ベリンガーウイングファームウェア2.1エフェクターガイド

ベリンガーウイングファームウェア2.1エフェクターガイドウイングエフェクターガイドウイングは非常に多様なtrue-stereoエフェクターを提供し、その中にはすべてのチャンネルのEQ、ゲート、またはコンプレッサースロットからすぐに選択できる。 – その他に16個の仮想エフェクターラックで設定できる。この文書は、EFFECTS画面で表示される仮想エフェクターラックの詳細から始まる。 空のスロットは選択したプレミアムおよびスタンダードエフェクターを選択後、適用しようとするチャンネルやバスにインサートして割り当てる。文書の最後には、どのチャンネルでもウイングのそれぞれのプロセッシング機能を代替できるゲート、コンプレッサー、そしてEQについて説明する。このようなゲート、コンプ、およびEQは、全チャネルに処理されるレイテンシ（遅延時間）に全く影響を及ぼさない。 しかしながら、チャネルインサートに呼び出されたエフェクターは最小限のレイテンシを誘発することができる。 しかし、これはインサートにエクストンネル(外部)エフェクタープロセッシング、例えばPCから戻るVSTプラグインを連結して使用する時に関連がある可能性がある。16-Slot Virtual Effects Rack Premium FXスロット1-8番でのみ使用できるプレミアムエフェクターは、例えばdelay linesなどのための外部メモリを必要とする。 (訳者注:ディレイなどはワンソースを保存して再生をしなければならないため、メモリを必要とする)リバーブバスチャンネルで例を挙げると、普通「センドエフェクター」または「サイドチェーンエフェクター」としてよく使う立派なリバーブと創意的なディレイエフェクターを発見することになるだろう。홀/실/실/실장/BAM 체험この六つのリバーブエミュレーションは、Lexicon 480L algorithmic reverbからインスピレーションを受けた。 各リバーブアルゴリズムの特定のパラメータは少しずつ異なる。 パラメーターを探索するには右隅にあるボタンをクリックしなさい。VSS3 リバーブVSS3リバーブはTC Electronic REVERB 6000をベースに、数十種類のリバーブ、ディレイおよびバウンダリーエフェクターを提供します。 このユニットは左右の独立したプロセッシングチェーンを通じて作られた「true stereo」リバーブ効果でも有名です。 アーリーリフレクション（初期反射音）及びリバーブテール（tail、尻尾）に対する特定のパラメータはもちろん、モジュレーションと一般的なリバーブパラメータを設定する付加的なコントロールのために右上にある矢印をクリックします。 右側のメニューから複数のプリセットを使用できます。ヴィンテージルームビンテージルームはQuantec QRSからインスピレーションを受け、スモールルームでサウンドを録音する時に発生する残響をシミュレーションする。 ビンテージルームはギターとドラムの近接マイクに生命を吹き込む。VU メーターは入力及び出力レベルを表示する。 REV DELAYはドライ信号(元のソース)とリバーブテールの間のディレータイムを設定する。 DECAY はリバーブ全体の減衰時間を設定する。 ROOM SIZE はリバーブを生成する仮想の空間の大きさを調整し、DENSITY は反射して聞こえる残響の密度を調整する値である（密度が高いほどより多くの反射音が作られ、細密なリバーブの感じになる。)HI/LOW MULTIPLY は高域帯と低域帯周波数の減衰時間を調整する。 ER DELAY L/Rはドライ信号(元のソース)と初期反射音との間にディレー時間を設定する。 ER LEVELはドライ信号に対する初期反射音のボリュームの大きさを設定する。 また、エフェクターに入ってくる信号にローカット及びハイカットフィルターを適用することができる。 LEVELは出力信号の増幅量を調整する。リバーブビンテージ全席的なEMT250リバーブを基盤とするVintage Reverbは、ライブまたは録音されたトラックをつぶしたり、圧倒したりしないキラキラと明るいリバーブを提供する。 ヴィンテージリバーブを使えば、鮮明度を保ちながらボーカルとスナゴを甘美にすることができる。 オリジナルEMT250はモノ入力信号からクアッド(4)サラウンドリバーブを生成した。 両方の出力ペアは、前面と背面のコネクタを通じて使用することができる。 ヴィンテージリバーブではFRONTおよびBACKボタンを使用してユーザーが使用するPairを選択することができる。 FRONTはボーカルやその他のダイナミック楽器に適している。 REARは反射が少ないため、ドラムに一般的にもっと使われる。 該当ボタンを使用してインプットトランスフォーマーエミュレーションを活性化することもできる。ヴィンテージプレートVINTAGE PLATEはクラシックEMT140プレートリバーブをエミュレーションしたものです。 ローカットフィルター、DECAYおよびPre DELAYコントロールを提供します。 COLORノブは作られたリバーブに対するトーンコントロールを提供します。ブループレートBLUE PLATEは、Lexicon PCM70デジタルエフェクタープロセッサのプレートアルゴリズムに基づいています。 表のPredelay、Size、Decay、Diffusion、ローカット/ハイカット、そしてモジュレーションコントロールが提供されます。ゲートリバーブ1980年代に広く流行したゲートリバーブテクニックは、元々リバーブの後ろにノイズゲートを追加し、信号レベルがトレショルドの下に落ちると、リバーブテールにゲートがかかる方式で具現されました。 レキシコン300/480Lからインスピレーションを受けたゲートリバーブは、リバーブテールの特別な形態を通じて、それらと同じ効果を作るのに役立ちます。リバースリバーブ300/480/480Lからインスピレーションを受けたこの効果は、リバーブテールのエンビロープを反転させてリバースリバーブをエミュレーションし、時間が経つほどリバーブボリュームが大きくなる。 リバースリバーブの増大するクレッシェンドを使用して、好みのトラックに微妙なクオリティのリバーブを追加する。 DECAY ノブは、リバーブが最大のボリュームに達した後に完全に消えるまでの時間を調整する。 RISEはリバーブ増幅をどれだけ上昇させるかコントロールする。 DIFFUSE は初期反射密度をコントロールする。 SPREADはリバーバーのエンビロープを通じて反射音が散らばる程度をコントロールする。 ローカットフィルターとシェルビンフィルターの2つが提供される。지연/강기 BDELAY/REVERBは、レキシコンPCM70デジタルエフェクタープロセッサをベースに、2つのエフェクターを結合した装置である。 左パネルはディレーに対するコントロールを提供し、右パネルはリバーブ効果をコントロールする。 ドライ(dry)信号とディレイ出力信号の両方にリバーブが適用される。 Delay と Direct ノブは、リバーブ プロセッサに入ったそれぞれの信号レベルを制御する。シマリー·バスギタリストの間で「シュマー·リバーブ効果」でよく知られているギターペダルを組み合わせて再現した。 最初のペダルは元の信号に新しいハーモニクスを追加する。 追加されたハーモニクスの数はSHIMMERノブで制御される。 それぞれの連続したハーモニクスの漸進的な減衰は、SHINEノブで制御される。 最大に設定するとハーモニクスの減衰が最小になる。 2番目のペダルはリバーブ効果を提供し、3番目のペダルはローカットおよびハイカットフィルターを提供する。スプリングリバーブ1970年代のPioneer SR-202Wからインスピレーションを受けたこの効果は、希望するトラックにクラシックスプリングリバーブトーンを追加します。寸法CRSRoland Dimension DSDD-320に基づくこの効果は、モジュレーション(変調)を通じて個別トラックや全体ミックスに深さとステレオ幅(stereo width)を追加する。 モジュレーション強度はOFF 及び1-4 ボタンで設定できる。 モジュレーションが消えた場合にも、依然として信号にコーラスの色味が追加される。 モード1は最も少ない量のモジュエーションを追加し、モード4は最も強烈なモジュレーションを追加する。 複数のボタンを同時に作動して各モードを変形することができる。 