain fre- When enabled, this control lets you listen to the quencies. For example, you might configure the internal or external side-chain input by itself, as side-chain so that certain lower frequencies on a well as monitor its levels with the Output meter.
Page 84 The Frequency control sets the frequency posi- tion for the Band-Pass or High-Pass filter, and Adjust the plug-in’s Threshold control to ﬁne- ranges from 25 Hz to 4 kHz. tune external key input triggering. Adjust other controls to achieve the desired ef- fect. DigiRack Plug-ins Guide...
Page 85: Dynamics Ii
Using a Filtered Input Signal for Side- Mod Delay II Chain Processing To use the ﬁltered input signal to trigger dynamics processing: Ensure the Key Input selector is set to No Key Input. Key Input selector Ensure that the External Key button is dis- abled (dark grey).
Page 86 Negative feedback settings Meter Use this to enter either simple or com- give a more intense “tunnel-like” sound to pound time signatures. The Meter control de- ﬂanging effects. faults to a 4/4 time signature. DigiRack Plug-ins Guide...
Page 87: Signal Generator
Duration Specifies a desired delay from a musical Multichannel Mod Delay II perspective. Enter the desired delay by selecting The Tempo and Meter controls are linked on appropriate note value (whole note, half note, multichannel versions of Mod Delay II. Each quarter note, eight note, or sixteenth note).
Page 88: Signaltools
RMS (Root-Mean-Square) value, or the effec- tive average level of the signal. SignalTools DigiRack SignalTools metering plug-ins provide two metering modules: SurroundScope and PhaseScope. Display Options Phase/Leq(A) Display The SignalTools plug-ins support TDM and SurroundScope RTAS plug-in formats at all sample rates. DigiRack Plug-ins Guide...
Page 89 Surround Display PhaseScope SurroundScope detects the multi-channel for- PhaseScope is a multichannel metering plug-in mat of the track and displays each channel in that provides signal level and phase information the signal in a circle around the Surround Dis- for stereo tracks only. (Mono and LCR or greater play.
Page 90 When audio is panned predomi- nantly to a particular speaker channel, a diago- nal line appears, indicating the channel. The Lissajous Meter displays in-phase material as a vertical line and out-of-phase material as a horizontal line. DigiRack Plug-ins Guide...
Page 91 SurroundScope With SurroundScope you can se- Selecting Channels for Leq(A) Metering lect the two channels to compare by clicking the SurroundScope With SurroundScope, you can channel buttons around the Surround Display. select any combination of channels for Leq(A) Selected channels are indicated in blue. metering by clicking the channel buttons around the Surround Display.
Page 92 Hold on Stop When enabled, causes the Leq(A) RMS (Root Mean Square) was used in previous measurement window timer to pause when versions of the Digidesign SurroundScope plug- playback stops, and resume when playback be- in and uses the same “true” RMS metering scale.
Page 93: Pitch
VENUE Provides Peak metering behavior with a Pitch meter scale calibrated specifically for Digidesign VENUE systems. Reference calibration (0 dB) is (Pro Tools HD Only) –20 dBFS. The Pitch plug-in is designed for a variety of au- Meter values are always displayed on con-...
Page 94 Pitch plug-in cise Pitch change values are indicated in the back into its input. It also controls the number Cents field. The flat, natural, and sharp signs be- low this slider indicate deviation from the near- est semitone. DigiRack Plug-ins Guide...
Page 95 Ratio Indicates the ratio of transposition be- Minimum Pitch Sets the minimum fundamental tween the original pitch and the selected trans- pitch that the Pitch plug-in will recognize when position value. performing pitch transposition. Use this to opti- mize the Pitch plug-in’s performance by adjust- Crossfade Adjusts crossfade length in millisec- ing this control based on the lowest fundamen- onds to optimize performance of the Pitch plug-...
