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6 NC-M7-FLMANUAL > FL Manual 15 Compress/Convolver/Delay 2 3 > Flashcards

FL Manual 15 Compress/Convolver/Delay 2 3 Flashcards

1
Q

FL STUDIO - Fruity 7 Band EQ
What is Fruity 7 Band EQ?

A
  • Fruity 7 Band EQ is a seven-band (one low shelf, one high shelf and five peaking) equalizer plugin, optimized for low CPU use.
  • -It is a close cousin of Fruity Parametric EQ 2, which provides greater control.
  • –Fruity 7 Band EQ has seven tone controls with slightly overlapping frequency ranges.
  • —Disable the bands (set the level to 0) to save CPU processing.
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2
Q

FL STUDIO - Fruity Balance
What is Fruity Balance?

A
  • Fruity Balance is a stereo balance plugin, optimized for real-time level automation.
  • -This is a true panning effect, it works by mixing left and right channels so that the left and right stereo channel information are no longer independent when panned.
  • –It’s the audio equivalent of starting with two glasses with the same water level in each (balanced) and then pouring one glass into the other (the contents are mixed).
  • —The alternative approach is to vary the relative loudness of the left and right channels to create a panning effect while maintaining the independence of the channels. An alternative is Stereo Shaper.
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3
Q

FL STUDIO - Fruity Bass Boost
What is Fruity Bass Boost?

A

-Fruity Bass Boost is a bass enhancing effect (specialized EQ).
Parameters:
–Frequency - Adjusts the frequency range to be boosted.
—Amount - Sets the effect strength.

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4
Q

FL STUDIO - Fruity Big Clock
What is Fruity Big Clock

A
  • It shows the playing time in Bar:Beat:Tick format and Minute:Second:1/100 format.
  • -Optionally, it can also display the song time in Bar:Step:Tick format.
  • –To use, just drop an instance of the plugin on any Mixer track
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5
Q

FL STUDIO - Fruity Blood Overdrive
Pre Band Knob

A
  • Sets the amount of low-pass filtering that is applied to the audio before it is overdriven.
  • -Use this to remove high frequencies that may result from over driving audio with a broad frequency range.
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6
Q

FL STUDIO - Fruity Blood Overdrive
Color Knob

A

-Sets the frequency cutoff for the Pre Band filtering.

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7
Q

FL STUDIO - Fruity Blood Overdrive
Pre Amp Knob

A
  • Overdrives the audio in order to achieve distortion.
  • -As you increase the ‘Pre Amp’ parameter, you need to compensate with the Post Gain knob.
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8
Q

FL STUDIO - Fruity Blood Overdrive
x100

A
  • Increases the power of Pre Amp level 100x.
  • -This is normally only useful on single instrument inputs.
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9
Q

FL STUDIO - Fruity Blood Overdrive
Post Filter

A
  • The pre amplified audio is low-pass filtered at the frequency specified by this knob.
  • -This is another option for cleaning up the distortion.
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10
Q

FL STUDIO - Fruity Blood Overdrive
Post Gain

A
  • Final gain reducer (at maximum leaves the gain at its original level after distortion).
  • -The preamplifier boosts the output considerably, so you need to compensate with this parameter
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11
Q

FL STUDIO - Fruity Blood Overdrive
Audio signal flow through the plugin is

A

-Band Pass Filter (Pre Band) > Preamplifier (Pre Amp) > 2-Pole Low Pass Filter (Post Filter) > Reduce Gain (Post Gain) > FinalDigital Clipping.

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12
Q

FL STUDIO - Fruity Blood Overdrive
Playing a mix through the plugin, (even without pre-amplifying), causes what?

A
  • Upward compression on the independent frequency bands.
  • -This gives overall upward compression and flattens the equalizer.
  • –This can be used to improve some mixes,and can even be used to master some projects (the compression is caused by non-linear signal response similar to ‘vacuum tube’ compressors).
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13
Q

FL STUDIO - Fruity Center
What is Fruity Center?

A
  • Fruity Center removes DC offsets in real-time and is useful for synthesizers which generate DC offsets.
  • -The term DC offset comes from electronic engineering, and refers to the situation where a Direct Current (DC) exists, that is a constant positive or negative deflection in the output from a plugin, rather than being at rest (zero) when no sound is present.
  • –This can cause problems as the waveform will oscillate around this ‘offset’ center and so have reduced headroom on the side of the DC offset bias.
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14
Q

FL STUDIO - Fruity Chorus
What is Fruity Chorus?

A
  • Fruity Chorus is an effect created by the slight detuning of one or more delayed copies of the input sound (similar to a choir of voices).
  • -Controls adjust the rate, time offset, shape and depth of detune.
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15
Q

FL STUDIO - Fruity Chorus - Parameters
Delay

A
  • Sets the minimum delay between the chorus voices.
  • -The chorus delay will be swept between delay and delay+depth.
  • –Range: 0 to 30 milliseconds. For ‘deep’ chorus effect, set this parameter to low values.
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16
Q

FL STUDIO - Fruity Chorus - Parameters
Depth

A
  • Controls the chorus delay modulation.
  • -The chorus delay will be swept between delay and delay+depth. If this value is zero, the chorus will remain ‘static’ as the delay modulation will stay constant.
  • –Setting the ‘Depth’ to higher values will create heavier modulation.
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17
Q

FL STUDIO - Fruity Chorus - Parameters
Stereo

A
  • Controls widening of the stereo image.
  • -If set to 0, the LFO on the left and right channel will be in perfect synchronization.
  • –At 180 degrees the left and right channel will be 100% out of phase, i.e. left channel will reach maximum when right channel is at minimum.
  • —Range: 0 to 360 degrees. Try setting 10 degrees for subtle stereo enhancement.
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18
Q

FL STUDIO - Fruity Chorus - Parameters
LFO 1 Freq / LFO 2 Freq / LFO 3 Freq

A

-Sets LFO modulation speed.

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19
Q

FL STUDIO - Fruity Chorus - Parameters
LFO 1 Wave / LFO 2 Wave / LFO 3 Wave

A

-Waveform of the LFO. Multi-sine is a mix of a normal sine wave and one three times its speed.