MIXボタンを押してDRY表示灯が点灯すれば、処理された信号にドライ信号（元のソース）を追加することができる。ステレオコーラスSTEREOCHORUSはモジュレーション、コーラス、フィルターを提供し、より広くきらめくサウンドを生成する。 バックボーカル、金管/木管楽器の音を厚くしたり、独特のギタートーンを作るのに使ってみてください。ステレオ·プレンジャープランジャーは、元のテープレコーダーのリールフランジ(枠?)に圧力を加えて生成されたcombフィルタリング効果をエミュレートする。 この効果はボーカルと楽器に使われる時、とてもドラマチックで独特な「wobbly（揺れる？）」？）」サウンドを生成する。 FEEDBACKは、FEED HC(ハイカット)およびFEED LC(ローカット)ノブを使用して、揚水および飲水量を調整し、帯域幅を制限することができる。 プレンジャーペダルは、左および右のチャンネルに対して独立したDELAYおよびDEPTHコントロールを提供する。 モジュレーションSPEED の範囲は0.05Hz~5Hz である。 PHASEノブを使えば、左チャンネルと右チャンネルのモジュレーション間の位相を調整(shift phase)することができる。 チェーンの先端部分にローカット及びハイカットフィルターを使用することができる。AYステレオSTEREO DELAYはモノ入力信号でもステレオフィールドで広いステレオ存在感を作り出すことができる多様なコントロールを提供する。TIME はFACTOR ノブの値を掛けることもでき、ディレータイムは1~3000ms に調整できる。 FACTORノブを1にすると、設定したTIMEはそのまま反映される。 PATTERNノブは、左及び右チャンネルに特定の要素で遅延パターンを作り出す。 例えば、3/4:1に設定すると、左チャンネルの遅延時間は3/4が掛けられ、右チャンネルの遅延は変更されずに維持される。 1:3/2に設定すると、左チャンネルのディレイタイムは変更されず、右チャンネルのディレイタイムは2/3が掛けられる。 OFFSETノブは、左と右のディレータイム間の時間差を調整する。 3つのFEEDBACKモードを使用することができる。 STEREOは、左及び右のチャンネルに対して別途のフィードバック経路を提供する。 CROSS は左チャネルを右チャネルに再供給し、逆の場合も同様である。 MONOは二つのフィードバック経路を合わせて同じ合算信号を左右ステレオチャンネルに送る。 フィードバックの量（繰り返される回数）はFEEDBACK ノブに設定する。 フィードバックループにはローカット/ハイカットフィルターを使用することができる。 装置右側のローカット/ハイカットフィルターは、ディレーで入ってくる入力信号に適用される。[SlGHS] [Sighs][SlGHS] [Sighs]Tape delayThe WING TAPE-ECHO is based on the Roland RE-201 Space Echo in the mid-1970s. The device emulates a Space Echo mechanism that generates a delay by recording and playing an input signal to a tape. Changing the tape speed results in different latency. Using tape, you can get the unique warmth and rich tone of the mid-range, which are currently commonly used for slapback delays on vocals and electric guitars. Simple controls such as TIME, SUSTAIN, DRIVE, and FLUTTER are provided to create stereo modulation effects.Oil can delayOILCAN emulates the Tel-Ray Ad-N-Echo device in the early 1960s. The original device had a motor and a can-shaped container filled with oil. The input signals were used to drive the movement of the rubber band inside the “CAN.” Waves of oil produced “reflections” sound that felt like a reverberation of the input signal. The same controls as TIME, SUSTAIN, WOBBLE, and TONE are provided.BBD DELAYBBD DELAY is named after an analog circuit called “Bucket Brigade Device,” which was developed to replace less delicate analog tape delays. This name is similar to a firefighter delivering water buckets along a line at a water source. In an analog circuit, the input signal is delivered from one capacitor to another. (Capacitor means storage battery, capacitor, which seems to be compared to a bucket.) The signal is delayed because it takes time for each capacitor to charge and discharge. BBD DELAY has emulated analog BBD sound that generates dark delay tones by applying a low-pass filter to reduce unwanted noise generated by hundreds of capacitors that make up the circuit.stereo pitchPeach shift is used in two different ways. First, the “dubler” effect, which thickens the tone by adding a slight pitch change to the original signal, and the second is applied to the mix by extremely moving the signal up or down an octave. STEREO PITCH allows you to change the pitch of the signal in half-tone and cent (half-tone is 100 cents) and apply delay and filtering. Mix knobs for dry/wet are also available.dual pitchDUAL PITCH provides separate pitch shift controls to the left and right channels. Each channel is capable of delay, movement in semitone/cent, attenuation/amplification, and independent panning. The low-cut/high-cut filter is applied to both channels.Standard FX standard effector types do not require external memory and are useful in all 16 effector slots. Most of these effects are used as “insert effectors” directly on channels or buses, such as graphical EQ on monitoring buses or simulations of other amplifiers on gateway input channels. GRAPHIC EQIt is a standard 31-band graphic equalizer between 20 Hz and 20 kHz. Each band may use a boost or cut of up to 15 dB. The TRUE CURVE switch makes the gain and phase response smoother when adjusting adjacent bands (bands).TRUE CURVE 미적용시 PIA 560 GEQ이 그래픽 EQ는 API 560에 기반을 제공하고 있습니다.