Page 96: Timeadjuster
TimeAdjuster Controls TimeAdjuster Phase Invert Inverts the phase (polarity) of the The TimeAdjuster plug-in provides three func- input signal. While most Digidesign plug-ins tions: supply a phase invert button of their own, some • Compensation for delays due to TDM- or third-party plug-ins may not.
Page 97 Comb-Filter Effect Cancellation A delay table for DigiRack plug-ins appears Adjust the delay with the signal in phase until in Appendix B, “DSP Delays Incurred by any comb-filter effects cancel out.
Page 98: Trim
Trim plug-in Alt-click (Windows) or Option-click (Mac) the Trim selector to open a Plug-in window for each channel of a multi-channel track. DigiRack Plug-ins Guide...
Page 99 Trim Controls Phase Invert Inverts the phase (polarity) of the input signal to change the frequency response characteristics between multi-miked sources or to correct for miswired microphone cables. Gain Provides –∞ dB to +6 dB or +12 dB of gain adjustment, depending whether the Gain toggle is set to +6 or +12.
Page 100 DigiRack Plug-ins Guide...
Page 101: Chapter 7. Digirack Audiosuite Plug-Ins
chapter 7 DigiRack AudioSuite Plug-ins 1 Band EQ EQ III The 1 Band EQ has its own window, with six se- The EQ III Plug-in provides a high-quality lectable filter types. 7 Band, 2–4 Band, or 1 Band EQ for adjusting the frequency spectrum of audio material.
Page 102: Dynamics Iii
De-Esser 3 plug-in For information on individual controls in these plug-ins, see “Dynamics III” on Dynamics II page 64. For information, see the DigiRack Legacy Plug-ins Guide. Compressor/Limiter 3 plug-in Expander/Gate 3 plug-in DigiRack Plug-ins Guide...
Page 103: Chorus
Mix Adjusts the balance between the effected Chorus signal and the original signal and controls the depth of the effect. Mix is adjustable from 0% to Chorus adds a shimmering quality to audio ma- 100%. terial by combining a time-delayed, pitch- shifted copy of an audio signal with itself.
Page 104: Flanger
Selecting the Sum Input button sums the dry in- put signals (mono and stereo) before processing them. The dry signal then appears in the center of the stereo field and the wet, effected signal will be output in stereo. DigiRack Plug-ins Guide...
Page 105: Multi-Tap Delay
Selecting the Sum Input button sums the dry in- Multi-Tap Delay put signals (mono or stereo) before processing them. The dry signal then appears in the center The Multi-Tap Delay adds up to four indepen- of the stereo field and the wet, effected signal dently-controllable delays or taps to the original will be output in stereo.
Page 106: Ping-Pong Delay
Mix Adjusts the balance between the effected delay taps that occur after the end of the region signal and the original signal and controls the to be cut off. depth of the effect. Mix is adjustable from 0% to 100%. DigiRack Plug-ins Guide...
Page 107: Invert
The Duplicate plug-in works nondestructively. Invert You cannot choose to overwrite files. The Invert plug-in reverses the polarity of se- lected audio. Positive sample amplitude values Delay are made negative, and all negative amplitudes are made positive. The Delay plug-in provides time delay-based ef- This process is useful for altering the phase or fects, with up to 10.9 seconds of delay, at any polarity relationship of tracks.
Page 108: Normalize
Normalize function will rial and your Conversion Quality setting (in ﬁnd the peak value from all ten. the Editing tab of the Preferences dialog). Normalize plug-in DigiRack Plug-ins Guide...
Page 109: Gain
