Aphex Plug-ins Guide v8.0
Contents
1. 0 00 cece eee eee 32 Index srera hae yet wea a Pee 33 iv Aphex Aural Exciter Type Ill and Big Bottom Pro Plug ins Guide Introduction The Aural Exciter Type III and Big Bottom Pro plug ins are real time TDM plug ins that retain the look and sound of Aphex Systems re nowned hardware units Aural Exciter makes it possible to recreate and restore missing harmon ics The Aural Exciter Type III and Big Bottom Pro plug ins provide support for 44 1 kHz 48 kHz 88 2 kHz 96 kHz 176 4 kHz and 192 kHz ses sions y On 176 4 kHz or 192 kHz stereo tracks Au ral Exciter is only available as a multi mono plug in Contents of the Boxed Version of Your Plug in Your Aphex Aural Exciter Type III and Big Bot tom Pro plug in boxed version contains the fol lowing components e Installation disc e Digidesign Registration Information Card e One of the following authorization cards for authorizing plug ins with an iLok USB Smart Key not supplied e Activation Card with an Activation Code or e License Card Chapter 1 Introduction 1 System Requirements and Compatibility Information To use Aural Exciter lll and Big Bottom Pro you need e An iLok USB Smart Key e An iLok com account for managing iLok li censes e One of the following e A Digidesign qualified Pro Tools HD sys tem or Pro Tools HD Accel system e A Digidesign qualified VENUE system Digidesign can only assure compatibility and2. S scroll wheel adjusting plug in parameters 11 23 Solo switch 15 25 SPR switch 16 19 switches 15 25 adjusting plug in parameters 11 23 System Usage window 29 T TDM plug ins DSP requirements 29 Timbre control 14 Tune control 13 25 Tune fader 19 U uninstalling plug ins Mac 7 Windows Vista 7 Windows XP 7 using Aural Exciter 17 Ww website 3 34 Aphex Aural Exciter Type Ill and Big Bottom Pro Plug ins Guide b z de 2 digidesign 5 www digidesign com A division of Avid DIGIDESIGN TECHNICAL SUPPORT USA 2001 Junipero Serra Boulevard Tel 650 731 6100 Daly City CA 94014 3886 USA Fax 650 731 6375 Tel 650 731 6300 Fax 650 731 6399 PRODUCT INFORMATION USA Tel 800 333 2137 INTERNATIONAL OFFICES Visit the Digidesign website for contact information
3. dows or Return Mac to enter the value and leave keyboard editing mode w To move forward through the different con trol fields press the Tab key To move back ward press Shift Tab Editing Parameters Using a Scroll Wheel Some controls have text boxes that display the current value of the parameter You can edit the numeric value of a parameter using a scroll wheel To change control values using a scroll wheel 1 Click the text box corresponding to the con trol that you want to adjust 2 To increase a value scroll up with the scroll wheel To decrease a value scroll down with the scroll wheel Toggling Switches To toggle a switch a Click the switch Meters Drive Meter The Drive meter monitors the peak level to the harmonic generator It works in conjunction with the Drive switch A red LED at the top of the meter indicates if there is clipping For optimal performance keep the peak hold meter of the Drive meter inside the yellow area The harder you drive the Exciter the more Ex citer enhancement you generate If you cannot get the Drive meter to register in the yellow area try setting the Drive switch to High Drive switch enabled Out Meter The Out meter lets you monitor the output level after Aural Exciter processing A red light at the top of the meter indicates if there is clipping Y The Plug in window header includes a Clip LED that lights red to indicate plug in clip ping The
4. Aphex Aural Exciter Type lll and Big Bottom Pro Version 8 0 2 Legal Notices This guide is copyrighted O2008 by Digidesign a division of Avid Technology Inc hereafter Digidesign with all rights reserved Under copyright laws this guide may not be duplicated in whole or in part without the written consent of Digidesign 003 96 I O 96i I O 192 Digital I O 192 1 0 888 24 1 0 882 20 1 0 1622 1 0 24 Bit ADAT Bridge I O AudioSuite Avid Avid DNA Avid Mojo Avid Unity Avid Unity ISIS Avid Xpress AVoption Axiom Beat Detective Bomb Factory Bruno C 24 Command 8 Control 24 D Command D Control D Fi D fx D Show D Verb DAE Digi 002 DigiBase DigiDelivery Digidesign Digidesign Audio Engine Digidesign Intelligent Noise Reduction Digidesign TDM Bus DigiDrive DigiRack DigiTest DigiTranslator DINR D Show DV Toolkit EditPack Eleven HD Core HD Process Hybrid Impact Interplay LoFi M Audio MachineControl Maxim Mbox MediaComposer MIDI 1 0 MIX MultiShell Nitris OMF OMF Interchange PRE ProControl Pro Tools M Powered Pro Tools Pro Tools HD Pro Tools LE QuickPunch Recti Fi Reel Tape Reso Reverb One ReVibe RTAS Sibelius Smack SoundReplacer Sound Designer II Strike Structure SYNC HD SYNC 1 0 Synchronic TL Aggro TL AutoPan TL Drum Rehab TL Everyphase TL Fauxlder TL In Tune TL MasterMeter TL Metro TL Space TL Utilities Transfuser Trillium Lane Labs Vari Fi
5. 4 0 9 Big Bottom 24 12 10 5 4 2 9 HD Core and HD Process Cards Table 3 Maximum instances of plug ins per DSP chip for an HD Core or HD Process card at different sample rates mono and stereo Compatible DSP Chips per Sample Rate 44 1 48 kHz 88 2 96 kHz 174 6 192 kHz HD Core or HD Process Card Plug in Mono Stereo Mono Stereo Mono Stereo Aural Exciter 8 4 4 2 2 0 9 Big Bottom 12 6 5 2 2 1 9 30 Aphex Aural Exciter Type Ill and Big Bottom Pro Plug ins Guide appendix b DSP Delays Incurred by TDM Plug ins Virtually all TDM plug ins incur some amount of signal delay If you are working with mono tracks or are pro cessing all channels with the same plug in the signal delays are not long enough to be signifi cant and should not be a concern This signal delay is significant only if you use a plug in on one channel of a stereo or multichan nel signal but not the others since this can cause the channels to be slightly out of phase Pro Tools systems provide automatic Delay Compensation and other methods to com pensate for signal processing delays For de tailed information see the Pro Tools Refer ence Guide Table 3 on page 32 shows the delays inherent in each plug in DSP Delays Incurred by TDM Plug ins 31 Aphex Aural Exciter and Big Bottom DSP Delay Table 3 Samples of delay incurred by each TDM plug in on Pro Tools HD cards Sample
6. Mouse You can adjust rotary controls by dragging hori zontally or vertically Parameter values increase as you drag upward or to the right and decrease as you drag downward or to the left Keyboard Shortcuts For finer adjustments Control drag Win dows or Command drag Mac the control To return a control to its default value Alt click Windows or Option click Mac the con trol Editing Parameters Using a Computer Keyboard Some controls have text boxes that display the current value of the parameter You can edit the numeric value of a parameter with your com puter keyboard If multiple Plug in windows are open Tab and keyboard entry remain focused on the plug in that is the target window To change control values with a computer keyboard 1 Click the text box corresponding to the con trol that you want to adjust 2 Change the value e To increase a value press the Up Arrow on your keyboard To decrease a value press the Down Arrow on your keyboard 0r e Type the desired value dd In fields that support values in kilohertz typing k after a number value will multi ply the value by 1 000 For example type 8k to enter a value of 8 000 10 Aphex Aural Exciter Type lll and Big Bottom Pro Plug ins Guide 3 Do one of the following e Press Enter on the numeric keyboard to in put the value and remain in keyboard edit ing mode or e Press Enter on the alpha keyboard Win
