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Plug-Ins Manager 5 User Manual

1. Controls Amount Adjusts the intensity of the effect Positive values produce a broadening of the stereo image negative values cause it to become narrower CONTROLS 4 95 SOFT CLIP M S The SoftClip module permits the loudness of a signal to be boosted without introducing digital overload distortion hard clipping Even with signals which are already at the maximum level an apparent loudness increase can be produced In addition the sound takes on a warmer more analog character Both mono and stereo versions of the effect are provided Controls Drive Adjusts the intensity of the effect An orange LED lights when the effect begins working Level If you wish to alter merely the sound of a signal and not its loudness you can use this control to counteract the loudness increase produced by the effect SOFT CLIP M S 4 96 DC FILTER M S Removes any existing DC component from a signal Both mono and stereo versions of the filter are provided Controls Gain The DC Filter operates with 6 dB headroom in order to avoid distortion Typ ically these extra dB can be recovered following DC removal via the amplifier stage which follows However if the peak indicator LED begins lighting the Gain control should be backed off slightly Signal Peak The signal LED green indicates all signals above the level of 96dB The Peak LED indicates the presence of distortion in the amplifier stage following the
2. ER Decay Early Reflections Decay Controls how the early reflections die away over time With higher values the greater the delay with respect to the original signal the quieter the reflections become For a natural effect set the decay to its maximum value to shorten the early reflections ER Shape Early Reflections Shape The Shape parameter determines the decay envelope the decay curve An envelope with an exponential shape as adjusted by setting ER Shape to its maximum value produces the most natural effect EARLY REFLECTIONS MASTERVERB ONLY 4 15 Invert Inverts the decay envelope of the early reflections In other words the Early Reflections model remains the same but each reflection acquires a gain rather than a diminution of volume This effect is not found in natural acoustical sys tems but can be interesting as a special effect Reflections MasterVerb Classic only The Reflections section of the MasterVerb Classic produces simulated early reflections at a much lower computational cost than the MasterVerb The Reflections simulation is achieved by taking part of the response reverb signal splitting it and delaying it using individual delays for the left and right stereo channels The density of the Reflections signal results from the settings of the Reverb parameters q v The filters described previously control the tone quality This method of producing early reflections is typical of older di
3. LOG2 EXP EXP2 5 8 This is text placed after the output value that is displayed on a control If omitted no postfix is included POSTFIX dB This flag is included to support older fsm files New maps should use the LOG2 EXP or EXP2 flag The LOG flag indi cates whether the segment is a straight line segment or a log to the base 10 segment If the segment is a straight line then the scale and offset values need to be defined If the segment is a log then the scale and divisor values need to be defined The LOG command must appear before the SCALE and DIVISOR commands LOG segments fit the following for mula y SCALE 10 PIVISOR For more information on defining segments with straight lines or logarithmic lines see the information on segments below LOG The LOG2 flag returns segment display values derived from the logarithm of the normalised control values When using LOG2 the OFFSET SCALE DIVISOR and OFFSET2 arguments must also be defined LOG2 segments fit the fol lowing formula y OFFSET SCALE logig PIVISORFOFFSET2 For more information on defining segments with straight lines or logarithmic lines see the information on segments below The EXP flag returns segment display values derived from the normalised control values via an exponential formula When using EXP the OFFSET SCALE DIVISOR and OFFSET2 arguments must also be defined EXP segments fit the fol lowing formula y OFFSET
4. Parameters are mapped to the Pan Mute and Fader controls on a fader panel on the Console or Sidecar or to the rotary controls and switches on the Parameter Pad See the FlexiSurface Maps chapter for details on custom maps Step 7 To remove a plug in press the Remove Plug In soft key in the Insert menu CONTROLLING PLUG INS Plug in parameters can be controlled using the trackball when running in the Station or Console or the mouse when running in an SSM or from the phys ical controls of the control surface The mapping of parameters to controls is configured in a special mapping file which is described in the FlexiSurface Maps chapter Default mapping files are supplied for all supplied plug ins The Plug Ins key on the Parameter Pad on Station or Channel Panel on Console is dimly lit if the called feed has a plug in inserted Pressing the Plug Ins key will display the plug in graphical interface on screen and the faderset map on the control surface as described below Using the Trackball When running plug ins internally in the Station or Console the trackball can be used to control the plug in s graphical interface When running in an SSM the SSM s mouse can be used Once a plug in is inserted in a feed its graphical interface is displayed on the screen whenever the feed is called and the Plug Ins key on the Parameter Pad CONTROLLING PLUG INS 3 4 on Station or Channel Panel on Console is pressed Use the mouse t
5. STATION INSTALLATION 2 16 the screw lock posts with a 5mm nut driver or small adjustable spanner AIB D connector screw lock posts Sm BE1011 Made in A M4 Bracket retaining screw Figure 6 Mounting Detail Screws at Rear of Station Step 14 Install the USB DC cable ABE1205 A from the AIB card to the spare connector on the SBO card as shown UNPACKING 2 17 Step 15 Install the audio bus cable APIM201 A note the orientation of the cable as shown a Audio bus cable red wire to FRONT of card USB DC cable a r of PLA AIB mounting screws Figure 7 AIB and cable installation Step 16 Install the new 128MB RAM SIMM into the motherboard Insert the SIMM into the edge connector making sure of correct orientation Use the retaining clips in the connector to secure the SIMM STATION INSTALLATION Step 17 Re attach the upper section of the Station First re connect the trackball cable to the motherboard then reconnect the USB power cable to the top panel PCB Step 18 Carefully replace to top panel and re attach the seven retaining screws DREAM CONSOLE INSTALLATION Step 1 Power down the console Step 2 Undo the retaining screws securing the rear of the console CPU tray On a five bay console the CPU tray is at the right viewed from the rear in a three bay console it is in the centre Carefully slide the tray out as far as possible Step 3 Attach the two nylon spacers to th
6. 4 7 ER Decay Early Reflections Decay Controls how the early reflections die away over time With higher values the greater the delay with respect to the original signal the quieter the reflections become For a natural effect set the decay to its maximum value to shorten the early reflections Invert Inverts the decay envelope of the early reflections In other words the Early Reflections model remains the same but each reflection acquires a gain rather than a diminution of volume This effect is not found in natural acoustical systems but can be interesting as a special effect Reverb The following parameters control the behaviour of the overall response and are available in both versions of the reverb In this section the tone quality is also determined by the settings of the filters mentioned previously You can edit Room Size and Rev Time parameters simultaneously using an X Y control The most important parameters are thus directly accessible Rev Delay Reverb De lay Adjusts the delay of the response in milliseconds This is distinct from a Pre delay as the early reflections or reflections are not affected by this set ting The Reverberation Delay is used to separate the hall response from the direct signal and the early reflections This is useful to increase the comprehensibility of vocals or speech The impression of space is not altered as the early reflec tions are not changed MASTERVERB P
7. DC filter CONTROLS 5 1 NOTES 5 2 Chapter 5 FlexiSurface Maps INTRODUCTION The mapping of plug in parameters to controls on the control surface is set up in a FlexiSurface map file One file exists for each plug in that has been instan tiated or mapped A default set of maps is supplied for each plug in supplied with the Plug Ins Manager system The map files are located in the C Program Files Fairlight FMC Data Fleximaps directory Fleximap filenames end in fsm The selection of a specific group of faders or the Parameter Pad for use with plug ins is made in the FlexiSurface file C Program Files Fairlight EMO Data FlexiSurface txt See FlexiSurface File on page 2 31 Customised maps have been made for all standard plug ins If a new plug in is added to the system a map is automatically generated when the plug in is first used This automatic mapping may not suit your requirements for a particular plug in In this case the plug in s FlexiSurface map file must be edited using the Notepad text editor To edit the file hold down the Alt key and press the Tab key to switch to the Windows desktop Click on the Start menu and select Programs gt Acces sories gt Notepad File gt Open from the Notepad menu and navigate to C Program Files Fairlight FMC Data Fleximaps locate the specific map file and open it FLEXIMAP FILES Fleximap files offer a sophisticated method of constructing dynamic plug in pa
8. Unit 2 1 Skyline Place Frenchs Forest NSW 2086 Australia Tel 61 2 8977 9999 Fax 61 2 8977 9900 USA East Coast Fairlight USA 2 West 45 Street Penthouse New York NY 10036 USA Tel 1 212 819 1289 Fax 1 212 819 0376 France Fairlight France 41 43 Rue des Peupliers 92100 Boulogne Billancourt Paris France Tel 33 1 4610 9292 Fax 33 1 4610 9295 Japan Fairlight Japan Inc 3 3 11 Ikejiri Setagaya Ku Tokyo Japan 154 0001 Tel 81 3 5432 4151 Freecall Japan only 0120 213 643 Fax 81 3 5432 4533 MANUAL ERRORS AND OMISSION To help ensure that Fairlight provides the most accurate and comprehensive documen tation please report any errors or omissions to documentation fairlightesp com au NOTES TABLE OF CONTENTS Table of Contents Table of Contents Chapter 1 Introduction INTRODUCTION 1 2 ABOUT THIS MANUAL 1 2 Chapter 2 Installation PIM 5 Requires DREAM V2 0 2 2 Installation Summary 2 2 CD Contents 3 05 ro ae as 2 3 ADMINISTRATOR LOG ON 2 4 USB DRIVER INSTALLATION 2 4 HARDWARE INSTALLATION 2 5 Tools Required 2 5 Equipment Supplied 2 6 Static Precautions 2 9 Unpacking se stele ete es 2 9 SSM INSTALLATION 2 9 SOFTWARE INSTALLATION 2 24 Station Console BIOS Settings 2 24 CreamWare Driver Installation eee ee ee ee 2 24 Pulsar Software Installation 2 24 PIM5 Software Installa
9. the signals are sent individually to each channel cre ating a quasi stereo effect Dry Adjusts the level of the original signal FILTER 4 61 Wet Adjusts the level of the signal after processing by the effect S Make sure there is always some of the wet component added to the dry signal Otherwise the effect will not be apparent HEXA CHORUS S 4 62 4TAP CHORUS S This effect features four independent delays with separately adjustable delay time 0 682ms volume and pan position A feedback path from the Delay 1 output can produce recurring echoes A filter is included in the feedback loop to attenuate the high frequency content of subsequent echoes Each delay is fol lowed by a chorus effect Delay Time Tap 1 4 These controls adjust the delay for each of the four taps individually within a range of 0 682 ms Level 1 4 Level controls for the individual taps Set a control to 0 to eliminate the corre sponding tap from the effect Pan 1 4 Adjusts the position of each tap in the stereo field Feedback Adjusts the amount of Delay 1 output signal being fed back to the input By skilfully setting individual delay times for each tap rhythmic effects can be pro duced when feedback is introduced FILTER 4 63 High Damp Adjusts the amount of high frequency damping in the feedback loop High frequency damping softens the signal with each repeat creating a natural sounding fade LFO
10. Early Reflections Spread Adjusts the size of the apparent space ER Decay Early Reflections Decay Controls how quickly the early reflections die away that is the degree of atten uation of the signal with increasing delay For natural sounding effects set the ER Decay to maximum for a quick decay ER Shape Early Reflections Shape This parameter also controls the way the early reflections die out in this case by adjusting the shape of the envelope curve of the signal decay For natural sounding effects use an exponential curve by setting ER Shape to its maximum value Linear Envelope Exponential Envelope EARLY REFLECTIONS 4 21 Invert When selected the gains of the individual reflections are reflected around the centre point That is the Early Reflections model remains the same but the envelope is inverted This acoustic scenario does not exist in nature However as a special effect it is very interesting and useful Inverted Cluster E REFLECTOR 4 22 COMPRESSOR M S This effect is provided in both mono and stereo versions The operation and functionality is identical in each version A Compressor modifies the dynamics of a sound The level of louder passages is decreased This means that the overall level of the sound can be set higher with the net result that the level of softer sections is increased The compressor operates by monitoring the level of the input signal An adjustable threshold level de
11. PCI Riser Card Figure 4 Bracket PCI Riser DSP Card Assembly Step9 Carefully lift the assembly and insert it into the Station as indi cated Lift the keyboard cable to allow the mounting bracket to line up with the mounting hole in the rear panel Make sure the mounting bracket is aligned with the two standoffs on the Station base and that the bracket is not obstructed by any of the existing cables Adjust the cables if necessary Step 10 Align the hole in the end of the DSP card with the nylon spacer on the PCI rear support bracket Attach the DSP card with one M3 nylon nut UNPACKING 2 15 Step 11 Carefully insert the PCI riser card into the PCI slot in the moth erboard and press down firmly until the card is fully inserted in the PCI edge connector SBO USB DC Connector Keyboard Cable M4 Bracket Screws PCI Edge Connector RAM SIMM Figure 5 Bracket PCI Riser DSP Card Installation Step 12 Secure the bracket by inserting one M retaining screw through the Station rear panel Insert the remaining two M retaining screws through the top of the bracket into the threaded standoffs on the Station base plate Step 13 Attach the AIB card to the mounting bracket by inserting the 50 pin connector through the rear panel cut out Attach the AIB card to the bracket with the two M3 screws provided Finally insert the two D connector screw lock posts through the rear panel of the Station into the 50 pin D connector Tighten
12. Selects between triangle Tri and sine as the LFO waveform for delay time modulation in the chorus effect Rate Adjusts the frequency of delay time mod ulation in the chorus effect Depth Adjusts the amount of delay time modulation in the chorus effect and thus its intensity Dry Adjusts the level of the original signal Wet Adjusts the level of the signal after processing by the effect f Make sure there is always some of the wet component added to the dry signal Otherwise the effect will not be apparent 4TAP CHORUS S 4 64 FLANGER M S HARMONIC FLANGER S This effect is similar to the chorus Like the chorus a flanger is based on a delay line whose delay time is periodically modulated However the delay times in a flanger are substantially shorter than those of a chorus In addition the flanger utilizes feedback of the delayed signal back to the delay line input Therefore it not only thickens the sound but can add noticeable coloration owing to the comb filter effect which results from the feedback The intensity of the effect depends upon the modulation rate depth and phase settings as well as the dry wet original delayed mix The effect is provided in both mono and stereo ver sions and is also useful for creating a stereo sound from a monaural signal The Harmonic Flanger splits the signal into two frequency ranges and applies the effect only to the frequencies above the split frequency Rate Adjusts
13. analogous to moving a wall or raising or lowering the ceiling in a concert hall The apparent size of the space changes correspondingly For percussive sounds like drums or other percussion instru ments smaller values for the Shape parameter are best Definition The definition control adds response echoes similar to those produced in a room with smooth walls This setting controls the liveness of the overall effect Dry Controls the volume level of the original signal without the effect Dry Mute Switches off the original signal only the effect signal will be heard ER MasterVerb only Controls the volume level of the early reflections MASTERVERB AND MASTERVERB CLASSIC ER Mute MasterVerb only Switches off the Early Reflections Reflect MasterVerb Classic only Controls the volume level of the reflection signals Reflect Mute MasterVerb Classic only Switches the reflection signals off Reverb Adjusts the proportion of the response signal Reverb Mute Switches the response signal off Wet Controls the volume level of the overall effect signal REVERB 4 19 E REFLECTOR This effect simulates the initial echoes early reflections of acoustical spaces rooms or halls As in the real world the impression of space results from the combined effect of many individual echoes Overlaying these signals results in phase cancellations that provide the distinctive character of that particular e
14. and stereo versions are provided a lt ms 53 ms A S mom G 62 j 1800 Ena d MEA PreDel L R Adjusts the delay time over the range of 0 to 100 msec for both channels of the integrated stereo delay line which is connected in line ahead of the flanger effect Waveform Selects either a sine or triangle waveform for modulation of the flanger effect Shape Warps the modulation waveform widening the dips and narrowing the peaks to an adjustable degree thereby altering the motion produced by the modulation Rate Adjusts the frequency of delay time modulation in the flanger effect Depth Adjusts the amount of delay time modulation in the flanger effect and thus its intensity FILTER 4 71 FB Feedback Controls the level of the feedback signal which produces the typical flanger comb filter effect Negative feedback values invert the phase of the feedback signal changing the sound of the comb filter effect accordingly L R Phase Space Flanger S only Adjusts the phase difference between the modulation signals applied to the left and right channels This influences the apparent breadth of the stereo image LoDamp Low Damp Adjusts the amount of low frequency damping in the feedback loop HiDamp High Damp Adjusts the amount of high frequency damping in the feedback loop Through the simultaneous use of both filters the comb filter effect produced via feedback can be restrict