Gain Signal Generator The Gain plug-in boosts or lowers a selected re- The Signal Generator plug-in produces audio gion’s amplitude by a speciﬁc amount. Use it to test tones in a variety of frequencies, waveforms, smooth out undesired peaks and other dynamic and amplitudes.
Page 110: Dc Offset Removal
The Destination fields both display and control DC Offset Removal plug-in the final length of the selection after processing. Enter the length of the Destination file by dou- ble-clicking the appropriate field in the Destina- tion column. DigiRack Plug-ins Guide...
Page 111 Min Pitch Sets the minimum, or lowest, pitch Use the Ratio, Crossfade, Min Pitch, and Accu- racy controls to fine-tune the Time Compres- that will be used in the plug-in’s calculations sion/Expansion process. during the Time Compression/Expansion pro- cess. The control has a range of 40 Hz to 1000 Ratio Sets the destination length in relation to the source length.
Page 112: Pitch Shift
ﬁle. The ﬁle’s duration will be compressed or ex- tral shape. tended according to the settings of the Coarse and Fine pitch controls. When Time Correction Use lower values when processing lower fre- quency audio material. Use higher values when processing higher frequency audio material. DigiRack Plug-ins Guide...
Page 113: Time Shift
Accuracy Sets the processing resources allocated Time Shift to audio quality (Sound) or timing (Rhythm). Set the slider toward Sound for better audio Time Shift provides high quality time compres- quality and fewer audio artifacts. Set the slider sion and expansion (TCE) algorithms and for- toward Rhythm for a more consistent tempo.
Page 114 The Audio Mode pop-up menu determines the type of TCE and pitch shift algorithm for pro- In Monophonic mode, Mid is the default setting cessing audio: Monophonic, Polyphonic, and is usually matches the range of most mono- Rhythmic, or Varispeed. phonic material. DigiRack Plug-ins Guide...
Page 115 The range pop-up menu is unavailable in Rhyth- Original Displays the Start and End times, and mic mode and Varispeed mode. Length of the edit selection. Times are displayed in units of the timebase selected in the Units Gain pop-up menu. The Audio Gain control attenuates the input Processed Displays the target End time and level to avoid clipping.
Page 116 Transient section provides controls for set- ting the transient detection threshold and for adjusting the analysis window length for pro- cessing audio. Time Shift plug-in, Formant section Time Shift plug-in, Transient section with Polyphonic selected as the Audio Type DigiRack Plug-ins Guide...
Page 117 Window Sets the analysis window length for pro- When Rhythmic is selected as the Audio Type, the Transient section provides controls for set- cessing audio. You can set the Window from 6.0 ting the transient detection threshold, and for milliseconds to 185.0 milliseconds. Adjust the adjusting the decay rate of the transients in the Window control or click the Window field and processed audio when time stretching.
Page 118 PAL to NTSC –4.1%.tfx 95.9040959041% 25 to 23.976/29.97 Film to PAL +4.1667%.tfx +104.1666666667% 24/30 to 25 Film to NTSC –0.1%.tfx 99.9000999001% 24/30 to 23.976/29.97 NTSC to Pal +4.2667%.tfx +104.2708333333% 23.976/29.97 to 25 NTSC to Film +0.1%.tfx +100.10% 23.976/29.97 to 24/30 DigiRack Plug-ins Guide...
Page 119 AudioSuite Input Modes AudioSuite TCE Plug-in Preference Time Shift supports the Pro Tools The Time Shift plug-in’s high quality time com- AudioSuite Input Mode selector for use on pression and expansion algorithms that can be mono or multi-input processing. used with the Pro Tools TCE Trim tool. AudioSuite Input mode selector Mono Mode Processes each audio region as a TCE Plug-in option in Processing Preferences page...
Page 120 Click Process. Using the Monophonic, Polyphonic, or Rhythmic modes, you can adjust both the Time Shift and Pitch Shift controls indepen- dently before processing. DigiRack Plug-ins Guide...
