The 'Other' submenu brings up a few more advanced modules which should function intuitively if you are familiar with the principles involved:
Auto Pan is an automated panning effects unit with a variety of modulation controls and tempo link.
Auto Pan can be linked to the appropriate Tap Tempo User Key by pressing and holding Tempo Link just as with delay effects units.
The Pan and Width controls provide the ability to adjust the offset and boundaries of the panning algorithm within the stereo field.
The Rate control defines the speed at which the signal is panned from side to side. This updates automatically with input from the Tempo controls, but can also be adjusted manually.
LFO Mode determines the shape of the control signal used to modulate the pan setting. The options are sine, sawtooth or triangle.
LFO Reset buttons allow the user to reset the phase of the LFO to one of the following positions:
|From the Left edge|
|From the Centre to the Left edge|
|From the Centre to the Right edge|
|From the Right edge|
The Steps control allows the user to create a completely smooth panning movement (when Steps = ∞), or to pan through discrete, equally spaced, points (when Steps < ∞). For example, setting Steps = 2 will create points at 100% left and 100% right, resulting in a Ping Pong effect, alternating between left and right at the rate set by the Tempo/Rate controls. Steps = 3 will create an additional point in the centre, repeating the cycle 100% left, centre, 100% right, centre.
The Smooth control allows an amount of 'crossfading' between discrete points, so that the signal does not move between points so abruptly.
There is a Left-Right meter below the 'Auto Pan' title displaying where the AutoPan output signal is currently positioned in the stereo space.
The De-Noiser module is a frequency-selective noise reduction algorithm, allowing you to dial in the 'shape' of the noise to eliminate it more effectively.
The six gain sliders control the wet/dry mix between the 'noisy' and de-noised signals in each band. At 0dB gain, there is an equal mix between the noisy and de-noised signals. Increasing the gain increases the amount of the noisy signal added back into the mix.
Threshold sets the level of the noise. Anything below this is considered noise by the noise detection algorithm.
Range defines the frequency ranges over which the De-Noiser works. These are:
|Range||Band 1||Band 2||Band 3||Band 4||Band 5||Band 6|
|Full (35Hz - 10.2kHz)||35 Hz||110 Hz||340 Hz||1.1 kHz||3.3 kHz||10.2 kHz|
|High (4.5kHz - 15.9kHz)||4.5 kHz||5.8 kHz||7.5 kHz||9.6 kHz||12.4 kHz||15.9 kHz|
|Mid High (291Hz - 12.4kHz)||291 Hz||616 Hz||1.3 kHz||2.8 kHz||5.8 kHz||12.4 kHz|
|Mid (266Hz - 4.5kHz)||266 Hz||468 Hz||825 Hz||1.5 kHz||2.6 kHz||4.5 kHz|
|Low Mid (32Hz - 3.7kHz)||32 Hz||83 Hz||215 Hz||557 Hz||1.4 kHz||3.7 kHz|
|Low (26Hz - 312Hz)||26 Hz||42 Hz||70 Hz||115 Hz||189 Hz||312 Hz|
ATK and REL controls determine the Attack and Release speed of the filters.
- Set the Threshold to the appropriate level such that, in each band, everything below the threshold is 'noise' and everything above it is 'signal'. This can be done by setting the Range to Full, all the Gains to -24dB, and then by slowly moving the Threshold up from -80dB until the 'noise' disappears.
- Select the appropriate Range in which the noise resides. Any signal content outside the selected Range will not be affected by the De-Noiser.
Move the Gain faders to shape the noise reduction:
- If a negative Gain is selected, then EQ is applied to suppress the 'noise' when the level of the input is below the Threshold.
- If a positive Gain is selected, then EQ is applied to boost the 'signal' when the level of the input is above the Threshold.
The HF controls add a combination of 2nd and 3rd order harmonics, which have the effect of enriching the high frequency range. This overdrive characteristic will work from the frequency set by the Cutoff control upwards with a varying amount of harmonic content. This process is not possible with a standard EQ, as instead of raising the relative level of a set of frequencies, it is adding harmonics to those frequencies therefore producing a more pleasing effect.
HF Cutoff: Ranging from 2 kHz up to 20 kHz, the this sets the frequency above which harmonics are generated. To add air or sparkle to a signal, push this frequency towards the higher end of the range. To give more presence to a signal, use the lower end of the range.
HF Drive: This adjusts the amount of overdrive and consequently controls the density and amount of harmonic content.
HF Amount: This adds the enhanced signal to the unprocessed signal.
The HF Enhancer effect will not be heard until both the HF Drive and HF Amount faders are set to a non-zero value.
Also bear in mind that when the Cutoff control is in the 15 kHz to 20 kHz range, the effect may not be noticed even though it is present, because this is near to the top of the range of human hearing.
The LF Enhancer section is similar to the HF Enhancer, but works on the low frequency range from the LF TOver (turnover) frequency downwards. It's great for adding depth and weight to kick drums, snare or toms.
The incoming signal is low-pass filtered, harmonically enriched using the LF Drive control and added to the unprocessed signal using the LF Amount control.
Use the In Gain and Out Gain controls to adjust the incoming and outgoing signal levels for optimum signal level through the effect.
Uses oversampling to emulate a guitar amplifier.
Use Pre-Amp gain to adjust the input gain to the effect module.
Boost, Presence and Edge add low, mid and high frequency drive respectively.
Drive controls the amount of amp distortion.
Bass and Treble act as general tone controls for the overall effect.
Out-Gain determines the output gain from the effect module.
Uses oversampling to emulate a bass guitar tube amplifier.
Drive controls the amount of input gain, emulating overdriving a tube input stage.
Presence adds upper harmonic content to add more 'bite' to the signal.
Blend controls the amount of tube emulation added to the 'dry' signal.
Bass, Mid and Treble controls act as general tone controls for the overall signal.
Out-Gain determines the output gain from the effect module.
The Mix control adjusts the amount of pitch shifted versus original signal is output from the effect module.
Use the Pitch controls to adjust the shift in pitch. The - semitone and + semitone buttons nudge the pitch in whole semitone increments, while the Fine slider allows finer adjustment of the pitch.
Double tap the text field to the left of the semitone buttons to enter a specific pitch shift value.
SubmoniX is a sub-bass harmonic synthesizer.
SubmoniX features four individually controlled filters, each of which has discrete control of amplitude, frequency and bandwidth.
Overall level control of synthesized low-frequency content and individual filter in/out switching is also provided.
To access the frequency and bandwidth controls for each band, tap the Frequency button in the top left.
Sub Gain is used to control the gain of the synthesised bass signal. LF Boost controls the gain of the frequency range between the synthesised bass and the original signal, allowing a more even low end frequency range.
SubmoniX is available in all supported formats (mono, stereo, LCR, 4.0, 5.1, 4, 8 and 12 wide).
The Saturator emulates analogue gain circuits.
By adjusting the VHD Drive control the distortion characteristics can be shifted from '50s valve-style overdrive (if the VHD selection control is turned fully to 2nd order harmonic distortion) to '70s transistor-style grit (if the VHD selection control is turned fully to 3rd order harmonic distortion).
Depth and Shape control the number of harmonics injected back into the signal, enriching the sound
Clip adds 6dB of headroom when your signal is clipping.