각 필터의 대역폭은 적용/AM에 따라 좁아진다.플러그인은 추가 및 건조/wet 제어 기능을 제공합니다.스피커 관리자스피커 관리자트리플 DEQ3 밴드 동적 동점각 밴드는 DQ1/2/3 버튼을 통해 액세스할 수 있습니다.신호가 임계값보다 높거나 낮으면 원하는 상승 또는 증폭을 적용할 수 있습니다.쉘프 필터와 밴 패스 필터와 밴 패스 필터를 사용할 수 있습니다.플랫 필터가 선택되면 장치가 전체 범위 압축 또는 확장자로 작동합니다.이 프로세서의 1-밴드 버전에는 게이트 슬롯의 게이트 대신 사용할 수 있습니다.CombinatorC5-COMBINATOR is a multi-band compressor that provides effective and transparent results. Attack and Release controls are applied to all five bands. The Threshold, Gain and Width controls in the upper right corner apply to all bands selected on the screen, whereas in colored squares the Threshold, Gain and Width controls are activated only for the bands selected on the screen. The Slope switch modifies the slope (slope) of the bandpass filter along the multi-band compressor. Automatic gain balancing between five bands (bands) is allowed using the Spectral Balance Control (SBC). The SBC knob determines how fast the gain balancing will work.precision limiterThis plug-in provides precise peak control to prevent digital peaks and distortion. AUTOGAIN enables long-term gain correction to allow automatic gain control over a wide dynamic range. SQUEEZE adds a sense of punch and drive by adding compression to the signal according to the amount adjusted.2-BAND DEESSERThis device is based on SPL Dual-Band De-Esser. After separating the plaque frequency, it is added back to the signal with opposite polarity to attenuate the plaque frequency. The amount of signal added again by reversing the polarity to the original audio and the corresponding reduction in the plaque sound are controlled by the LOW and HIGH knob. The center frequency of the LOW filter can be set to 6.4 KHz (MALE) or 7.6 KHz (FEMALE). (Reverse frequency: You should listen to the speaker’s plaque component and identify it, rather than unconditionally placing it in the MALE as a man.) The center frequency of the HIGH filter is fixed at 11.2 kHz.ULTRA ENHANCERULTRA ENHANCERa stimulant, a female, a stimulant, a juggernautThis effector was inspired by Ahex Aural Exciter. The cutoff frequency of the sidechain highpass filter before harmonics generation is set to the TUNE knob. The graph below shows the frequency response of the output signal for three TUNE settings (1 kHz, 5 kHz, and 10 kHz). Note that there is a dip in the frequency response just before harmonics generation. This is caused by the recombination of the sidechain with the unprocessed signal.이 이펙터는 Ahex Aural Exciter에서 영감을 얻었습니다. 고조파 생성 전 사이드체인 하이패스 필터의 차단 주파수는 TUNE 노브로 설정됩니다. 아래 그래프는 3가지 TUNE 설정(1kHz, 5kHz, 10kHz)에 대한 출력 신호의 주파수 응답을 보여줍니다. 고조파 생성 직전 주파수 응답에 딥(dip)이 있습니다. 이는 사이드체인이 처리되지 않은 신호와 재결합하여 발생합니다.피크 컨트롤은 그래프에서 표시된 대로 튜닝 주파수를 강조 표시합니다.그러나 피크(P) 주파수가 증가함에 따라 딥이 더 발음되기 전에 딥이 더 발음된다.본 예를 들어, 튜닝 주파수는 1 kHz에서 계속 유지됩니다.PEAK 컨트롤은 그래프와 같이 TUNE 주파수를 강조합니다. 그러나 PEAK가 증가함에 따라 TUNE 주파수 이전의 딥(dip)이 더 뚜렷해집니다. 이 예에서는 TUNE 주파수가 1kHz로 일정하게 유지되었습니다.제로 파일 컨트롤은 튜닝 주파수에 대해 보상합니다.