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1. Function Mac Windows Enter text entry mode Click in the display Click in the display Select text Click drag Click drag Select entire text Double click Double click Delete character to left of cursor Delete Backspace Delete character to right of cursor Del Delete Move the cursor left right Left Right arrow keys Left Right arrow keys Extend the current selection Shift click drag Shift click drag 13 Wave Arts Power Suite Exit text entry mode Select next parameter to edit Select previous parameter to edit Or Shift left right arrow keys Click outside value box Or Tab Or Return Enter Tab Shift Tab Or Shift left right arrow keys Click outside value box Or Tab Or Return Enter Tab Shift Tab Furthermore you ll find that many parameters such as frequency are smart about setting proper units The following values when typed into a frequency value box are equivalent 2k 2 kHz 2000 2000 Hz 2 3 Sliders Function Increase Decrease a parameter value Fine adjustment increase decrease Immediately jump to a value Mac Click on the slider handle drag up down Shift click drag up down Click in the groove outside the slider handle Reset slider to default value Command click 2 3 Lighted Buttons Windows Click on the slider handle drag up down Right click drag up down or Shift click drag up down Cli
2. Termination 63 Wave Arts Power Suite Without prejudice to any other rights Wave Arts may terminate this EULA if you fail to comply with the terms and conditions of this EULA In such event you must destroy all copies of the SOFTWARE PRODUCT and all of its component parts COPYRIGHT All title and copyrights in and to the SOFTWARE PRODUCT including but not limited to any images text and applets incorporated into the SOFTWARE PRODUCT the accompanying printed materials and any copies of the SOFTWARE PRODUCT are owned by Wave Arts or its suppliers The SOFTWARE PRODUCT is protected by copyright laws and international treaty provisions Therefore you must treat the SOFTWARE PRODUCT like any other copyrighted material LIMITED WARRANTY NO WARRANTIES Wave Arts expressly disclaims any warranty for the SOFTWARE PRODUCT The SOFTWARE PRODUCT and any related documentation is provided as is without warranty of any kind either express or implied including without limitation the implied warranties or merchantability fitness for a particular purpose or noninfringement The entire risk arising out of use or performance of the SOFTWARE PRODUCT remains with you NO LIABILITY FOR CONSEQUENTIAL DAMAGES In no event shall Wave Arts or its suppliers be liable for any damages whatsoever including without limitation damages for loss of business profits business interruption loss of business information or any other pecuniary loss a
3. this range is an important speech recognition area and also determines projection and clarity of mid range instruments Too much boost in this area can be fatiguing on the ear Presence 4000 Hz 6000 Hz controls how close and distinct instruments and vocals sound too much in this range will cause harshness Brilliance 6000 Hz 20 kHz this range helps determine clarity and sizzle Compression The compressor s main function is to push down the level of a signal once it crosses a certain threshold and can be used to even out dynamics controlling spots in the track that are too loud or soft The lower the threshold the sooner that that compressor takes effect on a signal and the higher the ratio the more extreme the compression will be The graph on the right side of the plug in gives a good visual indication of what is happening to the Signal as it goes from low level to high The axis on the bottom represents the input level and the axis on the right represents output With no compression there would simply be a straight line from the lower left corner to the upper right since the input level would match 20 3 TrackPlug the output With compression active at the threshold setting where the curve in the line starts the signal will begin to be attenuated A higher ratio will result in a more horizontal line i e more extreme compression The knee control affects how sharp the curve is at the threshold Onc
4. MAIx Time Size Pre Delay Damping Damping ES Q Cu 20 lo Virtual speaker display The virtual speaker display shows both the playback configuration and the position of the virtual speakers with respect the listener The virtual speakers synthesized by WaveSurround are depicted using semi transparent speakers The Angle slider to the right of the display adjusts the angle of the virtual speakers with respect to the listener The angle can also be adjusted by clicking and dragging the virtual speakers in the display If the playback configuration is set to loudspeaker playback then the display will also show the playback loudspeakers depicted using opaque loudspeakers The angle of the playback speakers can be set to 10 20 30 and 40 degrees For optimum playback performance it is important to set the playback configuration to match the expected playback configuration If the playback configuration is set to headphone playback the playback loudspeakers are not displayed instead a pair of headphones is depicted on the listener Click on the listener s head to toggle between headphone and loudspeaker playback To adjust the angle of the playback loudspeakers click and drag the playback speakers 57 Wave Arts Power Suite Click and drag on any of the loudspeakers in the display to change the angles of the playback and or virtual speaker positions Click on the head to toggle between headphones and loudspeakers Click on the
5. Ratio a 0 ETE ra a 2 72 E 36 24 12 0 4 41 L J L d L J i 20 50 1002700 500 1k 2k Sk 10k 20k Width Routing Freq Height Release Doa dl O O 4 F 4 F 4 The TrackPlug user interface is shown above At the left is the EQ section with EQ frequency response display At the right is the dynamics section with compressor gate and dynamics response display In addition to the standard buttons knobs and meters whose operation is described in the section Plug in Control Operation the following controls are specific to TrackPlug Graph Handles Graph handles are the small colored balls that sit on the EQ and dynamics curves in the graphs They are the quickest most direct and most versatile controls in the TrackPlug interface Simply click and drag a handle around its graph to change corresponding parameter value s Following are tables of behaviors for the various TrackPlug graph handles for both Mac and Windows platforms EQ Section Control Mac Windows Adjust an EQ band s frequency and height Click drag Click drag Right click drag Adjust an EQ band s width Shift click drag or Shift click drag 22 3 TrackPlug Add a new EO band Double click Double click Delete an EO band Ctrl click Ctrl click Control Mac or Windows Click leftmost handle drag Click rightmost handle drag up down Adjust threshold Click orange triangle above input
6. Sets the amount of wet processed sound and dry unprocessed sound that is mixed together to create the output 100 is all wet 0 is all dry and 50 is an equal mix of wet and dry sound Gain Sets the overall output gain in decibels This gain is at the final stage of the plug in 7 6 Specifications Description Spatial enhancer Platforms Pentium amp compatible PowerPC Operating Systems Windows 2000 XP Mac OS 8 5 or higher Mac OS X 10 2 or higher Plug in Formats AU DirectX MAS RTAS VST Sampling Rates up to 96kHz 60 Precision 32 bit processing 7 WaveSurround 1 0 Formats mono stereo stereo stereo 7 7 Presets Following is the list of presets that ship with WaveSurround Default Smooth stereo enhance Medium stereo enhance Sharp stereo enhance Extreme width Mono to stereo Binaural to loudspeaker NO UB WN A 8 Stereo to headphones 9 Enveloping bathroom 10 Enveloping studio 11 Enveloping concert 12 Enveloping cathedral 13 Enveloping scatter verb 14 Swimming with the fish 61 License Agreement License Agreement END USER LICENSE AGREEMENT FOR WAVE ARTS SOFTWARE IMPORTANT READ CAREFULLY This Wave Arts End User License Agreement EULA is a legal agreement between you either an individual or a single entity and Wave Arts Inc Wave Arts for the Wave Arts software accompanying this EULA which includes computer software and may include associated media p
7. early echoes almost granular sounding whereas high values of diffusion tend to produce a softer fuzzier sounding early response Early Damping Adjusts the cutoff frequency of a lowpass filter at the input of the reverb thus the Early Damping parameter sets the upper limit of frequencies admitted into the reverb The range of the Early Damping parameter is from 20 Hz to 20 kHz Setting this parameter to the maximum value opens up the filter completely for maximum brightness A low Early Damping setting results in a dull muffled reverberation whereas a high Early Damping setting results in a bright crisp reverberation Late Damping Sets the cutoff frequency of the damping filter in the reverb A lower setting causes high frequencies to decay faster resulting in a duller sounding late reverberation a higher setting results in a brighter sounding late reverberation The range of the Late Damping is from 20 Hz to 20 kHz Setting this parameter to the maximum value opens up the filter completely for maximum brightness A value of around 4 kHz results ina natural sounding reverberation for typical rooms Rooms with hard reflective walls consisting of concrete or tile such as a bathroom would be simulated using a higher Late Damping Rooms containing much absorbent material would be simulated using a lower Late Damping Low Freq Scale Sets the decay time of frequencies below 250 Hz relative to the decay time at 500 Hz which is set us
8. 20 20 000Hz Height Gain attenuation for the currently selected EQ band parametric and shelf filters only Range is 24dB to 24dB Width Bandwidth in octaves The higher the number the wider the filter and vice versa Applies only to parametric bandpass and notch filters Range is 0 01 to 4 0 octaves Routing Routing The Routing button above is used to set the current position of the EQ module in TrackPlug s signal processing chain See the diagram at the top of this document for details When set to Pre the processing order is EQ Gate Compressor When set to Post the order is Gate Compressor EQ Compressor The following controls are used to set the compressor s parameters The three buttons from left to right are Compressor Enable Knee Auto Makeup Gain The knobs below are Threshold Ratio Compressor Gain Attack and Release Compressor Enable Turns the compressor section on and off 25 Wave Arts Power Suite Knee Sets the compressor s shaping characteristic options are soft medium and hard Auto Makeup Gain AMG When enabled the compressor will automatically add an internal makeup gain to the signal so that the output level corresponding to OdB input stays constant while changing the threshold and or the ratio If the signal becomes too hot however you can lower the Compressor Gain When AMG is disabled the Compressor Gain will function as a manual makeup gain