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20
Q

FL STUDIO - Fruity Chorus - Parameters
Cross Type

A
  • Defines whether the plugin works on the lower or higher frequency part of the signal.
  • -Process HP processes only high frequencies, Process LP processes only low frequencies.
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21
Q

FL STUDIO - Fruity Chorus - Parameters
Cross Cutoff

A

-Cutoff frequency of the cross-over filter.

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22
Q

FL STUDIO - Fruity Chorus - Parameters
Wet Only

A

-If using the chorus as a send effect, switch this parameter to mix the pure ‘wet’ output with the source sound.

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23
Q

FL STUDIO - Fruity Compressor
What is Fruity Compressor?

A

-Fruity Compressor is a legacy plugin, we recommend Fruity Limiter which also has a flexible compressor section.

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24
Q

FL STUDIO - Fruity Compressor - Parameters
Type

A
  • Controls the knee type and TCR.
  • -The possible values are: Hard, Medium, Vintage, Soft, Hard/R, Medium/R, Vintage/R, Soft/R.
  • –The knee determines the dB range, above and below the threshold, in which the compression changes from 1:1 to the selected compression ratio.
  • —A hard knee setting means that compression will take place immediately after the threshold level is reached, whereas a soft knee setting indicates that compression is gradually applied over a range in the signal.
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25
Q

FL STUDIO - Fruity Compressor - Parameters
What does Knee Determine?

A

-The knee determines the dB range, above and below the threshold, in which the compression changes from 1:1 to the selected compression ratio.

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26
Q

FL STUDIO - Fruity Compressor - Parameters
Report latency

A
  • Reports processing latency to FL Studio for PDC.
  • -This option is provided for compatibility with projects prior to FL Studio 20, where latency for Fruity Compressor was not compensated.
  • –If PDC makes old projects sound different, in a bad way, deselect this option and reject the future! Normally, you should leave this option selected.
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27
Q

FL STUDIO - Fruity Compressor
Knee Type

A
  • While attack controls the speed with which compression is applied, the compressor’s knee characteristics control the rate at which compression is applied.
  • -Soft means there is a gradual increase from no to full compression as the input volume increases, while hard means the transition from no to full compression is instant once a predefined input level is exceeded.
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28
Q

FL STUDIO - Fruity Compressor - Parameters
Knee Type
The actual values for this property mean:
Hard
Medium
Vintage
Soft

A

Hard - 0 dB
Medium - 6 dB
Vintage - 7 dB
Soft - 15 dB

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29
Q

FL STUDIO - Fruity Compressor - Parameters
Knee Type Vintage

A
  • The Vintage compression type emulates the compression curve found on some analog compressors, such as the classic Teletronix LA2A.
  • -The major difference is that the compression ratio is gradually reduced at a distance above threshold, slowly allowing the level to go back to a ratio of 1:1.
  • –This allows the loudest parts of the signal, such as drum beats and other peaks, to pass without being compressed as much as the rest of the signal.
  • —In this way, the Vintage compression type emulates electro-optical analog designs and can greatly enhance warmth and ‘punch’.
  • —-The Vintage compression type also affects the TCR parameter, utilizing a different release time adjustment method.
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30
Q

FL STUDIO - Fruity Compressor - Parameters
Knee Type
The R types enable TCR (Transient Controlled Release),
This is/does what?

A
  • A special algorithm that automatically adjusts the release time in real-time to avoid fast compression changes.
  • -The release time is adjusted in relation to the current Release parameter setting.
  • –Enabling TCR can have positive effects on some types of audio material, and help to reduce “pumping and breathing”, while increasing the overall loudness of the signal.
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31
Q

FL STUDIO - Fruity Convolver (Convolution, Convolution Reverb & Linear Phase EQ)
What is Fruity Convolver (Convolution, Convolution Reverb & Linear Phase EQ)?

A
  • Fruity Convolver is a real-time Convolution plugin that can be used to add reverberation, create special effects, apply an acoustic impulse (audio signature) captured from audio equipment/plugins or perform as a linear phase equalizer.
  • -When convolving, Fruity Convolver applies the sonic character of one sound to another by convolution of the input audio with an impulse response.
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32
Q

FL STUDIO - Fruity Convolver (Convolution, Convolution Reverb & Linear Phase EQ)
Describe the Convolution Process

A
  • The convolution process basically triggers playback of the whole impulse response file, for every sample of the audio input.
  • -With the added complication, the level of the impulse response is multiplied by the value of the input sample (-1 to +1).
  • –In other words, if the input audio is a single click, 1 sample at 100%, then you will hear the original impulse response.
  • –If the impulse response is a single 100% click 5 seconds after the start of the file, you will hear an echo of the input audio delayed by 5 seconds.
  • —It’s similar to playing an audio recording, on a keyboard, triggering it for every sample of the input waveform, at the value of the triggering sample (note velocity).
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33
Q

FL STUDIO - Fruity Convolver (Convolution, Convolution Reverb & Linear Phase EQ)
What is Convolution used for?

A
  • Most commonly convolution is used to reproduce the reverberation captured from real acoustic spaces you wouldn’t normally have the opportunity to record in, or expensive/rare hardware reverb units.
  • -It’s also possible to capture an impulse response through a guitar amplifier, from a speaker, microphone or to use any interesting audio file as an impulse response to create weird effects.
  • –The process of making impulse responses is discussed in the section ‘Making your own impulses’ at the bottom of this page.
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34
Q

FL STUDIO - Fruity Convolver (Convolution, Convolution Reverb & Linear Phase EQ)
NOTE: Any audio file can serve as an impulse, experimentation will reward you with unique and interesting sounds.

A
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35
Q

FL STUDIO - Fruity Convolver (Convolution, Convolution Reverb & Linear Phase EQ)
Options, There are two main areas on the plugin interface, which are?

A

–The knobs along the top of the plugin give access to commonly used controls and the lower ‘Editor’ window that can be switched between impulse, the impulse can be manipulated like any recorded audio, and equalizer that can apply equalization to the impulse.