15. desired results and disable LookAhead when not needed Attack e The Attack time in milliseconds is the expanders s reac gt tion time the time it takes it to respond when the level e falls below the threshold Release This is the time in milliseconds after the signal raises over the threshold that expanding is no longer active Threshold Sets the input signal level below which expanding begins Ratio The Ratio adjusts the compression rate for signals that falls below the threshold level The compression is displayed as a relation value 1 1 means that there is no expansion 3 1e g means that a an attenuation of 1dB of the input signal results in 3dB at the output The maximum Ratio is 10 1 Gain The output level of the expander can be adjusted and amplified up to 18dB EXPANDER M S 4 32 DE ESSER The De Esser can eliminate excessive sibilance from voice signals Only the undesirable portion of the signal is affected Drive The De Esser automatically recognizes sibilance signals and therefore requires only a single control Drive sets the intensity of the filtering effect At extreme settings even normal S sounds may be strongly filtered lending a lisping character to spoken words If this occurs decrease the Drive setting slightly CONTROLS 4 33 LOW CUT M S This is a lowpass filter with a 12dB octave cutoff slope The filter is provided in both mono and stereo versions Freque
16. eared oe 5 5 U USB Connection busco dd ee Sah ates Sar hae 2 11 vV VERSION Mes ile ee dee at e a te lat Eola 5 3 W Whatis SS Bror AU a a Bek bic re ei 4 76 INDEX U Index v INDEX W
17. following lines PLUGINS IO START 1 PLUGINS IO RANGE 16 The plug ins I O takes up a block of 16 AES I Os The start number should be 1 17 or 33 depending on which I O in your system you wish to use Save the file and exit Notepad ADD SYSTEM VARIABLES 2 29 DREAMStart Setup The DREAMSrart application is used to configure the Fairlight Mixing Con sole application for use with plug ins Step 1 Step 2 Step 3 Step 4 Step 5 x A 19 100 108 11 TR 100 108 1 1R 100 108 1 suten24 i On 0 Det nore MES CA PS LAS oc i are Figure 12 DreamStart Setup Page Click on the Start button on the Windows desktop and select Programs gt Fairlight gt DREAMStart Click on the Setup binnacle key on the DREAM Start display to access the DREAM Setup page Click on the Plug ins Setup drop down list in the DREAM Surface Options section of the Setup page Select INTERNAL for running plug ins internally in your Station or Console Select EXTERNAL for running plug ins in an SSM If running plug ins in an SSM enter the IP address of the SSM in the Plug ins IP Address field This field is ignored if running plug ins internally See Network Settings below Click OK to accept changes and exit the setup page SOFTWARE INSTALLATION 2 30 Network Settings If running Plug Ins Manager in a Fairlight System Services Module PC make sure that the SSM is connected to the Station or Console via a
18. for the filter This frequency will be modulated by the LFO Res Resonance Determines the strength of the comb filter effect The greater the resonance the more pronounced the effect Damp Controls the resulting overall tone colour of the filter Higher values produce darker or softer results Gain The Gain control boosts the filtered signal by up to 12 dB LFO Wave Selects the LFO waveform to be used to modulate the filter frequency The fol lowing waveforms are available Sine Square Saw Up Saw Down and Random Depth Sets the strength of the modulation of the adjusted filter frequency by the LFO RESONATOR M S 4 88 Rate Controls the frequency of the LFO modulation rate Dry Adjusts the level of the original signal Wet Adjusts the level of the signal after processing by the resonator effect LFO MODULATION 4 89 RING MODULATOR M S The Ring Modulator multiplies an audio input signal by an internal sine wave and outputs the result If you modulate the sine wave using an LFO all kinds of sonic effects evolve from subtle spectral changes to more obvious electronic or bell like effects The Ring Modulator is supplied in both mono and stereo versions InGain Adjusts the level preamplification of the input signal It can be boosted by up to 12 dB Sine Freq Controls the basic frequency of the sine wave oscillator The range is from 1 Hz to 4000 Hz LFO Wave Selects the waveform
19. frequencies those over 8 kHz or less Use the low pass filter to create a warmer response High Pass Filter A high pass filter also with a slope of 12db octave follows the low pass filter in the signal path As with the high pass filter there are three ways to adjust the cutoff frequency Use the rotary control enter the value in the text field or adjust the value directly in the graphic display area using the mouse The response of many halls lies mainly within the middle fre quencies Together the low pass and high pass filters form a band 4 pass filter attenuating both high and low frequencies Appro priate adjustment of the two filters reproduces the sound of a hall in which the midrange is favoured MASTERVERB AND MASTERVERB CLASSIC Early Reflections MasterVerb only In the MasterVerb the early reflection response is made up of 16 individual echoes Adjust the configuration and characteristics of these as described in the following parameters The filters described previously influence their tone quality Early Refl Rererb Early Refl Early Reflections This button sets the graphic area to display Early Reflections settings ER Type Early Reflections Type From the drop down list select an early reflection model The model chosen determines the quality of the spatial impression ER Spread Early Reflections Spread Selects the apparent size of the hall to be processed for early reflections
20. on a customised version of the Creamware Scope Fusion Platform that is supplied on the PIM5 CD It is NOT possible to run PIM5 with any other versions of Creamware software Step 1 Click on the Exit button on the DREAM Start splash screen if currently running Step 2 Insert the PIM Install CD STATION CONSOLE BIOS SETTINGS Step 5 Step 6 OR Step 7 Step 8 Step 9 Click on My Computer on the Windows desktop and navigate to the CDROM Double click on SetupSFP bat file located in the root directory of the CDROM Select the Language and click Next when prompted then at the Readme file and License agreement click Accept if you accept the terms of the agreement Select the default installation Folder CASFP and click Next Do not alter this path If installing a 6 DSP card select the package named Pulsar If installing a 15 DSP card select the package name Scope Check the Product Activation Keys card that is supplied with the Plug Ins kit This card contains the activation keys for the Cream Ware DSP card and all the software Plug Ins supplied with the Plug Ins Manager To activate each product click in the enter key field next to the products listed in the dialog box and enter the keys from the labels on the card Retain this card in a safe place for future refer ence Click Next When prompted to Select the VST Plugins folder for XTC components leave the text boxes blank or click the Dis able butt
21. passed through it The key phase shift frequen cies and therefore the amount of phase shift are periodically modulated The phase shifter effect results when this phase manipulated signal is mixed with the original signal The effect is thus similar to the flanger and chorus but with asound character of its own The intensity of the effect depends upon the mod ulation rate depth and phase settings as well as the dry wet original phase shifted mix The effect is provided in both mono and stereo versions and is also useful for creating a stereo sound from a monaural signal Rate Controls the frequency of the phase modulation of the Phaser Depth Adjusts the modulation depth the strength of the phase modulation FB Feedback Controls the level of the feedback signal which intensifies the typical phasing effect Negative feedback values invert the phase of the feedback signal changing the sound of the phaser accordingly Cross FB only on Phaser S When Cross FB is enabled the left and right feedback signals are cross routed to the right and left phase filter inputs respectively This creates effects which differ from those obtained with simple feedback When the button is lit Cross FB is enabled SHAPE 4 75 L R Phase only on Phaser S Adjusts the phase difference between the modulation signals applied to the left and right channels This influences the apparent breadth of the stereo image Dry Adjusts
22. phase of the feedback signal changing the sound of the comb filter effect accordingly L R Phase MasterFlanger S only Adjusts the phase difference between the modulation signals applied to the left and right channels This influences the apparent breadth of the stereo image LoDamp Low Damp Adjusts the amount of low frequency damping in the feedback loop HiDamp High Damp Adjusts the amount of high frequency damping in the feedback loop Through the simultaneous use of both filters the comb filter effect produced via feedback can be restricted to specific frequencies Dry Adjusts the level of the original signal Wet Adjusts the level of the signal after processing by the chorus effect S Make sure there is always some of the wet component added to the dry signal Otherwise the effect will not be apparent MASTER FLANGER M S 4 68 RANDOM FLANGER M S The sound of this effect is similar to that of the Master Flanger However the modulation waveform is a random signal resulting in an effect which varies continuously in intensity and character Both mono and stereo versions are provided D Triangle o ma PreDel L R Adjusts the delay time over the range of 0 to 100 msec for both channels of the integrated stereo delay line which is connected in line ahead of the flanger effect Waveform Selects a sine triangle or stepped waveform for modulation of the flanger effect The amplitude of
23. the frequency of delay time modulation in the flanger effect Depth Adjusts the amount of delay time modulation in the flanger effect and thus its intensity FB Feedback Controls the level of the feedback signal which produces the comb filter effect Negative feedback values invert the phase of the feedback signal changing the sound of the comb filter effect accordingly FILTER 4 65 Cross FB Cross Feedback only on Flanger S and Harmonic Flanger S When Cross FB is enabled the left and right feedback signals are cross routed to the right and left delay line inputs respectively This creates comb filter effects which differ from those obtained with simple feedback When the button is lit Cross FB is enabled L R Phase only on Flanger S and H Flanger S Adjusts the phase difference between the modulation signals applied to the left and right channels This influences the apparent breadth of the stereo image Split F Split Frequency only on Harm Flanger S Sets the frequency at which the original signal is split Only the frequencies above the split frequency are processed via the flanger effect LowL Low Level only on HarmonicFlanger S Adjusts the volume level of the portion of the signal lying below the split fre quency This part of the signal is not processed via the flanger effect HighL HighLevel only on Harm Chorus S Adjusts the volume level of the portion of the signal lying above the spl
24. 000 eee 3 2 Pattern Delay ci 4 48 REV RISC te cet O dl ll 2 14 2 19 NEL A A Se pen bs weenie aes 4 74 Pitch Shifter M S eee eee 4 83 PIU BEINS 3 sears s pen coi tia ae geass 3 3 R RAM SIMM ir das 2 17 2 22 Random Flanger M S 0 2 0 eee eee eee eee 4 68 Reflections cenar Shoes ba ee vas ee we Abed DE whe 4 15 Remove Plug In 2 0 0 eee eee eee eee 3 3 Resonator MiS sconce ere ee eo eee eee RS 4 87 ROVER i a Ga a etnies Senter cha ease dae POA Ges 4 7 Reverb Color aia seh ata A ated es 4 5 Ring Modulator M S 0 0 0 eee eee eee 4 89 S MAPEO 4 9 Soft Clips M S co ae hd ts het dato et LLG La 4 95 Source IMAGE sn 4453 whee ata eet 4 10 Space Flanger M S 0 2 0 0 ce eee eee eee 4 70 SSB Delay M S vo a eos cece ae Ge pence lone ee is 4 81 SSB Modulator M S 1 0 1 eee eee eee 4 79 SSB Phaser M S 0 cece cece eee eee eeee 4 77 SSM Installation ae ed 2 9 Static Precautions 6 0 0 0 ce eee eee 2 9 Station Installation 0 0 0 0 00000000 2 13 Step Flanger M S esoo fee adie beng Nes ec tdi 4 72 Stereo Pa Noa eed pio 4 93 StereoExpander 0 00 00 c eee eee eee 4 94 Supplied Equipment 000 0000 2 6 T TDrive M S and TQDrive M S 0002 eee 4 52 INDEX O Index iv Tools Required 0 0 0 0 0c eee eee eee 2 5 Trackball ado aaa e dc alada oA ds ay oben tess 3 3 Tremolo MS iia cdi do 4 91 TRIG SPAR a da es 5 3 TRIG SW peie a bee doo
25. 10 bbb MANAGER Plug Ins Manager 5 User Manual DREAM Software Version 2 0 Part No DSSM001 1B Document No 308 Important Notice COPYRIGHT The material in this document is copyright to Fairlight ESP Pty Ltd and may not be quoted or reproduced in any form without written permission from the company Fairlight is a trademark of Fairlight ESP Pty Ltd All other trademarks are the property of their respective owners Plug In parameter descriptions are included with kind permission of CreamWare GmbH LIMITED WARRANTY POLICY All the software and hardware provided with or purchased especially for Fairlight prod ucts has been tested for functionality Fairlight ESP Pty Ltd will make its best efforts to correct reported defects for future releases subject to technical practicabilities Fairlight ESP will also replace any defective media on which software has been delivered provided that the item to be replaced is returned to the dealer who supported the product within 90 days of purchase Fairlight ESP Pty Ltd makes no warranty or representation either expressed or implied with respect to the system s performance or fitness for a particular purpose In no event will Fairlight ESP Pty Ltd be liable for direct or indirect damages arising from any defect in the product or its documentation Further Fairlight ESP Pty Ltd will not accept any liability for any programs sounds audio recording or sequences stored in or use
26. 100BaseT eth ernet hub and that the IP address is within the same subnet and unique D You can gat IP set meped acc yur network 1uppots araci aire te capably Othemnie pou need to ask pou reimo re elt WY oariad ia Dotan a P adios apomeicaly Conponerts checked we uiedtyta Loco ace so IP adber Subset nash Dela ptenar Int Wd C Decre Lee ne totownngONS serves adesses Trorensssin Corp Protocol Pretend DNS server IT vda ea netos pastocol hal ox p soo danse rlercorraciedrao Alen ONS cover F Show con intas bas when conne E Eu eran Figure 13 SSM Network Settings To configure the SSM network settings follow these steps Step 1 Step 2 Step 3 Right click on My Network Places on the Windows desktop to open the Network and Dial up Connections dialogue box Select Properties Double click Local Area Connection then click Proper ties Double click TCP IP and set the SSM s IP address Ensure the IP address is unique and within the subnet range of the engine and console It is common practice to set the last number in the SSM IP address to a value 100 higher than the Console or Station For example if the Station or Console s IP address is 10 1 1 111 make the SSM IP address 10 1 1 211 Press Tab to get the default Subnet Mask 255 255 255 0 then click OK Tick the Show icon in taskbar box then click OK and Close NETWORK SETTINGS 2 31 FlexiSurface File By default all plug
27. 2 The displayed estimate value is calculated using the formula y OFFSET SCALE beg ee ee The resulting displayed values closely match the values displayed in the on screen plug in display A useful spreadsheet is available from Fairlight which automates the selection of curve types and the calculation of parameters EXAMPLE 2 5 POSITION WAVE SHAPE SELECTION BEGIN PARAMETER DSP Ring Modulator WaveShape BEGIN SEGMENT RANGE 0 0 2 POSTFIXONLY POSTFIX SINE BEGIN SEGMENT RANGE 0 2 0 4 POSTFIXONLY POSTFIX SQUARE BEGIN_ SEGMENT RANGE 0 4 0 6 POSTFIXONLY POSTFIX TRIANGLE BEGIN SEGMENT RANGE 0 6 0 8 POSTFIXONLY POSTFIX SAW BEGIN SEGMENT RANGE 0 8 1 POSTFIXONLY POSTFIX NOISE This example shows how a five position switch can be mapped to display text values for the five discrete positions Some experimentation may be required to find the correct threshold values for the switch positions FLEXIMAP FILES 5 14 SEGMENT MAPPING 6 1 NOTES 6 2 Chapter 6 Specifications CONNECTIONS Digital 1 O Connector Description 16 balanced pairs AES EBU digital audio Note to connect to a standard QDC 50 pin digital I O connector wire cable pin 1 to pin 1 pin 2 to pin 2 and so on Connector 50 pin D female GND Channel 17 33 50 Digital Output 1 2 16 32 49 Digital Output 3 4 15 31 48 Digital Output 5 6 14 30 47 Digital
28. 82 ms to be exceeded the Note setting is automatically stepped down to the next largest value MS BPM MODE 4 43 Delay 1 4 ms Mode Sets delay time directly in milliseconds for each of the four taps The minimum delay setting is 4 ms the maximum 682 ms FB Feedback Controls the amount of the delayed signal to be fed back to the input to be delayed again By skilfully setting individual delay times for each tap inter esting rhythmic effects can be produced when feedback is introduced Level 1 4 Adjusts the volume level of each individual tap Set this to 0 to omit the tap Pan 1 4 only on the Multitap S Sets the pan position in the stereo field for each of the four taps LDamp Low Damp Adjusts the amount of low frequency damping in the feedback loop Low fre quency damping removes bass tones from the signal with each repeated cycle through the delay HDamp High Damp Adjusts the amount of high frequency damping in the feedback loop High frequency damping softens the signal with each repeat creating a natural sounding fade Dry Adjusts the level of the original signal Wet Adjusts the level of the effect signal MULTITAP M S 4 44 DUCKING DELAY M S The Ducking Delay unites a Ducker and a Delay in a single effect which is especially useful for processing vocals but can of course be used with instru ments as well The main and side chain inputs of the Ducker are connected to the
29. AT white 4 5 GND Black 5 6 Vcc Red 6 ABE1205 A Index i Index Symbols OE ose Seis NS oad en 3 5 Ml A AA ane ee eae 3 5 Numerics 1PIM INST Station Console PIM Mounting Kit 2 8 3rd Party Plug ins 0 0 0 0 00 3 5 4 Pole Filter M S ir errants eens pe jor badd owes 4 85 ATACA aaa a eas 4 62 50 pin Connector Wiring 6 6 eee 6 2 8PIM 15DSP Plug Ins Kit ooooo oooooo 2 6 8PIM 6DSP Plug Ins Kit 0 0 00 00000 8 2 7 A Add Plus osa rin cra by 3 2 Adding New Plug Ins o ocooccoocoocoo oo 3 5 Approved 3rd Party Plug Ins o o oo oo o 3 5 AULOMALION cs oi tere hog a eos 3 4 Autopa N a ns nonea d E cated ak aes ps eee ees Smee 4 92 AutoWah M S 0 eee cee eee 4 54 B BEGIN FADERS ciii de a EPS RTs 5 3 BEGIN _PARAPAD 0000000 c ee eee 5 3 Bracket ita a eae eee tee 2 14 2 19 C Cable Installation 000 0000 2 17 Chorus S js c2f tiie td Ces wee es 4 56 Commands iii Saad ee eee ee a es 5 3 Compressor M S cs dia dad oA 4 22 Comnector Wiring lt vsccet acne poo e 6 2 Console Installation oooooooo oooooo 2 18 CONTROL aroma ti peel iced OF end si 5 4 Controlling Plug Ins ooocoocoocoooooo 3 3 D DEXCONNECIOR Era E 2 10 DC Filter M S atm poa eee Rete heh eee dae us 4 96 DSF ESS OR ii a e a i neers 4 32 INDEX SYMBOLS Index ii Delay LER AS AMAS sue ie ss ae ie see aoe ded ees 4 38 Delay LM M and LS S 1 e
30. I e J o O mua SETE SETE e e ms BPI e 3 Y xm Y HE SETE SETE e e O ua O ma 127 na ms BPM Mode Switches between ms Mode delay time setting in milliseconds and BPM Mode delay time setting in terms of tempo BPM BPM Mode Specify the tempo you wish to match available range 25 300 BPM Note BPM Mode Set delay time in terms of a musical note length relative to the BPM tempo setting P and T indicate dotted and triplet respectively The shortest note value delay time is 1 64T The longest attainable note value depends upon the tempo a slower tempo limits the delay to smaller maximum note values If adjustment of BPM causes the maximum delay time 682 ms for Dual Delay S 5460 ms for Dual Delay LS to be exceeded the Note setting is automati cally stepped down to the next largest value Delay ms Mode Sets delay time directly in milliseconds The minimum delay setting is 4 ms the maximum 682 ms Dual Delay S or 5460 ms Dual Delay LS MS BPM MODE 4 41 FB L R Feedback This controls for each channel the amount of the delayed signal which will be fed back to the input to be delayed again Simply put the higher this setting the more echoes you will get LDamp L R Low Damp Use this control to adjust the amount of low frequency damping in the feed back loop for the respective channel HDamp High Damp Use this control to adjust the amount of high freque