9. 44 Telephone Screaming 21 Horns 45 Noise Filter 22 Sax 46 50 Hz Hum Remover 23 Mix Dance 47 60 Hz Hum Remover 24 Mix Rock 28 4 MasterVerb 4 MasterVerb 4 1 Overview Spacious and lush MasterVerb is a true stereo reverb with a natural sound and a silky smooth decay Independent room size and decay time parameters allow simulation of a variety of spaces from studio rooms to warm concert halls to bright cathedrals MasterVerb features a responsive and informative 3 D plot of your reverb s characteristics updated in real time as you tweak control knobs for decay time room size diffusion early damping late damping and low frequency scale An added 2 D control helps you set your desired room response in just seconds MasterVerb s routing diagram and meter placement is shown below Output Meter Out Output Gain Reverberator i Pre Delay Wet Gain 4 2 About Reverberation When an object in a room produces a sound a soundwave expands outward from the source reaching walls and other objects where sound energy is both absorbed and reflected Assuming a direct path exists between the source and the listener the listener will first hear the direct sound followed by reflections off nearby surfaces called early reflections After a few tenths of a second the number of reflected waves becomes very large and the resulting reverberation is characterized by a dense collection of soundwaves traveling in
10. O Off 1 1 msec 2 2 msec 3 5 msec 96 to 96 dB 3 5 Parameter Descriptions EO The EQ allows up to 10 bands each of which may be parametric low shelf high shelf lowpass bandpass highpass or notch filter This section will describe all of the EQ control parameters The following EQ control buttons are located directly below the EQ graph From left to right they are EQ Enable Current Band Add Delete and Band Enable 1309 a 6 057 EQ Enable Turns the entire EQ section on and off Current Band Shows the number and color of the currently selected band Click this button to cycle through all of the EQ bands on the graph Add Click this button to add a new EQ band to the display Delete Click this button to delete the currently selected EQ band from the module 24 3 TrackPlug Band Enable Turns the currently selected EO band on and off Unlike Delete this button will keep the current EQ band in the module when you turn it off The following controls adjust parameters for a particular EO band From left to right they are Type Freguency Height and Width Type Freq Height Width Routing 4 a a La A m A m pl k Type Parametric low shelf high shelf lowpass bandpass highpass and notch Freg For parametric notch and bandpass filters this is the center freguency for shelf lowpass and highpass filters this is the cutoff frequency Range is
11. all directions called diffuse reverberation The time required for the reverberation to decay 60 dB below the initial level is defined as the reverberation time Generally reverberation in a small room decays much faster than reverberation in a large room because in a small room the soundwaves collide with walls much more frequently and thus are absorbed more quickly than in a large room Reverberation is an important acoustic phenomenon There is at most one direct path from the source to the listener whereas there may be millions of indirect paths particularly in a room where a sound can bounce around hundreds of times before being absorbed Thus in typical listening situations most of the energy we hear from a sound source is actually reflected energy The perception of reverberation depends on the type of reverberation and the type of sound In small room with fast decaying reverberation the reverberation imparts a tonal 29 Wave Arts Power Suite guality to the sound that is readily identified as a small room signature In a larger room the reverberation can create a background ambience that is easily distinguished from the foreground sound and this is readily identified as a characteristic of large spaces In this manner reverberation imparts useful spatial information about the size of the surrounding space Reverberation that contains a lot of high freguency energy in the decay is associated with rooms that have hard ref
12. individual tracks or on the final stereo mix The peak limiter will limit any peak that exceeds the threshold level set by the user The peak limiter uses a built in lookahead delay to respond to peaks just before they occur Both the lookahead delay and attack time are fixed at 1 5 milliseconds This is designed so that any distortion caused by the rapid gain ducking will be effectively masked by the onset of the peak The shape of the peak itself is unaffected by the gain ducking this is in contrast to peak limiters that use wave shaping techniques After the peak has passed the gain is slowly restored to nominal level according to the release time set by the user The nominal gain is set so that the maximum output level is determined by the ceiling parameter set by the user In other words any input signal that exceeds the threshold will be output at the ceiling level Truncation and Dithering FinalPlug also features bit depth truncation with dithering and noise shaping Bit depth truncation typically occurs as the final step in mastering when the sample resolution must be reduced to fit on the recording medium For example compact discs CDs are recorded with 16 bit samples whereas digital audio editors typically use 32 bit floating point sample format containing at least 24 bit sample resolution Hence the 24 bit resolution samples must be reduced to 16 bit prior to burning the CD This is done by discarding the least significant bits whi
13. meter drag left right Compressor Orange Handles AMG Disabled Control Cs Mae oF Windows Adjust threshold and output level Click leftmost handle drag Adjust ratio Click rightmost handle drag up down Click orange triangle above input meter Gate Blue Handles Control o Mac or Windows Click topmost handle drag left right 0r Click blue triangle above input meter drag left right Adjust ratio Click bottommost handle drag left right Adjust threshold 3 4 Parameters Band parameters Each of TrackPlug s 10 bands have the following parameters Parameter name Values Band Enable 0 Off 1 Bypass 2 On ype O Parameteric 1 low shelf 2 high shelf 3 lowpass 4 bandpass 5 highpass 6 notch Frequency 20 20000 Hz Height 24db 24db Width 0 01 4 0 octaves 23 Wave Arts Power Suite Global parameters Parameter name Compressor Enable Compressor AMG Compressor Thresh Compressor Ratio Compressor Knee Compressor Att Compressor Rel Compressor Gain Gate Enable Gate Thresh Gate Ratio Gate Knee Gate Att Gate Rel Peak Detect Routing Lookahead Delay Input Gain Values O Off 1 On O Off 1 On 96 to O dB 1 1 to 20 1 O Soft 1 Medium 2 Hard 1 to 1000 msec 1 to 5000 msec 24 to 24 dB O Off 1 On 96 to O dB 1 1 to 20 1 O Soft 1 Medium 2 Hard 1 to 1000 msec 1 to 2000 msec O RMS 1 Peak O Pre 1 Post
14. text at the bottom to cycle through the various playback configurations 7 4 Parameters Parameter name Values 3 D Sound O Off 1 On pon O Off 1 Flat 2 Smooth 3 Medium 4 Flat pr O headphones 1 10 degrees 2 20 degrees 3 30 degrees 4 40 degrees Real Angle O Off 1 On Reverb Enable 0 Off 1 On Wet Dry Mix 0 100 Pre Delay O 250 ms Decay Time 0 5 60 sec Room Size O 100 Early Damping 20 20 000 Hz Late Damping 1 to 50 Gain 24 12 dB 7 5 Parameter Descriptions 3D Sound Following is an explanation of WaveSurround s 3D Sound parameters 3D Sound Turns 3D Sound module on and off Filtering Specifies the shape of WaveSurround s spectral filter Each filter setting is described below Off No 3 D binaural filtering is done If a loudspeaker configuration is selected then the 3 D processor will implement only a crosstalk canceler If the headphone configuration is selected the 3 D processor does nothing but pass the signal through to the output Use this setting when the input is a dummy 58 7 WaveSurround head recording or some other binaural format which already contains 3 D binaural cues Flat The 3 D binaural filters have flat freguency response The filters are implemented with a single delay and gain More accurately the filters render an interaural time delay ITD and a freguency independent interaural intensity difference IID These filters
15. the display on a separate axis is shown the input and threshold levels The threshold levels per band are plotted with a thick orange line the orange ball can be dragged up and down to change the threshold level The peak input levels in each band are plotted in the background using pale green 37 Wave Arts Power Suite 20 50 100 200 500 Band edges are plotted using vertical white lines The edges can be moved by clicking and dragging a line An entire band can be moved by clicking and dragging in the center area between the top and bottom plots One band is always selected for editing the active band is drawn with a blue background The active band s parameters can be edited using the knobs below the band display The active band s dynamic response can be edited in the dynamics response display described later Band control buttons Clicking the Add button will create a new band by splitting the current band in two The new band will inherit all the parameters of the current band Up to 6 bands can be created at once Clicking the Delete button will delete the currently selected band Clicking the Bypass button will enable disable bypassing of the current band Bypassing a band means that the dynamics processing is bypassed hence the audio is passed to the output butthe gain ofthe band is fixed at 0 dB Bypassing a band is useful for hearing the action of the dynamics processor on a band Clicking the Solo button
16. will enable disable soloing of the current band Soloing a band causes the other bands to be muted unless they are already soloed hence only soloed bands will pass audio Soloing a band is useful to hear the freguency range of the band and also the action of the dynamics in that one band Clicking the Mute button will enable disable muting of the current band Muting a band causes the band to become silent 38 5 MultiDynamics Band parameter controls Band parameter knobs Lo Gain Threshold Hi Gain Ratio Attack Release All Bands LJ Band parameter global controls The six knobs below the frequency response display allow the user to change the parameters for the currently selected band These parameters are lo gain threshold hi gain ratio attack time and release time The parameters are described in the parameters section When the current band is selected the band parameter controls will update to reflect the values of the current band In addition to the above band parameters the knee control can be set on a per band basis Operation of the knob controls and text entry fields is described in the Plug in controls section Band parameter global controls Below the band parameter knobs are global controls that permit changing the band parameters for all bands simultaneously Click on the control and drag up and down This causes the parameter to change across all bands simultaneously For example clicking on the thresh
17. 1 On Output Level 18 to 18 dB Lookahead Delay O Off 1 1 msec 2 2 msec 3 41 Wave Arts Power Suite 5 msec Crossover Slope O 18 dB oct 1 30 dB oct 5 5 Parameter Descriptions Band Enable This parameter defines the enable state of each band The user interface handles this internal parameter through the Add Delete Mute and Solo buttons If a band is deleted its Band Enable is set to Off If a band is muted its enable is set to Mute If a band is on and not muted or soloed its enable is set to On If a band is soloed its enable is set to Solo If there are N enabled bands these must occupy bands 1 through N if there is only one band enabled it is band 1 Band 1 may not be deleted Band Lo and Band Hi These parameters define the low and high cutoff freguencies for each band The user interface allows the user to edit these internal parameters through the band edge lines on the frequency response display For N active bands Band1 Lo is always 20 Hz and Band N Hi is always 20 kHz The other bands are constrained to share adjacent edges e g Band1 Hi is always the same as Band2 Lo etc Band Dyn Enable This parameter defines the enable bypass state of the dynamics processor in each band The user interface handles this parameter through the Bypass button When a band is Bypassed its DynEnable is Off when not bypassed its DynEnable is On Band Thresh This is the input threshold in dB for the band whic