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36
Q

FL STUDIO - Fruity Convolver (Convolution, Convolution Reverb & Linear Phase EQ)
Dry Knob

A

Dry Adjusts the level of the dry signal (0 to 100%).

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37
Q

FL STUDIO - Fruity Convolver (Convolution, Convolution Reverb & Linear Phase EQ)
In Knob

A

-Input stereo separation Turn left to maximize stereo separation of the input or right to create a mono input.

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38
Q

FL STUDIO - Fruity Convolver (Convolution, Convolution Reverb & Linear Phase EQ)
Wet Knob

A

Wet Adjusts the level of the wet signal (reverb / convolution) sound (0 to 100%).

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39
Q

FL STUDIO - Fruity Convolver (Convolution, Convolution Reverb & Linear Phase EQ)
Normalize Loudness normalization. This is useful to maintain a consistency across impulses as there can be dramatic differences in gain between them.

A
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40
Q

FL STUDIO - Fruity Convolver (Convolution, Convolution Reverb & Linear Phase EQ)

Wet stereo separation Enhance or reduce what?

A

stereo effect in the wet output

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41
Q

FL STUDIO - Fruity Convolver (Convolution, Convolution Reverb & Linear Phase EQ)
Delay

A
  • Adds a delay to the first reflection from the impulse.
  • -NOTE: Many reverb impulses have a period of silence at the start, the time taken for the sound to reflect off the closest surface to the microphone/s. Fruity Convolver will detect these delays and use the (delay) time to lower CPU load.
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42
Q

FL STUDIO - Fruity Convolver (Convolution, Convolution Reverb & Linear Phase EQ)
Self-conv

A
  • The impulse is convolved with itself before being convolved with the input.
  • -This creates a similar effect to putting a reverb on the impulse.
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43
Q

FL STUDIO - Fruity Convolver (Convolution, Convolution Reverb & Linear Phase EQ)
Stretch

A
  • Uses high quality resampling to change the length & pitch of the impulse.
  • -NOTE: This is not time stretching so the frequency of the impulse response is shifted lower with stretching and higher with time-compression.
  • –It usually sounds right, unlike time-stretching on the impulse with constant pitch from the editor functions that often results in phasing artifacts.
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44
Q

FL STUDIO - Fruity Convolver (Convolution, Convolution Reverb & Linear Phase EQ)
Eq

A

-Balance between the Equalized and Normal impulse response.

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45
Q

FL STUDIO - Fruity Convolver (Convolution, Convolution Reverb & Linear Phase EQ)
KB Input

A

-Select to enable keyboard shortcuts in the impulse & EQ editors.

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46
Q

FL STUDIO - Fruity Convolver (Convolution, Convolution Reverb & Linear Phase EQ)
Updating

A
  • Animates while the plugin is processing changes to settings.
  • -There may be a short period of silence when the convolution algorithm updates.
  • –Note: Don’t touch the Delay, Stretch, Self convolve or Eq controls if an interruption to the sound will be an issue (during live performance for example).
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47
Q

FL STUDIO - Fruity Convolver (Convolution, Convolution Reverb & Linear Phase EQ)
Impulse Editor Window
Load Impulse

A
  • Click the Browse impulses button (shown green above) and drag Impulse files from the Browser and drop on the Editor Window.
  • -Left-clicking Shows the location of the currently loaded impulse response.
  • –Right-clicking Shows FL Studio’s default impulse response folder.
  • —Shift + Up / Down Arrow keys Will step up/down the Browser list and will load the impulse response into the most recently focused Fruity Convolver.
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48
Q

FL STUDIO - Fruity Convolver (Convolution, Convolution Reverb & Linear Phase EQ)
Impulse Editor Window
Load Impulse Alternative

A

-Alternatively click the disk icon and use the Windows file browser to locate your own impulse responses.
–Envelopes Several standard envelope controls are accessible along the bottom of the window that act on the Impulse sound. From left to right -
Pan To edit the Pan envelope.
-Volume To edit the Volume envelope.
–Stereo Separation To edit the Stereo Separation envelope.
—All-purpose envelope Can be assigned to playback velocity/direction and various other functions.

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49
Q

FL STUDIO - Fruity Convolver (Convolution, Convolution Reverb & Linear Phase EQ)
Editing envelopes

A
  • After selecting the desired envelope type, Right-click in the ‘Impulse Editor Window’ to add points, and Left-click to move points and tension markers.
  • -Right-click points to open a context menu that will allow you to delete points or change the curve type.
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50
Q 
FL STUDIO - Fruity Convolver (Convolution, Convolution Reverb & Linear Phase EQ)
Trigger impulse (spark icon)
A

Click this icon to create a ‘click’ impulse to create impulses from plugin effects (see a video tutorial here):
1. Load two instances of Fruity Convolved in the FX slots above and below the effect to be captured.
2. Make sure the plugin has a fairly loud dry signal passing through so the recording Fruity Convolver can reliably detect the onset of the impulse sound. This is used to compute predelay.
3. Press the record button on the lower Fruity Convolver that will perform the impulse recording.
4. Press the Trigger impulse control. The recording Fruity Convolver will capture the impulse until the signal level falls to zero and automatically stop.
To make impulses from external hardware devices we recommend using the Sine-wave sweep method discussed below. Although in this case you can record the sine-wave sweep as it is played through the equipment, no need for microphone rigs.