7. Out switch is set to Off Switching back and forth from On to Off pro vides a quick A B comparison allowing you to hear the enhancements from the Big Bottom Pro effect in your program content Solo Switch When engaged the Solo switch allows you to audition the Big Bottom Pro side chain effect without the main audio signal The switch illu minates when the Solo switch is activated Chapter 5 Big Bottom Pro Controls 25 Phase Switch The Phase switch allows you to alter the phase of the side chain signal which contains the Big Bottom Pro effect before it is mixed with the original input signal This function is used as a optional way to change the quality of the Big Bottom Pro effect The switch illuminates when the Phase switch is activated Altering the side chain signal s phase dramati cally effects the sound of the Big Bottom Pro en hancement With the Phase switch turned Off you will recognize the Big Bottom Pro effect found in the Aphex Model 104 As an exclusive feature for this TDM plug in we have added the Phase switch When activated the Phase switch alters the Big Bottom Pro effect by setting the side chain in phase with the main signal This increases the output peak level Use the Mix or Level controls to restore the output peak level if the Drive meter indicates clipping AutoTrace Switch Activating the AutoTrace switch enables an au tomatic threshold function for the compressor within t
8. Plug in Clip LED follows Pro Tools settings for clip indication For more information see the Pro Tools Refer ence Guide dh f your input material has a peak level be careful to prevent clipping when setting the Mix control Chapter 3 Aural Exciter Controls 11 12 BLOCK DIAGRAM OF AURAL EXCITER TYPE lll Bypass closed INPUT O Level 0 dB SPR Ron MAIN AUDIO PATH OUTPUT t Bypass open Drive we dB 18 dB Ea O O O Tune Peaking Null Fill ee AURAL EXCITER SIDE CHAIN Gay fous ES 6 dB e 418 dB gt o Figure 1 Block Diagram of Aphex Aural Exciter Type III me nv ws O ax O soo O sa O amas AURAL EXCITER TYPE III LEVEL PEAKING NULL FILL HARMONICS Figure 2 Aphex Aural Exciter Type Ill Rotary Controls Level Control The Level control sets the attenuation of the in put signal For normal operation set the Level control on Max no attenuation The Aural Exciter TDM plug in has an internal gain structure that boosts 6 dB of the output from the high pass filter into the side chain The Drive switch further boosts the signal level fed into the harmonics generator When Drive is set to Normal you obtain a boost of 6 dB in the High position you can get an additional 6 dB of gain for a total maximum boost of 18 dB You can also generate a boost in the high pass filter section by setting Peaking to Max If th
9. To toggle a switch a Click the switch Meters Drive Meter The input Drive peak meter indicates the actual peak level to the Big Bottom Pro side chain A red LED at the top of the meter indicates if there is clipping Compression Meter The Compression Comp meter indicates the actual amount of compression taking place in the Big Bottom Pro side chain If the Comp meter is not showing any activity the input level is too low Adjust the Level and Drive controls accordingly Out Meter The Output peak meter indicates the actual peak level after mixing the Big Bottom Pro side chain with the original input signal A red light at the top of the Out meter indicates if there is clipping y Audition the loudest or peak sections of your audio material to avoid Big Bottom Pro out put clipping Use the Out Meter to check for clipping The Plug in window header includes a Clip LED that lights red to indicate plug in clipping The Plug in Clip LED follows Pro Tools settings for clip indication For more information see the Pro Tools Reference Guide Chapter 5 Big Bottom Pro Controls 23 BLOCK DIAGRAM OF BIG BOTTOM PRO System Bypass closed INPUT Attenuation MAIN AUDIO PATH Summing OUTPUT j System Bypass open Tune AUTO TRACE Mix Phase 40 to 400 Hz On Off 12 dB c On Off i BIG BOTTOM SIDE CHAIN Figure 1 Block Diagram of Aphex Big Bottom Pr
10. Velvet X Form and XMON are trademarks or registered trademarks of Digidesign and or Avid Technology Inc Xpand is Registered in the U S Patent and Trademark Office All other trademarks are the property of their respective owners Product features specifications system requirements and availability are subject to change without notice Guide Part Number 9329 59268 00 REV A 11 08 Documentation Feedback At Digidesign we re always looking for ways to improve our documentation If you have comments corrections or suggestions regarding our documentation email us at techpubs digidesign com Chapter 1 Introduction o oooooooronr on 1 Contents of the Boxed Version of Your Plug in anaana 1 System Requirements and Compatibility Information o oooooooooo 2 Register Your Plug ins i cs 0 0 0 epai E a a eee eee eee eens 2 Working with Plug ins s idiac ie ea a a h eee eee eee nee 2 Conventions Used in This Guide 0 0 ce ee 3 About www digidesign com 00 cee eee eee eens 3 Chapter 2 Installing Authorizing and Removing Plug ins 5 Installing Plug ins for Pro Tools 00 ce eee eens 5 Authorizing Plug ins for Pro Tools 2 0 0 0 eee eee eens 6 Uninstalling Plug ins for Pro Tools 2 0 0 0 0 ee ee eee 7 Chapter 3 Aural Exciter Controls 00 nananana aeaaaee 9 Aphex Aural Exciter Type lll Overview 0
11. below for your computer platform Windows Vista To remove a plug in 1 Choose gt Control Panel 2 Under Programs click Uninstall a Program 3 Select the plug in from the list of installed ap plications 4 Click Uninstall 5 Follow the on screen instructions to remove the plug in Windows XP To remove a plug in 1 Choose gt Start Control Panel 2 Double click Add or Remove Programs 3 Select the plug in from the list of installed ap plications 4 Click the Remove button 5 Follow the on screen instructions to remove the plug in Mac OS X To remove a plug in 1 Locate and open the Plug ins folder on your Startup drive Library Application Support Digidesign Plug ins 2 Do one of the following e Drag the plug in to the Trash and empty the Trash e Drag the plug in to the Plug ins Unused folder Chapter 2 Installing Authorizing and Removing Plug ins 7 8 Aphex Aural Exciter Type Ill and Big Bottom Pro Plug ins Guide Aural Exciter Controls Aphex Aural Exciter Type Ill Overview Aphex Systems Inc first introduced Aural Ex citer in 1975 Since then several refinements and improvements have been incorporated into its original design The Aural Exciter plug in is modeled after the TYPE III Aural Exciter Aural Exciter has become a standard in the profes sional audio industry and has been used on many albums CDs movies broadcast produc tions commercials and concerts The Aural