18. 6 6 Specifications Description Peak limiter with noise shaped dithering Platforms Pentium amp compatible PowerPC Operating Systems Windows 2000 XP Mac OS 8 5 or higher Mac OS X 10 2 or higher Plug in Formats AU DirectX MAS RTAS VST Sampling Rates up to 192 kHz Precision 32 bit processing 50 6 FinalPlug 1 0 Formats mono mono stereo stereo 6 7 Presets Following is the list of presets that ship with FinalPlug Default CD Master DVD Master Track Peak Limit Soft Track Peak Limit Medium Track Peak Limit Hard N UN YN 51 7 WaveSurround 7 WaveSurround 7 1 Overview WaveSurround is a spatial enhancer that uses HRTF binaural processing and sophisticated crosstalk canceling technology to put you inside your stereo tracks and mixes making your music Surround you WaveSurround features the following HRTF based binaural synthesis Crosstalk canceling based on real head models Integrated reverb Adjustable spectral shaping filter Processing for playback over loudspeakers or headphones Following is a diagram of WaveSurround s audio routing Output Dry Gain Meter Output Crosstalk Canceller 3 D processor 3 D Filtars Reverb E gt Wet Gain Reverb Angle SpkriHdph Parameters Filtering Configuration 7 2 About 3 D Audio What is 3D Audio A 3D audio system hasthe ability to position sounds all around a listener The sounds are actually c
19. AS Copy the contents of the RTAS folder to your RTAS plug in folder System Folder DAE Folder Plug Ins It is recommended that you copy the file WaveArtsManual pdf onto your hard drive as well 1 3 Windows Installation File Edit View Favorites Tools Help EBak gt E Quen Faders E E E Address 5 Fr Go PowerSuite exe WaveArts F select an item to view its description Capacity 9 54 MB C Used 9 54 MB C Free 0 bytes Insert the Power Suite CD ROM and double click the installer file PowerSuite4 exe The installer will guide you through the following screens 1 Welcome Click Next to continue 2 Read Me File Displays information about demo and registration procedure Click Next to continue 3 License Agreement Read and click Yes if you agree to the terms of the agreement The agreement is reprinted at the end of this user guide 4 Select Components Here you have the option to select DX VST and RTAS formats for installation Click each box to toggle the checkmark on off boxes with checkmarks indicate Wave Arts Power Suite the corresponding component i e plug in format will be installed By default all three boxes are checked and thus all three formats will be installed Click Next to continue 5 Choose Destination Location For each of the plug in formats selected to install choose the destination location on your file system The first location is for DX form
20. E ED METS AE 46 Dither shape nance ee 49 Dynamic response 22 40 E Early damping mreese 33 E E usec tennant 20 24 q A a 35 40 F HSM id 16 A AT 45 G Galium su a 21 26 H A ST E IT TE 40 HRT A NN VG e NAE 54 Index o ude ain a ti Arai 5 K LK A a at etc 10 A Ana ARA aa 26 41 43 O A aay 13 L Late CaM DIAG essential 33 Ls A O M E 40 Er 27 41 Low treqiscallai ile i 33 M Machine ID Sad 8 MasterD e 29 Metu ias 15 Multiband dynamics 35 M ltiDyna mi S cenit ias 35 P Pee delay ere E A a eae eer eee 33 Preset MEn erone aN 16 Preset manager meeeeeee 15 R A ai 26 40 42 Registra OM 8 Release oococcncnccncnconcnnonccnonconcnccnancnnos 26 43 RVD ES 30 Reverberation occocnccnccnccncnncnncnncnccncnnonnss 29 A O AE 33 ROUNO ata 25 S Sena RUN De casa 8 A Miili 14 T Text entry coooccccnccncnncnncnccnccncnncnncnccnccnrononoso 13 Wave Arts Power Suite TRIRESI OMG nad lell 26 40 MA annad van aa aa nn 19 o O 46 U OO M t 15 68 V MN TMT 8 W Waves t OUN Att teta laad vaidles tes 53 MASTE AE Msta i a Aa 33
21. The About box shows the version number of the plug in the host plug in format e g DirectX VST the registration status of the plug in and the machine ID of your computer Make note of the Machine ID 1 Installation and Registration About MultiDynamics Wave arts MultiDynamics v4 05 Directs Build date Aug 20 2004 Demo mode 30 days remaining Machine ID 166639 User Manual Register Wawe Arts Inc Copyright cj 2002 99 Massachusetts Ave Wawe Arts Inc Arlington M 0474 6600 ll rights reserved USA Tel 781 646 3794 YST plug in technology suppornt wavearts com by Steinberg At our registration site http wavearts com register html you will enter your PowerSuite Serial Number the number that begins with WA PS and your Machine ID If you purchased an electronic download your Serial Number was emailed to you when you purchased the product If you purchased the software in a shrink wrapped box the Serial Number can be found in the box contents The registration page has the following fields to fill out The registration page needs the following information your name your email address your Serial Number and your Machine ID It s very important to provide a working email address because your Key Code will be emailed to this address Also be sure to enter the Serial Number and Machine ID correctly Wave Arts Power Suite Once the reguired information is entered at the Register web page you will be ema
22. Threshold Level above which the compressor is active Range is 96dB to OdB Ratio Amount of compression applied Range is 1 1 to 20 1 Compressor Gain See Auto Makeup Gain AMG Range is 24 to 24dB Attack Time it takes the compressor to activate once the signal crosses above the threshold Range is 1ms to 1000ms Release Time it takes the compressor to deactivate once the signal falls below the threshold Range 1ms to 5000ms Gate The following controls are used to set the gate s parameters The two buttons on top are Gate Enable and Knee The knobs below are Threshold Ratio Attack and Release O Gate Thresh Ratio Dyn Input a ll Dd a ll Ca kl Cal Attack Release Output a T a n 1 ims 0 0dE Gate Enable Turns the gate section on and off Knee Sets the gate s shaping characteristic options are soft medium and hard Threshold Level below which the gate is active Range is 96dB o OGB Ratio Amount of gate applied Range is 1 1 to 1 20 Attack Time it takes the gate to deactivate once the signal crosses above the threshold Range is 1ms to 1000ms Release Time it takes the gate to activate once the signal falls below the threshold Range ims to 2000ms 26 3 TrackPlug Dynamics Shared The following controls are shared by both the compressor and the gate Dynamics Input Gain Detector Type and Lookahead Delay Detector Type The
23. Wave Arts Power Suite User Manual Copyright 2005 Wave Arts Inc All Rights Reserved Table of Contents Table of Contents 1 Installation and Registration nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnna 5 1 1 Mac OS X Installation ai saada ta aaa aaa at jaa 5 1 2 Mac OS 9 installato 6 1 3 Windows Installation a laad 7 1 4 REGISLFAUON nui aiamaa maana id adu kad nuia aima ama 8 1 5 Registration Troubleshooting nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnns 11 2 Plug in Control Operation s sssnns s anasasvnvan voo aa 13 2 1 KRODS iaa daa 13 22 VEX EDTV ida tad 13 2 3 SIIASFS saves aa aaa laada lha aaa ala lugu 14 2 3 Lighted BULLONS idamaa maamaks aada 14 2A BUON Saca 14 2 5 QUEPUT Meter iii haaa 15 2 7 Plug in Menu Bar and Preset Manager nn nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnns 15 2 8 PEeset Melisa 16 2 9 Ele Mena 16 3 TEACEKPILG Hiina nn ennan a amaan kadaka oa 19 3 1 OVEFVISW aan 19 3 1 About TRACK PIUG iiris nasa s n nasa s mas nn as 19 3 2 USer Entera 22 3 4 PA FAMOSA 23 3 5 Parameter DESCEIDLIONS iia 24 3 6 SPecITICA ION SAA A 27 3 9 A E Ur a cee eee eee ede aa 27 E MASTER V GED nia 29 AL OVEFVISW ia a aa al taa ala aduta aial ala ii aal 29 4 2 About Reverberation iii a wena uuu de 29 453 User Interface 31 AA ParFaIMelte Sois 32 4 5 Parameter Descriptions siii aa 32 4 6 SpeelficallohS nn 34 4 4 Prosts sadada aaa aaa Gaia a 34 5 MUNI DVN MICS
24. are the most transparent sounding but havethe least spatial effect Smooth The 3 D binaural filters have smooth freguency dependent features These filters have some tonal variation but better spatial effect than the Flat filters Medium The 3 D binaural filters have freguency dependent features of medium complexity More tonal coloration than the Smooth filters and better spatial effect Sharp The 3 D binaural filters are fully detailed and contain sharp freguency dependent features These filters have the most tonal coloration and havethe sharpest spatial effect Angle Sets the angle of the virtual speakers This is the angle at which the sound will appear to emanate from with respect to the listener if the listener is positioned in between the two real loudspeakers or is wearing headphones The virtual speaker angle can range from 10 degrees to 120 degrees At 10 degrees the effect will narrow the stereo field 90 degrees is the widest setting and at 120 degrees the sound may appear to emanate from behind the listener Real Angle Sets the position of the real loudspeakers or headphones with respect to the listener Set this parameter to the most likely environment the listener will be in when listening to the music Possible configurations are headphones 10 20 30 and 40 degrees Reverb Reverb Turns reverb module on and off Wet Dry Mix Sets the amount of wet processed sound and dry unprocessed s
25. arge Concert Live Hall Grand Hall Gymnasium Small Room Bathroom Oil Drum Delay Verb Dark Room Church Medium Room Ricochet Slapback Echo 5 MultiDynamics 5 MultiDynamics 5 1 Overview MultiDynamics is a powerful multi band dynamics processor useful for mastering volume maximization de essing or special tweaks MultiDynamics provides up to 6 bands with independent compression or expansion gating per band Up to 6 independent bands Full featured compressor or expander gate per band Proprietary crossover filter network eliminates amplitude distortion between bands 18 dB oct and 30 dB oct crossovers Per band bypass solo and mute controls Comprehensive visualization of input levels and dynamic EQ response Adjustable knees and lookahead Mono or stereo Following is a diagram of MultiDynamics routing and meter placement Input Dynamics Output Meter Meter Meter Output Gain Bandpass Peak Dynamics Filter Detector Processor Up to 6 Individual bands The input signal passes through a set of bandpass filters which separates the signal into individual frequency bands Each band is processed by a separate peak detector and dynamics processor The resulting signals are summed to form the final output As the above diagram shows a multi band dynamics processor implements a set of dynamics processors that respond to different frequency ranges However it is equally valid to t