예를 들어, UT 및 피크 제어는 일정한 상태로 유지됩니다.TIMBR 노브를 시계 반대 방향으로 전환하고 시계 방향으로 전환하고 시계 방향으로 전환하고 시계 방향으로 전환됩니다.NYIC 노브를 사용하여 화화의 진폭을 조정하고, 혼합 신호를 혼합하여 적용된 이펙터의 진폭을 사용하여 적용된 이펙터의 진폭을 혼합 신호를 혼합 신호를 혼합합니다.DL 버튼을 눌러 추가 조화를 이루려면 DL 버튼을 해제하십시오.PsychobasePsycho Bass is a low frequency enhancer that tricks the brain into thinking that it recognizes low frequencies that are not reproduced by adding harmonics to the signal. INTENSITY controls the level of generated harmonics. X/O FREQUENCY SETS the frequency below which the processing is applied. (X/O FREQUENCY SETS THE FREQUENCY BELOW THE PROCESSING IS APPLIED.) BAS GAIN attenuates the signal below the X/O frequency to correct the volume increase felt by the newly generated harmonics. SOLO filters frequencies higher than the X/O frequency to produce processed sounds.[SlNGlNG] [SPEAKlNG IN SPANlSH]This effect is based on the guitar pedal BOSS Octave OC-2 in the early 1980s. It produces two tones and two tones, each one octave lower than the original signal. Separate volume control and tone control (RANGE) are provided for each new tone.SubmonsterThe MIDAS SUB MONSTER plug-in is a sub harmonic synthesizer used to emphasize a specific frequency, two harmonics above it, and two harmonics below it. The center frequency is set by the Tune knob. Each fader adjusts the degree of emphasis of the corresponding harmonics. The central frequency is available in Band 3. It is possible to use the dry/wet mix knob.Velvet imagerVELVET IMAGER is a stereo image that increases the width of a stereo signal or implements a mono signal like a stereo. MS-WIDTH controls the stereo width by modifying the levels of the intermediate and side channels. STEREOIZER controls the amount before processing the stereo generated using K-Stereo or Velvet modes. In K-Stereo mode, artificial reflections are added to the original signal. In Velvet mode, phases are randomly moved between the harmonics of each channel. In both modes, the effect is more emphasized by pressing the DEP button. The vector scope and the PHASE correlation meter can peacefully monitor the correlation between the left and right channels.Double vocalDouble vocalPeach FixPeach Fixa rotating speakera rotating speakerPHASEERPHASER is modulated and several sets of filters of cut-off frequencies are applied to generate a dip in the frequency response of the input signal. As a result, a “swirling” effect occurs. Try to use PHASER to make vocal and instrumental sounds subtle and spatial.Tremolo/PannerTREMOLO/PANNER can be used to modulate the volume and panning of the signal. For the mono effect, set the LFO PHASE L/R to 0°. Moving the phases of the left and right LFO results in a panning effect. The envelope filter can be controlled using the DEPTH and SPEED knobs on the left side of the device.a tape machineThis plug-in emulates the smooth clipping and tone characteristics of the multi-track 2-inch tape recorder. Two shelving filters, drive controls, and continuously adjustable tape speed controls are available. The higher the tape speed, the more high-frequency components tend to be.이 플러그인은 멀티트랙 2인치 테이프 레코더의 매끄러운 클리핑과 톤 특성을 모방합니다. 두 개의 셸빙 필터, 드라이브 컨트롤, 연속적으로 조절 가능한 테이프 속도 컨트롤을 사용할 수 있습니다. 테이프 속도가 빠를수록 고주파 성분이 증가하는 경향이 있습니다.최소 ug 모델 및 합성자 필터부는 LOF(전압 컨트롤 필터)를 사용하여 VCF(전 필터)를 제어합니다.이 필터 섹션 또는 LF 섹션 또는 LO 섹션을 사용하여 입력 신호의 봉투를 수정할 수 있습니다.필터 자체는 필터 섹션에서 구성할 수 있습니다.오프 주파수, 필터 유형, 경사 및 저항 컨트롤이 제공됩니다.위상 노브를 사용하여 LO의 왼쪽 및 우측 채널 정렬(선 정렬) 노브를 사용하여 스테레오 필터링 효과를 생성합니다.추가 드라이브 및 혼합 컨트롤이 제공됩니다.보디레즈바디레스는 TC 전자의 페달에 기반을 두고 있다.특히 최적화된 픽업 서비스를 사용하여 음향 기타의 자연 음향 공명을 복원하기 위해 설계되었습니다.미리 설정된 필터와 압축( 압축)을 추가할 수 있습니다.랙 앰프랙 앰프 시리즈는 기술 21일 SANamp 시리즈에서 영감을 받는다.원래 장치처럼 랙 앰프, 전원 앰프, 전원 앰프, 기타 앰프의 스피커, 스피커, 기타 앰프의 스피커를 생성합니다.버즈, 펀치, 펀치, 중간, 높은 주파수, 높은 주파수, 높은 주파수 및 높은 주파수의 왜곡을 제어합니다.드라이브 노브를 사용하면 전원 앰프 단계에서 진공 튜브 왜곡을 시뮬레이션합니다.기타리스트가 이미 실제 캐비닛을 사용할 수 있는 경우, 커스트 또는 왜곡 페달처럼 행동할 수 있습니다.낮은 쉘프 필터를 사용하여 추가 페달 필터가 사용될 수 있습니다.UK ROCK AMP영국 록 앰뷸런스는 클래식 록 톤의 음조를 통해 일반적으로 고전 록 톤의 음조를 통해 영감을 받고 있다.