FL Manual 15 Compress/Convolver/Delay 2 3 Flashcards

Question

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

Answer 1

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

Answer 2

- 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.

Answer 3

- 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.

Answer 4

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

Answer 5

- 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.

Answer 6

- 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.

Answer 7

- 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.

Answer 8

- 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).

Answer 9

- 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.

Answer 10

--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.

Answer 11

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

Answer 12

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

Answer 13

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

Answer 14

stereo effect in the wet output

Answer 15

- 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.

Answer 16

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

Answer 17

- 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.

Answer 18

-Balance between the Equalized and Normal impulse response.

Answer 19

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

Answer 20

- 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).

Answer 21

- 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.

Answer 22

-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.

Answer 23

- 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.

Answer 24

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.

Answer 25

- 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.

Answer 26

- 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.

Answer 27

- 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).

Answer 28

- 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.

Answer 29

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

Answer 30

Undoes the last envelope edit.

Answer 31

Shows the editing history since the last reset.

Answer 32

vertically Inverts the current envelope.

Answer 33

Opens the Scale Level tool.

Answer 34

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

Answer 35

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

Answer 36

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

Answer 37

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

Answer 38

Quick removal of 'spikey' or sudden changes in the envelope.

Answer 39

Preset filter to quickly filter the envelope.

Answer 40

- 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.

Answer 41

- 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.

Answer 42

- 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.

Answer 43

- 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.

Answer 44

- 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.

Answer 45

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.

Answer 46

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.

Answer 47

- 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

Answer 48

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

Answer 49

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

Answer 50

- 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)

Answer 51

- 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.

Answer 52

-Sets the volume level of the input signal

Answer 53

-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).

Answer 54

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

Answer 55

- 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.

Answer 56

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

Answer 57

-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).

Answer 58

-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.

Answer 59

-Sets various options for the echo feedback.

Answer 60

-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).

Answer 61

- 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.

Answer 62

- 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.

Answer 63

Contains the time settings of the delay effect.

Answer 64

- 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

Answer 65

- 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).

Answer 66

- 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).

Answer 67

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

Answer 68

- 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.

Answer 69

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.

Answer 70

- 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.

Answer 71

- 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.

Answer 72

- 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.

Answer 73

- 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.

Answer 74

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

Answer 75

- 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.

Answer 76

- 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.

Answer 77

- 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.

Answer 78

- 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.

Answer 79

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

Answer 80

- 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).

Answer 81

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

Answer 82

- 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%.

Answer 83

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.

Answer 84

- 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).

Answer 85

- 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.

Answer 86

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

Answer 87

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

Answer 88

- 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.

Answer 89

- 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.

Answer 90

- Smears the echoes. - -This can sound similar to a reverb.

Answer 91

-Level of the smearing effect on echoes.

Answer 92

-Time spread of the smearing.

Answer 93

- 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.

Answer 94

``` # Choose between two distortion types: Limiting and Saturation ```

Answer 95

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

Answer 96

- 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.

Answer 97

- 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.

Answer 98

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

Answer 99

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

Answer 100

The 'effected' output from the plugin.

Answer 101

- 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.

Answer 102

- The input 'dry' signal to the plugin. - -Turn this to zero, to hear only hear the signal that has been processed by Delay 3