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51
Q

FL STUDIO - Fruity Convolver (Convolution, Convolution Reverb & Linear Phase EQ)
Plugin Delay Compensation (PDC)

A
  • The Latency icon (), just above the Editor window, can be used to manually set the latency Fruity Convolver reports to FL Studio.
  • -This is useful where impulses impose significant delay on the dry signal, such as with the Linear phase EQ impulses.
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52
Q

FL STUDIO - Fruity Convolver (Convolution, Convolution Reverb & Linear Phase EQ)
Impulse Equalizer Window

A
  • The equalizer functions acts on the impulse itself, not directly on the audio passing through the plugin, so the effect is to change the EQ of the convolved part of the output.
  • -You can also use this section to perform Linear phase EQ (see below).
  • –The background display shows a frequency spectrograph with time on the vertical axis (time zero is at the top) and frequency on the horizontal axis (frequency is indicated in Hz and Octaves along the bottom of the display). The EQ can be useful to fine-tune impulse responses that don’t have the desired tonal characteristics. Pops & claps often excite the mid-range frequencies more strongly than the low and high frequencies. A gentle U shaped curve can help restore a more pleasing frequency balance.
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53
Q

FL STUDIO - Fruity Convolver (Convolution, Convolution Reverb & Linear Phase EQ)
Working with the EQ envelope
Editing envelopes

A
  • After selecting the desired envelope type, Right-click in the ‘Impulse Editor Window’ to add points, and Left-click to move points and tension markers.
  • -Right-click points to open a context menu that will allow you to delete points or change the curve type. The default mid-line is ‘no change’. Boost/Cut values appear in the FL Studio Hint Bar as the nodes and tension handles are moved.
  • –Boost/cut The top of the display = +12 dB, middle line = no change and bottom of the display = 100% cut (-infinite dB).
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54
Q

FL STUDIO - Fruity Convolver (Convolution, Convolution Reverb & Linear Phase EQ)
EQ envelope menu
Open state file / Save state file

A
  • Opens/saves envelope states.
  • -Several different pre-defined state files are available.
  • –NOTE: State files prefixed by Impulse EQ - belong to Fruity Convolver, the state files prefixed EQ - belong to the EQ tool associated with the Impulse Editor Window.
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55
Q

FL STUDIO - Fruity Convolver (Convolution, Convolution Reverb & Linear Phase EQ)
EQ envelope menu
Copy state / Paste state

A

Use this to copy and paste envelopes, usually between instances of the EQ editor across open plugins.

56
Q

FL STUDIO - Fruity Convolver (Convolution, Convolution Reverb & Linear Phase EQ)
EQ envelope menu
Undo

A

Undoes the last envelope edit.

57
Q

FL STUDIO - Fruity Convolver (Convolution, Convolution Reverb & Linear Phase EQ)
EQ envelope menu
Undo history

A

Shows the editing history since the last reset.

58
Q

FL STUDIO - Fruity Convolver (Convolution, Convolution Reverb & Linear Phase EQ)
EQ envelope menu
Flip

A

vertically Inverts the current envelope.

59
Q

FL STUDIO - Fruity Convolver (Convolution, Convolution Reverb & Linear Phase EQ)
EQ envelope menu
Scale levels

A

Opens the Scale Level tool.

60
Q

FL STUDIO - Fruity Convolver (Convolution, Convolution Reverb & Linear Phase EQ)
EQ envelope menu
Normalize levels

A

Scales the envelope so the highest and/or lowest levels reach +/100%.

61
Q

FL STUDIO - Fruity Convolver (Convolution, Convolution Reverb & Linear Phase EQ)
EQ envelope menu
Decimate points

A

Opens a simple tool that allows manipulation of the number of control points in the envelope (useful in conjunction with Analyze audio file).

62
Q

FL STUDIO - Fruity Convolver (Convolution, Convolution Reverb & Linear Phase EQ)
EQ envelope menu
Filter

A

Opens the Envelope Filter tool (useful in conjunction with a rough-drawn EQ curve).

63
Q

FL STUDIO - Fruity Convolver (Convolution, Convolution Reverb & Linear Phase EQ)
EQ envelope menu
Smooth up

A

Opens the Smooth Up tool that allows smoothing of the envelope shape (useful in conjunction with Analyze audio file).

64
Q

FL STUDIO - Fruity Convolver (Convolution, Convolution Reverb & Linear Phase EQ)
EQ envelope menu
Smooth up abrupt changes

A

Quick removal of ‘spikey’ or sudden changes in the envelope.

65
Q

FL STUDIO - Fruity Convolver (Convolution, Convolution Reverb & Linear Phase EQ)
EQ envelope menu
Turn all points smooth

A

Preset filter to quickly filter the envelope.

66
Q

FL STUDIO - Fruity Convolver (Convolution, Convolution Reverb & Linear Phase EQ)
EQ envelope menu
Turn EQ into impulse response

A
  • Included mainly for your edification.
  • -The equalization curve is converted into a linear-phase impulse response.
  • –NOTE: This process will set the plugin to 100% Wet, 0% Dry since the EQ impulse response necessarily includes a delay to include pre-ringing required to maintain phase linearity.
67
Q

FL STUDIO - Fruity Convolver (Convolution, Convolution Reverb & Linear Phase EQ)
Linear Phase EQ presets

A
  • There are two special presets that turn Fruity Convolver into a Linear Phase Equalizer.
  • -That is the phase response of the filter is linear as a function of frequency.
  • –Some people claim linear phase filters sound better than other filter types, ‘minimum-phase’ designs as used in analog EQ and most plugins, particularly on transients.
68
Q

FL STUDIO - Fruity Convolver (Convolution, Convolution Reverb & Linear Phase EQ)
Linear Phase EQ presets
Linear phase EQ (Long compensated) / (Short compensated)

A
  • These presets use an impulse designed to filter the input audio according to the equalization curve you set on the plugin.
  • -The Long compensated impulse allows deeper cutting of low frequencies after the cutoff point.
  • –However the long and short impulse are equivalent until about -90 dB so there is (normally) no audible difference between these presets.
  • —As both cause significant output delays, as do all linear phase filters, they are best used in mastering situations.
  • —-NOTE: The penalty for Linear Phase EQ is large plugin latency. The ‘(Long compensated)’ and ‘(Short compensated)’ presets auto-set the Latency control, above the Editor window, so the correct PDC is applied.
69
Q

FL STUDIO - Fruity Convolver (Convolution, Convolution Reverb & Linear Phase EQ)
Linear Phase EQ presets
-Use Load a Linear phase EQ preset and set the equalizer curve as discussed in the section above.
–This process relies on an impulse response that has been centered in the impulse window to allow for a symmetrical impulse response necessary to preserve phase.