31. LM Bypass Bypass CONTROL FS MUTE 2 0 1 LIN DSP Delay LM Mode ms BPM CONTROL FS_FADER 1 0 1 LIN DSP Delay LM BPM BPM CONTROL FS _FADER 2 0 1 LIN DSP Delay LM Note Note CONTROL FS_FADER 3 0 1 LIN DSP Delay LM FB FB CONTROL FS_FADER 4 0 1 ANTILOG DSP Delay LM LDmp LDmp CONTROL FS_FADER 5 0 1 ANTILOG DSP Delay LM HDmp HDmp CONTROL FS FADER 6 0 1 ANTILOG DSP Delay LM Dry Dry CONTROL FS FADER 7 0 1 ANTILOG DSP Delay LM Wet Wet BEGIN PARAPAD Two trigger events to call the fader sets TRIG _PAR 0 0 5 DSP Delay LM Mode text 1 TRIG _PAR 0 5 1 DSP Delay LM Mode text 2 Parapad set number 1 definition FADERSET CONTROL PP_SW 1 0 1 LIN DSP Delay LM Bypass Bypass CONTROL PP_SW 2 0 1 LIN DSP Delay LM Mode ms BPM CONTROL PP_ENC 1 0 1 ANTILOG DSP Delay LM Delay Delay EXAMPLE MAP FILE 5 11 CONTROI CONTROI CONTROI CONTROI CONTROI Parapad FADERSET CONTROI CONTROI CONTROI CONTROI CONTROI CONTROI CONTROI CONTROI CONTROI Li p L P P ENC 3 0 1 LIN P ENC 4 0 1 ANTI P ENC 5 0 1 ANTI P_ENC 1 0 1 LIN P_ENC 2 0 1 LIN P_ENC 3 0 1 LIN P ENC 4 0 1 ANTI P ENC 5 0 1 ANTI BEGIN TEXTMAP Parameter value text map section BEGIN scale BEGIN SEGMENT BEGIN RANGE 0 1 POSTFIX mS SCALE 5136 PARAMETER DSP Delay LM Mode DSP DSP DSP LOG LOG P ENC 6 0 1 ANTILOG P ENC 7 0 1 ANTILOG PARAMETER DSP Delay LM to show correct delay v
32. LS 4 47 Ratio Controls ducking intensity Sets the rate of increase of delay output attenu ation as the side chain signal level increases beyond the level specified by the Threshold setting At the maximum setting of inf 1 the delay output is atten uated by exactly the amount by which the side chain signal level exceeds the threshold For example with Threshold set to 30 dB the delay output will be attenuated by a maximum of 30 dB when the side chain signal level is at its maximum level of 0 dB with correspondingly less attenuation at lower side chain signal levels Intermediate Ratio settings yield smaller maximum attenu ation values at the minimum setting of 1 1 no attenuation occurs and the delay output signal comes through at its full actual level Ducking On Off Deactivates the Ducker so that a normal delay effect is obtained Dry Adjusts the level of the original signal Wet Adjusts the level of the effect signal IES c Joss lt J 30 0 dB ona O ma C ma DUCKING DELAY M S 4 48 PATTERN DELAY This delay permits easy creation of rhythmic delays and loops Delay times are set via a pattern editor which displays the 16th intervals of a bar or the triplet version of same The pattern is repeated over the course of the interval speci fied under Loop Volume level and pan position can be set per delay The low pass and high pass filters provided are located within the pattern feedback pa
33. MDocs exe Plug Ins Manager User Manual setup file SetupPIM exe Plug Ins Manager Setup file 2 4 ADMINISTRATOR LOG ON Make sure you are logged on as Administrator before performing any instal lation tasks Administrator is the default user for all DREAM systems If no users have been set up on your system skip this section Step 1 Step 2 Step 3 Step 4 Step 5 Step 6 If installing the plug ins hardware in the Station or DREAM Console Quit FMC if necessary by holding down the Shift key and pressing the Pause Break key and click on the Exit but ton on the DREAM Start splash screen if currently running Click on the Start button then click Shut Down Click the drop down list and examine the entry that reads Log off If the name is Administrator click the Cancel button you are already logged on as administrator If you are logged on with another log on name select the Log off item and click OK When the log on window is displayed hold down the Ctrl Alt and Del keys as instructed When the username and password window is displayed enter Administrator as the username The default password is dream Consult you system administrator for the correct pass word and domain settings Click OK to log on to the system USB DRIVER INSTALLATION Installing the Fairlight AIB USB driver before installing the hardware simpli fies the installation process The USB driver must be installed in the de
34. Output 7 8 13 29 46 Digital Input 1 2 12 28 45 Digital Input 3 4 11 27 44 Digital Input 5 6 10 26 43 Digital Input 7 8 9 25 42 Digital Output 9 10 8 24 41 Digital Output 11 12 7 23 40 Digital Output 13 14 6 22 39 Digital Output 15 16 5 21 38 Digital Input 9 10 4 20 37 Digital Input 11 12 3 19 36 Digital Input 13 14 2 18 35 Digital Input 15 16 DIGITAL I O CONNECTOR 6 3 APIM102 D Description DC and USB connection for SSM installation of AIB card Note USB connections may vary on some motherboards Connectors CNI1 6 pin Molex 39 01 2060 Farnell 151 868 with Crimp Pins 39 00 0039 Farnell 151 890 CN2 5 pin FCI 65039 032 Farnell 528 481 with Crimp Pins FCI 47750 00 Farnell 528 560 CN3 4 pin AMP 1 480426 0 Farnell 299 479 with Crimp Pins AMP 163305 2 Farnell 299 558 CN1 Signal Wire CN2 CN3 1 USBD L 2B2AT Orange 3 NC 2 GND Braid 4 NC 3 Spare Brown 5 NC 4 USBD L 2B2AT white 2 NC 5 GND Black NC 3 6 Vcc Red NC 4 CN2 pin 1 not connected CN3 pin 1 2 not connected CONNECTIONS 6 4 ABE1205 A Description DC and USB connection from SBO card to AIB card in Station and Console Connectors 6 pin Molex 39 01 2060 Farnell 151 868 with Crimp Pins 39 00 0039 Farnell 151 890 CN1 Signal Wire CN2 1 USBD L 2B2AT Orange 1 2 GND Braid 2 3 Spare NC 3 4 USBD L 2B2
35. P IP Connect the SSM via a 100BaseT ethernet hub to the Station or Console and QDC engine See Network Settings on page 2 30 for configuration details Now move to Software Installation on page 2 24 UNPACKING 2 13 STATION INSTALLATION Step 1 Step 2 Step 3 Step 4 Step 5 Step 6 Step 7 Power down the Station Remove the top panel of the Station by first removing the four M retaining screws at the front and the three retaining screws at the rear just below the top panel Carefully lift off the top panel Note that the panel is connected to the base by two internal cables Disconnect the trackball cable connection from the motherboard and the USB power cable connection from the top panel PCB Carefully place the top panel in a safe location Rest the panel on its edge UNDER NO CIRCUMSTANCES SHOULD THE ROTARY ENCODERS REST AGAINST ANY SURFACE Remove the blanking panel from the 50 pin D connector cut out on the rear panel of the Station by unscrewing the two M3 screws Attach the nylon spacer to the PCI rear support bracket with an M3 screw Attach the PCI rear support bracket to the threaded standoffs next to the CDROM drive with two M4 screws Nylon Spacer M4 Mounting Screws STATION INSTALLATION 2 14 Step 8 Ona flat surface assemble the mounting bracket PCI riser card and DSP card as shown in the picture below Insert the two M3 screws as shown M3 Screw M3 Screw
36. PIM 15DSP Plug Ins Kit 2 6 PIM Installation Manual DSSM004 B 1 PIM Software CD 7PIMV5 0 1 Including User Manual Registration Key Card 1 AIB USB DC Cable Assembly APIM102 D 1 Plug Ins AIB Audio Bus Cable APIM201 A 1 MIX AIB AESAudio Interface BMIX042A A 1 Card c w CPU card Fairlight 15 DSP Plug Ins Card GEC8438 1 D connector screw lock Kit FSM8260 1 EQUIPMENT SUPPLIED 2 7 8PIM 6DSP Plug Ins Kit PIM Installation Manual DSSM004 B 1 PIM Software CD 7PIMV5 0 1 Including User Manual Registration Key Card 1 AIB USB DC Cable Assembly APIM102 D E Ep Plug Ins AIB Audio Bus Cable APIM201 A MIX AIB AES Audio Interface BMIX042A A Ep Card c w CPU card Fairlight 6 D SP Plug Ins Card GEC8427 1 D connector screw lock Kit FSM8260 1 HARDWARE INSTALLATION 2 8 1PIM INST Station Console PIM Mounting Kit AIB SBO USB DC Cable Assembly ABE1205 A PIM Mounting Bracket MBE1005 B Ep PCI Rear Support Bracket MBE1006 C E PCI Riser Card BMIX 155A A Ep Mounting Screw Kit including 7 x M3x6mm pozi drive screws 5 x M4x10mm pozi drive screws 2 x M3x8mm nylon standoff 2 x M3 nylon nut washers 2 x M3x12mm male female hex spacers 128Mb 168 Pin PC133 RAM SMM6799 EH EQUIPMENT SUPPLIED 2 9 Static Precautions Do not open or remove components from your system unless
37. PM causes the maximum delay time 682 ms for Delay M S 5460 ms for Delay LM LS to be exceeded the Note setting is automatically stepped down to the next largest value DELAY LM M AND LS S 4 36 Delay ms Mode Sets delay time directly in milliseconds The minimum delay setting is 4 ms the maximum 682 ms Delay M S or 5460 ms Delay LM LS FB Feedback Sets the strength of the feedback the portion of the delayed signal that is routed back to the input to create multiple receding echoes The degree of feed back determines the fade out time of the repeated echoes Y x PIC A ms BPI ms BP e 935 333 3 e rua A e 0 6 ma CA i27 Ns CN 27 We cs Cross FB Cross Feedback only on Delay S and Delay LS Cross feedback when enabled feeds the signal from the left channel to the right channel to be delayed and the signal from the right channel back to the left The signal path thus forms a figure eight When the button is lit Cross Feedback is enabled LDamp Low Damp Adjusts the amount of low frequency damping in the feedback loop Low fre quency damping removes bass tones from the signal with each repeated cycle through the delay HDamp High Damp Adjusts the amount of high frequency damping in the feedback loop High frequency damping softens the signal with each repeat creating a natural sounding fade Dry Adjusts the level of the original signal MS BPM MODE Wet Adjusts the lev
38. RO 4 8 Pre Delay This switch automatically sets the overall response delay to the delay time of the first of the early reflections When enabled the functionality corresponds to a classic Pre Delay and is adjustable with the ER Delay control Room Size X Control Adjusts the apparent room size This control applies only to the reverb portion of the signal In order to avoid interference the response is muted for brief periods of time when adjusting the room size Reverb Time Y Control Controls the reverb time duration The reverb time is unlimited and can even be adjusted to infinity if desired As in a real world acoustical environment long reverb times correspond to large rooms In small rooms use shorter times to produce a natural sounding response HiDamp Filter High Damp Filter This 6 db octave filter operates on the reverb response This filter reduces the high frequencies in the response signal depending on how it is adjusted There are three ways you can adjust the cutoff frequency use the rotary control enter the value directly in the text field or adjust the value directly in the graphic dis play area using the mouse Rooms or halls absorb high frequencies quite strongly Therefore settings between 3 kHz and 6 kHz are typical REVERB 4 9 Shape The Shape control lets you change the envelope of the response signal Lower values correspond to relatively fast rise and fall times while larger
39. SCALE 10 DIVISOR OFFSET2 For more information on defining segments with straight lines or logarithmic lines see the information on segments below The EXP2 flag returns segment display values derived from the normalised control values via an exponential formula When using EXP2 the OFFSET SCALE DIVISOR and OFFSET2 arguments must also be defined EXP2 segments FLEXIMAP COMMANDS 5 9 SCALE Usage OFFSET Usage OFFSET2 Usage DIVISOR Usage fit the following formula y OFFSET SCALE OFFSET2 10 PIVISOR For more information on defining segments with straight lines or logarithmic lines see the information on segments below This is the gradient of a straight line segment or the multiplier in a logarithmic or exponential segment For a straight line the formula y Ax B represents the line where A is the SCALE SCALE 99 This is the y intercept of a straight line segment or an offset in a logarithmic or exponential segment For a straight line the formula y Ax B represents the line where B is the OFFSET OFFSET 99 This is an internal offset used to derive logarithmic or expo nential curves For more information on defining segments with exponential or logarithmic curves see the information on segments below OFFSET2 0 001032 This the divisor in a logarithmic or exponential segment For more information on defining segments with exponential or logarithmic curves see the info
40. SHIFTER M S 4 84 Feedback only in Pitch Shifter M This controls for each channel the amount of the delayed signal which will be fed back to the input to be delayed again Simply put the higher this setting the more echoes you will get High Damp Use this control to adjust the amount of low frequency damping in the feed back loop for the respective channel Time Range This control influences the quality of the effect The optimal value depends on the nature of the raw material so you should experiment with it somewhat In general the larger the value the more exact the calculation although it may take longer LFO Modulation Frequency You can modulate the pitch with an LFO This controls the frequency of the LFO or the rate of the modulation Mod Depth Controls the depth of the pitch modulation Dry Adjusts the level of the original signal Wet Adjusts the level of the signal after processing by the effect Make sure there is always some of the wet component added to the dry signal Otherwise the effect will not be apparent LFO MODULATION 4 85 4 POLE FILTER M S This 4 Pole Filter is a lowpass filter with adjustable resonance which can be periodically modulated Use this filter to create outstanding periodic filter effects Two versions of the filter are provided a Mono Insert and a Stereo Insert The functionality of the two is identical You can adjust the filter quickly and intuitively by direct gr
41. ULATOR M S 4 89 TREMOLO M S 4 91 AUTOPAN currada 4 92 STEREO PAN icono idia 4 93 STEREOEXPANDER 4 94 Controls pes Geeta oie 4 94 SOFT CLIP M S 4 95 AAA 4 95 DC FILTER M S 4 96 Controls uc lidia ita 4 96 Chapter 5 FlexiSurface Maps FLEXIMAP FILES 5 2 Fleximap Commands 5 3 Example Map File 5 10 Segment Mapping 5 11 Chapter 6 Specifications CONNECTIONS 6 2 Digital I O Connector 6 2 APIM102 D 445 6 3 ABE1205 Ag iera eee cece 6 4 Index vi TABLE OF CONTENTS NOTES 1 2 Chapter 1 Introduction INTRODUCTION Fairlight Plug Ins Manager 5 brings the flexibility of third party plug ins to the DREAM family of mixing and editing systems Plug Ins Manager 5 is available as an external Fairlight System Services Module application or as an integrated component of the DREAM Station or Console Plug Ins Manager 5 offers support for a wide range of high performance real time plug ins running on the dedicated Plug Ins Manager floating point DSP card The Plug Ins Manager DSP card may be installed in the System Services Module or directly within the DREAM Station or Console Plug Ins Manager is seamlessly integrated into the DREAM mixer environ ment Plug ins may be selected and patched into feeds or buses to be added to the mix in real time or recorded to disk Plug ins parameters may be mapped
42. a signal is present and whether digital clipping overload is occurring Clipping can be avoided by adjusting Level Level Permits level trimming to avoid digital clipping If digital clipping occurs as indicated by the red LEDs turn Level down until only the green LEDs are lit If reducing Level does not eliminate the clipping reduce Drive slightly as well LCut Lowcut Use this control to limit the distortion to the higher frequencies HDamp High Damp Decreases the level of the high frequencies producing a warmer rounder dis tortion sound Spread TDrive S and TQDrive S only A short delay to produce a broader stereo image Pre and Post EQs Frequency Adjusts the filter s centre frequency PRE AND POST EQs 4 53 Q Sets the filter s quality or Q factor This determines the width of the frequency band which the filter will affect Gain Adjusts the filter band s cut or boost level in dB Dieu 0 Exa T 25 MON 32 TDRIVE M S AND TODRIVE M S 4 54 AUTOWAH M S This effect combines the TDrive distortion effect see preceding section with a multimode filter whose cutoff frequency is controlled by an envelope fol lower The envelope follower follows the level of the original pre distortion signal since the distortion effect flattens out the signal dynamics When the filter resonance is turned up the sounds produced resemble the words wah wah hence the name of the effe
43. alues DSP Delay LM FB FB LOG DSP Delay LM LDmp LDmp LOG DSP Delay LM HDmp HDmp P_ENC 6 0 1 ANTILOG DSP Delay LM Dry Dry P_ENC 7 0 1 ANTILOG DSP Delay LM Wet Wet set number 2 definition P SW 1 0 1 LIN DSP Delay LM Bypass Bypass P_ SW 2 0 1 LIN DSP Delay LM Mode ms BPM Delay LM BPM BPM Delay LM Note Note Delay LM FB FB DSP Delay LM LDmp LDmp DSP Delay LM HDmp HDmp DSP Delay LM Dry Dry DSP Delay LM Wet Wet Delay display mS BPM mode switch values BEGIN SEGMENT RANGE 0 0 5 POSTFIXONLY POSTFIX mS BEGIN SEGMENT RANGE 0 5 1 POSTFIXONLY POSTFIX BPM Segment Mapping When a parameter is mapped to a control such as plug in gain assigned to a fader the user will see text on both the onscreen plug in display and the LCD window to indicate the current value of the parameter This value will be dis played in dB for gain or the appropriate units for the parameter Since all parameters in the plug in system are internally stored as values between 0 and FLEXIMAP FILES 5 12 1 there needs to be a conversion process to correctly display the values on the control surface This is achieved using a set of segment mapping functions The map for a particular parameter can be split up into a number of segments if required Each segment can be a straight line relationship a logarithmic or exponential relationship to the normalised internal value The process of correctly mapping display values for segments requires t
44. aphic editing Adjust the cutoff frequency by moving the mouse horizontally while holding the left in PC version mouse button Adjust the resonance by moving the mouse vertically with the right button pressed Ctrl mouse button in the Mac version Freq Adjusts the lowpass filter s cutoff frequency Res Resonance Strength of the filter resonance LFO Wave Several waveforms are available to be used by the integrated LFO for cutoff fre quency modulation Select the waveform using the arrow keys or by clicking on the display area and moving the mouse on or off The following waveforms can be selected Sine Rectangle Saw up Saw down Triangle Rectangle with variable pulsewidth LFO On Off Use the ON button to enable the LFO for cutoff frequency modulation 4 POLE FILTER M S 4 86 Depth Strength of the filter frequency modulation by the LFO Rate Adjusts the LFO frequency Inv R Channel Mod invert right channel modulation only on 4 Pole Filter S Inverts the modulation phase of one channel which leads to some very inter esting effects LFO MODULATION 4 87 RESONATOR M S This effect implements a comb filter which is optionally modulated by its own LFO The filter is adjustable for frequency damping and resonance The LFO has selectable waveforms and adjustable depth and rate parameters This effect is provided in both mono and stereo versions Freq Frequency Sets the basic frequency
45. apparent CHORUS S AND HARMONIC CHORUS S 4 58 MASTER CHORUS M S This sophisticated device offers options for modifying modulation and chorus tone colour in addition to the classic chorus parameters It covers a wide range of sounds from especially subtle chorusing to intense chorusing with feedback Both mono and stereo versions are provided eJ 23 ms Cams CN 127 1 O ma 1600 DMA PreDel L R Adjusts the delay time over the range of 0 to 100 msec for both channels of the integrated stereo delay line which is connected in line ahead of the chorus effect Waveform Selects either a sine or triangle waveform for modulation of the chorus effect Shape Warps the modulation waveform widening the dips and narrowing the peaks to an adjustable degree thereby altering the motion produced by the modulation Rate Adjusts the frequency of delay time modulation in the chorus effect Depth Adjusts the amount of delay time modulation in the chorus effect and thus its intensity FILTER 4 59 FB Feedback Controls the level of the feedback signal which produces the comb filter effect similar to flanging Negative feedback values invert the phase of the feedback signal changing the sound of the comb filter effect accordingly L R Phase MasterChorus S only Adjusts the phase difference between the modulation signals applied to the left and right channels This influences the apparent breadth o
