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DigiRack Plug-ins Guide110
number you typed. This is especially useful for
post-production pull up and pull down factors
(see “Post Production Pull Up and Pull Down
Tasks” on page 112).
Formant
The Formant section of Time Shift lets you shift
the formant shape of the selected audio inde-
pendently of the fundamental frequency. This is
useful for achieving formant correct pitch shift-
ing. It can also be used as an effect. For example,
you can formant shift a male vocal up by five
semitones and it will take on the characteristics
of a female voice.
The Formant section is only available when
Monophonic is selected as the Audio Type. The
Formant section provides a single control for
transposing the formants of the selected audio
by –24.00 semitones (–2 octaves) to +24.00
semitones (+2 octaves), with fine resolution in
cents. Adjust the Formant Shift control or click
the Shift field and type the desired value.
Transient
The Transient section is only available when
Polyphonic or Rhythmic is selected as the Audio
Type, and provides slightly different controls for
each.
When Polyphonic is selected as the Audio Type,
the Transient section provides controls for set-
ting the transient detection threshold and for
adjusting the analysis window length for pro-
cessing audio.
Time Shift plug-in, Formant section
Audio with a fundamental pitch has an
overtone series, or set of higher harmonics.
The strength of these higher harmonics cre-
ates a formant shape, which is apparent if
viewed using a spectrum analyzer. The over-
tone series, or harmonics, have the same
spacing related to the pitch and have the
same general shape regardless of what the
fundamental pitch is. It is this formant
shape that gives the audio its overall char-
acteristic sound or timbre. When pitch
shifting audio, the formant shape is shifted
with the rest of the material, which can re-
sult in an unnatural sound. Keeping this
shape constant is critical to formant correct
pitch shifting and achieving a natural
sounding result.
Time Shift plug-in, Transient section with Polyphonic
selected as the Audio Type
- DigiRack 1
- Plug-ins 1
- Copyright 2
- Chapter 1. Introduction 3
- Chapter 8. Plug-in Settings 5
- Introduction 7
- System Requirements 8
- Conventions Used in This 9
- About www.digidesign.com 9
- DigiRack Plug-ins Guide4 10
- Installation and Configuration 11
- DigiRack Plug-ins Guide6 12
- Favorite plug-ins 13
- Plug-in categories 13
- Default EQ plug-in 13
- Default Dynamics 13
- DigiRack Plug-ins Guide8 14
- Processing Power 15
- Requirements of TDM and 15
- RTAS Plug-ins 15
- Improving RTAS Plug-in 16
- Performance 16
- RTAS Processors 17
- CPU Usage Limit 17
- RTAS Error Suppression 18
- Delay in Signal Processing 19
- Low-Latency Recording with 20
- Instrument Plug-ins 20
- Plug-ins as Inserts 21
- Inserting Plug-ins on Tracks 22
- Configuring Plug-ins During 23
- Playback 23
- Making Plug-ins Inactive 23
- The Plug-in Window 24
- Opening Plug-in Windows 26
- Multi-Mono Plug-ins 27
- Clip Indicators 28
- Using the Side-Chain Input 28
- Tempo Sync 29
- Automating Plug-ins 30
- Automation 31
- DigiRack Plug-ins Guide26 32
- Automation Enable window 32
- RTAS Plug-ins on Auxiliary 33
- Input and Master Fader Tracks 33
- HTDM Plug-in Conversion to 35
- DigiRack Plug-ins Guide30 36
- The AudioSuite Menu 37
- The AudioSuite Window 38
- Use In Playlist Button 39
- File Mode Selector 39
- Process Mode Selector 40
- Multichannel Processing 41
- Undoing AudioSuite Processing 42
- Processed Audio 42
- Other AudioSuite Controls 42
- AudioSuite Processing 43
- Preferences 43
- DigiRack Plug-ins Guide38 44
- Using AudioSuite Plug-ins 45
- Using AudioSuite Plug-ins in 46
- Adjusting Plug-in Controls 47
- Toggling Switches 48
- EQ III Configurations 49
- EQ III Controls 50
- I/O Controls 52
- EQ Band Controls 53
- Frequency Graph Display 54
- 1 Band EQ 54
- 7 Band EQ 55
- High-Pass/Low Notch 56
- Low-Pass/High Notch 56
- Low Shelf/Low Peak 57
- Low-Mid Peak 58
- Mid Peak 58
- High-Mid Peak 59
- High Shelf/High Peak 59
- 2–4 Band EQ 60
- High-Shelf EQ 62
- Low-Shelf EQ 62
- Low-Pass Filter 62
- Automating EQ III Controls 63
- Click Controls 64
- Creating a Click Track 64
- Sessions 65
- Noise Shaping 66
- POW-r Dither 67
- D-Verb Controls 68
- Diffusion 69
- Pre-Delay 69
- Hi Frequency Cut 69
- Expander/Gate Features 71
- Input and Output Meters 72
- Dynamics Graph Display 73
- Compressor/Limiter III 74
- About Limiting 75
- Input/Output Level Meters 75
- Threshold 75
- Side-Chain Section 77
- Expander/Gate III 78
- De-Esser III 80
- De-Esser III Controls 81
- Chain Processing 84
- Mod Delay II 85
- Mod Delay II Controls 86
- SignalTools 88
- PhaseScope 89
- SignalTools Display Options 90
- Leq(A) Meter Display 91
- SignalTools Level Meters 92
- Meter Peak Hold Options 93
- Reference Mark Options 93
- Pitch Controls 94
- TimeAdjuster 96
- Delay Compensation 97
- When to Compensate for Delays 98
- Trim Controls 99
- DigiRack Plug-ins Guide94 100
- DigiRack AudioSuite Plug-ins 101
- Dynamics III 102
- Dynamics II 102
- Chorus plug-in 103
- Sum Inputs button 103
- Flanger 104
- Multi-Tap Delay 105
- Ping-Pong Delay 106
- Duplicate 107
- Normalize 108
- Signal Generator 109
- DC Offset Removal 110
- Time Compression/ 110
- Expansion 110
- Pitch Shift 112
- Time Shift 113
- DigiRack Plug-ins Guide108 114
- Transient 116
- Down Tasks 118
- AudioSuite Input Modes 119
- AudioSuite Preview 119
- Processing Audio 120
- Plug-in Settings 121
- Choosing a Destination for 122
- Settings 122
- Managing Settings 123
- Plug-in Settings Dialog 124
- Auditioning Plug-in Settings 125
- 4 Click Search 126
- Using ReWire with Pro Tools 127
- ReWire Requirements 128
- Using ReWire 128
- Tempo and Meter Changes 129
- Looping Playback 130
- Automating ReWire 130
- DSP Requirements 131
- Monitoring DSP Usage 134
- Delay 101 137
- DigiRack Plug-ins Guide132 138
- Index 133 139
- DigiRack Plug-ins Guide134 140
- Index 135 141
- DigiRack Plug-ins Guide136 142
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