A
70
Q

FL STUDIO - Fruity Convolver (Convolution, Convolution Reverb & Linear Phase EQ)
Making impulse responses from plugin effects

A
  • Making your own impulse responses from plugin effects is fairly simple.
  • -Typical candidates are reverb plugins or any effect that does not change as a function of time (e.g. reverb and EQ).
  • –Phasing, flanging and delays won’t work.
  • —The video Sampling Reverbs with Fruity Convolver follows the procedure below.
71
Q

FL STUDIO - Fruity Convolver (Convolution, Convolution Reverb & Linear Phase EQ)
Making impulse responses from plugin effects
Steps

A
  • Select a Mixer track and Load Fruity Convolver in FX slot 1 then deactivate it. This Fruity Convolver will be used to create the impulse.
  • -Load the FX plugin to be ‘impulsed’ in FX slot 2, below the first Fruity Convolver, and set the plugin to the patch/sound you want. Make sure it’s passing the Dry input sound also (don’t use 100% wet).
  • –Reactivate the Fruity Convolver on FX slot 1.
  • —Load a second Fruity Convolver in FX slot 3. This will be used to record the impulse response from the plugin above.
  • —-Click the Record button of Fruity Convolver on FX slot 3. This will arm it for recording.
  • —–Click the Trigger impulse (spark icon) of Fruity Convolver on FX slot 1. This will initiate the recording through the plugin on FX slot 2 and into the Fruity Convolver on FX slot 3.
  • ——Deactivate the plugins on slots 1 and 2. Test your impulse sounds the same as the FX plugin in slot 2.
72
Q

FL STUDIO - Fruity Convolver (Convolution, Convolution Reverb & Linear Phase EQ)

  • Making acoustic impulse responses is no more than a specialized exercise in stereo audio recording.
  • -You are recording the ‘reverberation’ of a space, and so the quality of the impulse response will depend on the quality of the audio source, the microphones used, the microphone placement, background noises (although sine-wave sweeps mostly avoid this) preamplifier quality and recording equipment.
  • –Ideally the recording chain needs to be as transparent as possible so it imparts as little of its own sonic character on the recorded impulse responses.
  • —Remember that this process is all about capturing subtle, often low level signals.
A
73
Q

FL STUDIO - Fruity Convolver (Convolution, Convolution Reverb & Linear Phase EQ)
Making impulse responses from plugin effects
To create an impulse response you need to record the object being excited by a full audible spectrum (20 Hz to 20 kHz) impulse. There are two main methods for achieving broad-band impulse response recordings:

A
74
Q

FL STUDIO - Fruity Convolver (Convolution, Convolution Reverb & Linear Phase EQ)
Making impulse responses from plugin effects
Noise burst method

A

FL STUDIO - Fruity Convolver (Convolution, Convolution Reverb & Linear Phase EQ)
Making impulse responses from plugin effects
Noise burst method

-The ideal burst sound is a loud, single-cycle wavefront with an infinitely fast pressure-rise, a single spike in air pressure.
–While it is not practically possible to create a perfect acoustic spike, short, sharp sounds such as two blocks of wood slapped together, loud mechanical clicks, hand claps, balloon-pops, a starters-guns or the spike from Fruity Convolver played over a good speaker, can substitute reasonably well.
—This ‘impulse’ will sound different depending on whether it’s heard in a bathroom or a cathedral and if it was recorded with a mobile telephone or with a $2,000 microphone.
—-So it’s important to note the ‘acoustic fingerprint’ of the impulse response comes from both the space in which it was recorded AND the equipment it was recorded with.
—–Once the impulse response is captured, we can then apply it to any other audio.
1. Set up your stereo microphones in the location that has the sound you want.
2. Put on your hearing protection, you will be making loud impulse sounds!
3. Record the burst sound. You will need to experiment to get the levels right, you don’t want to clip the recording but also want to be able to capture the reverberant sound well. Moving the burst source away from the microphones can help here. There are also many stereo recording techniques that we will leave up to you to sort out (have fun). Generally a nice pair of omnidirectional stereo mics in the A-B (spaced) array or baffled A-B array (this authors favorite) work well. Think about the reverberant sound you are trying to capture. If it’s a concert hall, where is the audience located? Put your microphones there (best seats in the house, don’t be stingy!) where are the instruments located? Make your impulse noise from there. What if you want the sound from the performers perspective? Then you put the microphones on stage and make the noise from there also, you get the idea.
4. The recording is your impulse response, load it into Fruity Convolver and appreciate the hard work that goes into making great sounding impulse response recordings.
Problems with the noise burst approach include the sonic character of the impulse sound contaminating the impulse response, poor frequency coverage and poor signal to noise ratio as background noises contaminate the recording, particularly the decaying tail.

75
Q

FL STUDIO - Fruity Convolver (Convolution, Convolution Reverb & Linear Phase EQ)
Making impulse responses from plugin effects
Sine-wave sweep method

A

This is the preferred as it avoids many of the problems associated with the noise burst approach. Here we record a sine-wave frequency sweep (20 Hz to 20 kHz) as it excites the acoustic object. After some additional mathematical processing an impulse can be computed from the recording that represents only the sonic characteristics of the object across the frequency spectrum and with a very high signal to noise ratio. In addition to the recording rig you will need a good speaker (possibly amplifier) and CD, portable media player or laptop to play the sine-sweep wav file. Remember we are after quality audio reproduction here.
1. Generate or download a 20 Hz to 20 kHz sine-wave sweep of at least 10 seconds duration although longer sweeps result in better quality impulses. 20 seconds is a good target.
2. Set up your stereo microphones in the location that has the sound you want. Use the stereo technique of your choosing (see the ‘noise burst’ method, above).
3. Set up a high-quality speaker in the location from where you want the sound to originate. Remember speakers are directional so you should face them in the direction a performer or musician would be facing in the environment then put your microphones where the audience would be. Studio monitors are ok here, although they will have poor low frequency response (< 55 Hz) and probably lumpier than you expect at other frequencies. If you have the gear to calibrate the speaker to a flat frequency response, do it.
4. Play the sine-wave sweep in the acoustic environment over your quality speaker and record the result. Then go off and tape down and wedge foam or tissues in all the objects in the room that made resonant buzzing noises and do it again.
5. Use deconvolver software to construct the impulse. Voxengo’s Voxengo Deconvolver works well. Load the original and recorded files in the program and they will be processed to create the impulse response .wav file. NOTE: The unregistered Voxengo Deconvolver demo version does not allow batch processing and is limited to 3 deconvolution per program’s session.
6. Load your impulse response into Fruity Convolver and wonder if it isn’t easier to just download other peoples impulse responses.
Impulses can be taken from literally anything that can transmit or reflect audio signals. In addition to sampling reverberation, you can create an impulse from a microphone, e.g. recording a frequency sweep through a Neumann U87 microphone would theoretically capture the ‘fingerprint’ U87 sound. Similarly, recording a guitar amplifier and cabinet would capture the sound of the electronics and speaker. The applications of impulses is therefore almost unlimited.