26. at plugs and also serves as the destination for the user manual The second location is the folder where VST plug ins are installed The third location is the folder where RTAS plug ins are installed Click Next to continue 6 Select Program Manager Group Enter the name of the folder under Start gt All Programs where the Wave Arts files can be accessed 7 Start Installation Click next to perform installation 8 Installation complete Click Finish to exit the installer If you are attempting to install plug ins that are currently in use you may be asked to restart your computer 1 4 Registration After your plug ins are installed they will function in demo mode for 30 days While in demo mode they will be fully functional however you must register i e unlock your plug ins or they will stop working after 30 days You will be warned when you have 7 days remaining in vour demo period To unlock the plugs after installation go to http wavearts com register html and enter the required information You ll need your Serial Number either emailed to you or printed on a page in the product box and your Machine ID which can be determined by selecting the About command in the File menu of any Wave Arts plug in New Preset File po 50 100 200 500 Open Preset File Save Preseb Befault Save Preset 4s lase Open User Manual Register You ll see an About dialog box like the one below
27. cal axis is amplitude in dB Noise is reduced where the plot is below O dB and increased where the plot is above O dB 6 4 Parameters Parameter name Values Limiter Enable O Off 1 On 7 hreshold 36 OdB Ceiling 36 0 dB Release 1 1000 ms Truncate Dither O Off 1 On Bit Depth O 8 bits 1 16 bits 2 18 bits 3 20 bits 4 22 bits 5 24 bits custom 48 6 FinalPlug Dither Shape t 1 kHz Shapel 1 kHz Shapel Ultra 1 kHz Shapez 1 kHz Shape2 Ultra 1 kHz Shape3 1 kHz Shape3 Ultra 1 kHz Shape4 1 kHz Shape4 Ultra 1 kHz Shape5 0 96 kHz 11 96 kHz Ultra Mute Dithering O Off 1 On 6 4 Parameter descriptions He ot i oe ot ut i ue ul il KRAAAAAA AA TN RAAAAAAAHAADHD FWON A VI RWUNFHO Limiter Following is an explanation of FinalPlug s control parameters Limiter Turns limiter on and off Threshold Sets the level at which the limiter starts to take effect on the signal Ceiling Sets the maximum output level of the signal It s typically useful to set this Slightly below 0 0dB 0 1dB to 0 3dB for example Please note that if audio is truncated to a very low bit depth i e 4 or 8 bits it is possible that dither noise can exceed this ceiling Causing clipping Release When FinalPlug detects a peak it quickly turns down the gain so the peak will not clip After the peak has passed FinalPlug will restore the gain to the nominal level The Release
28. cess aan Install Wave Arts Power Suite Welcome to the Wave Arts Power Suite Installer You will be quided through the steps of installing the plug ins You have Introduction the option of selecting which formats AU MAS VST RTAS you would like to install by clicking on the e ia button when you getto the Read Me Installation Type page Go Back Continue Y Wave Arts Power Suite 1 2 Mac OS 9 Installation Insert the Power Suite CD ROM and double click the Power Suite OS9 folder Wave Arts Power Suite 2 item cero K available Power Suite 059 Power Suite 05 Inside the folder you will see the following contents Sj Power Suite 059 9 ibarra 21 93 GO srailable Install HAS 059 Irgtalli ATAS 05 apy to YSTPlugira r errada p t Readme tei Licence txi ATAS Presets RTAS 0591 Double click the installer icons to install the MAS or RTAS plug in formats The installers copy the necessary files to the appropriate destination folder The user manual will be copied to a Wave Arts folder created on the hard drive VST plug ins must be manually copied to the proper destination folder If you encounter any problems or wish to install the plug ins manually do the following 1 Installation and Registration VST Copy the contents of the VST folder to your VST plug in folder MAS Copy the contents of the MAS folder to your MAS plug in folder System Folder Extensions MOTU Plug ins RT
29. ch buffer A and B have their own undo A B Edit Buffers The buffer button will switch between the two plug in buffers A and B for easy comparison between two settings Hold down SHIFT while clicking to copy parameter settings from the current buffer to the other 15 Wave Arts Power Suite 2 8 Preset Menu W Preset File MyPresetFile Default Basic Hard Bass Comp Noise Reduction vocals EEE A EEE The preset button will display the list of factory presets when clicked as well as a set of user presets if itis loaded Hold down SHIFT to delete a preset from a preset file 2 9 File Menu The File button contains preset loading and saving functions that allow you to save plug in settings in a text file which can be loaded on any other version of the plug in Mac or PC File Mew Preset File L Open Preset File Save Preset Tighten midrange Save Preset 45 Close Preset File MyPresetFile Abou Open User Manual Register A preset file can contain several presets as well as presets from multiple plug ins The first step is to create a new file using the New Preset File menu item Once this file is created you can Save presets to it using either Save Preset command the first will use the name in quotes the second will allow you to specify a new name Note that once you save a preset you will be able to see it in a sub menu within the Preset menu You can open an existing Pres
30. ch is the definition of bit depth truncation Truncation will cause the addition of quantization noise and quantization distortion to the resulting signal For low level signals i e signals that are only a few bits in amplitude the quantization distortion can sound very objectionable Dithering is a technique used to eliminate quantization distortion by adding a small amount of random noise to the signal prior to truncation The added noise dithers the signal between the various quantized output levels in such a way that the quantization distortion is converted to pure broadband noise Hence dithering adds noise to the signal in order to convert the objectionable quantization distortion to less objectionable noise Dithering is thus converting distortion to hiss FinalPlug uses TPDF triangular probability distribution function noise for dithering Noise shaping is a technique used to shape the spectrum of the quantization noise in order to make it less perceptible to the human ear Typically noise shapers push the quantization noise to higher frequencies to which the ear is less sensitive However there are many variations of noise shaping techniques in use The user must decide which shape is best for the task at hand In this spirit FinalPlug provides a wide variety of noise shapes to choose from 46 6 FinalPlug It should be noted that dithering and noise shaping may offer fewer practical benefits than the marketing from many man
31. ck in the groove outside the slider handle Control click Lighted buttons show a toggle state A green orange or yellow light indicates on and a black extinguished light indicates off Click the button to toggle the state 2 4 Buttons Normal buttons are used to either activate a command or to cycle through various options If the button cycles through various options then the button displays the currently selected option 14 2 Plug in Control Operation 2 5 Output Meters The output meters show the peak signal power in short time updates in green from 96dB to 6dB in yellow between 6dB and 0dB and in red above OdB The meter also stores the overall peak value for each channel and displays these values in the peak indicator boxes to the right of the meter If the detector finds a peak value above OdB the indicator will turn red as a warning Click on either indicator box to reset them back to 96dB Right click PC or Shift click Mac on an indicator box to automatically increase or decrease the output gain so that the peak will be 0 1dB 2 7 Plug in Menu Bar and Preset Manager All Wave Arts plug ins have a menu bar as shown below Enable The global enable button shows whether the plug in is on or off A green light indicates on and a black box indicates off Click the button to toggle the state Undo The undo button will cancel the last edit in the plug in Ea
32. control that is direction dependent We unconsciously use the time delay amplitude difference and tonal information at each ear to determine the location of the sound These indicators are called sound localization cues Sound localization by human listeners has been studied extensively Binaural Synthesis Head Related Transfer Functions HRTFs The transformation of sound from a point in space to the ear canal can be measured accurately the measurements are called head related transfer functions HRTFs The measurements are usually made by inserting miniature microphones into the ear canals of a human subject or a manikin A measurement signal is played by a loudspeaker and recorded by the microphones The recorded signals are then processed by a computer to derive a pair of HRTFs for the left and right ears corresponding to the sound source location This process is diagrammed in the figure below microphones in ears speaker oe A oOo OA F HRTF HRTF Each HRTF typically consisting of several hundred numbers describes the time delay amplitude and tonal transformation for the particular sound source location to the left or right ear of the subject The measurement procedure is repeated for many locations of the sound source relative to the head resulting in a database of hundreds of HRTFs that describe the sound transformation characteristics of a particular head Processing HRTFs into 3D Audio A 3D audio system
33. d between 15 kHz and 20 kHz 44 1 kHz Shapel Ultra exaggerated version of Shapel 44 1 kHz Shape2 Perceptually based noise shaping reduces noise below 5 kHz and concentrates above 15 kHz 44 1 kHz Shape2 Ultra exaggerated version of Shape2 44 1 kHz Shape3 Evenly reduces noise between 2 13 kHz and concentrates above 15 kHz Some boost at low frequencies 44 1 kHz Shape3 Ultra exaggerated version of Shape3 44 1 kHz Shape4 Perceptually motivated noise shaping based on the sensitivity of the ear at the threshold of hearing according to classic paper by Robert Wannamaker Journal of the Audio Engineering Society Volume 40 Number 7 8 1992 44 1 kHz Shape4 Ultra exaggerated version of Shape4 44 1 kHz Shape5 High frequency shelf featuring flat noise reduction to 13 kHz with concentration of noise above 17 kHz 96 kHz High frequency shelf with flat noise reduction to 20 kHz and concentration above 20 kHz Intended for 96 kHz operation but can also be used successfully at 88 2 176 4 and 192 kHz 96 kHz Ultra exaggerated version of 96 kHz shape Mute Dithering The Mute Dither parameter disables just the Dithering functionality of the Truncate Dither section This is useful for auditioning the effect of the dither For example set the bit depth to 6 enable truncation and toggle the Mute Dither to hear the benefit of dither This can also be used to obtain bit quantization i e bit crushing effects
34. e a desired compression amount is determined the Output control can also be thought of as Makeup Gain will affect the overall level of the track A lower attack time how quickly the compressor responds to the signal when the threshold is reached will remove more sudden peaks from the signal while a higher setting will allow punchy transients though Release determines how soon after compression is engaged i e once the signal hits threshold that it will stop attenuating the signal Gate The gate works well on tracks with background noise so that once a signal goes below a certain threshold the gate will push the signal level down further Again refer to the graph on the right side of the plug in to see visually what is going on below the threshold you can see how steeply the signal will drop off towards zero the ratio control determines the steepness of the line You can also use TrackPlug on your final mix in which case it is acting more like a mastering tool applying one EQ curve and dynamics processor to everything There are helpful resources available on the Internet that provide more tutorial oriented information on the fundamentals of EQ compression gating and mixing Links we might provide could quickly go out of date but running a search with these terms will uncover some useful information 21 Wave Arts Power Suite 3 2 User Interface uu uu WAM TrackPlug Lookahead i 2 ms Soft