46. ay LCR LS and S Dual Delay LS and S Multitap M S Ducking Delay M S Pattern Delay Distortion M S TDrive M S and TQDrive M S AutoWah M S Chorus S and Harmonic Chorus S Master Chorus M S SSB Delay M S Pitch Shifter M S 4 Pole Filter M S Resonator M S Ring Modulator M S Tremolo M S Autopan Stereo Pan StereoExpander Soft Clip M S DC Filter M S 4 3 MASTERVERB PRO MasterVerb Pro combines a high end reverb with a very user friendly interface On yi J Y Loms e 127 Ly 6000 Hz Based on the reverb algorithms of the MasterVerb MasterVerb Pro further improves on the naturalness of the reverberation In addition to a fixed selec tion of early reflection models you can now create as many of your own models as desired using the Source Image Method This method employs easy X Y controls to compute realistic early reflection signals of an acoustic source Source relative to a listener Destination If desired you can also include the distance of the source to the listener and the source pan position as part of the calculation Reverb Colour and stereo spread Width controls enhance the overall impression of spaciousness Applying Chorus to the response guaran tees sonic density and also opens the door for some interesting special effects The MasterVerb Pro algorithm is split into two sections the production of early reflections and the production of a response signal pattern The early reflections are responsi
47. ble for producing the impression of space while the response signal creates the atmosphere You can adjust the overall tone quality of the space with the filters in the input and response sections The X Y con trols provide direct access to the most important early reflection and response parameters MASTERVERB PRO Source Image MasterVerb Pro computes early reflections using a simple geometric model In this model acoustic waves are treated much like rays of light Acoustic waves emanate radially like light but from an acoustic source Source S The waves then reflect from walls or surfaces the way light is reflected when it meets a mirror For consistency with the light analogy we also assume that the walls are very large with respect to the wavelengths of the sound waves High frequency absorption is ignored for the time being If the position of the listener is well defined Destina tion S the sound wave transmitted from the acoustic source to the wall and then to the listener could be regarded as if the wall doesn t exist In this new view another acoustic source lies behind the position of the wall and transmits a sound wave directly to the listener We could regard this second source as a phantom acoustic source Finally individual phantom sources are defined for each wall This procedure is applied repeatedly to create a sufficient number of phantom sources as required to represent the area model MasterVerb Pro us
48. ch is not unlike a phaser but which differs significantly from a phaser in the following respect whereas a phaser creates phase cancellations which move up and down through the frequency spectrum those produced by an SSB phaser move only in one direction according to the sign of the spectrum shift plus or minus Larger shifts produce spectra and sounds similar to those pro duced by ring modulation Both mono and stereo versions of the SSB Phaser are provided E x m g y O 0 2400H2 Y 0 00001 x 127 A E O 024004z 0 2400Hz Y 0 00001 x e 127 J CN 127 LB 127 CA 127 CB 127 Frequency Shift Amount by which all frequencies in the signal spectrum are shifted Both pos itive and negative shifts are possible Range Multiplier for the Frequency Shift control sets its effective range 1 00000x permits a shift of 24000 Hz while 0 00001x produces a range of 0 2400 Hz By setting Range appropriately Frequency Shift can be adjusted very finely Feedback Feedback causes the processed signal to be processed over and over again An already shifted frequency gets shifted again and again by the same amount With small frequency shift amounts this intensifies the phasing effect while with large shifts generation of more inharmonic components is the result SSB PHASER M S Dry On Off Switches the dry unprocessed signal on or off Switch it off when you want to use only the frequency shifter The
49. ck Sets the strength of the feedback the portion of the delayed signal that is routed back to the input to create multiple receding echoes The degree of feed back determines the fade out time of the repeated echoes DUCKING DELAY M S 4 46 Cross FB Cross Feedback only on Ducking Delay S Cross feedback when enabled feeds the signal from the left channel to the right channel to be delayed and the signal from the right channel back to the left The signal path thus forms a figure eight When the button is lit Cross Feedback is enabled LDamp Low Damp Adjusts the amount of low frequency damping in the feedback loop Low fre quency damping removes bass tones from the signal with each repeated cycle through the delay HDamp High Damp Adjusts the amount of high frequency damping in the feedback loop High frequency damping softens the signal with each repeat creating a natural sounding fade Attack Adjusts the amount of time over which the delay output signal is faded down when the input signal crosses the threshold Release Adjusts the amount of time over which the delay output signal is faded back up when the input signal level falls back below the threshold Threshold Sets the side chain signal level at which attenuation of the delay output begins As the side chain signal level increases further the delay output is increasingly attenuated according to the setting of the Ratio control CONTRO
50. close once it begins to close i e once the input signal level falls below the turn off lower threshold and after any remaining hold time has elapsed Threshold Sets the input signal level in dB above which the gate will open This is the turn on upper threshold shown in the display as a yellow point The turn off lower threshold is adjusted in tandem with the turn on threshold with an offset determined by the Hyst hysteresis control With the Stereo Gate opening of the gate is determined by the louder of the two channels Hyst Hysteresis Adjusts the difference between the turn on upper and turn off lower thresholds The turn off threshold appears as a red point in the display It can be set up to 10 dB below the turn on threshold CONTROLS 4 29 Floor Sets the level to which gate gain drops when the gate closes The gate can thus be set so that it does not close completely Gain With the Gain control you can increase the Gate output level by up to 18dB GATE M S 4 30 EXPANDER M S The Expander influences the dynamics of a sound by making quiet passages even quieter while leaving other passages alone Thus the overall dynamic range of the signal increases You can use this to alter the way an instrument sound decays for example to alter a looped drum pattern as it fades out or to blend undesirable low level background noise into the signal noise floor The Expander is provided in both mono and stereo v
51. ct A mono and a stereo version of the effect are provided mua 3 6000 HPF xm LJ 50Hz e Pf isos EEE Cf ssoms ma Drive Controls the degree of distortion The distortion circuit also boosts the signal level The green and red LEDs next to the text field indicate whether a signal is present and whether digital clipping overload is occurring Clipping can be avoided by adjusting Level Level Permits level trimming to avoid digital clipping If digital clipping occurs as indicated by the red LEDs turn Level down until only the green LEDs are lit If reducing Level does not eliminate the clipping reduce Drive slightly as well LCut Lowcut Use this control to limit the distortion to the higher frequencies HDamp High Damp Decreases the level of the high frequencies producing a warmer rounder dis tortion sound PRE AND POST EQs 4 55 Envelope Follower Gain Some signal levels are too low or too high to be processed effectively Adjust the Gain control up or down to Optimise the signal level Attack Controls the response time of the envelope follower to rising levels of the audio signal Decay Controls the response time of the envelope follower to falling levels of the audio signal Filter Filter Type High pass low pass and band pass modes can be selected The filter slope is 12 dB octave in all modes Frequency Sets filter cutoff or centre frequency with the
52. current value displayed in Hz Resonance Sets the amount of filter resonance Values between 0 and 127 are displayed for reference Env Follower Controls the amount of filter frequency modulation produced by the envelope follower Negative values produce an inverse modulation AUTOWAH M S 4 56 CHORUS S AND HARMONIC CHORUS S The name chorus hints at the sound produced by this effect It spreads and thickens the sound passed through it simulating the sound of multiple instru ments of the same type playing together in other words a chorus This effect is achieved by means of a short delay line whose delay time is periodically mod ulated Mixing of this delayed signal with the original produces the chorus effect The intensity of the effect depends upon the modulation rate depth and phase settings as well as the dry wet original delayed mix Adjustable feed back and cross feedback controls are also provided The effect is also useful for creating a stereo sound from a monaural signal The Harmonic Chorus splits the signal into two frequency ranges and applies the effect only to frequencies above the split frequency Rate Adjusts the frequency of delay time modulation in the chorus effect Depth Adjusts the amount of delay time modulation in the chorus effect and thus its intensity FB Feedback Controls the level of the feedback signal which produces the comb filter effect similar to flanging Negativ
53. d with Fairlight products including the cost of recovery of such data Product features and specifications are subject to change without notice Fairlight ESP reserves the right to change any part of this document without notice The warranties remedies and disclaimers above are exclusive and take precedence over all others oral or written express or implied to the extent permitted by law in the geo graphical area of the product s use No employee of Fairlight ESP agent distributor or employee of an agent or distributor is authorized to offer any variation from this policy Copyright 2003 Fairlight ESP Pty Ltd Unit 2 1 Skyline Place French s Forest NSW 2086 AUSTRALIA Telephone 61 2 8897 9999 Fax 61 2 8897 9900 OBTAINING TECHNICAL SUPPORT Users requiring technical support should contact their local Fairlight office or distrib utor Information can also be found on the world wide web at http www fairlightesp com FAIRLIGHT OFFICES WORLD WIDE USA West Coast Fairlight USA 844 North Seward Street Hollywood CA90038 USA Tel 1 323 465 0070 Fax 1 323 465 0080 United Kingdom Fairlight ESP Limited Unit 12 Spectrum House 32 34 Gordon House Road London NW5 1LP England Tel 44 20 7267 3323 Fax 44 20 7267 0919 Germany Fairlight Deutschland Gmbh August Bebel Strasse 26 53 14482 Potsdam Babelsberg Berlin Germany Tel 49 331 721 2930 Fax 49 331 721 2933 Asia Pacific Fairlight ESP Pty Ltd
54. delay output and the dry signal respectively During vocal passages the delay effect is partially or entirely faded out and returns during the pauses between vocal passages The familiar Attack Release and Threshold controls adjust the speed and intensity of the attenuation Both a mono and a stereo ver sion are provided Ec Ec PA SCP O E 12000 A O LEI e Ha O ma S o Displays In Displays the input signal level Red Reduction Shows the degree of reduction or attenuation of the delay signal Out Displays the level of the resulting output signal DISPLAYS 4 45 Controls ms BPM Mode Switches between ms Mode delay time setting in milliseconds and BPM Mode delay time setting in terms of tempo BPM BPM Mode Specify the tempo you wish to match available range 25 300 BPM Note BPM Mode Set delay time in terms of a musical note length relative to the BPM tempo setting P and T indicate dotted and triplet respectively The shortest note value delay time is 1 64T The longest attainable note value depends upon the tempo a slower tempo limits the delay to smaller maximum note values If adjustment of BPM causes the maximum delay time 682 ms to be exceeded the Note setting is automatically stepped down to the next largest value Delay ms Mode Sets delay time directly in milliseconds The minimum delay setting is 4 ms the maximum 682 ms FB Feedba
55. dry signal is present when the button is lit Link Shifts SSB Phaser S only When this function is activated the frequency shift can be set simultaneously for both left and right signals Dry Adjusts the level of the original signal Wet Adjusts the level of the SSB effect signal SHAPE 4 79 SSB MODULATOR M S This effect is the same as the SSB Phaser but with the additional ability to modulate the frequency shift via an LFO Waveform depth and rate of the LFO are adjustable The LFO signal is summed with the Frequency Shift set ting to produce the total shift Both mono and stereo versions of the effect are provided gt coo s00 0000Hz lt aj 7 00000 x Ni O ma s Frequency Shift Amount by which all frequencies in the signal spectrum are shifted Both pos itive and negative shifts are possible LFO Depth Sets the maximum amount of frequency shift produced by the LFO Both pos itive and negative shifts are possible Range Multiplier for the Frequency Shift control sets its effective range 1 00000x permits a shift of 24000 Hz while 0 00001x produces a range of 0 2400 Hz By setting Range appropriately Frequency Shift can be adjusted very finely Feedback Feedback causes the processed signal to be processed over and over again An already shifted frequency gets shifted again and again by the same amount With small frequency shift amounts this intensifies the phasing
56. e PCI rear support bracket with two M3 screws Step 4 Attach the PCI rear support bracket to the threaded standoffs next to the CDROM drive with two M4 screws Nylon spacers should be located here al 1 if Ji M4 Mounting Screws UNPACKING 2 19 Step5 On a flat surface assemble the mounting bracket PCI riser card and DSP card as shown in the picture below Insert the two M3 screws as shown Insert the two male female M3 standoffs into the bracket M3 Screw Insert M F Standoffs Here M3 Screw PCI Riser Card Figure 8 Bracket PCI Riser DSP Card Assembly Step 6 Carefully lift the assembly and insert it into the CPU tray as indi cated Make sure the mounting bracket is aligned with the two stand offs on the base of the tray and that the bracket is not obstructed by any of the existing cables Adjust the cables if neces sary DREAM CONSOLE INSTALLATION 2 20 Step 7 Carefully insert the PCI riser card into the PCI slot in the moth erboard and press down firmly until the card is fully inserted in the PCI edge connector Support Bracket SBO USB DC Connector PCI Edge Connector M4 Bracket Screws Figure 9 Bracket PCI Riser DSP Card Installation Secure the bracket by inserting one M4 retaining screw through the heatsink on the rear panel of the tray On early consoles this hole may be obscured by the heatsink In this case insert the screw from the inside of the bracket so that i
57. e feedback values invert the phase of the feedback signal changing the sound of the comb filter effect accordingly FILTER 4 57 Cross FB Cross Feedback When Cross FB is enabled the left and right feedback signals are cross routed to the right and left delay line inputs respectively This creates comb filter effects which differ from those obtained with simple feedback When the button is lit Cross FB is enabled L R Phase Adjusts the phase difference between the modulation signals applied to the left and right channels This influences the apparent breadth of the stereo image Split F Split Freq only on Harm Chorus S Sets the frequency at which the original signal is split into two frequency ranges Only the frequencies above the split frequency will be processed for the chorus effect LowL Low Level only on Harm Chorus S Adjusts the volume level of the portion of the signal lying below the split fre quency This part of the signal is not processed for the chorus effect HighL High Level only on Harm Chorus S Adjusts the volume level of the portion of the signal lying above the split fre quency This is the part of the signal that is processed for the chorus effect Dry Adjusts the level of the original signal Wet Adjusts the level of the signal after processing by the chorus effect Make sure there is always some of the wet component added to the dry signal Otherwise the effect will not be
58. eader file The PIM 5 Documentation Installer will run displaying the PIM installation Welcome screen Click Next to start copying the files Acrobat Reader Installer will run Follow the prompts to set up Adobe Acrobat Reader Click the Finish button to quit the installer when finished DOCUMENTATION INSTALLATION 2 27 SSM Installation If running Plug Ins Manager on an SSM you must also install Plug Ins Man ager on the Station or Console This is necessary only to install the plug ins flexiSurface maps and ancillary PIM components The Plug Ins Manager application itself only runs on the SSM but the installation must be performed on the Station or Console If running Plug Ins Manager in the Station or Con sole ignore this step Step 1 Step 2 Step 3 Step 4 Step 5 Step 6 Click on the Exit button on the DREAM Start splash screen if currently running Insert the Plug Ins Manager 5 CD in the Station or Console CD ROM drive Click on My Computer on the Windows desktop Navigate to the CDROM and double click on the SetupPIM file The PIM 5 Installer will run displaying the PIM installation Welcome screen Click Next then read the End User License Agreement If you accept the agreement click Yes Click Next to start copying the files Click the Finish button to quit the installer when finished Restart the Station or Console computer Click on the Start Menu and select Shutdown gt Restart Add Startup Sh
59. ed to specific frequencies Dry Adjusts the level of the original signal Wet Adjusts the level of the signal after processing by the chorus effect S Make sure there is always some of the wet component added to the dry signal Otherwise the effect will not be apparent SPACE FLANGER M S STEP FLANGER M S The Step Flanger applies a sample and hold circuit to the modulation wave form The resulting flanger effects range from a step wise movement of the comb filter through its spectrum to abrupt large jumps Both mono and stereo versions are provided PreDel L R Adjusts the delay time over the range of 0 to 100 msec for both channels of the integrated stereo delay line which is connected in line ahead of the flanger effect Waveform Selects either a sine or triangle waveform for modulation of the flanger effect Shape Warps the modulation waveform widening the dips and narrowing the peaks to an adjustable degree thereby altering the motion produced by the modulation Rate Adjusts the frequency of delay time modulation in the flanger effect SHAPE 4 73 Depth Adjusts the amount of delay time modulation in the flanger effect and thus its intensity Step Rate Adjusts the rate at which the modulation signal is chopped into steps by the sample and hold circuit Specified as a multiple of the modulation frequency For typical staircase effects the step rate should be at least twice