12. virtually un changed The Level Tune Peaking Null Fill Harmonics Timbre and Mix faders provide separate left and right faders when in stereo For stereo a separate set of switches for independent control of the left and right channels is provided for Ax Solo SPR Bypass Drive and Density The Tune fader adjusts the corner frequency of the high pass filter and the Mix fader varies the amount of Aural Exciter enhancement that is mixed with the unmodified signal Experiment with the Aural Exciter controls to hear how each one enhances the original audio signal To experiment with Aural Exciter 1 Set the Level fader on Max 2 Set the Drive switch to reflect the current nominal level 3 Make sure the Bypass switch is deactivated Bypass light off 4 Make sure the Ax switch is activated Ax light on 5 Set Density to Normal Density light off As you make the following adjustments alternate the Density switch between Normal and High to hear the change in the Aural Exciter effect 6 Put the Aural Exciter Mix fader on Max mak ing it easier to hear the effect as it changes 7 Vary the Tune fader and listen for the fre quency range that is being enhanced The Tune fader can be used to enhance a particular instru ment so it stands out in the mix 18 Aphex Aural Exciter Type lll and Big Bottom Pro Plug ins Guide 8 Adjust the Harmonics fader and listen for the change in harmonics being added to the origi n
13. 0 0 0 00 cee eee eens 9 Adjusting Plug in Parameters 00000 ee 10 Meters io Gatco arch neers Gn Sat neta in ii Coase ta Um peak nag oa 11 Rotary Controls i ic2 cic it tada a al bee eee ai a 12 SWITCHES Lo ta A Gat aus E OAAS AE 15 Chapter 4 Using Aural Exciter Il 0 0 0 0 0c eee 17 Inserting Aural Exciter on a Track 0 0c eee eee 17 Setting the Gain Structure 0 20 eee eee tenes 17 Information on Clipping 0 0 0 0 ee eee eens 18 Using the Tune Fader 2 26 40 ss a a a 19 Using the SPR Switch i a cii 6 ee ee ee ee a ee ee 19 Using Aural Exciter on 176 4 kHz or 192 kHz Stereo Tracks o o ooooooooo o 20 Contents iii Aphex Big Bottom OvervieW o o o cee eee eee eee 21 Adjusting Plug in Parameters 0000 cee eee 22 Meters inc ad a as oh o Ree ede aid eee ee hood Ee el Got daha 23 Rotary Controls cia a ae ee ea ee Ee ee 24 Switches coco ir dba te bd ete ria 25 Chapter 6 Using Big Bottom Pro 0 00 0 27 Inserting Big Bottom Pro on a Track 2 0 cc eee eee 27 Setting the Gain Structure 1 0 eee teens 27 Optimizing Big Bottom Pro Effects 2 0 0 0 0 ccc eee 27 Appendix A DSP Requirements 0 00 c ccc ee ees 29 Aphex Aural Exciter and Big Bottom DSP Requirements 00 0000 e neues 30 Appendix B DSP Delays Incurred by TDM Plug ins 31 Aphex Aural Exciter and Big Bottom DSP Delay
14. Ex citer plug in for Pro Tools TDM systems contin ues this tradition of success and is ready for use with the latest cutting edge music productions Harmonics are musically and dynamically re lated to the original sound and reveal the fine differences between voices and various instru ments Reproduced sound is audibly different from the original live sound because of the loss in harmonic detail often sounding dull and life less Aural Exciter is an audio process that recreates and restores missing harmonics It actually adds harmonics restoring the sound s natural bright ness clarity and presence effectively improving detail and intelligibility Use Aural Exciter on specific instruments or in the final mix to bring life back to recordings Unlike EQs and other brightness enhancers which only boost the high frequencies that of ten alter the overall tonal balance Aural Exciter extends the high frequencies The stereo image is enhanced with Aural Exciter This results in a greater perceived loudness without an introduc tion of noise into the audio path commonly caused by increased gain Aural Exciter is a single ended process which can be inserted at any point within the audio chain see Figure 1 on page 12 The input signal is split into two paths One path goes to the out put unmodified while the other path known as a side chain goes through the Aural Exciter which includes a tunable high pass filter and a harmo
15. ab and keyboard entry remain focused on the plug in that is the target window To change control values with a computer keyboard 1 Click the text box corresponding to the con trol that you want to adjust 2 Change the value e To increase a value press the Up Arrow on your keyboard To decrease a value press the Down Arrow on your keyboard Or e Type the desired value Y In fields that support values in kilohertz typing k after a number value will multi ply the value by 1 000 For example type 8k to enter a value of 8 000 3 Do one of the following e Press Enter on the numeric keyboard to in put the value and remain in keyboard edit ing mode e Press Enter on the alpha keyboard Win dows or Return Mac to enter the value and leave keyboard editing mode CY To move forward through the different con trol fields press the Tab key To move back ward press Shift Tab 22 Aphex Aural Exciter Type Ill and Big Bottom Pro Plug ins Guide Editing Parameters Using a Scroll Wheel Some controls have text boxes that display the current value of the parameter You can edit the numeric value of a parameter using a scroll wheel To change control values using a scroll wheel 1 Click the text box corresponding to the con trol that you want to adjust 2 To increase a value scroll up with the scroll wheel To decrease a value scroll down with the scroll wheel Toggling Switches
16. al level is equal to the input signal levels plus the bass enhanced Big Bottom Pro effect The dy namic characteristics of Big Bottom Pro are based on a complex algorithm that includes the signal peak level the average steady staid level as well as the dynamic characteristics Unlike a bass EQ which adds a constant boost in the low end Big Bottom Pro enhancement is added into the input signal dynamically Chapter 6 Using Big Bottom Pro 27 Starting with the factory settings experiment with the controls on Big Bottom Pro to hear how this plug in effects the low end frequencies of your source material as follows 28 Aphex Aural Exciter Type Ill and Big Bottom Pro Plug ins Guide If the Drive meter is clipping in the yellow area adjust the Drive control for optimal op eration Activate the Solo switch to listen to only the Big Bottom Pro side chain effect Vary the Tune control to hear the low pass fil ter isolate the low end bandwidths of the orig inal input signal De activate the Solo switch and continue to vary the Tune control until you find the opti mal setting Adjust the Mix control to set the amount of Big Bottom Pro effect Use the In Out switch for an A B comparison with the output signal and the original input signal Activate the Phase switch and observe the change in the sound characteristics of the Big Bottom Pro effect For most applications leave the Phase switch in the Off position Activ
17. al this switch will be left in the Normal posi tion However weak signals may require more gain in which case you should place this switch in the High position Use the Drive meter to determine if the signal gain needs to be increased When the meter level stays in the green area never rising into the yellow area then the input signal is too low Raise the input sensitivity by toggling the Drive switch to High The switch illuminates when Drive is set to High A If your input signal is in the yellow area of the Drive meter this indicates you are re ceiving an acceptable signal level Switch ing the Drive switch to High in this instance could cause clipping Density Switch The Density switch determines the amount of harmonics generated by choosing one of two different harmonics generator algorithms When set on High the output from the har monic generator expands low level signals and compresses the highest peaks This setting pro vides a higher density of harmonics with better control of peak levels If you have problems with clipping when setting the Mix control switch Density to High for bet ter peak level control Since the amount of harmonics is dependent on the input level start with the switch set to Nor mal Switch to High if you still want a greater density of harmonics after the input level is set The switch illuminates when Density is set to High Ax Switch The Ax switch gives you the choice