35. e a wide variety of EQ shapes The parametric EQ type is one you will use often as it allows you to reinforce or attenuate at a specific frequency point The shelving filters are useful at the low or high edges of your frequency curve The bandpass and notch filters are more dramatic and only allow a certain frequency to pass through or will cut out frequencies only at a frequency respectively The lowpass and highpass filters only pass signal below or above a cutoff frequency respectively It is helpful to have a general understanding of the frequency ranges in a mix Low Bass 20 60 Hz controls rumble this range is best reproduced on a subwoofer equipped system Bass 60 to 250 Hz the low end of the mix where the fundamentals of bass and other rhythm oriented instruments like the kick drum reside Controls the overall fullness roundness of a track or mix Reducing around the 100 to 200 Hz range can help reduce boominess Low Midrange 250 to 2000 Hz many of the low harmonics of most instruments are in this range and some boost here between 250 and 800 Hz can improve clarity of lower pitched instruments Too much boost in this whole range can lend to a telephone like quality boost from 500Hz to 1Khz can sound horn like from 1Kz to 2Kz can sound tinny and often frequencies in this area can be reduced on mid range instruments like guitar vocals and keyboards to improve a mix High Midrange 2000 Hz 4000 Hz
36. e shown on the left in yellow The frequency response is principally affected by the Decay Time Early and Late Damping and Low Freq Scale parameters The characteristic plot always shows the 100 wet 0 dB gain response and is not affected by the Wet Dry or Output parameters 4 4 Parameters This section describes all the internal parameters of MasterVerb as would be displayed by a generic parameter value plug in interface Most of these have a one to one correspondence with controls on the user interface Reverb Parameters Parameter name Values Enable O Off 1 On Wet Dry Mix 0 100 Pre Delay O 250 ms Decay Time 0 5 60 sec Room Size O 100 Diffusion 0 100 Early Damping 20 20 000 Hz Late Damping 1 to 50 Low Frequency Scale 25 400 Output 12 12 dB 4 5 Parameter Descriptions Following is an explanation of MasterVerb s control parameters 32 4 MasterVerb Enable Turns MasterVerb on and off Wet Dry Sets the amount of wet processed sound and dry unprocessed sound that is mixed together to create the output 100 is all wet 0 is all dry and 50 is an equal mix of wet and dry sound Effectively the Wet Dry parameter sets the perceived distance of the input sound 100 sounds very distant and 0 sounds very near Pre Delay Sets the delay of the wet output relative to the dry output ranging from O to 250 milliseconds Pre Delay is used to achieve an additional echo ef
37. er than the hi gain then MultiDynamics acts like a compressor decreasing the gain as the input level increases beyond threshold Similarly if the hi gain is greater than the lo gain then MultiDynamics acts like an expander increasing the gain as the input level increases beyond threshold The lo gain is indicated by a green triangle pointing down the high gain by a blue triangle pointing up If the arrows are pointing towards each other MultiDynamics is compressing dynamic range if the arrows are pointing away from one another MultiDynamics is expanding dynamic range In the dynamics response display the green and blue triangles can be dragged up and down to adjust the lo and hi gains respectively The orange ball can be dragged up and down to move both gains simultaneously The horizontal coordinate of the orange ball is the threshold Dragging the orange ball left and right changes the threshold Holding down SHIFT or the RIGHT mouse button while dragging left or right will change the ratio Ratio determines the slope of the dynamics response however the relationship depends on whether MultiDynamics is compressing or expanding The MultiDynamics ratio parameter ranges from 1 to 50 When compressing the ratio is interpreted as ratio 1 when expanding the ratio is interpreted as 1 ratio The figure below shows how various expansion and compression ratios would appear in the MultiDynamics dynamics response display Multidynamics ratio
38. est 3D audio effects are heard by others when they are also centered with respect to the loudspeakers Off center listeners may not get the full effect but they still hear a high quality stereo program with some spatial enhancements WaveSurround Performance Many crosstalk cancellers are based on a highly simplified model of crosstalk for example modeling crosstalk as a simple delay and attenuation process or a delay and a lowpass filter Other crosstalk cancellers have been based on a spherical head model The crosstalk canceller used by WaveSurround is based on actual HRTF measurements and thus accurately models the crosstalk that occurs with human listeners For typical human listeners the WaveSurround crosstalk canceller improves channel separation by about 20 dB in the 100 Hz to 6 kHz range This may seem like a modest improvement but in fact it is quite good Even a small improvement in channel separation leads to a large improvement in localization performance As with binaural synthesis crosstalk cancellation performance is ultimately limited by the variation in the size and shape of human heads Virtual Speakers WaveSurround uses virtual speakers to create 3D audio Virtual speakers are intended to simplify the management of virtual surround processing Using virtual speakers it is easy to convert a conventional stereo sound into an immersive 3D sound This is done by assigning the left channel input to a virtual left speaker positioned
39. et File using Open Preset File at which point those presets will appear in the Preset menu File Menu Reference New Preset File create a new file containing user presets Open Preset File open an existing user preset file Save Preset Save a preset to the currently open preset file Save Preset As Save a preset allowing you to enter a new name 16 2 Plug in Control Operation Close Close the current preset file About Product information Open User Manual Display this manual the first time you select this you may have to navigate to the location of the Manual which is in the Power Suite folder Register Enter a key code to activate the full version of the plug in 17 3 TrackPlug 3 TrackPlug 3 1 Overview TrackPlug combines a 10 band EQ compressor and gate in one efficient easy to use pro audio plug in ideal for tracking and mixing Here are some of TrackPlug s key features e a 10 band EQ section with 7 different filter types and 64 bit processing e a variable knee compressor and gate with auto makeup gain frequency dependent peak RMS detection and an optional lookahead delay e pre post EQ routing e comprehensive output and gain reduction meters e a variety of integrated controls click and drag graph points multi scale knobs and buttons direct keyboard entry e 47 custom presets for tracking mixing and mastering Following is a diagram of TrackPlug s audio routin
40. far to the left of the actual left speaker and similarly assigning the right channel input to a virtual right speaker positioned far to the right of the actual right speaker When used on an individual stereo track WaveSurround can create a wide panning effect that can stand out from the rest of the mix in a way that traditional panning wouldn t allow When used on a whole mix WaveSurround will widen the stereo field to give more of an illusion of Surround sound Quick Start Our simple and intuitive graphical interface allows for quick and easy setups First set the real speakers to match your listener s typical stereo configuration WaveSurround supports playback over headphones or loudspeakers To optimize for playback over desktop audio systems use the Speakers 10 degrees setting For standard stereo playback use the Speakers 30 degrees setting 56 7 WaveSurround Then movethe virtual speakers around to where you want your sounds to appear from with respect to the listener Virtual speakers can be moved and automated in real time without clicks or artifacts Finally add some smooth warm reverb to enhance the effect 7 3 User Interface WaveSurround s user interface is shown below WAM WaveSurround O 3D Sound Filterimg Angle Wet Dry Output Gain l i l Early Late
41. fect in the reverberation Pre Delays larger than 100 msec can be used to simulate large spaces such as stadiums and canyons The Pre Delay will be inaudible unless the Wet Dry Mix is set to something greater than 0 so that both the wet and dry outputs are audible Decay Time Sets the decay time of the reverberation in seconds from 0 5 sec to 60 sec Also known as the reverberation time the Decay Time is the time it takes for frequencies near 500 Hz to decay by 60 GB For typical input sounds the reverberation will be essentially inaudible after decaying 60 dB so the Decay Time specifies the effective length of the reverberation tail in seconds The Decay Time parameter is independent of the Room Size Room Size Scales the size of the simulated room ranging from 0 to 100 A Room Size of 0 sounds like a very small space such as a bathroom or closet 25 sounds like a Small studio 50 sounds like a jazz club 75 sounds like a concert hall and 100 sounds like a very large room such as an aircraft hangar or stadium The Room Size parameter is independent of the Decay Time In general small rooms sound best with short decay times and large rooms sound best with longer decay times This is indicated by the green hatched region in the reverb control window Diffusion Sets the extent to which individual echoes propagating in the reverb are spread in time Low values of diffusion produce reverberation that will have audibly discrete
42. g and meter placement Dyn In Gate Comp Output Meter Meter Meter Meter Dyn tn FA Output G ain Gain Out In EQ Peak RMS Gate Compressor EQ pre Detector post EQ TrackPlug s EQ section offers up to 10 bands of professional 64 bit filters Each band can be one of seven different filter types parametric low shelf high shelf lowpass bandpass highpass and notch Our flexible routing architecture enables you to put the EQ either at the beginning or the end of the plug in signal chain Dynamics TrackPlug s dynamics section features a feedforward style gate and compressor which share a common detector increasing the plug in s overall efficiency The detector automatically adjusts its averaging time based on the frequency content of the input signal allowing it to respond quickly to transients without distorting low frequency content 3 1 About TrackPlug TrackPlug is designed to be used as an insert effect on each track in your mix giving you essential per channel signal processing in one plug in 19 Wave Arts Power Suite EO The EO section will allow you to boost certain freguencies and reduce others so that each track sits better in the mix A good approach is to use as little EO as possible and when doing so reduce frequencies rather than boost them to give each track enough space in the mix There are a variety of filters you can use in the EQ section and with up to 10 filters possible you can creat