60. ee eee 4 35 Distortion M S oes eda Soest ola hes Beate nd eet a 4 51 Documentation 0 aue eee eee 2 26 Dual Delay LSandS 00 0 00 0 e eee 4 40 Ducking Delay WS 0 2 eee ee ee 4 44 E Early Reflections 0 00 00 c eee eee eee 4 6 4 14 E Refle Gtor cover Pe Sa te Pee ee ee 4 19 Expander M S soria ida Pee ees 4 30 F FADERSED vous aa Beane aes 5 4 Favourites ia a a A ee 3 4 A AS 4 64 Fleximap Files cores ot Nites fe E aS 5 2 G Grate MS reee TE ET a a E Saws teeta 4 27 H Harmonic Chorus S 0 00 0 cee eee 4 56 Harmonic Flanger S 2 0 0 0 c ee eee eee 4 64 Hp to Seanad cant sade oon 2 26 Hexa Chorus Sie ae ke LS et es 4 60 High Cut M S tz these ante ee tak 4 34 I VEY WIRE un E E E TA A 6 2 WISE este lee EN ted ARM AI IN 3 2 Insert Config qa ia meea a e eee eee 3 2 3 4 3 5 L Limiter M S soosi mi dar 4 25 WOOP EEE A 4 48 Low Cut MWS ici a E A e Oe Rete EA 4 33 M Map Files a hat Gentes a E EEE EEE 5 10 Mapping Parameters 0 0 0 0 000 eee eee eee 3 5 Master Chorus M S 0 000 etn 4 58 Master Flanger M S 0 2 0 0 cece eee eee eee 4 66 Master Verb dass 4 12 MasterVerb Classic o ooo oooooooooooooooo 4 12 INDEX E Index iii MasterVerb Pro eee eee eee ene 4 3 Motherboard Connectors 0 000005 2 11 Multitap MSc al roa edie el aes pct ba t 4 42 O OptiMaste ata eal hed Ao oe ven 4 22 P Patching a Plug In 0 0 0 0 0 0 0
61. eenths Triplets is activated when the button is lit Level 1 4 These controls adjust the volume levels of the individual taps Set a level con trol to zero to exclude the corresponding tap Pan 1 4 These controls adjust the pan positions of the individual taps Tempo Enter any desired tempo between 25 and 300 BPM FB Feedback Adjusts the amount of looping delay output signal which is fed back to the delay inputs where it is again looped and repeated as a pattern At typical feed back settings the repeating echoes decrease in volume with each additional pass through the delay When this control is set to maximum signals fed into the delay line will be repeated infinitely LDamp Low Damp Adjusts the amount of low frequency damping in the feedback loop Low fre quency damping removes bass tones from the signal with each repeated cycle through the delay HDamp High Damp Adjusts the amount of high frequency damping in the feedback loop High frequency damping softens the signal with each repeat creating a natural sounding fade PATTERN DELAY 4 50 Dry Adjusts the level of the original signal Wet Adjusts the level of the effect signal CONTROLS 4 51 DISTORTION M S This effect produces both soft or hard distortion Soft distortion is compa rable to that which results when analog magnetic tape overload occurs it comes on slowly with increasing signal level and has a soft s
62. effect while with large shifts generation of more inharmonic components is the result SSB MODULATOR M S 4 80 LFO Wave Sets the LFO waveform used for frequency shift modulation Choices include Sine Square Saw Up Saw Down Triangle and Random Rate Sets the rate of LFO frequency shift modulation Dry On Off Switches the dry unprocessed signal on or off Switch it off when you want to use only the frequency shifter The dry signal is present when the button is lit Link Shifts SSB Modulator S only When this function is activated the frequency shift can be set simultaneously for both left and right signals Dry Adjusts the level of the original signal Wet Adjusts the level of the SSB effect signal SHAPE 4 81 SSB DELAY M S This effect combines frequency shifting and delay The frequency shifting is done in the feedback path of the delay The signal frequency spectrum thus ini tially remains unaltered but is shifted further and further with each succeeding echo Both mono and stereo versions of the effect are provided nial ms BPI 2 e e g j 1000 0000H2 4005700x mm D ETE e umm 127 1 num Frequency Shift Amount by which all frequencies in the signal spectrum are shifted Both pos itive and negative shifts are possible Range Multiplier for the Frequency Shift control sets its effective range 1 00000x permits a shift of 24000 Hz while 0 00001x produces a ra
63. el of the effect signal DELAY LM M AND LS S 4 38 DELAY LCR LS AND S The LCR Delays produce delayed signals on the left and right channels and also in the centre The delay is adjustable by channel Left Right Centre and a feedback loop is included for repeated echo Filters are included in the feed back loop to damp the high or low frequencies of subsequent echoes This effect is provided in versions with large delays maximum delay time of 5460 ms or small delays maximum of 682 ms X D M ms BP e A o e La Ama ms BPIM e O m gt La D uma Ama Cra ma E ms BPM Mode Switches between ms Mode delay time setting in milliseconds and BPM Mode delay time setting in terms of tempo BPM BPM Mode Specify the tempo you wish to match available range 25 300 BPM Note BPM Mode Set delay time in terms of a musical note length relative to the BPM tempo setting P and T indicate dotted and triplet respectively The shortest note value delay time is 1 64T The longest attainable note value depends upon the tempo a slower tempo limits the delay to smaller maximum note values If adjustment of BPM causes the maximum delay time 682 ms for Delay LCR S 5460 ms for Delay LCR LS to be exceeded the Note setting is automati cally stepped down to the next largest value MS BPM MODE 4 39 Delay ms Mode Sets delay time directly in milliseconds The mi
64. elay You can get the most out of the chorus effect by judiciously adjusting the modulation speed for specific instruments Source Image Source Image Switches on the automatic computation of the Dry Wet relationship and the Pan position of the acoustic source The computation is based on the distance from the listener to the source Before you can use this feature Sourcelmage must be the selected model in the ER Type menu Effect Intensity Determines the minimum effect proportion through automatic calculation of the Dry Wet relationship In Out Section Dry Wet Controls the relative levels of the direct and effect signals Wet 100 Switches the direct signal off The resulting effect output signal contains only the reverb portion 100 effect ER Controls the volume level of the early reflections ER Mute Switches off the Early Reflections Reverb Adjusts the proportion of the response signal Reverb Mute Switches the response signal off SOURCE IMAGE 4 11 Reverb Width Adjusts the stereo spread of the effect signal The spread is adjustable from mono to stereo with complete separation of left and right signal components possible Double clicking the control sets it to a normal stereo spread Creating Reverb Settings Creating good presets with a reverb processor that offers so many parameters requires a good ear and some experience To help you along we offer some tips for creating your own p
65. ersions The Threshold sets the level at which the effect begins to process the signal The Attack and Release controls determine how quickly the effect engages or quits when the threshold is crossed Ratio controls the degree of expansion how much the level is changed by the effect The Ratio value indicates the relation of the original signal to the expanded signal The Side Chain In can be used to permit a signal other than the primary input signal to be used for analysis and control The dynamics of the signal appearing at the Side Chain input will then control the response of the primary audio signal being processed O ax eI 0 4 ms Jf 0 325 s 0 EJE 3 21 ors e417 ms Displays In Displays the input level Red Reduction The relative signal reduction is displayed showing the actual working of the expander DISPLAYS Out Displays the output level Controls Side Chain N A LA Look Ahead With Look Ahead enabled the input signal being limited is analysed more accurately The expander uses a little more time to perform its function but the resulting treatment is more precise This implies however that the overall signal is somewhat delayed and this must be considered in the mix Maximum LookAhead times of 4ms and 16ms are available lt Off disables LookAhead completely Keep in mind that LookAhead requires DSP memory You should always use the shortest LookAhead time that achieves the
66. es a Source Image mode to provide simplified control of the major parameters by letting you position an acoustic source Source and a listener Destination within a defined area This positioning is enough to pro duce useful early reflections models If desired you can also include the dis tance of the source to the listener and the pan position of the source in the computation The X Y control adjusts the two most important parameters ER Size and ER Shape simultaneously ER Type Early Reflections Type In the drop down menu select an Early Reflections model The model you select determines the impression of space You can select from among 11 spe cifically designed models The twelfth model Sourcelmage enables computa tion mode ER Delay Early Reflections Delay Delay in milliseconds of the early reflections This is not associated with the Pre Delay except insofar as the room effect is influenced by the ER Delay only if Pre Delay is enabled see the Pre Delay parameter ER Size Early Reflections Size X Control You can edit Room Size and Rev Time parameters simultaneously using an X Y control The most important parameters are thus directly accessible ER Shape Early Reflections Shape Y Control The Shape parameter determines the decay envelope the decay curve An envelope with an exponential shape as adjusted by setting ER Shape to its maximum value produces the most natural effect EARLY REFLECTIONS
67. es sixteen early reflections to define the space This description of a source with mirror image phantom sources is known as the Source Image Method Simply stated this model describes the behaviour of acoustic waves in an area with an enclosed source and several other non enclosed copies of the source The wall absorption factor ignored previously can be effectively reproduced with the filters in the MasterVerb Pro s input section However this model does not take into account the existence of a floor and ceiling for the acoustic area This model should not therefore be considered as a complete room sim ulation Nevertheless the results are very convincing and the MasterVerb Pro fully meets all professional post production requirements SOURCE IMAGE 4 5 Controls Input Gain Controls the level of the signal to be proc essed A VU meter displays the level of the signal as adjusted A small mark next to the control indicates unity gain When adjusted to the left of the mark the signal is attenuated To the right of the mark the signal is amplified Low Pass Filter A low pass filter with a slope of 12db octave follows the gain control in the signal path There are three ways you can adjust the cutoff frequency Use the rotary control enter the value in the text field or adjust the value directly in the graphic display area using the mouse e G OHz E Rooms or halls we classify as warm absorb most o
68. et makes a switch a trigger to call a different faderset map The TRIG_SW command must appear in the faderset in which it is displayed The FlexiSurface control type Valid arguments are Fader panel controls FS_FADER FS_ PAN FS MUTE Parameter Pad controls PP_ENC PP_SW The FlexiSurface control index i e fader number or param eter pad control number starting from 1 Arg 3 Arg 4 Usage wW 5 6 The plug in controller user name display name For example use NEXT or MORE to indicate the selection of a second page of parameters Faderset map number to be displayed when switch is pressed Faderset maps are numbered ascending from 1 as they are read from the top of the file TRIG _SW FS MUTE 1 More 2 EGIN_TEXTMAP marks the beginning of the textmap section of the flex imap This section is used to convert the normalised parameter values reported by the plug in to human readable values with or without units The human readable values are displayed in the LCD window on a fader strip or in the parameter pad LCD The textmap section always appears at the end of the fleximap file The text mapping features include scaling off sets linear and log transfer functions prefix and postfix text items An example of the transfer function of a parameter between the software parameter which is always between 0 and 1 and the output is shown below BEGIN PARAMETER marks the beginning of a parameter definition
69. exchanges the left and right channels periodically With a mono signal the effect operates as a classic pan ning effect the signal sweeps periodically from the left channel to the right and back The modulation is controlled by an LFO with settings for Waveform Depth and Rate Depth Controls the depth or strength of the pan modulation Rate Controls the rate or speed of the pan modulation Wave Selects the waveform the LFO will use for pan modulation The following waveforms are available Sine Square Saw Up Saw Down and Random LFO MODULATION 4 93 STEREO PAN The Stereo Pan effect permits control over the stereo width of a stereo signal Since both left and right channels can be positioned anywhere in the full pan range it s possible for example to reverse the stereo image Left Adjusts the position of the left input channel signal in the stereo output field Right Adjusts the position of the right input channel signal in the stereo output field Mono use left input To generate a stereo signal from a mono input signal connect a signal to the left input and enable this option The input signal is then fed proportionately to both the left and right channels This mode is enabled when the indicator is lit STEREO PAN 4 94 STEREOEXPANDER The StereoExpander permits the breadth of a stereo image to be increased or decreased The processing is mono compatible and frequency independent
70. f the high frequencies those over 8 kHz or less Use the low pass filter to create a warmer response High Pass Filter A high pass filter also with a slope of 12db octave follows the low pass filter in the signal path As with the high pass filter there are three ways to adjust the cutoff frequency Use the rotary control enter the value in the text field or adjust the value directly in the graphic display area using the mouse The response of many halls lies mainly within the middle frequencies Together the low pass and high pass filters form a band pass filter attenuating both high and low frequencies Appropriate adjustment of the two filters repro duces the sound of a hall in which the midrange is favoured Reverb Colour Reverb Colour controls the tone quality of the room from bright to dark The results affect the apparent warmth and volume of the room With darker colour settings the low frequencies resound longer than the high frequencies MASTERVERB PRO 4 6 Early Reflections Early reflections in the MasterVerb Pro are built up from sixteen individual echoes You can control the form and process of the early reflections by adjusting the parameters described below The filters mentioned previously affect the tone quality of the early reflections The pre defined ER models in the selection provided have been specifically designed to produce useful space impressions and musical effects MasterVerb Pro featur
71. f the stereo image LoDamp Low Damp Adjusts the amount of low frequency damping in the feedback loop HiDamp High Damp Adjusts the amount of high frequency damping in the feedback loop Through the simultaneous use of both filters the comb filter effect produced via feedback can be restricted to specific frequencies Dry Adjusts the level of the original signal Wet Adjusts the level of the signal after processing by the chorus effect Make sure there is always some of the wet component added to the dry signal Otherwise the effect will not be apparent MASTER CHORUS M S 4 60 HEXA CHORUS S The Hexa Chorus taps the signal not just once but six times to provide mul tiple delayed signals for the chorus effect Each signal can be modulated for a particularly full and rich sound The Hexa Chorus S also features an integrated stereo delay with independently adjustable delay times for each channel Ca 2s Rote 04Hz s Cra Cura PreDel Left Right Adjusts the integrated delay for both of the stereo channels The range is from 0 to 628 ms Rate Adjusts the frequency of delay time modulation in the chorus effect Depth Adjusts the amount of delay time modulation in the chorus effect and thus its intensity Stereo Spread Controls the distribution of the effect signals between the two stereo channels At the minimum value the signals are mixed and sent equally to each channel At the maximum value
72. for more details Restart System Step 1 You must now restart your computer Click on the Start Menu and select Shutdown gt Restart SOFTWARE INSTALLATION 2 32 Starting Plug Ins Manager Plug Ins Manager 5 must be started prior to launching FMC To start Plug Ins Manager click on the Start menu and select Programs gt Fairlight ESP gt Plug In Manager A short cut to Plug Ins Manager should be added to the Windows Startup directory as described above This causes Plug Ins Manager to run automati cally when the system is powered on For Stations or Consoles running In Screen the short cut properties are set to Run Minimized For SSM systems the short cut is set to Run Maximized Once Plug Ins Manager is running you may proceed to start FMC from DREAMSaart in the normal manner STARTING PLUG INS MANAGER 3 1 NOTES 3 2 Chapter 3 Using Plug Ins INTRODUCTION Plug ins are inserted into feeds from the insert menu This provides consider able flexibility allowing plug ins to be inserted directly into a track feed or into a live feed whose input is sourced from an auxiliary bus for example This allows the Aux Bus to drive the plug in with the return being the Live Feed in which the plug in is inserted Starting Plug Ins Plug Ins Manager must be started prior to launching FMC Plug Ins Manager may be launched from the Start menu or by copying a shortcut to the Win dows Startup directory Follow the steps in t
73. g ital reverberation techniques therefore the Classic designation in the name Reflections This button sets the graphic area to display Reflections settings Reflect L Reflections Left Sets the volume and delay for reflections in the left side of the stereo image Reflect R Reflections Right Sets the volume and delay for reflections in the right side of the stereo image Depending on their adjustment the reflections may sound very distinctly as is appropriate for smaller rooms For large rooms using the reverb section alone may be sufficient Reverb The following parameters control the behaviour of the overall response and are available in both versions of the reverb In this section the tone quality is also determined by the settings of the filters mentioned previously Reverb Sets the graphic display to show the reverb parameters MASTERVERB AND MASTERVERB CLASSIC Rev Delay Rev Delay Adjusts the delay of the response in milliseconds This is distinct from a Pre delay as the early reflections or reflections are not affected by this setting The Reverberation Delay is used to separate the hall response from the direct signal and the early reflections This is useful to increase the comprehensibility of vocals or speech The impression of space is not altered as the early reflections are not changed Diffuse This setting controls the density of the response during the first milliseconds For large roo
74. ge TRIG SW Arg 1 Arg 2 FLEXIMAP FILES page 2 31 for more details Parameter pad encoders and switches are number from 1 to 10 top to bottom left to right The minimum control range 0 to 1 All parameter values are normalised to a range of 0 to 1 Use this argument to limit the control range to suit a particular plug in parameter The maximum control range 0 to 1 All parameter values are normalised to a range of 0 to 1 Use this argument to limit the control range to suit a particular plug in parameter The plug in controller transfer function Valid arguments are LIN LOG ANTILOG Use LIN to provide linear control of linear parameters such as percentage or switch functions LOG applies a logarithmic control curve for logarithmic parameters such as gain or pitch ANTILOG applies an inverse logarithmic control curve for parameters such as frequency These argu ments are provided to allow the best fit between encoder or fader resolution and the parameter range being controlled Some experimentation may be required to select the appro priate transfer function The plug in controller system name DO NOT EDIT This name is automatically generated when the plug in is first instantiated The plug in controller user name display name Use this argument to provide a user friendly name to be displayed in the LCD window User names are limited to 8 characters in length CONTROL PP_ENC 7 0 1 ANTILOG DSP Delay LM Wet W