18. al audio signal 9 When finished experimenting set the Mix control to taste Keep in mind that a little Aural Exciter goes a long way Using the Tune Fader After a while you ll get a sense of where you like your Tune setting when using Aural Exciter on individual tracks It s best not to process the same range of frequencies with the Tune fader during the final mix If you already processed in dividual tracks with Aural Exciter try starting the final mix with the Tune fader in the maxi mum position which is approximately 7 kHz You should get a spacious three dimensional mix with an open airy quality Using the SPR Switch The SPR function can produce a useful effect with solo voices human and instrumental or mixed programs such as drama and music There is no specific time when SPR should or shouldn t be used Experiment with it on vari ous types of material until you get used to the ef fect Listen carefully as you operate the SPR switch The effect may be noticed only at certain times such as specific modulations of a voice or during a particular instrumental playing style or passage Don t expect to hear the sound change radically The SPR is usually subtle adding a cer tain beauty and good feeling to the sound In time you will find that the SPR does indeed pro duce demonstrable results For instance the SPR effect can e Drop pitch of ultra low bass e Increase apparent bass power e Unmask instruments
19. ate the AutoTrace switch and observe the change in the sound characteristics Also no tice that the compression level in the dynamic processor shown by the Comp meter is af fected as well Readjust the Mix control as desired to experi ence the benefits of the Big Bottom Pro TDM plug in Remember that a little Big Bottom Pro effect goes a long way DSP Requirements The number of TDM plug ins you can use at one time depends on how much DSP power is avail able in your system Since the TDM hardware on Pro Tools cards provide dedicated DSP for plug ins plug in performance isn t limited by CPU processing power The DSP tables in this appendix show the theo retical number of instances of each plug in that can be powered by a single DSP chip on Pro Tools HD cards DSP usage differs according to card type A DSP tables show the theoretical maximum performance when no other plug ins or sys tem tasks such as 1 0 are sharing avail able DSP resources You will typically use more than one type of plug in simulta neously The data in these tables are pro vided as guidelines to help you gauge the relative efficiency of different plug ins on your system They are not guaranteed per formance counts that you should expect to see in typical real world sessions and usage There are a total of nine DSP chips on a Pro Tools HD card HD Core HD Process and HD Accel HD Core and HD Process cards pro vide identical chip sets HD Ac
20. cel cards provide newer more powerful DSP chips making the HD Accel card ideal for DSP intensive plug ins and for high sample rate sessions Not all plug ins are supported on all types of chips The following tables indicate the number of compatible chips per card Using Multi Mono Plug ins on Greater Than Stereo Tracks Plug ins used in multi mono format on greater than stereo tracks require one mono instance per channel of the multi channel audio format For example a multi mono plug in used on a 5 1 format track requires six mono instances since there are six audio channels in the 5 1 for mat Led On 176 4 kHz or 192 kHz stereo tracks Au ral Exciter is only available as a multi mono plug in Monitoring DSP Usage The System Usage window Window gt System Usage shows how much DSPis available in your system and how it is being used in the current Pro Tools session For more information about DSP usage and allocation see the Pro Tools Reference Guide DSP Requirements 29 Aphex Aural Exciter and Big Bottom DSP Requirements The Aphex plug ins have the following DSP requirements HD Accel Card Table 2 Maximum instances of plug ins per DSP chip for an HD Accel card at different sample rates mono and stereo Compatible Sample Rate 44 1 48 kHz 88 2 96 kHz 174 6 192 kHz DSP Chips per HD Accel Card Plug in Mono Stereo Mono Stereo Mono Stereo Aural Exciter 16 8 8 4
21. down the Control key and press the N key Control click Hold down the Control key and click the mouse button Right click Click with the right mouse button The names of Commands Options and Settings that appear on screen are in a different font The following symbols are used to highlight im portant information 10 User Tips are helpful hints for getting the most from your Pro Tools system A Important Notices include information that could affect your Pro Tools session data or the performance of your Pro Tools system un Shortcuts show you useful keyboard or mouse shortcuts Cross References point to related sections in the Pro Tools Guides About www digidesign com The Digidesign website www digidesign com is your best online source for information to help you get the most out of your Pro Tools system The following are just a few of the services and features available Product Registration Register your purchase on line Support and Downloads Contact Digidesign Technical Support or Customer Service down load software updates and the latest online manuals browse the Compatibility documents for system requirements search the online An swerbase or join the worldwide Pro Tools com munity on the Digidesign User Conference Training and Education Study on your own using courses available online or find out how you can learn in a classroom setting at a certified Pro Tools trai
22. e Drive signal runs into clipping use the Level control to adjust the Drive level If you run into headroom problems when ad justing the Mix control adjust the Level control to generate the necessary headroom Aphex Aural Exciter Type lll and Big Bottom Pro Plug ins Guide Tune Control The Tune control sets the bandwidth corner frequency of the second order high pass filter in the side chain prior to the harmonics genera tor The range of the control extends from 700 Hz to 7 kHz Figure 3 demonstrates the range of the Tune control from 700 Hz to 7 kHz with Null Fill set near Min and Peaking set at the mid point posi tion As you read the following sections on Peak ing and Null Fill notice the interaction these controls have on Tune as well as on each other TYPE Ill TUNING RANGE to TUNE at 700 Hz ri I L RESPONSE dB F 1 I T I a i i TUNE at7 kHz a NULL FILL at Minimum PEAKING at midpoint for all curves 20 0 100 0 1000 0 10000 0 FREQUENCY Hz Figure 3 Tune control Peaking Control The Peaking control provides a damping effect on the leading frequency edge of the high pass filter controlled by Tune As you vary this con trol from Min to Max the Tune frequency be comes more accentuated as demonstrated in Figure 4 However at the same time a dip is cre ated just before the accentuated Tune fre quency This dip or null bec