43. gate and compressor share the same detector You can toggle between RMS and peak detection Detect RMS Lookahead 2 ms Lookahead Delay TrackPlug s dynamics section has on optional lookahead delay that will enable it to respond quicker to attacks Possible values are Off 1 msec 2 msec and 5 msec NME Dynamics Input Gain An input gain for the signal coming O into the Compressor Gate Range is 96dB to 24dB EME 3 6 Specifications Description All in one 10 band EQ Compressor and Gate Platforms Pentium amp compatible PowerPC Operating Systems Windows 2000 XP Mac OS 8 5 or higher Mac OS X 10 2 or higher Plug in Formats AU DirectX MAS RTAS VST Sampling Rates up to 96 kHz Precision 64 bit EQ 32 bit Compressor Gate 1 0 Formats mono mono mono stereo stereo stereo 3 5 Presets Following is the list of presets that ship with TrackPlug 1 Default 25 MasterPlug 2 Bass 26 10 Band EQ 3 Bass Acoustic 27 The Works 4 Bass Attack 28 Xtreme Beat 5 Bass Attackier 29 Xtreme Vocals 6 Drums 30 What Dynamics 7 Drums Squisher 31 C 8 Drums Squasher 32 C Db 9 Drums Tighter 33 D 10 Hi hats Cymbals 34 D Eb 11 Kick 35 E 12 Snare 1 36 F 13 Snare 2 37 F Gb 14 Toms 38 G 15 Vocal Female 39 G Ab 16 Vocal Male 40 A 27 Wave Arts Power Suite 17 Voiceover Female 41 A Bb 18 Voiceover Male 42 B 19 Acoustic Guitar 43 Telephone 20 Piano
44. ge spaces such as stadiums and canyons The Pre Delay will be inaudible unless the wet dry mix is set to something greater than 0 so that both the wet and dry outputs are audible Early Damping Adjusts the cutoff freguency of a lowpass filter at the input of the reverb thus the Early Damping parameter sets the upper limit of freguencies admitted into the reverb The range of the Early Damping parameter is from 20 Hz to 20 kHz Setting this parameter to the maximum value opens up the filter completely for maximum brightness A low Early Damping setting results in a dull muffled reverberation whereas a high Early Damping setting results in a bright crisp reverberation Late Damping Sets the cutoff frequency of the damping filter in the reverb A lower setting causes high frequencies to decay faster resulting in a duller sounding late reverberation a higher setting results in a brighter sounding late reverberation The range of the Late Damping is from 20 Hz to 20 kHz Setting this parameter to the maximum value opens up the filter completely for maximum brightness A value of around 4 kHz results in a natural sounding reverberation for typical rooms Rooms with hard reflective walls consisting of concrete or tile such as a bathroom would be simulated using a higher Late Damping Rooms containing much absorbent material would be simulated using a lower Late Damping Global Enable Turns the entire plug in on and off Wet Dry
45. goes to 50 which is essentially an infinite ratio 40 5 MultiDynamics thresh thresh t i 1 1 1 1 1 2 1 inf inf 1 expansion compression The knee parameter sets the curvature of the dynamics response when passing through the threshold which is usually called the knee point A soft knee has a rounded shape a hard knee has a sharp edge Each dynamics response in MultiDynamics has two knees the first knee occurs at the threshold and the second knee occurs when the gain is limited by the hi or lo gain setting With small ratios near 1 the second knee may not be visible on the dynamics response graph because it is out of the range of 72 to O GB 5 4 Parameters This section describes all the internal parameters of MultiDynamics as would be displayed by a generic parameter value plug in interface Most of these have a one to one correspondence with controls on the user interface Band parameters Parameter name Values Band Enable O Off 1 Bypass 2 On 3 Solo Band Lo 20 20000 Hz Band Hi 20 20000 Hz Band DynEnable O Off 1 On Band Thresh 72 to O dB Band LoGain 18 to 18 dB Band HiGain 18 to 18 dB Band Ratio 1 to 50 Band Knee O Soft 1 Medium 2 Hard Band Att 1 to 1000 msec Band Rel 1 to 2000 msec In the above parameter names Band will display as Bandi through Band6 for the six frequency bands Global parameters Parameter name Values Enable O Off
46. h ranges from 72 to 0 dB Band Lo Gain and Band Hi Gain When the signal is below the input threshold the dynamics processor will apply the Lo Gain to the signal when above the threshold the processor will apply Hi Gain to the signal See the description of the dynamics response display for more information Both Lo Gain and Hi Gain range from 18 dB to 18 dB Band Ratio The ratio parameter determines how guickly the dynamics processor will change gain asthe signal level passes the threshold The ratio ranges from 1 to 50 When compressing the ratio is interpreted as ratio 1 using the classic definition of compressor ratio A ratio of 2 1 means that if the signal exceeds the threshold by 10 dB the compressor will attenuate the signal by 5 dB a ratio of 4 1 will attenuate the signal by 7 5 dB and a ratio of inf 1 will attenuate the signal by 10 dB 42 5 MultiDynamics When expanding the ratio is interpreted as 1 ratio using the classic definition of expander ratio A ratio of 1 2 means that if the signal is below the threshold by 10 dB the expander will attenuate the signal by 20 dB a ratio of 1 4 will attenuate the signal by 40 dB and a ratio of 1 inf will attenuate the signal by infinite dB total mute Note that the MultiDynamics processor limits the gain reduction to 18 dB Band Knee The band knee parameter sets the smoothness of the dynamics response through the knee points Like ratio this parameter can be set i
47. hink of a multi band dynamics processor as implementing a set of equalizers that respond to different dynamic ranges 5 2 About Multiband Dynamics Multiband dynamics processing is very powerful yet can be more difficult to use than single band dynamics processors like TrackPlug You would use it when you want to apply compression or expansion to a specific frequency range Multiband dynamics can be useful 35 Wave Arts Power Suite when you want to alter a portion of an entire mix For example you may want to compress the vocals in a mix without affecting the low freguencies bass kick drum or high frequencies snare cymbals A multiband dynamics processor can accomplish this by restricting the frequency range of the compression to the mid range vocal frequencies It is also possible to think of multiband dynamics as providing EQ which is dependent on the level of the input sound You may want to reduce the level of a high hat but only when the music is soft This can be accomplished by setting up a high frequency band that decreases gain when the input falls below a threshold downward expansion This is more powerful than using a shelving EQ which will change the tonal balance at all levels equally Another powerful use of multiband dynamics is noise reduction One can set up multiple bands to do noise gating by setting the gain to decrease when the signal falls below threshold Then the thresholds of each band can be adjusted to be ju
48. ii 35 51 OVA 35 5 2 About Multiband DYNAMICS iii iria basa 35 5 3 User Interfaces adas 36 54 ell GING CONS sacos 41 5 5 Parameter DESClIBUIONS oraria cuatcustcieesstaienssntnreisasniesscneauasauntes 42 5 6 SDCCIICALIONS riisiga AAA AAA 43 Dil Presets aaa 44 6 EIMAIPIUG a 45 61 OVOr VI Winston 45 6 2 About FmalPIUG iria aaa Aaaa 46 6 3 User Interfaces ninia ads 47 6 4 Parameters isc aa 48 6 4 Parameter descripci n 49 6 6 SPecifiCcacONS isaac 50 6 7 Presto concert 51 Wave Arts Power Suite 24 WaAVSSUFFOUMG iria 53 Tia ONO VIO Wii a 53 7 2 About 3 D AUGIOL ii A aid 53 TUS IO tear aaa 57 Ti PALAMELEIS aaa aaa aaa 58 7 5 Parameter DeSCFIDUONS iria 58 7 6 SPECITICALIONS eee renee ree tn rere rere rr kannan sad Per ere rere rere rrr ere cernr rr creer rr errr rr rererr etre rere etre 60 Li PECSCUS i ai anda aaa aaa aaa aka auaemseninaeNaaNenaauneet 61 License Agreement 63 SUPDONL sico 65 o e 67 1 Installation and Registration 1 Installation and Registration 1 1 Mac OS X Installation Insert the Power Suite CD ROM and double click the Power Suite OSX folder 4 gt Power Suite PD Network a gt WaveArts HE Desktop Power Suite OSX mpkg A rmartino Je Applications rn 3 Documents iii Movies 6 Music H Uy Pictures Power Suite 059 0 work 2 items Zero KB available Simply double click the Power Suite OSX mpkg icon and proceed though the installation pro
49. iled a reply containing your 10 digit Key Code An example reply is shown below Here 1s the key code for your Wave Arts product with Machine ID 18869 PowerSuite 111 222 3333 To activate your software go to the Register menu item of a Wave Arts plug in and enter this number Please contact us if you have any problems Thank you Wave Arts Inc You then unlock the plug ins be selecting the Register command in the File menu of any Wave Arts plug in Sra os Kd New Preset File 50 100 200 500 Open Preset File Save Preset Default Save Preset 45 lase About Open User Manual Register Then enter the 10 digit key code in the dialog box Wave Arts MultiDynamics Registration Please enter the Rep Code not pour Serial Humber below A Kep Code may be obtained by visiting our registration page at http Aamu wavyvearts com register html ou will need a valid email Cancel address Your Serial Humber and pour Machine IO 158649 You should see a dialog indicating that the registration was successful If you need to install the plug ins on another machine such as a laptop you may repeat the procedure above Our license policy permits up to three installations provided you are the only user The registration web page keeps track of the number of machines on which you have installed your plugs 10 1 Installation and Registration 1 5 Registration Troubleshoo
50. ing the Decay Time parameter For example if the Low Freq 33 Wave Arts Power Suite Scale is set to 200 then the decay time of low freguencies will be twice as long asthe decay time at 500 Hz a setting of 50 means low freguencies will decay in half the time This can be a useful parameter to reduce the rumble that can occur with long reverberation times orto increase the warmth in a short reverberation Output Sets the overall output gain in decibels This gain is applied to the output of the wet dry mix therefore the gain does not affect the relative levels of wet and dry sound 4 6 Specifications Description Reverb Platforms Pentium amp compatible PowerPC Operating Systems Windows 2000 XP Mac OS 8 5 or higher Mac OS X 10 2 or higher Plug in Formats AU DirectX MAS RTAS VST Sampling Rates up to 96 kHz Precision 32 bit processing 1 0 Formats mono stereo stereo stereo 4 7 Presets Following is the list of presets that ship with MasterVerb Presets 18 33 were created by Sound on Sound Columnist Martin Walker Default Tiny room bright Tiny room muffled Studio Studio bright Studio warm Nightclub Nightclub bright Nightclub warm 10 Concert hall 11 Concert hall bright 12 Concert hall warm 13 Cathedral 14 Cathedral bright 15 Outdoor ambience 16 Small resonant space 17 PA system WON Nu uNa 34 Scatter Verb Thud Verb Menace Verb L
51. is way not only saves CPU resources but lends to a more natural sound since each track is in a sense sharing the same space If you use reverb as an insert effect you may want to decrease the wet dry mix to taste so that the reverb effect is not too muddy 30 4 MasterVerb 4 3 User Interface Wet Dry Pre Delay o 0 Ei EES Early Late Low Freq Diffusion Damping Damping Scale Output In addition to the standard buttons knobs and meters whose operation is described in the section Plug in Control Operation the following controls are specific to MasterVerb Reverb Time Size Control The 2 D time size control features a joystick control for a quick and easy setup Simply click and drag the control around the graph to change the reverb characteristic The green region indicates time size settings that lead to natural sounding reverberant spaces while the red region indicates time size settings that lead to more colored and extreme reverb responses useful for simulating spaces such as drainpipes or concrete stairwells 31 Wave Arts Power Suite Freguency Decay Plot The reverb frequency decay plot is a three dimensional plot that shows the frequency response of MasterVerb during the reverb decay Amplitude is on the vertical axis time is on the axis that runs from left to right and frequency is on the rear axis Note that low frequencies are Shown on the right in red high frequencies ar