사전 승인자 및 전원 앰프는 표준 컨트롤과 전원 앰프 단계가 제공됩니다.필요에 따라 캐비닛 에뮬레이션이 비활성화될 수 있습니다.AX는 클래스 AB 진공 튜브 전원 앰프를 작동시킵니다.고속 전송 신호로 인해 급속한 전송(고 증폭)가 갑자기 상승하고 복구 전류는 전압이 약간 떨어지면서 전압이 약간 낮아지고 복구됩니다.결과적으로, 소리는 스웰링 효과를 가지고 있는 것 같다.ANGEL AMP천사 앰프는 영어 앰뷸런스에 영감을 받고 있으며 공격적인 왜곡 기타 톤에 의해 일반적으로 사용되는 금속과 다른 스타일에서 사용된다.AG 노브를 사용하면 마쉬 모든 방식으로 작동된다.필요한 경우 캐비닛 에뮬레이션을 해제할 수 있습니다.JAZZ CLEAN AMP재즈 클리닉은 1970년대 중반에 의해 영감을 받은 클래식 롤랜드 JC-20년대 중반에 의해 영감을 받았다.이름에도 불구하고 솔리드 스테이트 앰프는 펑크, 새로운 파크를 포함한 다양한 장르를 맞는다.디럭스앰프이 앰프는 1960년대에 유명한 펜더 디럭스 디럭스 디럭스 디럭스 디럭스 디럭스()에 기반을 두고 있다.원래 진공 튜브 앰프, 출력 앰프, 출력 앰프 및 출력 앰프를 제어하기 위해 사용할 수 있습니다.다른 진공 튜브 앰프 장치처럼, 그것은 사산 제어와 함께 온다.채널 FX는 채널 또는 버스에서 “효과”로 사용할 수 있는 여러 프로세서와 동일한 프로세서 및 채널 스트립을 포함하는 다양한 프로세서와 동일한 채널 스트립을 포함한다.영혼 아날로그SSL 4000E 시리즈에 기반한 4 밴드 매개 변수 EQ를 기반으로 합니다.이 시리즈는 일반적으로 미드레인지에서 날카롭고 펀치를 가지고 있다.중간 대역에서 사용할 수 있는 주파수는 μm3 버튼을 사용하여 수정할 수 있습니다.EVEN 88 포맨트2000년 초에 발매된 NE 88 시리즈 콘솔의 동점골이다.그 시리즈는 부유하고 높은 허리띠를 가지고 있다.로우 및 하이 필터는 매개 변수 또는 쉘 필터를 사용할 수 있습니다.H-Q 스위치를 사용하여 Q. 낮은 중간중 필터는 Q 값을 지속적으로 가변 Q 값을 가질 수 있습니다.EVEN 84이것은 1084 NE의 동점골을 기반으로 3 밴드 EQ를 기반으로 3 밴드 EQ를 기반으로 한다.이 사전 승인자는 클래식 1073 사전 1073 프리젠테이션과 같은 설계를 이어갔다.원래 장치처럼, 심지어 84는 중간 필터의 대역폭을 줄이기 위해 H-Q 버튼을 제공합니다.스트롱 1101985년 루퍼트 NQ 섹션의 EQ 섹션을 기반으로 설계된 4 밴드 매개 변수 EQ를 기반으로 설계되었다.파라미터에 사용할 수 있는 주파수는 x3 단추로 변경할 수 있습니다.펄서P1A/M5는 P1AQP1-AQP1-AQP1-AQP1-AQP1-AQP1A/M5의 곡선에 의해 영감을 주는중간 EQ5 섹션은 미드레인지에서 세 가지 필터를 제공하며, H-LO EQ1 섹션은 스펙트럼의 하부 및 높은 범위에 초점을 맞추고 있다.MAKE EQ46-밴드 고정 주파수는 MQ4에 따라 고정 주파수 동점입니다.장치는 최소 단계 변경 및 생생한 사운드에 대한 최소 단계 변경 사항을 제공합니다.에어 프리Q는 자연 밝기를 제어합니다.even channelThe plug-in integrates the EVEN88 GATE, EVEN88 FORMANT equalizer and EVEN COMPRESSOR/LIMITER to emulate the signal flow (signal flow) of the single-channel strip of the Neve88 series console.SOUL CHANNELThe plug-in emulated the signal flow of SSL’s hybrid 4000 and 9000 series console single-channel strips, and integrated the 4000 series console with the 9000 series compressor SOUL 9000 GATE/EXPANDER, SOUL ANALOGUE equalizer.Vintage ChannelThe channel combines three emulations of a classical analog processor (a fast FET compressor, a smooth passive equalizer, and an optical compressor) that are generally associated with a rich and warm tone. The FET compressor can be used to control the fast transition before equalizing, and the optical compressor can be used to control the overall level more smoothly.a bus channelBUS CHANNEL combines three processors that add key colors: preamplifier with SSL-inspired drive, equalizer inspired by Neve 1084 and compressor inspired by SSL-G bus compressor.MASTERINGThe MASTERING plug-in combines four devices commonly used during mastering: tape saturation, transparent sound equalizer, aural exciter/stereo imager, and limiter.external effectsThe EXTERNAL EFFECT plug-in makes it easy to integrate the analog or digital equipment of the (external) outbound board into the wing. After inserting the signal into the channel, clicking SEND can send the signal as a digital or analog output. Conversely, all digital or analog signals can be supplied to the RETURN. An FX MIX knob is provided to mix the processed and unprocessed signals. To align the time difference between the two signals, the LATENTY knob must be adjusted. The signal processed by the external effector inevitably delays a specific time depending on the characteristics of the outbound processor.Gate Plug-in GATE/EXPANDERGate Plug-in GATE/EXPANDERa diverDucker is for the ‘talking radio host’ effect with music on. The music becomes quieter each time the radio host speaks. Ducker states the signal by a fixed value when the signal exceeds the threshold. Unlike the compressor, which allows the signal to exceed