Page 121: Chapter 8. Plug-In Settings
chapter 8 Plug-in Settings The Settings Menu Using the Librarian Use the Settings menu commands to save, copy, The Settings Librarian makes it easy to create paste, and manage plug-in settings files. your own library of plug-in settings. Using the Librarian and Settings pop-up menus, you can copy, paste, save, and import these settings from plug-in to plug-in, or from session to session.
Page 122 Set Root Settings Folder Selects a location or root folder for saving and importing settings. This root settings folder must be named “Plug-in Settings.” Use this command only if you want to choose a location other than the default Plug-in Settings folder. DigiRack Plug-ins Guide...
Page 123 Managing Settings To paste a setting: Open the source plug-in. Use the Settings pop-up menu to manage set- tings. Choose Copy Settings from the Settings pop- up menu. Unlinked multi-mono plug-ins have specific Open the destination plug-in. rules for settings. See “Editing Settings on Unlinked Multi-Mono Plug-ins”...
Page 124: Plug-In Settings Dialog
To apply an operation to all channels of an unlinked plug-in: Hold down the Alt key (Windows) or Option ■ key (Mac) while performing the command. Plug-in Settings dialog DigiRack Plug-ins Guide...
Page 125: Digibase And Plug-In Settings Files
To change plug-in settings using the Plug-in To audition plug-in settings: Settings dialog: Click the Settings Select button. Click the Settings Select button. From the Settings dialog, click a setting—the starting point from which you will scroll through the settings ﬁles. Settings Select Enter a value for the number of seconds that...
Page 126 For more information on Digi- Base Pro and Catalogs, see the Pro Tools Reference Guide. Dragging and dropping a plug-in settings ﬁle to a plug-in DigiRack Plug-ins Guide...
Page 127: Chapter 9. Using Rewire With Pro Tools
ReWire RTAS plug-in • Take advantage of the audio outputs of Using ReWire, Pro Tools can send MIDI to a Re- your Digidesign audio interfaces Wire client application, such as software synthe- sizer, and receive audio back from the ReWire Exchange of additional metadata such as client.
Page 128: Rewire Requirements
96 kHz is double the load at 48 kHz. You To use the ReWire plug-in, you will need: can monitor Pro Tools CPU usage in the System • A Digidesign-qualiﬁed Pro Tools system Usage window, making sure to not overtax your system.
Page 129: Tempo And Meter Changes
In the Mix window, click the Insert selector on Quitting ReWire Client Applications the track and assign the ReWire RTAS client When quitting Pro Tools sessions that integrate plug-in to the track insert. ReWire client applications, quit the client appli- The ReWire client application will launch auto- cation first, then quit Pro Tools.
Page 130: Looping Playback
Pro Tools Time Line, once playback is started, any changes made to loop or playback markers within the Re- Wire client application will deselect the Pro Tools Time Line selection and remove the loop. DigiRack Plug-ins Guide...
Page 131: Appendix A. Dsp Requirements For Tdm Plug-Ins
appendix a DSP Requirements for TDM Plug-ins The number of TDM plug-ins you can use at one There are a total of nine DSP chips on a time depends on how much DSP power is avail- Pro Tools|HD card (HD Core, HD Process, and able in your system.
Page 132 Mono and Stereo DigiRack Plug-ins on HD Cards The following table compares the maximum number of instances of each DigiRack TDM plug-in that can be powered by a single DSP chip on an HD Accel card to that of HD Core and HD Process cards.