52. le WHA FinalPlug O Limiter Truncate Dither Thresh Ceiling Release Attenuation Bits ri Y In addition to the standard buttons sliders and meters whose operation is described in the section Plug in Control Operation the following controls are specific to FinalPlug 47 Wave Arts Power Suite Slider Meters There are two sliders which allow you to set signal threshold and maximum ceiling Click on one of the arrows or anywhere in between to move the slider up and down You can also enter text directly into the bottom text field The meters show the peak signal power in short time updates from 36dB to OdB The meter also stores the overall peak value for each channel and displays these values in the peak indicator boxes to the right of the meter If the detector finds a peak value above OdB the indicator will turn red as a warning Click on either indicator box to reset them Dither Controls gt aT Y Two menus allow you to set the bit depth and dither shape select values by clicking on the drop down menu button and selecting the desired value from the popup menu Clicking on the bit depth field allows you to edit the text and enter any value between 4 and 24 Clicking on the shape text field will cycle to the next shape holding SHIFT will cycle to the previous shape The plot shows the response of the noise shape filter The horizontal axis is frequency in Hz the verti
53. lective walls which do not readily absorb high freguencies Similarly reverberation that is dull sounding is associated with rooms that contain soft materials such as plush carpets and drapes which readily absorb high freguencies In this manner reverberation imparts useful information about the composition of the surrounding space Reverberation is also important for establishing distance cues In a reverberant space when the distance between the source and the listener is increased the level of the direct sound decreases considerably but the level of reverberation does not decrease much Thus the level of direct to reverberant sound can be used as a distance cue with dry non reverberant sounds perceived as being close and reverberant sounds perceived as being distant Reverberation gives information about the size and character of the surrounding space and the distance of the sound source For recordings that are made with close microphone techniques artificial reverberation must be added to restore spatial context Reverb is thus an essential tool for imparting a sense of space to your recordings For music production it is common to place a reverb plug in on an aux bus in your host application program and use the aux send on the tracks you want to be processed with reverb In this case you d want the reverb mix to be 100 since you will be hearing the track dry already and the reverb signal on the aux return Using reverb in th
54. n MultiDynamics uses either 3d order or 5th order Butterworth bandpass filters The crossover slope choices are 18 dB oct for the 3d order filters or 30 dB oct for the 5th order filters 5 6 Specifications Description Multi band dynamics processor Platforms Pentium amp compatible PowerPC 43 Wave Arts Power Suite Operating Systems Windows 2000 XP Mac OS 8 5 or higher Mac OS X 10 2 or higher Plug in Formats AU DirectX MAS RTAS VST Sampling Rates up to 96 kHz Precision 64 bit bandpass filters 32 bit dynamics 1 0 Formats mono mono mono stereo stereo stereo 5 7 Presets Default Basic Hard Bass Comp Vocals Dance Mastering Acoustic Guitar Female De ess Male De ess 10 Medium Enhance 11 Mid Punch 12 Bass Punch 13 2 Band Template 14 3 Band Template 15 4 Band Template 16 Noise Gate 17 Noise Reduce WON AUBRWNEF 44 6 FinalPlug 6 FinalPlug 6 1 Overview FinalPlug is a peak limiter with bit depth truncation and noise shaped dithering Here are some of FinalPlug s key features Sonically transparent peak limiting use as peak limiter or volume maximizer Mono to mono or stereo to stereo operation Bit depth truncation from 4 to 24 bits TPDF dithering Comprehensive noise shaping options Operation up to 192 kHz sampling rate Presets for CD and DVD audio mastering and track compression A diagram of FinalPlug s audio routing and meter placement is sho
55. ndividually for each band A Hard knee uses straight lines in the dynamics response a Medium knee uses some smoothing and a Soft knee applies the maximum smoothing Band Attack and Release Time These parameters set the attack time and release times of the dynamics processor The attack time ranges from 1 to 1000 msec the release time ranges from 1 to 2000 msec When compressing the attack time determines how guickly the gain is decreased in response to the signal exceeding the threshold The release time determines how guickly the gain can increase back to its original value The role of attack and release times is reversed when expanding When expanding the release time determines how guickly the gain is decreased when the signal level falls below the threshold and the attack time determines how guickly the gain can increase to its original value Enable The MultiDynamics Enable parameter defines the enable bypass state of the entire MultiDynamics plug in The user interface handles this parameter through the Enable button in the menu bar The plug in is enabled when the button is lit and the parameter is On and the plug in is bypassed when the button is extinguished and the parameter is Off Output Level This parameter determines the output gain of the MultiDynamics plug in It ranges from 18 to 18 dB Crossover Slope This parameter determines the crossover slope in dB oct of the bandpass filters The crossover network i
56. old global control will move the threshold for all bands at the same time which is readily seen in the frequency response display Global parameter section Lookahead Por The global parameters are lookahead crossover slope and output gain They are described in detail in section 5 5 39 Wave Arts Power Suite Dynamic response display 72 60 48 36 24 12 0 2 b 46 Jb 24 The dynamic response display shows how an input level is mapped to a gain An the bottom of the display on the horizontal axis is the input level meter which moves left to right as the peak input level goes from 72 dB to 0 dB The yellow band shows the range from smallest to largest level processed by the dynamics section since the last meter redraw In the above example the levels range from 36 dB to 30 dB The thick green line on the graph shows how the input levels map to dynamics gains which range from 18 to 18 dB on the vertical axis In the above figure the range of 36 to 30 dB of input levels will map to gains of 3 dB Note that this mapping happens before the attack and release time filtering is applied to the gain modulation The dynamic response curve is determined by the parameters lo gain hi gain threshold ratio and knee The lo gain determines the dynamics gain when the input signal level is below threshold while the hi gain determines the dynamics gain when the input signal level is above threshold If the lo gain is great
57. ound that is mixed together to create the output 100 is all wet 0 is all dry and 50 is an equal mix of wet and dry sound Effectively the mix parameter sets the perceived distance of the input sound 100 sounds very distant and 0 sounds very near Time Sets the decay time of the reverberation in seconds from 0 5 sec to 20 sec Also known as the reverberation time the decay time is the time it takes for frequencies near 500 Hz to decay by 60 dB For typical input sounds the reverberation will be essentially inaudible after decaying 60 dB so the Decay Time specifies the effective length of the reverberation tail in seconds The decay time parameter is independent of the room size 59 Wave Arts Power Suite Size Scales the size of the simulated room ranging from 0 to 100 A room size of 0 sounds like a very small space such as a bathroom or closet 25 sounds like a small studio 50 sounds like a jazz club 75 sounds like a concert hall and 100 sounds like a very large room such as an aircraft hangar or stadium The room size parameter is independent of the decay time In general small rooms sound best with short decay times and large rooms sound best with longer decay times Pre Delay Sets the delay of the wet output relative to the dry output ranging from O to 250 milliseconds Pre Delay is used to achieve an additional echo effect in the reverberation Pre Delays larger than 100 msec can be used to simulate lar
58. ow as the acoustic paths from each speaker to the opposite ear The crosstalk severely degrades localization performance and must be eliminated Canceling Crosstalk Fortunately it is possible to build an elaborate digital filter called a crosstalk canceller that eliminates crosstalk The crosstalk canceller adds a cancellation signal to each of the two channels of audio such that when the listener is properly positioned between the loudspeakers the crosstalk is acoustically cancelled at the listener s ears The listener must be centered between the two loudspeakers in order for the crosstalk to be cancelled In 3D audio parlance the listener must be in the sweet spot to get the full 3D effect Provided 55 Wave Arts Power Suite the listener is centered between the loudspeakers crosstalk cancellation is relatively insensitive to front back motions of the listener however crosstalk cancellation is degraded when the listener is off center or not facing forward The Real World Loudspeaker 3D audio systems are extremely effective in desktop computing environments This is because there is usually only a single listener the computer user who is almost always centered between the speakers and facing forward towards the monitor Thus the primary user gets the full 3D effect because the crosstalk is properly cancelled In typical 3D audio applications like video gaming friends may gather around to watch In this case the b
59. reated by the loudspeakers or headphones butthe listener s perception is that the sounds come from arbitrary points in space This is similar to stereo panning in conventional stereo systems sounds can be panned to locations between the two loudspeakers creating virtual or phantom images of the sound where there is no loudspeaker However conventional stereo systems generally cannot position sounds to the sides or rear of the listener nor above or below the listener A 3D audio system attempts to do just that How does 3D Audio work To answer how 3D audio systems work it is useful to start by considering how humans can localize sounds using only two ears A sound generated in space creates a sound wave that propagates to the ears of the listener When the sound is to the left of the listener the sound reaches the left ear before the right ear and thus the right ear signal is delayed with 53 Wave Arts Power Suite respect to the left ear signal In addition the right ear signal will be attenuated because of shadowing by the head Both ear signals are also subject to a complicated filtering process caused by acoustical interaction with the torso head and in particular the pinna external ear The various folds in the pinna modify the freguency content of the signals reinforcing some freguencies and attenuating others in a manner that depends on the direction of the incident sound Thus an ear acts like a complicated tone