the threshold but to be allowed at a slower speed (determines according to ratio), Ducker suddenly applies a fixed attenuation. To achieve the ‘radio host effect’ described above, Ducker must be driven by a side chain signal other than a decaying signal. For example, Ducker is called into the GATE section of the music channel, the speaker’s microphone is selected as KEY SOURCE, and sets it to exceed the threshold whenever the host speaks. Thus, as much as the amount set by the RANGE knob, the music level being played is attenuated each time the host speaks.SOUL 9000 GateSOUL 9000 GATE emulated noise gates contained in each channel of the SSL 9000s series console. This gate can operate as a downward expander in a 2:1 ratio (1:2 if following the previous nomenclature) by clicking the EXPAND button.EVEN 88 GateThe EVEN 88 GATE emulates a noise gate on each channel strip of the Neve 88 Series console. A hysteresis (HYSTERIS) control is provided that establishes the dB difference between an open and closed tread. For example, if the threshold value is 10 dB and the hysteresis is set to -30 dB, the void gate opens at -20 dB and closes at -30 dB. This can help preserve the natural attenuation of the signal. By turning the HYSTERESIS knob completely counterclockwise to suit the EXP setting, the gate acts as a downward expander. The THRESHOLD can be set from -40 dB to 0 dB using that knob. Using the -40 dB button, the tread is lowered by 40 dB.Draw more 241This effector, based on the noise gate/expander of drawmer DL 241, automatically adjusts the ratio according to the input signal level. The lower the signal falls below the threshold value, the higher the ratio of downward expander. Conversely, when the signal is close to the threshold value, the ratio decreases and attenuation decreases.BDX902 DEESSERThis effector was inspired by dbx 902 de-esser. The FREQUENCY knob sets the center frequency of the sidechain filter and the RANGE knob sets the degree of attenuation. When HF ONLY is released, the entire input signal is attenuated when the frequency passing through the sidechain filter exceeds the fixed threshold value. When HD ONLY is activated, only the higher frequency range set by the FREQUENCY knob is attenuated.76 LIMITER AMP effector described in Compressor Item LEVELER described in Compressor Item SOURCE EXTRACTORSOURCE EXTRACTOR is based on the 500 series version of the noise gate in the Neve Portico 5045 channel strip. THRESHOLD and DEPTH(range) controls are provided. FAST enables faster attack time and PEAK can switch the level sensing style between the RMS and peak. In RMS mode, the attack times are 100 ms and 200 ms. In peak mode, the attack times are 200 ms and 1 s. (Slower in peak mode???). This is the original text. – When in RMS mode, the attack times are 100 ms and 200 ms. When in peak mode, the attack times are 200 ms and 1s.)WAVE DESIGNERThis effect, which is based on SPL’s Transient Designer, allows you to modify the attack and sustain (release) of the signal and keep it independent. By emphasizing the attack, you can give an accent to attacks such as drums, percussion, and guitars, providing a “snapier” sound.Auto riderAUTO RIDER is designed to automatically “ride” the fader of the desired channel so that the volume felt is kept relatively constant. THRESHOLD sets the level that the input signal must overcome to be processed. TARGET sets the desired output level. SPEED determines the adjustment speed. RATIO sets the steepness of the transfer function of the output signal to the input signal. The lower the value, the more finely adjusted it is. HOLD determines the minimum time that the fader