76
Q

FL STUDIO - Fruity Convolver (Convolution, Convolution Reverb & Linear Phase EQ)
Sampling Reverbs Process

A
  • Load the plugin to be sampled between two instances of Convolver
  • -Disable the convolvers and set the plugin the way you want.
  • –Re activate the convolvers
  • —Press record on the lower convolver
  • —-Press trigger impulse on the top convolver
77
Q

FL STUDIO - Fruity Convolver (Convolution, Convolution Reverb & Linear Phase EQ)
Linear Phase EQ options in FL studio

A
  • Non real time in edison EQ
  • -Real time, Fruity Convolver
  • –Select Preset Linear Phase EQ - Linearphase EQ introduce latency which can sound phasey
78
Q

FL STUDIO - Fruity Convolver (Convolution, Convolution Reverb & Linear Phase EQ)
Realtime Blur FX -

A

-Record the Convolver Impulse and Blur it with Blur tool.

79
Q

FL STUDIO - Fruity dB Meter
What is Fruity dB Meter?

A
  • Fruity dB Meter: is a large-display peak meter in a dB (decibel) format. –Any signal above -6 dB is displayed in orange.
  • –Fruity dB Meter can be set at various points in the Fx chain, to check levels before and after different effects (e.g. compressors)
80
Q

FL STUDIO - Fruity Delay
What is Fruity Delay?

A
  • Fruity Delay is a delay line plugin, with inverted stereo / ping pong modes & a lowpass filter, optimized for automation (input and feedback values are ramped).
  • -Related plugins: Fruity delay is closely related to the Fruity Delay 2 plugin. Fruity Delay Bank is the most sophisticated delay plugin in the FL Studio effects kit.
81
Q

FL STUDIO - Fruity Delay - Parameters
Input

A

-Sets the volume level of the input signal

82
Q

FL STUDIO - Fruity Delay - Parameters
Feedback

A

-Sets the delay feedback volume level. More feedback vol equals a longer-running series of echoes. Setting this value at maximum is 100% feedback (i.e. echoes do not fade out).

83
Q

FL STUDIO - Fruity Delay - Parameters
Cutoff

A
  • Sets the cutoff frequency for the low-pass filter used on the echoes.
  • -Set to maximum to disable this feature.
84
Q

FL STUDIO - Fruity Delay - Parameters
Tempo

A
  • Allows you to set the tempo used to generate the echoes.
  • -‘Auto’ uses the tempo of FL Studio, while the other values provide custom tempo settings.
85
Q

FL STUDIO - Fruity Delay - Parameters
Steps

A
  • Determines the amount of time between each echo.
  • -The default is three steps/notes.
86
Q

FL STUDIO - Fruity Delay - Parameters
Mode

A

-Sets the delay filter in a special mode for processing the stereo signal: Normal processes the stereo signal as in the original, Inv Stereo swaps the right and left channels for all echoes, Ping Pong swaps the left and right channels of the input for each echo, creating a ‘bouncing’ effect (if the source contains panned sounds).

87
Q

FL STUDIO - Fruity Delay 2
What is Fruity Delay 2?

A

-Fruity Delay 2 is an enhanced version of the Fruity Delay VST plugin, with refined controls and some additional features, such as stereo offset and panning control for the input signal.

88
Q

FL STUDIO - Fruity Delay 2
Feedback Section allows you to do what?

A

-Sets various options for the echo feedback.

89
Q

FL STUDIO - Fruity Delay 2 - Feedback Section
Normal/Inverted/Ping Pong

A

-Normal keeps the stereo data consistent with the input signal; Inverted switches the left and right channels in the feedback (so if the input is panned to right, the feedback will be panned to left); Ping Pong works like Inverted, but switches the left and right channels repeatedly for each echo generated (thus creating a “ping pong” effect).

90
Q 
FL STUDIO - Fruity Delay 2 - Feedback Section
Volume knob (VOL)
A
  • Sets the volume of the feedback.
  • -Setting this to maximum will create feedback that never fades out, while setting it to minimum (spun maximum to left) will result in no feedback.
91
Q 
FL STUDIO - Fruity Delay 2 - Feedback Section
Cutoff knob (CUT)
A
  • Sets the cutoff frequency amount for the feedback.
  • -Using this feature allows you to “smooth out” echoes as they fade out thus creating more natural effect.
92
Q

FL STUDIO - Fruity Delay 2
Time Section

A

Contains the time settings of the delay effect.