Page 133 Multi-Mono and Multi-Channel DigiRack Plug-ins Plug-ins used in multi-mono format on greater-than-stereo tracks require one mono instance per channel of the multi-channel audio format. A multi-mono EQ used on a 5.1 format track, for exam- ple, requires six mono instances since there are six audio channels in the 5.1 format. Because multi- channel versions of the Compressor II, Limiter II, and Expander/Gate II plug-ins are available for use on greater-than-stereo tracks, separate instance counts are given for those configurations.
Page 134: Monitoring Dsp Usage
The System Usage window (Window > System Usage) shows approximately how much DSP is avail- able in your system and how it is being used in the current Pro Tools session. For more information about DSP usage and allocation, see the Pro Tools Reference Guide . DigiRack Plug-ins Guide...
Page 135: Appendix B. Dsp Delays Incurred By Tdm Plug-Ins
DigiRack Pitch nal processing delays. For detailed informa- tion, see the Pro Tools Reference Guide. D-Verb Table 3 shows the delays inherent in each type Compressor/Limiter III of Digidesign TDM plug-in. Expander/Gate III De-Esser III Limiter II Gate II Expander/Gate II...
Page 136 DigiRack TDM plug-in on HD cards Samples of Delay on Plug-in HD Cards Mod Delay I/II (medium) Mod Delay I/II (long) Mod Delay II (extra long) Dither POW-r Dither Time Adjuster Signal Generator SignalTools SurroundScope SignalTools PhaseScope DigiRack Plug-ins Guide...
Page 137: Index
index Numerics AudioSuite processing on networked hard drives 7 Band, 2–4 Band, or 1 Band (EQ III) 43 AudioSuite window 32 Audition pop-up menu 35 Auto button 18 Accuracy control 105, 107 automation adjusting plug-in parameters Auto Latch mode 26 computer keyboard 41 Auto Touch mode 26 keyboard shortcuts 41...
Page 138 Gain control 99 pop-up menu 38 Gain plug-in 103 and EQ III 54 DSP delay compensation 14, 91, 92 Hall algorithm 62 DSP delays 129 Hardware 6 DSP delays inherent in plug-ins 129 Hardware Buffer Size 10 DigiRack Plug-ins Guide...
Page 139 Harmonic 6 LFE Enable button 19 HD-series cards LFO Rate control 97, 98 DSP delays 129 LFO Waveform control 97, 98 Hi Frequency Cut control 63 LFO Width control 97, 98 High-Pass Filter control 98 Librarian menu 18 host processing 2 Link Enable buttons 19 linking plug-in controls 21 Lissajous Meter 84...
Page 140 Phase Invert button 19, 90 requirements of real-time plug-ins 9 Phase Meter 84 PhaseScope 83 Ping-Pong Delay plug-in 100 Ratio control 89, 105, 106 pink noise 82 real-time plug-ins 9 Pitch plug-in 87 recording with plug-in effects 15 DigiRack Plug-ins Guide...
Page 141 reference mark in SignalTools 87 Short Delay plug-in 79 Reference Pitch control 107 shortcuts for keyboard input 64 Region by Region mode 34 sibilants 74 Region List command 33 side-chain definition 22 Relative Pitch Entry 88 filters 22 Reset Leq(A) 85 processing 19 Reverb 6 Side-Chain Listen 23...
Page 142 Time Shift 109 timebase 109 Transient section 110 Transpose 112 Unit pop-up menu 109 Varispeed mode 108 Window 111 TimeAdjuster plug-in 90 using for delay compensation 13 Track selector 18 tracks affect of RTAS 10 Trim plug-in 92 DigiRack Plug-ins Guide...
Page 143 DIGIDESIGN TECHNICAL SUPPORT (USA) PRODUCT INFORMATION (USA) INTERNATIONAL OFFICES Visit the Digidesign website 2001 Junipero Serra Boulevard Tel: 650.731.6100 Tel: 800.333.2137 for contact information Daly City, CA 94014-3886 USA Fax: 650.731.6384 Tel: 650.731.6300 Fax: 650.731.6399...

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Digirack

DigiDesign DigiRack Plug-ins Manual

Chapter 1. Introduction

Chapter 2. Installation and Configuration

Chapter 3. Working with Real-Time Plug-Ins

Chapter 4. Working with Audiosuite Plug-Ins

Chapter 5. Adjusting Plug-In Controls

Chapter 6. Digirack Real-Time TDM and RTAS Plug-Ins

Chapter 7. Digirack Audiosuite Plug-Ins

Chapter 8. Plug-In Settings

Chapter 9. Using Rewire with Pro Tools

Appendix A. DSP Requirements for TDM Plug-Ins

Appendix B. DSP Delays Incurred by TDM Plug-Ins

Index

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