23. e United States Japan and most of Europe Big Bottom Pro is a unique bass enhancement that cannot be achieved by any other technique Chapter 5 Big Bottom Pro Controls 21 Adjusting Plug in Parameters You can adjust plug in controls by dragging the control s slider or knob or by typing a value into the control s text box Additionally some plug ins have switches that can be enabled by click ing on them To adjust a plug in control 1 Begin audio playback so that you can hear the control changes in real time 2 Adjust the controls of the plug in for the effect you want Refer to Editing Parameters Using a Mouse on page 22 and Editing Parameters Us ing a Computer Keyboard on page 22 Closing the plug in will save the most recent changes Editing Parameters Using a Mouse You can adjust rotary controls by dragging hori zontally or vertically Parameter values increase as you drag upward or to the right and decrease as you drag downward or to the left Keyboard Shortcuts For finer adjustments Control drag Win dows or Command drag Mac the control To return a control to its default value Alt click Windows or Option click Mac the con trol Editing Parameters Using a Computer Keyboard Some controls have text boxes that display the current value of the parameter You can edit the numeric value of a parameter with your com puter keyboard If multiple Plug in windows are open T
24. e the Exciter the more Ex citer enhancement you generate If you cannot get the Drive meter to register in the yellow area try setting the Drive switch to High Information on Clipping Your ears are usually a better judge of when a signal is clipping than the VU meter Non peri odic clipped transients have to be driven ex tremely hard for it to be heard as clipping Do not assume that if your drive signal is too high the Drive meter indicates brief moments of clip ping The Exciter s harmonics generator has a mask ing effect on a clipped drive signal You would have to drive the harmonic generator very hard before you would actually hear clipping The Plug in window header includes a Clip LED that lights red to indicate plug in clipping The Plug in Clip LED follows Pro Tools settings for clip indication For more information see the Pro Tools Reference Guide Optimizing Aural Exciter Effects When using Aural Exciter the output signal level has to be equal to the input signal level plus the enhanced Exciter effect The dynamic characteristics of the harmonic generator used in the Aural Exciter plug in are based on a com plex algorithm that includes the signal peak level the averaged steady state level and the dy namic characteristics Unlike an EQ which adds a constant boost in the high end Aural Exciter enhancement is added into the input signal is such a way that the average signal level will be
25. he Big Bottom Pro side chain The Au toTrace function enables the dynamic processor to self optimize during normal operation The switch illuminates when the AutoTrace switch is activated This control is particularly useful when you want a subtle Big Bottom Pro effect or when the peak level of the input material varies over time The AutoTrace feature is also ideal for changing the sound characteristics of the Big Bottom Pro effect Drive control adjustments will be reduced when the AutoTrace switch is activated Link Switch The Link switch is for stereo operation only It links the left and right controls so they work as one Grab a control on one page with the cursor and move it to the desired position The control on the other page automatically updates In this way both controls can be set to the exact same position Stereo controls may be linked tempo rarily by holding down the Shift key while ad justing the control The switch illuminates when Link is activated LR Left Right Switches The LR switch is for stereo operation only It al lows you to view or change parameters on one channel at a time The switch for the currently displayed channel illuminates Clicking the unlit switch changes the display to the other channel To edit both channels simultaneously click on the Link switch 26 Aphex Aural Exciter Type Ill and Big Bottom Pro Plug ins Guide chapter 6 Using Big Bottom Pro By putting Big Bottom Pr
26. he iLok Web site www iLok com Authorizing Boxed Versions of Plug ins for Pro Tools If you purchased a boxed version of a plug in it comes with an Activation Code on the included Activation Card To authorize a plug in using an Activation Code 1 Visit www iLok com and sign up for an iLok com account if you do not have an existing iLok com account 2 Transfer the license for your plug in to your iLok com account by doing the following e Visit http secure digidesign com activation and e Input your Activation Code listed on your Activation Card and your iLok com User ID Your iLok com User ID is the name you create for your iLok com account 3 Transfer the licenses from your iLok com ac count to your iLok USB Smart Key by doing the following e Insert the iLok into an available USB port on your computer e Go to www iLok com and log in e Follow the on screen instructions for trans ferring your licences to your iLok For information about iLok technology and licenses see the electronic PDF of the iLok Usage Guide 4 Launch Pro Tools 5 If you have any installed unauthorized plug ins or software options you are prompted to au thorize them Follow the on screen instructions to complete the authorization process 6 Aphex Aural Exciter Type Ill and Big Bottom Pro Plug ins Guide Uninstalling Plug ins for Pro Tools If you need to uninstall a plug in from your sys tem follow the instructions
27. ller is uncompressed ZIP on Windows or SIT on Mac or e Insert the Installer disc into your computer 2 Double click the plug in installer application 3 Follow the on screen instructions to complete the installation 4 When installation is complete click Finish Windows or Quit Mac When you open Pro Tools you are prompted to authorize your new plug in Chapter 2 Installing Authorizing and Removing Plug ins 5 Authorizing Plug ins for Pro Tools Plug ins are authorized using the iLok USB Smart Key iLok manufactured by PACE Anti Piracy Inc iLok USB Smart Key The iLok is similar to a dongle but unlike a don gle it is designed to securely authorize multiple software applications from a variety of software developers This key can hold over 100 licenses for all of your iLok enabled software Once an iLok is au thorized for a given piece of software you can use the iLok to authorize that software on any computer A The iLok USB Smart Key is not supplied with your plug in or software option You can use the one included with certain Pro Tools systems such as Pro Tools HD series systems or purchase one separately Authorizing Download Versions of Plug ins for Pro Tools If you purchased a download version of a plug in from the DigiStore www digidesign com authorize the plug in by downloading licenses from iLok com to an iLok See the iLok Usage Guide for details or visit t