93
Q 
FL STUDIO - Fruity Delay 2 - Time Section
Time knob (TIME)
A
  • Sets the signal delay time (and amount of time between echoes in the feedback).
  • -This setting is tempo based.
  • –If you want to set the time to an exact number of steps, Right-click the knob and from the popup menu select the Set submenu for a list of presets.
  • —Steps (16th notes) are each divided into 48, so you can set a perfect 1/3 fraction.
  • —-Hold Ctrl for fine adjustment and check the hint bar as you tweak the delay time - 1/2 = 8:00, 1/4 = 4:00, 1/8 = 2:00, 1/16 = 1:00, 1/2 dotted = 12:00, 1/4 dotted = 6:00, 1/8 dotted = 3:00, 1/16 dotted = 1:24, 1/2 triplet = 5:16, 1/4 triplet = 2:32, 1/8 triplet = 1:16 and 1/16 triplet = 0:32
94
Q 
FL STUDIO - Fruity Delay 2 - Time Section
Time knob (TIME)
1/2 = 8:00, 1/4 = 4:00, 1/8 = 2:00, 1/16 = 1:00, 1/2 dotted = 12:00, 1/4 dotted = 6:00, 1/8 dotted = 3:00, 1/16 dotted = 1:24, 1/2 triplet = 5:16, 1/4 triplet = 2:32, 1/8 triplet = 1:16 and 1/16 triplet = 0:32
A
95
Q

FL STUDIO - Fruity Delay 2 - Time Section
Stereo Offset knob (OFS)

A
  • Lets you set a time offset for the left or right audio channel, thus creating richer stereo panorama of the delay effect.
  • -To delay the left channel, spin the knob to the left.
  • –To delay the right channel, turn to the right.
  • —To remove the time offset between channels, reset the knob (Right-click the knob and select the Reset command).
96
Q

FL STUDIO - Fruity Delay 2 - Time Section
Stereo Offset knob (OFS)

A
  • Lets you set a time offset for the left or right audio channel, thus creating richer stereo panorama of the delay effect.
  • -To delay the left channel, spin the knob to the left.
  • –To delay the right channel, turn to the right.
  • —To remove the time offset between channels, reset the knob (Right-click the knob and select the Reset command).
97
Q

FL STUDIO - Fruity Delay 2
Dry Section
Contains a single knob (VOL) that does what?

A

-Sets the amount of “dry” (unprocessed) signal to be mixed with the “wet” (processed by the effect) signal.

98
Q

FL STUDIO - Fruity Delay 3
What is Fruity Delay 3?

A
  • Fruity Delay 3 is an advanced ‘analog’ style delay plugin where its time can be automated and that can perform tempo-synced delay when the project BPM is changing.
  • -It includes filtering and distortion options for the delay echoes and can be driven into self-oscillation (feedback) for special effects.
99
Q

FL STUDIO - Fruity Delay 3 - Parameters
Input
Wet

A

The input level to the delay/FX process. Automate this when you only want to apply the delay effect to a segment of the incoming audio.

100
Q

FL STUDIO - Fruity Delay 3 - Parameters
Input
Delay Time
Time

A
  • Time delay between echoes.
  • -Range is 1 ms to 1000 ms with Tempo Sync OFF and 1/48th of a Step to 16 Steps (1 Bar) with Tempo Sync ON.
  • –NOTE: When Tempo Sync is selected, you can Right-click > Set to choose from pre-defined tempo/time values.
101
Q

FL STUDIO - Fruity Delay 3 - Parameters
Input
Delay Time
Tempo Sync

A
  • Echoes keep time with the project tempo, including during tempo automation.
  • -Each dot around the knob represents one step (1/16th of a Bar).
  • –Right click the knob and go to the Set menu to choose from a list of typical musical time values.
102
Q

FL STUDIO - Fruity Delay 3 - Parameters
Input
Delay Time
Keep Pitch

A
  • The pitch of echoes will not change with the Time setting.
  • -With this setting off some interesting special effects can be achieved when automating Time.
  • -NOTE: The Modulation section of the plugin will still change the pitch of the delay when Keep Pitch is ON.
103
Q

FL STUDIO - Fruity Delay 3 - Parameters
Input
Delay Time
Smoothing

A
  • When Keep Pitch is off, Time changes will also affect the pitch of echoes while the Time is being manipulated.
  • -Pitch is only affected during the time change.
  • –After the time stops at the new value, pitch changes also stop.
  • —Smoothing slows down the underlying time value changes (slew rate), and so how fast pitch changes too.
  • —-Use long values for smooth ‘tape style’ delay style changes.
  • —–This is particularly useful with manual Time manipulation.
104
Q

FL STUDIO - Fruity Delay 3 - Parameters
Input
Delay Time
Offset/Pan (depending on delay model)

A
  • Stereo offset or panning to create stereo delay effects.
  • -The offset value is a percentage of the set main Time value.
105
Q

FL STUDIO - Fruity Delay 3 - Parameters
Delay Model
Mono

A
  • Echoes are mono, the echoes are the sum of the Left and Right channels.
  • -The Offset control is time-delay multiplier for the Left or Right channel, depending on which way the knob is turned, to create left-right bouncing / panning effects.
106
Q

FL STUDIO - Fruity Delay 3 - Parameters
Delay Model
Stereo

A
  • Echoes are stereo.
  • -The Left and Right channels are separately delayed.
  • –Offset controls pre-delays for the Left and Right channels to create left-right bouncing / panning effects.
  • —Feedback is likewise per channel, so the left and right channels stereo content is maintained.
107
Q

FL STUDIO - Fruity Delay 3 - Parameters
Delay Model
Ping pong

A
  • Echoes are mixed stereo, with the left and right channels alternately flipped on each delay loop to create the left-right bouncing effect.
  • -If you are using a stereo source you will hear the channels swap or bounce on each echo.
  • –If you use a mono source, you will need to adjust the Pan to create stereo ping-pong effects.
  • —Pan acts the same way as panning in the FL Studio mixer to pan the input to the plugin.
108
Q

FL STUDIO - Fruity Delay 3 - Parameters
Delay Model
Off

A
  • No delay.
  • -In this mode the Filter, Saturation, Limiting, Sample rate, Bit reduction and Tone parameters are still active and are applied instantly.
  • –This allows you to use the plugin as a distortion, filter or Lo-Fi effect for example.
109
Q 
FL STUDIO - Fruity Delay 3 - Parameters
Stereo spread (knob)
A

-Adjusts the stereo spread of the delay signal from fully merged to mono to normal stereo.