adjustment should remain the same. RANGE sets the maximum amount of attenuation or amplification to be applied.Soul warm-up freeThe SOUL WARMTH PRE emulated the preamplifier of the original console developed by SSL. This preamplifier emulation offers a variety of tone options, from clean sound to aggressive clipping. The DRIVE knob controls the extent to which the signal is soft clipped. The HARMONICS knob controls the balance between the generated secondary (even) tertiary (odd) harmonics. The preamplifier on the original analog console produced odd harmonics. Even harmonics make the sound thicker and tame the attack of the original transient.Dynamic EQThis is a single-band version of the TRPE DEQ dynamic equalizer described in the RACK effector section. It may also be used in the DYN EQ tab of the SPEAKER PROCESSOR apparatus. This standalone single-band dynamic EQ is only available in the GATE section of individual channels.EQ Plug-in Wing EQWING EQ is the basic digital equalizer for the console. It is a 6-band parametric EQ, and when the low-cut and high-cut filters in the preamplifier section of the channel are activated, the cutoff frequency can be edited using LC FREEQ and HC FREEQ controls. By default, the lowest and highest filters are labeled L and H and set as shelving filters. You can change it to a parametric filter on the settings page. The EQ can be bypassed to the ON/OFF switch. The EQ curve turns yellow when activated.SOUL ANALOGUE This effector item is in the Rack Effects section. EVEN 88 FORMANT This effector item is in the Rack Effects section. EVEN 84 This effector item is in the Rack Effects section. FORTISSIMO 110 effector item is in the Rack Effects section. PULSAR effector item is in the Rack Effects section. MACH EQ4 effector item is in the Rack Effects section. Compressor Plug-ins WING COMPRESSORWING COMPRESSOR is the basic digital compressor of the console. A transfer characteristic graph is provided on the left for easy visualization of signal and gain reduction. The input level is shown on the X-axis and the output level is shown on the Y-axis. Standard tread value, rayshaw (ratio) and Knee are provided. To manually set the attack, hold, and release parameters of the compressor, release AUTO ENV. Tread detection can be set to peak or RMS. The signal used for the side chain of the compressor can be selected from the KEY SOURCE menu at the top left, and a filter can be applied to the side chain. Signals of the same channel or other signals of 40 input channels are possible. (Inverse frequency: I mean no Ax input. I wish I could recognize the source selected in the stage rack without being assigned to 1-40 inputs…)Wing ExpanderWING EXPANDER operates as a traditional downward expander. Available in comp slots, it is generally applied when noise gates generate excessive gate sound. RATIO operates in the same way as previously described.BDX 160 COMPThe BDX 160 is based on the dbx 160 VCA compressor from the early 1970 s. Known for its hardknee settings and aggressive sound, it is often used on drum tracks or vocals that require an “in-your-face” sound. Simple treshold values, rachaw and may cup gain control are available.BDX 560 EASYThe BDX 560 EASY is based on the dbx 560A, a 500 Series version of the 160A that is the successor to the dbx 160. It offers the same controls as the 560 but adds an EASY option that softens the knee for more subtle sound compression.Draw more COMPThis compressor/limiter, based on DRAWMER DL241, provides soft knee compression and implements natural sound. ATTACK and RELEASE can be set to AUTO. The PEAK section provides a stable and very fast limiter