28. nics generator Aural Exciter applies fre quency dependent phase shift and amplitude dependent harmonics The output of the Aural Exciter s harmonic generator is mixed back with the unmodified signal lower in level When used at nominal settings Aural Exciter does not add significant average level to the original signal Even though the added informa tion is low level the perception is a dramatic in crease in mid and high frequencies Chapter 3 Aural Exciter Controls 9 The Aural Exciter is patented in the United States Japan and most of Europe Others may claim they are doing the same thing but they can only resort to some form of EQ amplitude correction or expansion phase scrambling and or filtering They can only increase peak levels causing clipping feedback tape distortion and listener fatigue Adjusting Plug in Parameters You can adjust plug in controls by dragging the control s slider or knob or by typing a value into the control s text box Additionally some plug ins have switches that can be enabled by click ing on them To adjust a plug in control 1 Begin audio playback so that you can hear the control changes in real time 2 Adjust the controls of the plug in for the effect you want Refer to Editing Parameters Using a Mouse on page 10 and Editing Parameters Us ing a Computer Keyboard on page 10 Closing the plug in will save the most recent changes Editing Parameters Using a
29. ning center Products and Developers Learn about Digidesign products download demo software or learn about our Development Partners and their plug ins applications and hardware News and Events Get the latest news from Digidesign or sign up for a Pro Tools demo Pro Tools Accelerated Videos Watch the series of free tutorial videos Accelerated Videos are de signed to help you get up and running with Pro Tools and its plug ins quickly To learn more about these and other resources available from Digidesign visit the Digidesign website www digidesign com Chapter 1 Introduction 4 Aphex Aural Exciter Type Ill and Big Bottom Pro Plug ins Guide Installing Authorizing and Removing Plug ins Installing Plug ins for Pro Tools Installers for your plug ins can be downloaded from the DigiStore www digidesign com or can be found on the plug in installer disc included with boxed versions of plug ins An installer may also be available on the Pro Tools installer disc or on a software bundle installer disc Installation steps are essentially the same re gardless of the package system or bundle 8 For information on installing plug ins for VENUE systems see the D Show guide that came with your system Installation To install a plug in 1 Do one of the following e Download the installer for your computer platform from the Digidesign website www digidesign com After downloading make sure the insta
30. o Figure 2 Aphex Big Bottom Pro Rotary Controls Level Control ing less compression in the dynamic processor resulting in a more powerful side chain signal If you need more headroom when adjusting the Mix control lower the input Level and re tune the Mix control The Level control sets the attenuation of the in put signal For normal operation set the Level control on Max 0 dB In the event you are not generating enough bass enhancement even when the Mix control is also set on Max lower the Level control This will give the plug in more headroom by generat 24 Aphex Aural Exciter Type Ill and Big Bottom Pro Plug ins Guide Drive Control The Drive control sets the sensitivity to the bass generating side chain The corresponding Drive meter shows the actual peak level of the side chain input There is a boost in the side chain signal of 12 dB when the Drive control is set to Max The Drive control needs to be set at a point where the dynamic processor receives the opti mum level required for Big Bottom Pro to work effectively To find the optimum level adjust the Drive control until the Comp meter displays in the yellow area Make sure the Drive meter does not indicate clipping If the Comp meter is not showing any activity the input level is too low Adjust the Level con trol accordingly When the AutoTrace switch is set to the On position the setting of the Drive control is less sensitive and the Big B
31. o to use in a Pro Tools session you will find many creative uses for its powerful processing capabilities The remaining sections provide instructions on how to get the most out of Big Bottom Pro Inserting Big Bottom Pro on a Track To use Big Bottom Pro in a Pro Tools session in sert it on a track Before doing so make sure the Inserts View is shown in the Mix window w Although Big Bottom is typically used as an insert on a track in the same manner com pressors and equalizers are used it can also be used on busses and sends Refer to the Pro Tools Reference Guide To show inserts in the Mix window a Choose View gt Mix Window gt Inserts To insert Big Bottom Pro on a track Click the Insert selector on the track and se lect the plug in that you want to use To remove Big Bottom Pro from a track Click the Insert selector and choose No Insert Setting the Gain Structure If the desired amount of Big Bottom Pro effect is limited by a lack of headroom in the input ma terial use the Level control to adjust the signal level to avoid clipping When using Big Bottom Pro with the Phase switch in the Off position it is possible to achieve a substantial increase in bass energy without significantly increasing the peak level output For optimal performance keep the peak hold meter of the Drive meter inside the yellow area Optimizing Big Bottom Pro Effects When using Big Bottom Pro the output sign
32. of turning the Aural Excitement process On or Off The Ax switch illuminates when Ax is engaged con firming that the effect is On Unlike the Bypass switch the audio signal from the input does travel through the DSP algorithm on the way to the output whenever Ax is Off This means that the SPR effect can still be active by switching Ax Off and SPR On Solo Switch When engaged the Solo switch gives you a choice of auditioning the Aural Excitement sig nal without the main audio The switch illumi nates when Solo is active As an application for the Solo switch select Solo to return the pure effect back to the mixing con sole for precise memory control of the Aural Ex citement signal only Chapter 3 Aural Exciter Controls 15 16 SPR Switch The SPR switch controls the Spectral Phase Re fractor effect This effect is independent of all other controls or switches except Bypass The switch illuminates when SPR is engaged con firming that SPR is On SPR processes the main audio signal in such a way that bass frequencies up to 150 Hz lead phase in relation to the rest of the spectrum Through the many steps of recording duplicat ing distributing and reproducing sound the phase of the low frequency audio spectrum be comes delayed compared to mid and high fre quencies SPR corrects the bass delay anomaly to restore clarity and openness and significantly increases the apparent bass energy level without adding an