110
Q

FL STUDIO - Fruity Delay 3 - Parameters
Feedback
Level

A
  • Level of the echo sent back into the plugin.
  • -Level can be set to values above 100% (the indicator ring will change from green through orange to red, to warn that additive feedback is now possible).
111
Q

FL STUDIO - Fruity Delay 3 - Parameters
Feedback
Cutoff

A
  • Cutoff frequency of the filter types as listed below.
  • -As the filter is in the feedback loop, each echo is further filtered.
112
Q

FL STUDIO - Fruity Delay 3 - Parameters
Res(Resonance)

A
  • Resonance is a peak in amplitude (boost) around the cutoff frequency.
  • -It produces a audible ‘peak’ in the sound at a narrow range of frequencies, accentuating the position of the cutoff.
  • –Try higher resonance values when you are modulating the Cutoff value.
  • —The indicator ring will change color from green through orange to red indicating resonances above 75%.
  • —-NOTE: Higher resonance values can increase the overall feedback, even if the main feedback level is below 100%.
113
Q

FL STUDIO - Fruity Delay 3 - Parameters
Filter Type - Choose between:
LP
HP
BP
Off

A

LP (Low Pass) - Frequencies below the Cutoff value are audible.
HP (High Pass) - Frequencies above the Cutoff value are audible.
BP (Band Pass) - Frequencies around the Cutoff value are audible.
Off - Filtering disabled.

114
Q 
FL STUDIO - Fruity Delay 3 - Parameters
Samp Rate (Sample Rate)
A
  • Sample frequency.
  • -Lower values will reduce high-frequency fidelity and add ‘aliasing’ noises to echoes.
  • –Normally settings of 20 kHz or less are audible (affecting the highest frequencies first).
115
Q

FL STUDIO - Fruity Delay 3 - Parameters
Bits (Bit Depth)

A
  • Bit depth is the number of bits in the digital file used to represent the waveform amplitude.
  • -Lower values will add a crunchy, grainy quality to echoes.
  • –Normally a setting of 10 Bits or less is needed to be audible.
  • —Subtle settings can emulate vintage digital delay hardware.
116
Q

FL STUDIO - Fruity Delay 3
Modulation

A
  • The modulation source is a sine wave shape.
  • -The target will be modulated above and below the set point accordingly:
117
Q

FL STUDIO - Fruity Delay 3
Modulation
Rate

A

-Modulation cycle-time (0 to 20 Hz).

118
Q

FL STUDIO - Fruity Delay 3
Modulation
Time

A
  • Modulation amount applied to the Delay Time parameter.
  • -Use this for wow/flutter tape delay style effects or to cause flanging / chorusing when mixed with the dry signal.
119
Q

FL STUDIO - Fruity Delay 3
Modulation
Cutoff

A
  • Modulation amount of the Feedback Cutoff parameter.
  • -NOTE: You can of course use any internal modulation source to control any parameter on Delay 3. So get creative with Patcher.
  • –Try linking an LFO Internal controller from the Peak Controller plugin to the Time parameter for tempo synced modulation, for example.
120
Q

FL STUDIO - Fruity Delay 3
Diffusion

A
  • Smears the echoes.
  • -This can sound similar to a reverb.
121
Q

FL STUDIO - Fruity Delay 3
Diffusion
Level

A

-Level of the smearing effect on echoes.

122
Q

FL STUDIO - Fruity Delay 3
Diffusion
Spread

A

-Time spread of the smearing.

123
Q

FL STUDIO - Fruity Delay 3
Feedback Distortion

A
  • The delay echoes can be distorted on each pass, according to the following controls.
  • -Delay 3 uses a waveshaping distortion model.
  • –Learn more about waveshaping here.
  • —Waveshaping is also useful to avoid the feedback volume going so high that it clips your project or overloads the master limiter.
124
Q

FL STUDIO - Fruity Delay 3 - Feedback Distortion
Type (switch)

A 
# Choose between two distortion types:
Limiting and Saturation
125
Q

FL STUDIO - Fruity Delay 3 - Feedback Distortion
Limit (Limiting)

A

-The maximum level of the input waveform is hard-limited to the set value.

126
Q

FL STUDIO - Fruity Delay 3 - Feedback Distortion
Sat (Saturation)

A
  • The maximum level of the input waveform is distorted according to the settings below.
  • -An analog or tape delay unit would naturally saturate at high feedback values, so subtle settings achieve a similar effect.
  • –Or go further for crazy saturated delays.
  • —Use the filter along with the saturation to adjust the character of the saturated delays.
127
Q

FL STUDIO - Fruity Delay 3 - Feedback Distortion
Knee

A
  • The shape of the transition from non-distorted to distorted waveform.
  • -Generally a softer (rounded) shape is more like analog ‘valve’ distortion and a sharp change like solid-state circuitry.
128
Q

FL STUDIO - Fruity Delay 3 - Feedback Distortion
Symmetry

A

-Change the distortion from symmetrical, equal in the positive and negative waveform cycle, to asymmetrical, so the waveform only varies in the positive cycle.

129
Q

FL STUDIO - Fruity Delay 3 - Feedback Distortion
Level

A
  • Level at which the Limiting or Saturation starts.
  • -Increase to lower the limiter threshold so it activates at a quieter wet signal volume.
130
Q

FL STUDIO - Fruity Delay 3 - Output
Wet

A

The ‘effected’ output from the plugin.

131
Q

FL STUDIO - Fruity Delay 3 - Output
Tone

A
  • Filtering on the ‘wet’ output from the plugin.
  • -Low-pass (left), OFF center, High-pass (right) filters on the final output.
  • –High passing the wet output can avoid a ‘muddy’ overpowering delay with a preponderance of frequencies.
132
Q

FL STUDIO - Fruity Delay 3 - Output
Dry

A
  • The input ‘dry’ signal to the plugin.
  • -Turn this to zero, to hear only hear the signal that has been processed by Delay 3
133
Q

FL STUDIO - Fruity Delay 3
NOTE: Cool automated sounds with high feedback level and automating the time and other paramters.

A
134
Q

FL STUDIO - Fruity Delay 3
NOTE: Has modulation for time but also cutoff on the delay signal. Variation in the delay makes it much more interseting.

A
135
Q
A

6 NC-M7-FLMANUAL (29 decks)

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