suitable for the most demanding scenarios, such as the channel supplied to the PA system or in-ear monitoring device.RED3 CompressorThe device is based on the Focusrite Red3 compressor in the mid-1990s. The RED compressor derived from the ISA compressor module provides a natural sound even when significant compressing is applied.SOUL 9000Based on the SSL 9000 Series Channel Compressor, SOUL 9000 provides a more transparent sound approach to classical SSL tones.SOUL BUS COMPSOUL BUS COMP is based on the SSL 4000G Series bus compressor, which was popular in the 1980 s. It is often used to “glue” the mix to each other to provide a cohesive sound.SOUL BUS COMP는 1980년대에 인기 있었던 SSL 4000G 시리즈 버스 압축기를 기반으로 합니다. 그것은 종종 응집력 있는 소리를 제공하기 위해 혼합물을 서로 “접착”하는 데 사용됩니다.또한 1980년대 중반에 기반을 둔 NE 33609년 중반에 기반을 두고 있다.컴프레서의 특성 때문에 믹싱에 적합하다.REM/제한은 혼합 버스 중 마지막 단계이기 때문에 제한 섹션은 유용합니다.Eternal BlissETERNAL BLISS is based on Elysia Xpressor. Due to the RMS peak detection and soft knife setting, it provides a clean and open sound with a fast transient sound. The Gr Limit knob determines the maximum gain reduction (reduction) to be applied. When the gain reduction reaches the limit dB, the gain reduction remains constant even if the input signal exceeds the threshold.76 LIMIT AMP76 LIMIT AMPLEVERING ITLA LEVELER is based on the Teletronix LA-2A optical (opto) compressor in the late 1960s. The electroluminescent panel emits light that becomes brighter as the input signal increases. Then, the photoresist (sensor responding to light) applied gain reduction accordingly. It is often preferred for vocals due to this mechanism and vacuum tube-based design. LIMIT/COMPRESS switches control proportions, PEAK REDUCTRION controls the side chain gain to apply gain reduction, and GAIN controls the gain of the output signal. The VUmeter indicates gain reduction.Fair KidFAIR KID emulates the legendary Fairchild 660 tube variable-mu compressor, which was released in 1959. The ratio of the variable-mu comp is not constant and increases when more gain reduction is applied. The ratio of FAIR KID is from 2:1 to 30:1. Gain reduction is controlled with THRESHOLD and DC BIAS knobs. Turning THRESHOLD completely counterclockwise does not apply to gain reduction. The more you turn the knob clockwise, the more gain reduction is applied. Turning the DC Bias knob clockwise reduces the ratio and widens the Soft Knee. The TIME CONSTANT knob determines the attack and release time as follows:NO-STRESSORInspired by the Imperial Labs Distributor, the device is highly versatile. The ratios range from 1.5:1 to 20:1. NUKE is a much higher raceshow commonly used in parallel compressing or room microphones. The INPUT and OUTPUT knobs operate the same as the knobs on the 76 LIMITER AMP. The ATTACK range is from 50 µs to 30 ms, and the RELEASE range is from 50 ms to 3.5 s.PIA2250 RACKThe PIA2250 RACK is based on the API 2500 bus compressor, which is known for the punchiness and cohesion that add when used on mix buses. THRESHOLD, RATIO, Knee, ATTACK, and RELEASE controls are provided. The TYPE switch can be switched to a variety of compression styles. OLD is reminiscent of previous API models, while NEW features a more modern sound design. Attack time ranges from 30 µs to 30 ms, and release time ranges from 50 ms to 3 s.ITA100 LEVELERLTA100 LEVELER is based on the 1980s Summit Audio TLA-100A, which is known for its warm tone. Like LA LEVELER, GAIN and GAIN REDUCTION controls are provided. However, LTA100 LEVELER also provides variable ATTACK and RELEASE times.WAVE DESIGNER This effector item is in the Gate section. AUTO RIDER This effector item is in the Gate section. -End –