33. omes larger as Peak ing is increased Underneath the control the amount of Peaking is displayed as a percentage TYPE Ill PEAKING RESPONSE Dae PEAKING at MAX PEAKING at MIDPOINT RESPONSE dB PEAKING at MIN 6 0 NULL FILL at MIN TUNE at midpoint for all curves 20 0 100 0 1000 0 10000 0 FREQUENCY Hz Figure 4 Peaking control Null Fill Control The Null Fill control adjusts the curve of the high pass filter to fill in the null caused by the summing of the side chain return signal and the input signal Underneath the control the amount of Null Fill is displayed as a percentage This control compensates for phase pulling which occurs as a side effect of the time delay present in the side chain signal an important part of the Aural Exciter operating theory As the time delay stretches transient waveforms to create a perception of louder sound a dip or null also occurs in the output equalization curve at the Tune frequency As a result the null frequencies are de emphasized thus giv ing even more emphasis to the higher frequen cies Although this often is a desirable effect the Null Fill control was created to allow the user to fill in the null by a selectable amount for any ap plications requiring less emphasis Figure 5 shows three different Null Fill settings with Tune set at the mid point position With the Null Fill control set a
34. on since they are intelligently produced and formed into a power envelope that enhances rather than distorts the final au dio signal Timbre Control The Timbre control sets the order or type of har monic signal being generated by way of the Har monics control The control can be varied from all Even harmonics in the Min position to all Odd harmonics at the Max position Odd order harmonics will sound softer to your ear while even harmonics will sound harsher Varying the Timbre control between the two ex tremes will provide you with a mix of both Even and Odd harmonics in proportion to the control position To emphasize the effect of the Timbre control set the Density switch to High The display underneath the controls reads from 100 all Odd to 100 all Even Mix Control The Mix control determines the amount of Au ral Exciter enhancement mixed into the original signal The control ranges from Min no en hancement up to Max representing approxi mately a 6 dB boost when the Drive switch is set to Normal and approximately an 18 dB boost when it is set to High Underneath the controls the amount of en hancement mixed into the original signal is dis played as a percentage 14 Aphex Aural Exciter Type lll and Big Bottom Pro Plug ins Guide Switches Drive Switch The Drive switch offers two settings Normal 6 dB and High 18 dB This sets the input sensitivity to the harmonics generator In gen er
35. or sonic details hid den in the mix e Improve definition of high frequency sounds such as on cymbals and bells e Improve speech articulation and presence e Increase depth and clarity of male voices Successful use of the SPR depends on the charac ter of the original sound It is hard to predict in advance what will be the effect of the SPR Typ ically you may find it useful about 50 of the time At other times there will be little or no dis cernible effect Seldom does the effect damage good audio so it could be left on as a matter of course A few examples of audio material likely to be helped by the SPR are e Highly overdubbed tape tracks e Live acoustic recordings e Electronic keyboards e Productions composed from tape cartridge and cassette sources e Material recorded with transformer cou pled mic preamps e Vocals recorded with dynamic micro phones e Reverberant live sound or recordings e Highly equalized material e Delayed flanged or digitally processed ma terial e Material from broadcast audio reception such as store casting and muzak Chapter 4 Using Aural Exciter III Using Aural Exciter on 176 4 kHz or 192 kHz Stereo Tracks On 176 4 kHz or 192 kHz stereo tracks Aural Ex citer is only available as a multi mono plug in Parameters for all channels are linked by default so that you can adjust them in tandem You can unlink parameter controls for independent ad justment using the Ma
36. ottom Pro side chain affects a wider input range In general higher Drive settings to the side chain provide better control over peaks while lower Drive settings tend to produce a more open sound By adjusting both the Drive and Mix controls you can experiment with the different colors or timbral modifications Big Bottom Pro is able to generate Tune Control The Tune control sets the bandwidth corner frequency of the low pass filter in the side chain prior to the dynamics processor The range of the Tune control is from 40 400 Hz Aside from the Mix control this is the most im portant control on the Big Bottom Pro plug in The Tune control is used to isolate the range of frequencies being enhanced by Big Bottom Pro Mix Control The Mix control adjusts the amount of the Big Bottom Pro enhancement signal being added to the original signal The lower the setting the subtler the effect The higher the setting the more dramatic the effect It s important to note that higher settings may increase the peak out put Switches In Out Switch The In Out switch gives you the choice of turn ing the Big Bottom Pro process On or Off When the switch is set to the On position Big Bottom Pro enhancement is sent to the outputs The switch illuminates when the Big Bottom Pro effect is activated Unlike system bypass the audio from the input travels through the DSP algorithm on the way to the output whenever the In
37. provide support for hardware and software it has tested and approved For complete system requirements and a list of Digidesign qualified computers operating sys tems hard drives and third party devices refer to the latest information on the Digidesign web site www digidesign com compatibility Register Your Plug ins If you purchase a plug in online from the Digi Store www digidesign com using Internet Acti vation you are automatically registered If you purchase a plug in boxed version check the included Digidesign Registration Informa tion Card for information about how to register online Registered users receive periodic software update and upgrade notices Please refer to the Digidesign website www digidesign com or the Digidesign Regis tration Information Card for information on technical support Working with Plug ins Besides the information provided in this guide refer to the Pro Tools Reference Guide for general information on working with plug ins includ ing e Inserting Plug ins on Tracks e Clip Indicators e The Plug in Window e Adjusting Parameters e Automating Plug ins e Using the Librarian 2 Aphex Aural Exciter Type Ill and Big Bottom Pro Plug ins Guide Conventions Used in This Guide All Digidesign guides use the following conven tions to indicate menu choices and key com mands Convention Action File gt Save Choose Save from the File menu Control N Hold
38. s of Delay on PIE HD Cards Aural Exciter Type III 14 Big Bottom 3 32 Aphex Aural Exciter Type Ill and Big Bottom Pro Plug ins Guide A Activation Code 6 adjusting plug in parameters computer keyboard 10 22 keyboard shortcuts 10 22 mouse 10 22 scroll wheel 11 23 toggling switches 11 23 AutoTrace switch 26 Ax switch 15 B block diagram 12 24 boxed version 1 Bypass switch 16 Cc clipping 18 Compression meter 23 computer keyboard adjusting plug in parameters 10 22 D delay DSP induced delays 31 Density switch 15 Drive control 25 Drive meter 11 23 Drive switch 15 DSP delays inherent in plug ins 31 DSP requirements 29 G gain structure 17 27 guide conventions 3 H Harmonics control 14 l In Out switch 25 inserting Aural Exciter 17 inserting Big Bottom Pro 27 inserting plug ins on a track 29 installing plug ins 5 K keyboard shortcuts adjusting plug in parameters 10 22 L Level control 12 24 Link switch 16 26 LR Left Right switches 16 M meters 11 23 Mix control 14 25 mouse adjusting plug in parameters 10 22 N Null Fill control 13 o optimizing Aural Exciter 18 optimizing Big Bottom pro 27 Out meter 11 23 Index 33 P package contents 1 Peaking control 13 Phase switch 26 plug ins adjusting parameters 10 22 installing 5 registration 2 registration 2 removing Aural Exciter 17 removing Big Bottom Pro 27 removing plug ins 7 rotary controls 12 24