75. gt disables LookAhead completely Keep in mind that LookAhead requires DSP memory You should always use the shortest LookAhead time that achieves the desired results and disable LookAhead when not needed 0 200 5 Ey osos O EJE Threshold Attack The Attack time is the compressor s reaction time the time it takes it to respond to a level spike Release This is the time after the signal falls back under the threshold that compression is no longer active Sets the input signal level above which compression begins COMPRESSOR M S 4 24 Ratio The Ratio adjusts the compression rate for signals that exceed the threshold level The compression is displayed as a relation value 1 1 means that there is no compression 3 1e g means that a an amplification of 3dB of the input signal results only in 1dB at the output Gain A compressor reduces the transient levels of a signal so that the overall signal can be increased later without danger of distortion This increases the average level of the music resulting in a fuller sound Adjust the volume increase with the Gain control CONTROLS 4 25 LIMITER M S This effect is related to compression and likewise modifies the dynamics of a sound It is provided in both a mono and a stereo version The level of louder passages is decreased This means that the overall level of the sound can be set higher with the net result that the level of softer sections is increased T
76. he installation chapter to get the system working PATCHING A PLUG IN Both stereo and mono plug ins are supported Stereo plug ins may be inserted across a stereo link group If a stereo plug in is inserted on a mono feed the right channel is inserted in the adjacent feed Step 1 Call the feed on which you wish to insert a plug in Step 2 Press the Insert key on Station or Insert Config on Console to display the Insert menu Step3 Press the Add Plug In soft key Step 4 Use the jog wheel or arrow keys to scroll through the list of avail able plug ins Step 5 Press the Add soft key to instantiate the plug in in Plug Ins Man ager There may be some delay while the plug in instantiates The insert patching is displayed on the channel display at the bottom of the mixer display and the insert is switched in A small purple P in the channel tile of the selected feed indicates that it has a plug in STARTING PLUG INS 3 3 When running plug ins in screen on Station or Console the plug in is displayed on top of the mixer display When running on an SSM the plug in is displayed in the Plug Ins manager window on the SSM display Step 6 When using a plug in that has a valid FlexiSurface map file the plug in parameters may be controlled from the fader panel or Sidecar by pressing the Plug Ins key located below the Parame ter Pad on Station or between the Direct Config and SIP Defeat keys at the top of the Channel Panel on Console
77. he lim iter operates by monitoring the level of the input signal An adjustable threshold level determines the point at which limiting begins Attack and release controls determine how quickly the limiter responds when the threshold is exceeded and when the input signal level falls back below the threshold respectively The ratio control determines the intensity of the lim iting i e the ration of input level change to output level change The gain control adjusts the level of the limited signal The Side Chain In can be used to permit a signal other than the primary input signal to be used for analysis and control The dynamics of the signal appearing at the Side Chain input will then control the response of the primary audio signal being processed en E A fozos 1 Ej osos EIA aim O ors Displays In Displays the input signal level Red Reduction Shows the degree of reduction or attenuation of the signal LIMITER M S 4 26 Out Displays the level of the resulting output signal Controls LA Look Ahead With Look Ahead enabled the input signal being limited is analysed more accurately The limiter uses a little more time to perform its function but the resulting treatment is more precise This implies however that the overall signal is somewhat delayed and this must be considered in the mix Maximum LookAhead times of 4ms and 16ms are available lt Off disables LookAhead completely Keep in mi
78. he use of the MSAT application to read the normalised parameter values transmitted by FMC For Log or Exponential control curves an automated spreadsheet is available to calculate the SCALE DIVISOR and OFFSET values required Follow the steps below 1 Use the LIN LOG or ANTILOG arguments in the CONTROL section to match the travel of the control surface control to the on screen plug in control i e make the halfway point of the controls coincide as near as possible 2 Determine if control is linear i e is the half way point equal to half the range of parameter values If linear the OFFSET the lowest parameter value and the SCALE maximum parameter value OFFSET 3 Determine if the control is a multi position switch e g text values If so determine the control value range of each switch and divide textmap into segments as shown below 4 If the control is not linear copy 10 displayed parameter values from the plug in screen at normalised MSAT control values of 0 100 200 1000 5 Load these values into the curve fitting spreadsheet to determine the cor rect DIVISOR SCALE OFFSET and OFFSET2 values to add to the text map The following examples show how parameters can be mapped EXAMPLE 1 LOG2 LEVEL PARAMETER FOR A DISTORTION PLUG IN BEGIN PARAMETER DSP Distortion LEVEL BEGIN SEGMENT RANGE 0 1 LOG2 DIVISOR 1 SCALE 20 244 OFFSET 0 0636 OFFSET2 0 00109 SEGMENT MAPPING 5 13 DECIMALPLACES
79. in parameters are mapped to faders pan and mute controls on the first twelve faders of a Console or Sidecar No changes to the FlexiSur face configuration are required however sophisticated customisation is pos sible using the FlexiSurface system If no Sidecar is available in a Station system the FlexiSurface file may need to be modified The FlexiSurface file defines which physical controls on the control surface are available to be mapped to control plug in parameters Parameters may be mapped to pan mute and fader controls on a fader panel or Sidecar or to the rotary controls and switches on the parameter pad of a Station To edit the file click on the Start menu and select Programs gt Accesso ries gt Notepad Files gt Open from the Notepad menu and navigate to C Program Files Fairlight FMC Data FlexiSurface txt and open the file When mapping to a fader panel edit the file to select the target fader strips Each fader strip must be listed in the file with an entry for example FADER STRIP 1 The default flexisurface maps include twelve faders Any number of faders may be used however each plug in FlexiSurface map file must be modified to suit the configuration When mapping to the Station Parameter Pad the file merely contains one PARAPAD entry all FADERSTRIP entries must be removed The plug in FlexiSurface map files must be modified to suit this configuration See the FlexiSurface Maps chapter in the PIM 5 User Manual
80. ion Summary The installation procedure includes the following steps summarised below which are detailed in this chapter 1 HPS gt Install drivers for the Fairlight AIB USB device Install Plug Ins Manager hardware in either the SSM Station or DREAM Console Install drivers for the plug ins DSP card Install the Scope Fusion Platform Software Install Plug Ins Manager 5 Software on both Station or Console and SSM if used Place a short cut to Plug Ins Manager in your start up directory Edit System_Variables txt to specify physical I O for plug ins Use the DREAMStart Setup page to configure the Fairlight Mixing Con sole application Edit the FlexiSurface txt file to specify which physical controls will be mapped to the plug in parameters PIM 5 REQUIRES DREAM V2 0 2 3 CD Contents The CD contains the following files and directories e Drivers directory containing AIB USB drivers included in case you have problems using the automatic setup file e SFP directory containing the CreamWare Scope Fusion Platform Instal lation files SetupPIMDrivers exe the AIB USB driver setup file e SetupMSAT exe Fairlight Monitoring System and Automated Testing application included to assist in troubleshooting and mapping new plug ins SetupSFP bat Scope Fusion Platform setup file e SetupAcrobatReader exe Adobe Acrobat Reader setup file for viewing the documentation e SetupPI
81. it fre quency This part of the signal is processed via the flanger effect Dry Adjusts the level of the original signal Wet Adjusts the level of the processed signal Make sure there is always some of the wet component added to the dry signal Otherwise the effect will not be apparent FLANGER M S HARMONIC FLANGER S 4 66 MASTER FLANGER M S This sophisticated device offers options for modifying modulation and flanger tone colour in addition to the classic flanger parameters It covers a wide range of sounds from subtle flanging to intense flanging with feedback Both mono and stereo versions are provided tims e J 024z A Em ua PreDel L R Adjusts the delay time over the range of 0 to 100 msec for both channels of the integrated stereo delay line which is connected in line ahead of the flanger effect Waveform Selects either a sine or triangle waveform for modulation of the flanger effect Shape Warps the modulation waveform widening the dips and narrowing the peaks to an adjustable degree thereby altering the motion produced by the modulation Rate Adjusts the frequency of delay time modulation in the flanger effect Depth Adjusts the amount of delay time modulation in the flanger effect and thus its intensity FILTER 4 67 FB Feedback Controls the level of the feedback signal which produces the typical flanger comb filter effect Negative feedback values invert the
82. ith the plug in you have purchased and any special instructions provided on the Fairlight web site The plug in device file must be copied to the CASFP Devices FairlightPluglns directory Plug ins device files are named with either a mal or dev file extension Your new plug in will now appear in the A11 plug ins list in the Insert menu APPROVED 3RD PARTY PLUG INS 3 6 ADDING NEW PLUG INS 4 1 NOTES Chapter 4 The Plug Ins This chapter lists all the standard plug ins and describes all the plug in param eters In the initial release of Plug Ins Manager 5 the insert patching system only allows signals to be patched to the main mono or stereo inputs and outputs of a plug in Some of the plug ins described below include side chain signal inputs These inputs are currently inaccessible In addition to the plug ins listed below the SPL Attacker SPL Transient Designer and Vinco compressor have all been mapped for use with Plug Ins Manager These additional plug ins may be putchased from the Creamware web site Use the index below to quickly locate a plug in MasterVerb Pro Hexa Chorus S MasterVerb and MasterVerb 4Tap Chorus S Classic Flanger M S Harmonic Flanger S E Reflector Master Flanger M S Compressor M S Random Flanger M S Limiter M S Space Flanger M S Gate M S Step Flanger M S Expander M S Phaser M S De Esser What is SSB Low Cut M S SSB Phaser M S High Cut M S SSB Modulator M S Delay LM M and LS S Del
83. mands VERSION file format version Arg 1 The version number currently version 1 DO NOT EDIT Usage VERSION 1 BEGIN _FADERS marks the beginning of the fader mapping section of the fleximap The TRIG_SW TRIG_PAR commands and FADERSETS under this section correspond to the FADERS defined in the flexisurface txt file BEGIN _PARAPAD marks the beginning of the parameter pad mapping sec tion of the fleximap The TRIG_SW TRIG_PAR commands and FADER SETS under this section correspond to the PARAPAD defined in the flexisurface txt file TRIG _PAR makes a specific parameter value or range of values a trigger to call a different faderset map Arg 1 The control range minimum 0 to 1 All parameter values are normalised to a range of 0 to 1 When the parameter value falls within the range defined the specified faderset map is dis played For switches use ranges equal to 1 divided by the FLEXIMAP FILES Arg 2 Arg 3 Arg 4 Arg 5 Usage FADERSET CONTROL Arg 1 Arg 2 5 4 number of switch positions For example the off position of a toggle switch will be 0 use a range from 0 0 5 the on position will be 1 use a range from 0 5 1 The control range maximum 0 to 1 All parameter values are normalised to a range of 0 to 1 When the parameter value falls within the range defined the specified faderset map is dis played The plug in controller parameter system name This is the system name of
84. ms or halls this should be set to maximum When simulating smaller spaces reducing the level results in added presence to the sound In the MasterVerb Classic version this setting also affects the density of the reflec tions Room Size Adjusts the apparent room size This control applies only to the reverb portion of the signal In order to avoid interference the response is muted for brief periods of time when adjusting the room size Time Controls the reverb time duration The reverb time is unlimited and can even be adjusted to infinity if desired As in a real world acoustical environ ment long reverb times correspond to large rooms In small rooms use shorter times to produce a natural sounding response REVERB 4 17 HiDamp Filter High Damp Filter This 6 db octave filter operates on the reverb response This filter reduces the high frequencies in the response signal depending on how it is adjusted There are three ways you can adjust the cutoff frequency use the rotary control enter the value directly in the text field or adjust the value directly in the graphic dis play area using the mouse Rooms or halls absorb high frequencies quite strongly Therefore settings between 3 kHz and 6 kHz are typical Shape The Shape control lets you change the envelope of the response signal Lower values correspond to relatively fast rise and fall times while larger values result in slower rise and fall times The effect is
85. n Use the retaining clips in the connector to secure the SIMM UNPACKING 2 23 Step 13 Check that all cables are still secure and slide the CPU tray closed Re insert the retaining screws in the tray DREAM CONSOLE INSTALLATION 2 24 SOFTWARE INSTALLATION Once the hardware has been installed restart your SSM Station or Console Make sure the system is running DREAM software version 2 0 or higher prior to installing the Plug Ins system The software version is displayed in the BLUE Utils menu Station Console BIOS Settings During boot up of the Station or Console hold down the Del key to display the BIOS setup screen Step 1 Select Integrated Peripherals gt System Share Memory Size gt 32MB Step 2 Save and Exit CreamWare Driver Installation During boot up the operating system will detect new hardware When the Found New Hardware dialogue for the Creamware DSP card is displayed insert the PIM Install disk Select Search for a suitable driver for my device and check the CD ROM option Select the drivers when prompted located on the PIM Install in SFP Driver Win2k scopeWDM inf If a Found New Hardware dialogue for the USB AIB card is displayed insert the Plug Ins Manager 5 disk select Search for a suitable driver for my device and check the CD ROM option Select the drivers when prompted located on the PIM 5 CD in Drivers Fair USB inf Pulsar Software Installation The Plug Ins Manager system runs
86. ncy Sets the filter s cutoff frequency Low Cut M S 4 34 HIGH CUT M S This is a highpass filter with a 12dB octave cutoff slope The filter is provided in both mono and stereo versions Frequency Sets the filter s cutoff frequency CONTROLS 4 35 DELAY LM M AND LS S The Delay or Echo delays the signal in simple or more complex ways pro ducing individual or repeated echoes Repeated echoes are created using a feed back Filters are included in the feedback loop to damp the high or low frequencies of subsequent echoes This effect is provided in versions with large delays maximum delay time of 5460 ms or small delays maximum of 682 ms The stereo versions of the effect also offer the option of switching to a cross feedback mode tx 5 ms BPM Y cam arm ms BPM 42708 SETE CETE oN 127 BEEE E ci C127 DEE cs ms BPM Mode Switches between ms Mode delay time setting in milliseconds and BPM Mode delay time setting in terms of tempo BPM BPM Mode Specify the tempo you wish to match available range 25 300 BPM Note BPM Mode Set delay time in terms of a musical note length relative to the BPM tempo setting P and T indicate dotted and triplet respectively The shortest note value delay time is 1 64T The longest attainable note value depends upon the tempo a slower tempo limits the delay to smaller maximum note values If adjustment of B
87. ncy damping in the feed back loop for the respective channel High frequency damping softens the signal with each repeat creating a natural sounding fade Dry Adjusts the level of the original signal Wet Adjusts the level of the effect signal DUAL DELAY LS AND S 4 42 MULTITAP M S The Multitap provides four delays with independently adjustable volume and in the stereo version adjustable pan position as well The delay is adjustable for each tap and a feedback loop is inserted after delay 1 to produce recurring echoes Filters are included in the feedback loop to attenuate the high or low frequencies of subsequent echoes The maximum delay time for each tap is 682 BPM sp 682 67 lt 3 375 00 wen OE pl ten ms BPI ua e orem S Rint EI yl Center o mm En LN ter ua ETE O km CN 127 E EEE ms BPM Mode Switches between ms Mode delay time setting in milliseconds and BPM Mode delay time setting in terms of tempo BPM BPM Mode Specify the tempo you wish to match available range 25 300 BPM Note BPM Mode Set delay time in terms of a musical note length relative to the BPM tempo setting P and T indicate dotted and triplet respectively The shortest note value delay time is 1 64T The longest attainable note value depends upon the tempo a slower tempo limits the delay to smaller maximum note values If adjustment of BPM causes the maximum delay time 6
88. nd that LookAhead requires DSP memory You should always use the shortest LookAhead time that achieves the desired results and disable LookAhead when not needed e Attack S mu The Attack time in milliseconds is the limiter s reaction CEE time the time it takes it to respond to a level spike Release 6 This is the time in milliseconds after the signal falls back under the threshold that limiting is no longer active Threshold Sets the input signal level above which limiting begins Ratio The Ratio adjusts the compression rate for signals that exceed the threshold level The compression is displayed as a relation value 1 1 means that there is no compression 3 1e g means that a an amplification of 3dB of the input signal results only in 1dB at the output Gain A limiter reduces the transient levels of a signal so that the overall signal can be increased later without danger of distortion This increases the average level of the music resulting in a fuller sound Adjust the volume increase with the Gain control CONTROLS 4 27 GATE M S A gate is just what its name says a gate When it is open signals can pass freely When closed signals are blocked A typical gate will open when a specific volume threshold is reached and remain open for a certain specified time If the threshold is not reached again during that time it will close A gate can serve several purposes such as muting the signal to av
