Midas PRO Series User Manual download pdf (Page 16)

3130

Virtual Eﬀ ects Racks

Live Sound! Tin Ear Award 1995

Variable Phase

The Variable Phase e ect allows the user to alter the

phase of a signal by a variable amount. The unit has

eight variable phase inputs, each with a mono signal

with its own set of parameters, and the ability to

stereo link between each pair.

The e ect works using two all-pass  lters in series,

and controlling the centre frequency of the  lters to

change the phase shift. The all-pass structure allows

for a  at magnitude-frequency response, however the

 lters delay di erent frequencies by di erent amounts

resulting in a frequency-dependent phase shift.

Additional features have been added to this

fundamental design by allowing control over the

frequency range of the centre frequencies. The

Phase Frequency Range allows a greater range of

frequencies to be covered by the control. The user can

also switch between a 90º or 180º phase shift by using

the 180º / 90º Phase Shift button.

Sub Monster

The Sub Monster is a sub-harmonic synthesiser

e ect which boosts the low frequencies of an

audio signal by generating an additional signal an

octave below a given frequency range. The aim of

this e ect is to add low end to a signal which may

have weaker low frequency content, or to generally

increase the bass frequencies.

The Sub Monster works particularly well on drum

tracks, especially bass drums, and when applied

to an overall mix. When placed on individual

instruments it can create a sub-octave doubling

e ect, which works well when applied to

monophonic sounds.

The e ect has  ve tunable bands of sub-octave

synthesis, each with its own gain control. The

frequencies on which the bands are centred are

controlled using the tune parameter, which controls

all  ve bands’ centre frequencies to reduce overlap.

The tune parameter ranges from 10 Hz to 30

Hz which corresponds to the frequency of the

lowest generated sub-harmonic band, with each

subsequent band having a minimum and maximum

frequency of 1.5x the previous band’s minimum and

maximum frequency. This gives a total range of sub-

harmonic synthesis between 10 Hz and 150 Hz.

DN60 Spectrum Analyser

The function of an audio spectrum analyser is to

separate the components of any audio signal into

de ned frequency bands, and to indicate the level

of energy present in each of those bands. The

Spectrum Analyser e ect provides this functionality

across 31 discreet bands, and can also be used for

multichannel processing by allowing for switchable

inputs for complete  exibility. The display has two

banks of meter graphs, each with a set of eight

input switches, allowing any of the eight inputs to

be routed to either graph in any combination.

Also included are three frequency weighting curves,

which can be selected using the Weight parameter.

Weighting curves are a set of factors that are used

to weigh measured values to a certain frequency

response. The main reason for this is to allow for the

response of human hearing. Recent research into

the response of the human ear has revealed a  atter

response in the higher frequencies at high sound

pressure levels. Therefore this parameter can be

switched between Flat, the traditional weighting A,

and the more recently developed weighting C.

The Compare mode allows the user to select

any two signals and display a comparison of

the frequency spectrum across the two graphs.

Essentially the two displays become one, with the

top display showing positive di erences between

the comparison signals, and the lower display

inverted to show negative di erences. The scale on

the display will also change to compensate.

Tape Saturation

As its name suggests, the Tape Saturation e ect

emulates analogue tape saturation; when the

amount of magnetised particles required to fully

record and reproduce an audio signal exceeds the

amount available. This can be heard as analogue

‘warmth’, and similar e ects can be achieved in

the digital domain by emulating various analogue

tapeartefacts.

An example of this is tape’s tendency to compress

the high frequencies in ‘transients’, or peaks in the

audio signal, and while this is a side-e ect of using

analogue tape, it can also be desirable when trying

to achieve a vintage tape sound. This e ect can be

altered by use of the Transient Smoothing control.

Another way to achieve that nostalgic tape sound

is by the creative use of biasing; most professional

tape machines are set up to compensate for this, in

other words, to be slightly overbiased. The Overbias

control is used to emulate this by reducing the

amount of tape distortion at the expense of the

high frequencies and transients. The limit of the

high frequency response is also controlled by the

overall frequency response of the tape process, and

this in turn is a ected mainly by utilising di erent

tape speeds. Slower tape speeds (3.1 / 4 / 7.5 ips)

have less high frequency de nition and a boost at

low and mid frequencies, whereas higher speeds (15

/ 30 ips) have better high frequency representation

and less extreme lower ends resulting in more

accurate audio reproduction.

Pitch Shifter

Pitch shifting is a well-used sound recording

technique in which the original pitch of a sound is

changed either up or down for creative purposes.

The Stereo/Dual Pitch Shifter performs this function

perfectly, and also works particularly well at

thickening up monophonic instruments.

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Midas PRO Series User Manual Page 16

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