39. ster Link button See the Pro Tools Reference Guide for infor mation on working with multi mono plug ins 20 Aphex Aural Exciter Type Ill and Big Bottom Pro Plug ins Guide Big Bottom Pro Controls Aphex Big Bottom Overview Aphex Systems Inc first introduced Big Bottom Pro in 1992 as part of the Model 104 Since then Big Bottom Pro has become a standard in the professional audio industry and has been used on numerous albums CDs movies broadcast productions commercials and concerts The Big Bottom Pro plug in for Pro Tools TDM sys tems continues this tradition of success and is ready for use with the latest cutting edge music productions Big Bottom Pro provides more energy to the bass increasing its sustain and density It dynami cally contours the bass response of a complex range of shapes in the 40 to 400 Hz range isolat ing and enhancing the lowest frequencies to provide a deeper more resonant bass Big Bot tom increases the perception of low frequencies without significantly increasing the maximum peak output Big Bottom Pro is a single ended process which can be inserted at any point within the audio chain see Figure 1 on page 24 The input signal is split into two parts One part goes to the out put unmodified while the other part known as a side chain goes through Big Bottom Pro The side chain consists of a tunable low pass filter followed by a dynamic processor Big Bottom Pro is patented in th
40. t Min there is a notice able drop in the frequency response just before the start of the high pass shelf boost At this set ting program material under enhancement Chapter 3 Aural Exciter Controls 13 would lose some presence When the Null Fill control is set at Max the frequency dip is filled but the frequencies associated with the shelf top become accentuated Also notice the shift in the Tune frequency 0 dB axis for the range of Null Fill settings TYPE Ill NULL FILLRANGE 7 0 5 0 LT NULL FILL at MAX 3 0 NULL FILL at Midpoint RESPONSE dB NULL FILL at MIN PEAKING at midpoint for all curves 20 0 100 0 1000 0 10000 0 FREQUENCY Hz Figure 5 Null Fill control Harmonics Control The Harmonics control adjusts the amount of harmonics being generated which is displayed as a percentage underneath the controls The harmonic generator produces harmonic components according to a complex set of laws including considerations for transient and steady state qualities as well as relative ampli tude of the original audio signal As you move the control up harmonic content increases proportionally as it works in conjunc tion with the Timbre control Moreover the amount of harmonics generated is dependent on the input level The gain of the harmonics automatically increases as the input level in creases The generated harmonics are not products of harmonic distorti
41. ts View is shown in the Mix window Xy Although Aural Exciter is typically used as an insert on a track in the same manner compressors and equalizers are used it can also be used in a send and return arrange ment Refer to the Pro Tools Reference Guide To show inserts in the Mix window a Choose View gt Mix Window gt Inserts To insert Aural Exciter on a track a Click the Insert selector on the track and se lect the plug in that you want to use To remove Aural Exciter from a track Click the Insert selector and choose No Insert Setting the Gain Structure If the input material has a very high peak to peak level and no additional headroom for Ex citer effects use the Level fader to adjust the sig nal level to avoid clipping When using digital audio as a sound source such as a CD Player with S PDIF outputs there is a very high peak to peak level because the mate rial on the CD is optimized for the best signal to noise performance In this situation the Level fader can be used to adjust the signal level to gain additional headroom In an analog based system you will have the same headroom problem when using a very high peak to peak level signal Using the Level fader to adjust for more head room is also useful when restoring older record ings Chapter 4 Using Aural Exciter IIl 17 For optimal performance keep the peak hold meter of the Drive meter inside the yellow area The harder you driv
42. wn the Shift key while adjusting the control The switch illuminates when Link is activated LR Left Right Switches The LR switch is for stereo operation only It al lows you to view or change parameters on one channel at a time The switch for the currently displayed channel illuminates Choosing the unlit switch changes the display to the other channel To edit both channels simultaneously click on the Link switch Aphex Aural Exciter Type Ill and Big Bottom Pro Plug ins Guide chapter 4 Using Aural Exciter Ill In the recording studio post production suite or similar environment post processing of pre viously recorded audio tracks with Aural Exciter can restore lost vibrance and realism even to the extent of saving dialogue or sound effects which were thought to be unusable Instru ments and vocals can be made to stand out in the mix without substantially increasing the mix levels or using equalization The TDM mixing environment is very flexible offering several ways to route and use Aural Ex citer in a session This section provides some suggestions for efficient use of Aural Exciter in your TDM setup The exact steps you take to use Aural Exciter s TDM capabilities will differ de pending on the nature of your session and your specific Pro Tools mixer setup Inserting Aural Exciter on a Track To use Aural Exciter in a Pro Tools session insert it on a track Before doing so make sure the In ser
43. y amplitude equalization or bass boost To audition the effect of SPR on the audio signal turn the Ax switch Off and turn SPR On Then alternately turn the Bypass switch On and Off to hear the SPR effect on incoming audio The SPR function is depicted in Figure 6 which shows the frequency dependent time delay that is produced Note that this is not the same as a group delay Group delay is a constant time de lay at all frequencies SPECTRAL PHASE REFRACTOR PSYCHOACOUSTIC PHASE E 10 Sa LEADING PSYCHOACOUSTIC PHASE RESPONSE ES LON 200 lt N ACTUAL TIME DELAY PHASE Degrees Pa 4 E A TIME DELAY Milliseconds I 10 100 1000 10000 AUDIO FREQUENCY Hz Figure 6 SPR switch Bypass Switch The Bypass switch allows the main audio signal to bypass the Aural Exciter plug in completely The indicator switch illuminates when Bypass is engaged The Bypass switch on the plug in provides the same function as the Bypass command on the Pro Tools Plug ins window on a per channel ba sis Link Switch The Link switch is for stereo operation only It links the left and right controls so they work as one Grab the control on one page with the cur sor and move it to the required position The control on the other page automatically up dates In this way both controls can be set to the exact same position Stereo controls may be linked temporarily by holding do
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