89. nge of 0 2400 Hz By setting Range appropriately Frequency Shift can be adjusted very finely ms BPM Mode Switches between ms Mode delay time setting in milliseconds and BPM Mode delay time setting in terms of tempo BPM BPM Mode Specify the tempo you wish to match available range 25 300 BPM SSB DELAY M S 4 82 Note BPM Mode Set delay time in terms of a musical note length relative to the BPM tempo setting P and T indicate dotted and triplet respectively The shortest note value delay time is 1 64T The longest attainable note value depends upon the tempo a slower tempo limits the delay to smaller maximum note values If adjustment of BPM causes the maximum delay time 682 ms for Delay M S 5460 ms for Delay LM LS to be exceeded the Note setting is automatically stepped down to the next largest value Delay ms Mode Sets delay time directly in milliseconds The minimum delay setting is 4 ms the maximum 5460 ms FB Feedback Sets the strength of the feedback the portion of the delayed signal that is routed back to the input to create multiple receding echoes The degree of feed back determines the fade out time of the repeated echoes or somewhat over simplified the number of echoes Cross FB Cross Feedback SSB Delay S only When Cross FB is enabled the left and right feedback signals are cross routed to the right and left delay line inputs respectively Thi
90. nimum delay setting is 4 ms the maximum 682 ms Delay LCR S or 5460 ms Delay LCR LS FB Feedback Sets the strength of the feedback the portion of the delayed signal that is routed back to the input to create multiple receding echoes The degree of feed back determines the fade out time of the repeated echoes Spread This control adjusts the degree to which the stereo channels are separated in the stereo image The centre channel is always in the centre while the left and right signals are distributed proportionately in the left and right channels depending on this setting LDamp Low Damp Adjusts the amount of low frequency damping in the feedback loop Low fre quency damping removes bass tones from the signal with each repeated cycle through the delay HDamp High Damp Adjusts the amount of high frequency damping in the feedback loop High frequency damping softens the signal with each repeat creating a natural sounding fade Dry Adjusts the level of the original signal Wet Adjusts the level of the effect signal DELAY LCR LS AND S 4 40 DUAL DELAY LS AND S This delay provides the left and right channels with their own independent feedback loops Filters are included in the feedback loop to attenuate the high or low frequencies of subsequent echoes This effect is provided in versions with large delays maximum delay time of 5460 ms or small delays max imum of 682 ms P A ms BP
91. nvironment As well as real spaces experimental or theoretical examples are also provided Filters in the input section can be used to change the tone quality of the signals Input Gain Controls the level of the input signal A level meter serves to help you optimise the level The small dot indicator next to the Gain control indicates unity gain If the control is adjusted below the indicator the signal is attenuated Above the indicator the input signal is amplified Lowpass Filter A low pass filter with a slope of 12db octave follows the gain control Adjust the frequency of this filter a with the rotary control b by entering the value in the text field or c directly with the filter s graphic control interface Highpass Filter After the low pass filter lies a high pass filter with a slope of 12db octave Adjust the frequency of this filter a with the rotary control b by entering the value in the text field or c directly with the filter s graphic control interface E REFLECTOR 4 20 Early Reflections Early reflections are composed of sixteen individual echoes You can control the nature and shape of these echoes with the following parameters The filters described previously determine the overall tone quality of early reflections ER Type Early Reflections Type From the drop down list select an Early Reflections model type This deter mines the overall impression of this acoustical space ER Spread
92. o D connector screwlock fittings supplied Use a 5mm nut driver or small adjustable spanner to tighten the fit tings Step 3 Install the DSP Card card into the first available PCI slot Secure the card with the mounting screw removed from the SSM blank ing plate SSM INSTALLATION 2 10 Step 4 Connect the AIB USB Power cable APIM102 D Connect the DC connector to a free power supply DC connector Connect the USB header to the motherboard USB2 connector as shown below note that connections may be different on some motherboards PCI Slot 1 USB2 DSP Card UNPACKING Figure 1 SSM Motherboard Connectors T f A 2 APIM102 C PCI 1 Pin 1 N C Pin 2 USB D Pin 3 USB D Pin 4 GND Pin 5 Spare PCI 2 1 EEEEEUSB 2 PCI 3 Figure 2 USB Connection Detail may differ on some motherboards SSM INSTALLATION 2 12 Step5 Connect the DSP AIB Audio Bus Cable Note the orientation of the cable as shown below FRONT Attach cable to front connector Red wire to front DC power connection of card a o ou mars En a 20 Mhh USB DC connector Audio bus connector DSP Card Figure 3 SSM Cable Connections Step6 Connect a 50 pin AES I O cable from the AIB to a spare digital I O connector on the QDC engine See Digital I O Connector on page 6 2 for connector pin out Step 7 Re attach the SSM top cover Step 8 Plug Ins Manager communicates with the Station or console via TC
93. o click and drag on any parameter control To gain more resolution when controlling a knob click in the centre of the knob then move the pointer to the top edge of the screen then move the pointer from left to right to adjust the value NOTE Do not click on the cross at the top right of a plug in graphical interface Always use the Remove Plug In soft key in the Insert menu to remove plug ins Using the Control Surface Plug in parameters can be controlled from the fader mute and pan controls on a fader panel or Sidecar or from the encoders and switches on the Station Parameter Pad The default FlexiSurface mapping places each parameter under the control of an appropriate fader rotary encoder or switch Once a plug in is inserted in a feed its graphical interface is displayed on the screen whenever the feed is called and the Plug Ins key is pressed The parameter names are displayed in the LCD windows above the faders or next to the controls in the Parameter Pad Changes made to any parameter via the control surface are displayed in the plug ins graphical interface The selection of a specific group of faders or the Parameter Pad for use with plug ins is made in the FlexiSurface file See FlexiSurface File on page 2 31 FAVOURITES The FAV favourites soft key in the Insert menu displays a list of user selected plug ins This allows the user to quickly find the plug ins they use most often without having to scroll thro
94. oid background noise noise gate instrument separation etc or to clean up the trailing out of an instrument sound er g J 0 0505 Hold 0200s 0 0005 450 aB Mya 1 95 0 aB 10 00 dE O 0 0 05 i Displays In Displays the input level Red Reduction The relative signal reduction is displayed showing the actual working of the Gate Out Displays the output level Controls Side Chain N A GATE M S 4 28 LA Look Ahead With Look Ahead enabled the input signal being limited is analysed more accurately The limiter uses a little more time to perform its function but the resulting treatment is more precise This implies however that the overall signal is somewhat delayed and this must be considered in the mix Maximum LookAhead times of 4ms and 16ms are available lt Off gt disables LookAhead completely Keep in mind that LookAhead requires DSP memory You should always use the shortest LookAhead time that achieves the desired results and disable LookAhead when not needed Att Attack Spf 0 0505 Holdi Amount of time for full opening of the gate once gJ 02005 0000s the input signal level has exceeded the turn on e upper threshold Hold Minimum amount of time the gate will stay open LJ 96 0 dB 10 00 de F 0 0 06 once it is triggered i e minimum delay between end of attack and start of release Rel Release Amount of time which gate takes to fully
95. ons to clear them then Next Finally click Finish PIM5 Software Installation Plug Ins Manager 5 must now be installed Step 1 Step 2 Insert the Plug Ins Manager 5 CD Click on My Computer on the Windows desktop Navigate to the CDROM and double click on the SetupPIM file The PIM 5 Installer will run display ing the PIM installation Welcome screen Click Next then read the End User License Agreement If you accept the agreement click Yes SOFTWARE INSTALLATION Step 3 Step 4 2 26 Click Next to start copying the files Click the Finish button to quit the installer when finished Documentation Installation The on line version of this manual includes additional chapters on using all the plug ins supplied with Plug Ins Manager Once installed the manual can be found by clicking on the Start menu and selecting Programs gt Fairlight gt Docs User Manual Step 1 Step 2 Step 3 Insert the Plug Ins Manager 5 CD Click on My Computer on the Windows desktop Navigate to the CDROM and double click on the SetupPIMDocs file The PIM 5 Documentation Installer will run displaying the PIM installation Welcome screen Click Next to start copying the files Click the Finish button to quit the installer when finished Acrobat Reader Step 1 Step 2 Step 3 Step 4 Insert the Plug Ins Manager 5 CD Click on My Computer on the Windows desktop Navigate to the CDROM and double click on the SetupAcrobatR
96. ortcut Adding Plug Ins Manager to the startup directory will make Plug Ins Manager run automatically every time you start up your system Step 1 Step 2 Step 3 Step 4 Right click on the task bar at the bottom of the Windows desk top Click Properties then click on the Advanced tab Click the Add button then click the Browse button and navi gate to C Program Files Fairlight Plug In Manager Plug In Man ager exe Click Next then scroll down the destination folder list to Start Menu gt Programs gt Startup then click Next SOFTWARE INSTALLATION Step 5 2 28 Click Next to accept the shortcut name then click Finish If running Plug ins Manager internally on a Station or Console the short cut properties must be set to Run Minimized For SSM systems the short cut is set to Run Maximized Step 1 Step 2 Click on the Start menu and right click Programs gt Startup gt Plug In Manager and select Properties from the context menu Click on the Run drop down list and select Minimzed or Maximized as appropriate for you system Add System Variables The QDC I O used to support Plug Ins must now be defined Plug Ins requires a block of 16 AES I O Step 1 Step 2 Step 3 On the Station or Console click on My Computer on the Win dows desktop and navigate to C Program Files Fair light FMC Data System_Variables txt Double click on the file to open it in the Windows Notepad editor Edit the
97. ound Hard distor tion is produced via simple clipping It appears more suddenly and has a harder edgier sound This module can be used polyphonically as well as mono phonically thus both before and after the Poly Out module Since the overall signal level increases when you use the Gain control to raise the distortion level a Level control is provided to attenuate the signal for output Gain Controls the amount of distortion The level of the overall signal is also increased along with the distortion Hard When Hard is enabled the signal is digitally clipped cut off Hard is enabled when the button is lit Soft This distortion effect emulates that of an overdriven analog tape machine It is a gentler form of distortion than hard clipping Soft is enabled when the button is lit Level This control allows you to compensate for the increase in signal volume when distortion is added DISTORTION M S 4 52 TDRIVE M S AND TQDRIVE M S This effect simulates the warm rich sound of the distortion produced by a tube amplifier hence the T in the name Filters permit further tonal shaping The TQDrive has one pre distortion EQ and two post distortion EQs Both effects are provided in mono and stereo versions er gt g s5 DA Ex CI a133Hz Drive Controls the degree of distortion The distortion circuit also boosts the signal level The green and red LEDs next to the text field indicate whether
98. percep tion of space the size of the hall The response signals produce the overall atmosphere Filters in the input and response sections control the tonal colour of the hall The MasterVerb produces a range of authentic early reflection models while the Classic version provides only a single simulation of early reflections With regard to DSP usage the Classic version is more economical than the Mas terVerb The Masterverb s DSP cost is justified by a more realistic impression of space however The reverb section is identical in both versions Choose the version to use with respect to the production requirements For an accurate sense of spaciousness use the MasterVerb To save DSP resources or to pro duce only the atmospheric component use the Classic version IN OUT SECTION 4 13 Input Gain Controls the level of the signal to be processed A VU meter displays the level of the signal as adjusted A small mark next to the control indicates unity gain When adjusted to the left of the mark the signal is attenuated To the right of the mark the signal is amplified Low Pass Filter A low pass filter with a slope of 12db octave follows the gain control in the signal path There are three ways you can adjust the cutoff frequency Use the rotary control enter the value in the text field or adjust the value directly in the graphic display area using the mouse Rooms or halls we classify as warm absorb most of the high
99. playS ts cai 4 27 Controls miis a cantes ate nes 4 27 EXPANDER M S 4 30 TABLE OF CONTENTS Displays 6 ees es cores 4 30 Controls en sos 4 31 DE ESSER a spaa 0 is 4 32 LOW CUT M S aoaaa 4 33 HIGH CUT MSS 4 34 DELAY LM M AND LS S 4 35 ms BPM Mode 4 35 DELAY LCRLSANDS 4 38 ms BPM Mode 4 38 DUAL DELAY LSANDS 4 40 ms BPM Mode 4 40 MULTITAP M S 4 42 ms BPM Mode 4 42 DUCKING DELAY M S 4 44 Displays coins ac 4 44 Controls 4 45 PATTERN DELAY 4 48 DISTORTION M S 4 51 TDRIVE M S AND TQDRIVE M S Son Engel bw Be ee he 4 52 Pre and Post EQs 4 52 AUTOWAH MSS 4 54 Envelope Follower 4 55 Filtrado ane oe 4 55 CHORUS S AND HARMONIC CHO RUSS atar ae 4 56 MASTER CHORUS M S 4 58 HEXA CHORUSS 4 60 4TAPCHORUSS 4 62 FLANGER M S HARMONIC FLANGER 8 40 64 66005004 o 4 64 MASTER FLANGER M S 4 66 RANDOM FLANGER M S 4 68 SPACE FLANGER M S 4 70 STEP FLANGER M S 4 72 PEN aotenn Bee s 4 72 PHASER M S o o o o o o o o oo 4 74 WHAT IS SSB 2 4 76 SSB PHASER M S 4 77 SSB MODULATOR M S 4 79 SSB DELAY M S 4 81 TABLE OF CONTENTS PITCH SHIFTER M S 4 83 LFO Modulation 4 84 4 POLE FILTER M S 4 85 RESONATOR M S 4 87 RING MOD
100. rameter maps for each plug in Each line must start with a command Commands are followed by a fixed number of arguments as defined below Each argument is separated by a comma Comments can be included on a separate line and must start with a 5 3 The file may contain multiple faderset maps to allow for several pages of parameters or to switch maps automatically on parameter changes This allows parameters to be displayed in context with the state of a plug in For example to display delay times in milliseconds or beats per minute depending on the operating mode of a delay plug in use the TRIG_PAR command described below linked to the MODE parameter to call the appropriate faderset map To provide a button to display a second page of parameters use the TRIG_SW command and define a MORE switch in the faderset map Each separate map is marked by a new FADERSET command Faderset maps are numbered ascending from 1 as they are read from the top of the file The fleximap file also contains a text map section used to translate the normal ised parameter values reported by the plug in system to actual parameter values to be displayed in the fader LCD windows or parameter pad LCD Some experimentation may be required to obtain a good fit between the values dis played on screen and the values displayed on the control surface The fleximap system includes functions for converting linear logarithmic and exponential display values Fleximap Com
101. resets First listen to the original signal alone by clicking the mute buttons for Early Reflections and Reverb After you have listened carefully to the source signal switch off muting for the Early Reflections signal and select a model corre sponding to your basic idea of the room desired Next adjust the early reflec tions until they produce the desired room effect more exactly Make several comparisons between the original signal and the processed signal as you pro ceed After you have established suitable settings for early reflections switch in the reverb response Adjust the room size of the reverb signal so that the character of the reverb signal matches the character of the early reflections Next adjust the reverb time Here the less is more principle applies This is especially true when you get to the final mix in which reverb times that are too long can pro duce disturbing results Finally fine tune the effect with the Diffuse Shape and Definition controls With a little practice you ll get consistently good results without too much effort MASTERVERB PRO 4 12 MASTERVERB AND MASTERVERB CLASSIC These effects simulate concert hall reverberation Each of the two versions con sists of one section to produce the initial echoes early reflections and a second to produce the response reverb or response Early reflection or more pre cisely the pattern of early reflections is essentially responsible for the
102. rmation on segments below DIVISOR 15 DECIMAL PLACES Specifies the resolution of the display shown to the user Usage for the segment of the parameter being defined DECIMAL PLACES 1 POSTFIXONLY Specifies whether the user will see a numerical value as cal Usage FLEXIMAP FILES culated for the segment or the user will just see the POSTFIX value POSTFIXONLY 5 10 Example Map File This map provides two faderset maps When the MODE parameter has a value of 0 the first faderset map is displayed showing delay values in milliseconds When the MODE switch is pressed the MODE parameter is set to 1 causing the second faderset map to be displayed showing beats per minute PULSAR Delay LM FSM Version number must be 1 VERSION 1 BEGIN_FADERS Two trigger events to call the fader sets TRIG _PAR 0 0 5 DSP Delay LM Mode text 1 TRIG PAR 0 5 1 DSP Delay LM Mode text 2 Fader set number 1 definition FADERSET CONTROL FS MUTE 1 0 1 LIN DSP Delay LM Bypass Bypass CONTROL FS MUTE 2 0 1 LIN DSP Delay LM Mode ms BPM CONTROL FS_FADER 1 0 1 ANTILOG DSP Delay LM Delay Delay CONTROL FS FADER 3 0 1 LIN DSP Delay LM FB FB CONTROL FS_FADER 4 0 1 ANTILOG DSP Delay LM LDmp LDmp CONTROL FS_FADER 5 0 1 ANTILOG DSP Delay LM HDmp HDmp CONTROL FS _FADER 6 0 1 ANTILOG DSP Delay LM Dry Dry CONTROL FS FADER 7 0 1 ANTILOG DSP Delay LM Wet Wet Fader set number 2 definition FADERSET CONTROL FS MUTE 1 0 1 LIN DSP Delay
103. s creates more complex frequency shifting effects than those obtained with simple feedback When the button is lit Cross FB is enabled LDamp Low Damp Adjusts the amount of low frequency damping applied to a signal per pass through the feedback loop HDamp High Damp Adjusts the amount of high frequency damping applied to a signal per pass through the feedback loop SHAPE 4 83 PITCH SHIFTER M S Use the Pitch Shifter to change the pitch of a signal without altering its dura tion The pitch shifter can be used to produce a second voice at an adjustable fixed interval from the original signal With the stereo version the pitch for each channel can be independently adjusted as well as the volume and pan position The mono version includes a delay you can apply to the pitch shifted signal Coarse L R Adjusts the detune value in half tones Note that high values here require you to use a correspondingly high Time Range setting for a clean sounding result Fine L R Adjusts the detune value in very fine increments The range is 99 cents where a cent is 1 100th of a half tone 1 2 tone 100 cents Level L R only in Pitch Shifter S Controls the volume level of the effect signal Pan L R only in Pitch Shifter S Controls the left right positioning of the effect signal in the stereo field Delay only in Pitch Shifter M Controls the delay of the effect signal The range is from 0 2000 ms PITCH