60. rinted materials and on line or electronic documentation SOFTWARE PRODUCT or SOFTWARE By exercising your rights to make and use copies of the SOFTWARE PRODUCT you agree to be bound by the terms of this EULA If you do not agree to the terms of this EULA you may not use the SOFTWARE PRODUCT SOFTWARE PRODUCT LICENSE The SOFTWARE PRODUCT is protected by copyright laws and international copyright treaties as well as other intellectual property laws and treaties The SOFTWARE PRODUCT is licensed not sold GRANT OF LICENSE This EULA grants you the following rights Installation and Use You may install and use the SOFTWARE PRODUCT on uptothree computers provided you are the only user A license must be acguired for each individual user of the SOFTWARE PRODUCT Reproduction and Distribution You may not reproduce or distribute the SOFTWARE PRODUCT except to make backup copies orto install as provided for above DESCRIPTION OF OTHER RIGHTS AND LIMITATIONS Limitations on Reverse Engineering Decompilation and Disassembly You may not reverse engineer decompile or disassemble the SOFTWARE PRODUCT except and only to the extent that such activity is expressly permitted by applicable law notwithstanding this limtation Software Transfer You may permanently transfer all of your rights under this EULA provided you retain no copies you transfer all of the SOFTWARE PRODUCT and the recipient agrees to the terms of this EULA
61. rising out of the use of or inability to use this Wave Arts product even if Wave Arts has been advised of the possibility of such damages Because some states jurisdictions do not allow the exclusion or limitation of liability for consequential or incidental damages the above limitation may not apply to you MISCELLANEOUS If you acquired this product in the United States this EULA is governed by the laws of the State of Massachusetts If this product was acquired outside the United States then local laws may apply 64 Support Support For assistance please send email to support Owavearts com If you are having problems with a plug in please include the following information plug in name operating system and host software you are using The version numbers are also helpful For software updates revision history frequently asked questions FAQ and more please visit our website at WWW Wavearts com Contact information Wave Arts Inc 99 Massachusetts Ave Arlington MA 02474 tel 1 781 646 3794 fax 1 781 646 7190 65 Index A A B edit DUCTS rain amaan 15 ADO UL 8 A amm 26 ATTACK ooconccccccncnonanoncnacoconencnnancnnnans 26 43 B Bit Ge DUM A O vee hes 49 BUELONS eee nee een aev ee 14 C COMPFESSION aaa 20 35 40 COMM SS Ole errai aa 25 CrOSSOVEr SIODE iti aim ies 43 A aa ia ls 55 D Decay time reeeeerese 33 LAS TOA eee a at la a a cl 33 PVC e EE
62. st above the ambient noise level in each band So when the signal in each band is well above the ambient noise level it passes through when the signal falls near the ambient noise level it is gated This is a really powerful technique for cleaning up noisy production recordings 5 3 User Interface The user interface for MultiDynamics is shown below The large window at the upper left is the frequency response display This shows the dynamic frequency response and the input levels in each band Below the frequency response display are controls to create delete and edit bands At the upper right is the dynamic response display 36 5 MultiDynamics WMA MultiDynamics 50 100 200 500 5k 10k 20k 72 60 48 36 24 12 Beor raam A a 22 6U 46 J36 44 20 50 100 200 500 a 532 Lo Gain Threshold Hi Gain Ratio Attack Release Ooo oO O O 3 a 12 12 E HE a Frequency response display 24 The frequency response display shows most of the information regarding MultiDynamics operation At the top of the display the current equalization response is plotted with a thin green line The shaded blue region shows the range of equalization which is determined by the hi and lo gains per band The lo and hi gains can be manipulated by dragging the green and blue triangles respectively up and down Holding down SHIFT or the RIGHT mouse button while dragging the hi or lo gains will move both at once At the bottom of
63. time sets the duration of the gain restoration Long release times will tend to turn down the gain and keep it down Short release times will lead to a louder mix by quickly restoring gain after peaks Truncate Dither Enable disables the truncate dither section of the plug in Bit Depth The resolution of the audio output from the plug in will be quantized to this value It should be set to the final desired bit depth of the target medium i e 16 bit for CD 24 bit for DVD You can select a value from the menu or type a value between 4 and 24 in the text field As an experiment you can hear the various noise shapes by changing the bit depth to a low value like 6 or 8 and cycling through the shapes For this to work it is helpful to have a host application that has a continually running audio engine like Digital Performer Dither Shape Shape of the dither noise injected into the signal The frequency plot Shows how the noise energy is distributed throughout the frequency range The idea of Shaping is to concentrate the noise in areas that the human ear is less sensitive making it less perceptible The 44 1K shapes are designed for CD 16 bit 44 1K and the 96K shapes 49 Wave Arts Power Suite for DVD audio The 96K shapes concentrate the dither noise to freguencies above 20kHz Below 20kHz the dither noise is flat Flat No noise shaping 44 1 kHz Shapel Gentle reduction of noise below 10 kHz noise is concentrate
64. ting Invalid key code message make sure you are entering the 10 digit key code from the registration email NOT the 14 digit serial number Website says my number of registrations is used up contact Wave Arts support support Owavearts com and let us know the number of computer s the plug ins are installed on As a single user you can install the plug ins on up to three computers but additional users must purchase their own copies of the plug ins Key code email not received make sure the mail is not being filtered by a junk or SPAM mail program 11 2 Plug in Control Operation 2 Plug in Control Operation 2 1 Knobs kano Please refer to the following guide for information about the various ways you can use knobs Function Mac Windows Increase Decrease a parameter value rotate Click on the knob Click on the knob clockwise counterclockwise drag up down drag up down Shift click drag Right click drag up down up down or Fine adjustment increase decrease Shift click drag up down RTAS Command click RTAS Ctrl click Immediately jump to a value Click on the ticks Click on the ticks kis around the knob around the knob Command click Control click or or Reset knob to default value Double click Double click RTAS Option click RTAS Alt click 2 2 Text Entry 166 Hz All value displays are editable text Following is a table that fully describes its functionality
65. ufacturers would have you believe This is because acoustic recordings typically contain much higher levels of noise than reguired to properly dither a signal Hence adding dithering will have no effect except to slightly increase the existing noise level A study by D W Fostle Audio Magazine March 1996 showed that very few recorded CDs have low enough noise floors to benefit from proper dithering and noise shaping The advantages of dithering are even more tenuous when considering 24 bit media like DVD audio Dithering and noise shaping will have benefits only when the original material has a noise floor below the guantization level of the final medium This is unlikely when dealing with acoustically recorded material However purely synthetic material more common these days may indeed have very low noise floors and may benefit from proper dithering and noise shaping As shown inthe above schematic truncation and dithering occurs after peak limiting Hence the output level as shown by the output meters may slightly exceed the limiter ceiling level when dithering is active This is because the dithering and noise shaping occurs after peak limiting The effect is negligible for typical settings We recommend that a ceiling of 0 1 dB be used for CD and DVD audio mastering to allow a tiny bit of headroom for dither noise Additional headroom may be needed when dithering signals at small bit depths such as 8 bits 6 3 User Interface LO Enab
66. wn below Input Attenuation Output Meter Meter Meter FinalPlug is most commonly used as the final plug in that a mix would pass though on your master output It allows you to maximize the volume of a mix while preventing the sound from exceeding a certain level so that digital clipping doesn t occur It is more flexible than normalizing since you aren t simply increasing the volume of the entire track a set amount FinalPlug will dynamically squash peaks to be more in line with the rest of the signal and with careful use you can increase the perceived loudness of a mix by 6 to 12 dB without any audible artifacts Truncation Dither Out If you are preparing a CD master FinalPlug s truncation and dithering features can be used to reduce the bit depth of your recording to 16 bits while minimizing the amount of quantization noise that can be perceived FinalPlug s peak limiting truncation and dithering features are explained in more detail in the following section 45 Wave Arts Power Suite 6 2 About FinalPlug Peak Limiting FinalPlug s peak limiter can be used as a straight peak limiter or as a volume maximizer The FinalPlug limiter detects peaks in the signal and very guickly reduces the input gain prior to the peak preventing clipping After the peak has passed FinalPlug restores the input gain to the nominal level The peak limiter works with both mono and stereo inputs and hence can be used on
67. works by mimicking the process of natural hearing essentially reproducing the sound localization cues at the ears of the listener This is most easily done by using a pair of measured head related transfer functions HRTFs as a specification for a pair of digital audio filters equalizers When a sound signal is processed by the digital filters and listened to over headphones the sound localization cues for each ear are reproduced and the listener should perceive the sound at the location specified by the HRTFs This process is called binaural synthesis binaural signals are defined as the signals at the ears of a listener 54 7 WaveSurround listener wearing headphones virtual sound source perceived here digital filters 3 D Audio Using Loudspeakers Crosstalk When reproducing localization cues to a listener it is important that the left and right audio channels remain separated that is the left ear signal should go to the listener s left ear only and the right ear signal should go to the listener s right ear only This is easy to achieve when the listener is using headphones When using loudspeakers however there is Significant crosstalk between each speaker and the opposite ear of the listener A large portion of the left speaker signal will go to the right ear of the listener and similarly a large portion of the right speaker signal will go to the left ear of the listener Crosstalk is depicted in the figure bel

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