104. specifically instructed to do so Please take note that all Fairlight manufactured electronic modules are static sensitive and should be handled under anti static conditions When working on a system always ensure that you have an anti static lead con nected Never work on the system while powered up unless you are authorized by Fair light to do so As a matter of practice always touch the external chassis of the system before opening the unit If cards are not handled under anti static pro cedures your machine may sustain damage which could either cause a complete failure or may cause intermittent crashes and subsequent system failure When handling cards please ensure that they are placed in anti static bags when not in the system For shipment purposes electronic modules should be placed in an anti static bag and then suitably surrounded with loose packaging mate rials in a solid card board box Cards shipped to Fairlight without the correct anti static packaging will have their warranty voided If you have any enquiries on this matter please feel free to contact your local Fairlight office or distrib utor Unpacking Check the contents of your plug ins kit against the list above and make a note of any omissions SSM INSTALLATION Step 1 Power down the SSM and remove the top cover Step 2 To mount the AIB card hardware Insert the 50 pin D connector through the cut out in the rear panel of the SSM Attach the con nector with the tw
105. t extends about 3mm into the hole from the inside of the CPU tray UNPACKING Insert the remaining two M retaining screws through the top of the bracket into the threaded standoffs on the base of the tray Step 8 Align the two holes in the end of the DSP card with the nylon spacers on the PCI rear support bracket Attach the DSP card with the two M3 nylon nuts Step 9 Attach the AIB card to the bracket via the two M3 standoffs secured with two M3 screws Insert the final screw into threaded insert on the side of the CPU tray Step 10 Install the USB DC cable ABE1205 A from the AIB card to connector JR3 on the SBO card as shown JR3 USB DC Connector for Plug Ins 5 eo BMIX0018 il x a wa O CEEI sorea Figure 10 SBO USB DC Connector DREAM CONSOLE INSTALLATION 2 22 Step 11 Install the audio bus cable APIM201 A note the orientation of the cable as shown Audio bus cable red wire to FRONT of card USB DC Cable AIB Mounting Screws Figure 11 AIB and cable installation Step 12 Install the new 128MB RAM SIMM into the motherboard Insert the SIMM into the edge connector making sure of correct orientatio
106. termines the point at which compression begins Attack and release controls determine how quickly the compressor responds when the threshold is exceeded and when the input signal level falls back below the threshold respectively The ratio control determines the intensity of the compression i e the ratio of input level change to output level change The gain control adjusts the level of the compressed signal The Side Chain In can be used to permit a signal other than the primary input signal to be used for analysis and control The dynamics of the signal appearing at the Side Chain input will then control the response of the primary audio signal being processed a Plug Ins Manager does not currently provide the means for patching sidechain signals erf gx 0 200 s joss lt 20 0 a5 2o urs EARLY REFLECTIONS 4 23 Displays In Displays the input signal level Red Reduction Shows the degree of reduction or attenuation of the signal Out Displays the level of the resulting output signal Controls Side Chain N A LA Look Ahead With Look Ahead enabled the input signal being compressed is analysed more accurately The compressor uses a little more time to perform its function but the resulting treatment is more precise This implies however that the overall signal is somewhat delayed and this must be considered in the mix Maximum LookAhead times of 4ms and 16ms are available lt Off
107. th The effect functions in stereo Wx ECO y EITE A 0 0 A O a a O A TITTI TETT TTT AAR PTT TTT 1 TT le so a TTT TTT Tl TT le o Bae amp 12000 a Lm 3 Om mua a 0 BA mom Loop Sets the time interval over which the overall pattern is repeated or restarted This setting is specified in terms of note length values and can be shorter than the pattern itself if desired In fact this control is the delay time setting for a separate hidden looping delay around which the feedback occurs The output signal from this delay combined with the dry input signal is fed to the inputs of pattern delays 1 4 whose lengths can therefore be longer than the Loop setting Delay On Off 1 4 Each button switches the corresponding delay tap on or off Switching a delay off removes it from the pattern A delay is active when the corresponding button is lit CONTROLS 4 49 Delay Length 1 4 The delay time of a tap is specified in terms of note intervals which can be set within the displayed grid The individual positions in the grid represent either 16ths or triplets depending upon whether the Triplets option is selected see below The white boxes indicate quarter note positions in either case Note that the outputs of delays 1 4 are not included in the feedback loop Triplets Switches the pattern to triplets mode The individual boxes in the pattern grid now represent triplets instead of straight sixt
108. the LFO will use to modulate the sine wave The fol lowing waveforms are available Sine Square Saw Up Saw Down and Random Depth Sets the modulation depth This controls the amount of deviation from the basic frequency the sine wave oscillator will produce Rate Controls the rate at which the LFO modulates the sine wave oscillator Dry Adjusts the level of the original signal RING MODULATOR M S 4 90 Wet Adjusts the level of the processed signal LFO MODULATION 4 91 TREMOLO M S The Tremolo effect modulates the amplitude of an input signal periodically according to the waveshape selected in the Wavefield at a rate set under Rate The Depth parameter controls the degree of modulation This effect is pro vided in both mono and stereo versions Ex E E O A Oia Rae mas DIN O Depth Controls the depth or strength of the modulation of the input signal s ampli tude Rate Controls the rate or speed of the amplitude modulation Wave Selects the waveform the LFO will use to modulate the amplitude The fol lowing waveforms are available Sine Square Saw Up Saw Down and Random Inv R Channel Mod invert right channel modulation only on Tremolo S Shifts the phase of the right channel of the modulation signal relative to the left by 180 degrees The modulation of the right channel follows the left TREMOLO M S 4 92 AUTOPAN When used with stereo signals the Autopan effect
109. the level of the original signal Wet Adjusts the level of the processed signal f Make sure there is always some of the wet component added to the dry signal Otherwise the effect will not be apparent PHASER M S WHAT IS SSB SSB is an abbreviation for Single Side Band and refers to a modulation process by means of which a signal s frequencies can be shifted The shift is the same for all frequencies for example if a signal contains components at 440 Hz 880 Hz 1760 Hz and 3520 Hz an SSB modulator can shift each of these fre quencies by 10 Hz to 450 Hz 890 Hz 1770 Hz and 3530 Hz Therefore SSB is also referred to as frequency shifting or spectrum shifting Until now SSB has been available only in expensive modular systems such as the Moog Modular Frequency shifting is not to be confused with pitch shifting In pitch shifting all frequencies are multiplied by the same factor or in other words trans posed and harmonic relationships are preserved With SSB by contrast harmonic relationships are as a rule transformed into inharmonic ones as the above example illustrates whereas 880 Hz is an octave above 440 Hz 890 Hz is not an octave above 450 Hz the shifted frequencies are no longer harmonically related SHAPE 4 77 SSB PHASER M S If SSB is used to shift a signal s frequency spectrum only slightly by less than 1 Hz and if the shifted signal is mixed with the original an effect is produced whi
110. the modula tion rate Step Lag Adjusts the rate at which the modulation signal slews or makes its transition from one step value to the next Larger settings produce more gradual transi tions while a setting of zero yields very hard transitions FB Feedback Controls the level of the feedback signal which produces the typical flanger comb filter effect Negative feedback values invert the phase of the feedback signal changing the sound of the comb filter effect accordingly L R Phase Step Flanger S only Adjusts the phase difference between the modulation signals applied to the left and right channels This influences the apparent breadth of the stereo image LoDamp Low Damp Adjusts the amount of low frequency damping in the feedback loop HiDamp High Damp Adjusts the amount of high frequency damping in the feedback loop Through the simultaneous use of both filters the comb filter effect produced via feedback can be restricted to specific frequencies Dry Adjusts the level of the original signal Wet Adjusts the level of the signal after processing by the chorus effect Make sure there is always some of the wet component added to the dry signal Otherwise the effect will not be apparent STEP FLANGER M S PHASER M S The phaser or phase shifter is similar to the flanger and chorus but instead of using a delay line it functions by introducing frequency dependent phase shifts into the signal which is
111. the parameter whose value triggers the TRIG_PAR event The name is specified in the faderset map definition described below the name must be entered exactly as given in the CONTROL entry The plug in controller parameter text output user name dis play name This is the user name of the parameter whose value triggers the TRIG_PAR event This is the name speci fied in the faderset map definition described below Faderset map number to be displayed when the plug in parameter falls within in the range specified Faderset maps are numbered ascending from 1 as they are read from the top of the file TRIG PAR 0 0 5 DSP Delay LM Mode mS BPM 1 marks the beginning of a new faderset map Faderset maps are numbered ascending from 1 as they are read from the top of the file Each faderset map includes a list of CONTROL com mands as described below each parameter to be mapped to a physical control is defined with a separate CONTROL command The FlexiSurface control type to be used to control the param eter Valid arguments are Fader panel controls FS_FADER FS PAN FS MUTE Parameter Pad controls PP_ENC PP_SW The FlexiSurface control index i e faderstrip number or Parameter Pad control number Index value starts from 1 The number of faderstrips available i e maximum control index is defined in the FlexiSurface file See FlexiSurface File on FLEXIMAP COMMANDS 5 5 Arg 3 Arg 4 Arg 5 Arg 6 Arg 7 Usa
112. the selected waveform varies randomly Rate Adjusts the frequency of delay time modulation in the flanger effect Depth Adjusts the amount of delay time modulation in the flanger effect and thus its intensity FILTER 4 69 FB Feedback Controls the level of the feedback signal which produces the typical flanger comb filter effect Negative feedback values invert the phase of the feedback signal changing the sound of the comb filter effect accordingly L R Phase RandomFlanger S only Selects between in phase 0 and out of phase 180 modulation signals for the left and right channels of the flanger effect This influences the apparent breadth of the stereo image LoDamp Low Damp Adjusts the amount of low frequency damping in the feedback loop HiDamp High Damp Adjusts the amount of high frequency damping in the feedback loop Through the simultaneous use of both filters the comb filter effect produced via feedback can be restricted to specific frequencies Dry Adjusts the level of the original signal Wet Adjusts the level of the signal after processing by the chorus effect f Make sure there is always some of the wet component added to the dry signal Otherwise the effect will not be apparent RANDOM FLANGER M S SPACE FLANGER M S In this flanger not only the delay position is varied but the delay length as well This lends the Space Flanger a very distinctive character Both mono
113. tion 2 25 Documentation Installation 2 26 SSM Installation 2 27 Add Startup Shortcut 2 27 Add System Variables 2 28 DREAMStart Setup 2 29 Network Settings 2 30 FlexiSurface File 2 31 Restart System 2 31 Starting Plug Ins Manager 2 32 Chapter 3 Using Plug Ins INTRODUCTION 0 3 2 Starting Plug Ins 3 2 PATCHING A PLUG IN 3 2 CONTROLLING PLUG INS 3 3 Using the Trackball 3 3 Using the Control Surface 3 4 FAVOURITES a sey cece id ett 3 4 Adding to Favourites 3 4 Selecting Favourites 3 5 APPROVED 3RD PARTY PLUG INS A Bat scale Sontag E tg 3 5 Adding New Plug Ins 3 5 Chapter 4 The Plug Ins MASTERVERB PRO 4 3 Source Image 4 4 Controls rodas net 4 5 Early Reflections 4 6 Reverb o oo oo oooooo oo 4 7 Source Image 4 10 In Out Section 4 10 MASTERVERB AND MASTERVERB CLASSIC a ha B80 4 12 Early Reflections MasterVerb only Ad tl on ier 4 14 Reflections MasterVerb Classic Vicios 4 15 Reverb o o oo oo o ooo 4 15 E REFLECTOR 4 19 Early Reflections 4 20 COMPRESSOR M S 4 22 Displays ranei 4 23 Controls ieceri ne uakai 4 23 LIMITER MS o ooo oo o o o 4 25 Displays cita Hy 4 25 Controls vococoraiio sta one 4 26 GATE M S tas ita db 4 27 Dis
114. to and controlled from the switches pots and faders on the DREAM control surface ABOUT THIS MANUAL This manual provides all the information necessary to install and use Plug Ins Manager 5 Follow the steps in the Installation chapter to successfully install and test the Plug Ins Manager system on either a Fairlight System Services Module or within the DREAM Station or Console Read the Using Plug Ins chapter for complete instructions on applying plug ins in your mixing session See the online version of this document included on your Plug Ins Manager CDROM for complete instructions on using all the standard plug ins supplied with the system Click on the Start menu and select Programs gt Fair light gt Docs gt Plug In Manager Manual Check the Table of Contents or Index to quickly find the specific information you need When viewing this document on screen click on the hyperlinked cross references to navigate through the document 2 1 NOTES 2 2 Chapter 2 Installation INTRODUCTION Plug Ins Manager 5 comprises the following components Plug Ins Manager DSP card 15DSP or 6DSP version Plug Ins Digital Audio Interface Board Plug Ins Manager 5 Software Optional Station Console Mounting Kit PIM 5 Requires DREAM V2 0 You must have successfully completed an upgrade to DREAM Software ver sion 2 0 prior to installing Plug Ins Manager 5 0 Check the V2 0 release notes for upgrade instructions Installat
115. ugh the entire list of available plug ins Each user has their own unique favourites list If you have logged on to the system as a different user your favourites list will not be available Adding to Favourites Step 1 Press the Insert key on Station or Insert Config on Console to display the Insert menu USING THE CONTROL SURFACE 3 5 Step 2 Step 3 Step 4 Step 5 Press the Add Plug In soft key Press the ALL soft key to display the complete list of plug ins on your system Turn the jog wheel to scroll down the list of available plug ins and find the one you wish to add Press the ADD TO FAV soft key to add the plug in the favourites list Selecting Favourites Step 1 Step 2 Step 3 Step 4 Step 5 Step 6 Call the feed on which to insert a plug in Press the Insert key on Station or Insert Config on Console to display the Insert menu Press the Add Plug In soft key Press the Fave soft key to display the favourites list Turn the jog wheel to scroll down the list of favourite plug ins Press the Add soft key to insert the plug in APPROVED 3RD PARTY PLUG INS Fairlight maintains a list of approved third party plug ins which have been tested and verified for stable operation and good performance on the DREAM Plug Ins Manager system Check the Plug Ins Manager page on the Fairlight web site at www fairlight net for details of the latest plug ins Adding New Plug Ins Follow the instructions included w
116. values result in slower rise and fall times The effect is analogous to moving a wall or raising or lowering the ceiling in a concert hall The apparent size of the space changes correspond ingly For percussive sounds like drums or other percus S12 ms Y xm sion instruments smaller values for the Shape parameter are best Diffuse This setting controls the density of the response during the first milliseconds For large rooms or halls this should be set to maximum When sim ulating smaller spaces reducing the level results in added presence to the sound In the MasterVerb Classic version this setting also affects the density of the reflections Definition The definition control adds response echoes similar to those produced in a room with smooth walls This setting controls the liveness of the overall effect Chorusing You can insert chorusing in the response to enrich the resonance of the reverb making it sound less static Some instruments can handle more of a chorus effect than others Drums and vocals generally benefit from chorusing whereas instruments with a steady clearly defined pitch like guitar or piano can handle somewhat less of the effect Too much of the effect on these instru ments alters their pitch in the response making them sound unsteady Use little or no chorusing in the reverb for these instruments MASTERVERB PRO Rate Controls the modulation speed of the Chorus d
117. vice in which the plug ins hardware will be installed either a Fairlight System Services Module SSM or Station or DREAM Console Step 1 If installing the plug ins hardware in the Station or DREAM Console Quit FMC if necessary by holding down the Shift key and pressing the Pause Break key then type q y Click on the Exit button on the DREAM Start splash screen if currently run ning CD CONTENTS 2 5 Step 2 Step 3 Step 4 Step 5 Insert the PIM5 CD into the CDROM drive Click on My Computer on the Windows desktop Navigate to the CDROM and double click on the SetupPIM Drivers file The PIM Driver Installer will run displaying the PIM installation Welcome screen Click Next then click Next again to start copying the files Click the Finish button to quit the installer when finished The system will now automatically identify the AIB USB device when installed and load the appropriate drivers HARDWARE INSTALLATION The Plug Ins Manager hardware may be installed in either a Fairlight System Services Module or directly within the Station or DREAM Console To install the Plug Ins Manager in a Station or DREAM Console you will require the optional Station Console Plug Ins installation kit Read the sections below then move on to the relevant hardware installation sec tion Tools Required e 1 Pozidrive screwdriver e 2 Pozidrive screwdriver e 5mm nut driver HARDWARE INSTALLATION Equipment Supplied 8
118. within Arg 1 Usage the text map section The system name of the parameter being mapped The param eter name must appear exactly as displayed in the parameter system name field in the faderset map described above Param eter system names include the plug in system type plug in name and parameter name separated by a colon as shown below BEGIN PARAMETER DSP Delay LM Gain FLEXIMAP COMMANDS 5 7 20dB GAIN 10dB 0dB 0 0 5 1 0 NORMALISED VALUES BEGIN_SEGMENT marks the beginning of a segment A segment is a linear Usage RANGE Usage PREFIX Usage FLEXIMAP FILES portion of the map between the software representation of a value from 0 to 1 to the value seen by the end user In the diagram above there are three segments AB BC CD A maximum of 32 segments can be used for each parameter Use segments for multi position switches or to obtain a more accu rate representation of parameter values with irregular transfer functions Each segment can have the following keywords RANGE PREFIX POSTFIX LOG SCALE OFFSET DIVISOR DECIMAL_PLACES POSTFIXONLY BEGIN SEGMENT The range is the software parameter value range that a segment is valid for In the diagram above the AB segment has a range of 0 to 0 25 RANGE 0 0 25 This is text placed in front of the output value that is displayed ona control If omitted no prefix is included PREFIX Mode POSTFIX Usage LOG Usage

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