Copyright: ©2005. Madison Media Software, Inc.
Citation: ©2005. Madison Media Software, Inc.


About this file

This file contains context-sensitive help topics used by the Sony Media Software Track FX plug-in.

Revised June 6, 2005


Dither Depth
Dither type

Choose a setting from the drop-down list to specify the type of dither noise that you want to add to your signal.

Dithering adds random noise to the signal to mask quantization noise. This setting determines the range of possible dither values.

In general, Highpass Triangular with noise shaping produces the most favorable results.

Setting	Description
Rectangular	Eliminates distortion caused by conversion to a lower bit depth, but the noise level is dependent on the signal.
Triangular	Eliminates distortion caused by conversion to a lower bit depth and eliminates noise floor modulation by producing a slightly higher noise level.
Highpass Triangular	Eliminates distortion caused by conversion to a lower bit depth and eliminates noise floor modulation by producing a slightly higher noise level. Noise is shifted to higher frequencies than standard triangular dithering.
Gaussian	Does not perform as well as rectangular or triangular dithering, but may be suitable for some material.


Noise Shape Type
Noise shaping

Choose a setting from the drop-down list to apply noise shaping to your signal. Noise shaping lowers the percieved noise floor of the signal by shifting most of the noise into the upper frequencies of human hearing.

Setting	Description
Off	Does not apply noise shaping.
High-Pass Contour	Moves noise into high frequencies.  The frequencies to which the noise is shifted (shaped) are close to the Nyquist frequency, so you should not apply noise shaping to files with a sample rate below 44.1 kHz. For example, a 22 kHz signal has a Nyquist frequency of 11 kHz. If you move most of the noise into that range, you are putting it into a sensitive area of human hearing and will produce a worse-sounding signal.
Equal Loudness Contour	Distributes noise equally into high and low frequencies.


Quantization depth

Set this value to the final target bit depth of the audio. For example, if the audio was going to be rendered to a wave file and written to a CD, you would want to select 16 bit to optimize the high bit depth signal flowing through the plug-in for the relatively low bit-depth signal that is stored on CD.


Attack Time

The Attack time is the time it takes the compressor's gain reduction to reach its maximum value.


Auto gain compensation

When enabled, the output of the compressor will be boosted by a constant amount based on the Threshold and Ratio setting. This is used to prevent a loss in overall level when compressing.  Even when using the Auto gain compensate function, the Output Gain control should be used to fine tune the output level.


Gain Reduction Meter

The Gain reduction meter displays the amount of gain reduction currently applied to the audio. The Gain reduction meter is helpful as a visual reference for how much you are compressing.


Input Gain

These meters display the input level before the compressor acts on the signal. Right click on the meter to display a submenu where the meter resolution and options to hold peaks and valleys can be selected.


Input Level

These meters display the input level before the compressor acts on the signal. Right click on the meter to display a submenu where the meter resolution and options to hold peaks and valleys can be selected.


Output Gain

These meters display the output level after the compressor acts on the signal. Right click on the meter to display a submenu where the meter resolution and options to hold peaks and valleys can be selected.


Output Level

These meters display the output level after the compressor acts on the signal. Right click on the meter to display a submenu where the meter resolution and options to hold peaks and valleys can be selected.


Amount

This option controls the compression ratio. It is read as how many dB above the threshold must the signal go to result in a 1 dB increase in output level after compression. So a compressor with a 3:1 ratio would need to see the input signal rise 6 dB above the threshold in order to raise the output signal by 2 dB. The compressor has just reduced the gain by 4 dB in this example.


Release Time

The Release Time is the time it takes the compressor's gain reduction to drop from its maximum value back to zero.


Smooth Saturation

Lowers the amount of distortion caused by applying heavy compression. When Smooth saturation is enabled, the compression level is adjusted to cut down on "pumping" or "breathing."


Threshold

The Threshold determines the level at which the dynamics processor begins acting on the signal. When the signal's level is above the threshold level, it will be compressed. A lower threshold will cause more of the signal to be compressed. Too much Compression starting at too low of a threshold will usually lead to a distorted sound.


Bandwidth

This option is only available when Band is selected for the Band. This option determines how many frequencies around the center frequency of the band are affected by the EQ.


Enabled

This switch acts as a bypass for the selected band. It allows you to do quick A/B comparisons by turning on and off a particular band without destroying the settings that you have chosen.


Band Mode

Low Shelf

When Low-shelf is enabled, frequencies below the low-shelf cutoff frequency will be attenuated or boosted by the amount specified. By increasing the rolloff control you can use the Low Shelf Band Mode for High pass filtering.

Band

A Band filter boosts or cuts a range of frequencies around the center frequency. The bandwidth control determines the number of frequencies that are affected by the band.

High Shelf

When High-shelf is enabled, frequencies above the high-shelf cutoff frequency will be attenuated or boosted by the amount specified. By increasing the rolloff control you can use the High Shelf Band Mode for Low pass filtering.


Frequency

If the band mode is a low- or high-shelf, Frequency determines the cut-off frequency for which the filter starts processing. Otherwise, it is the center frequency of the band.


Gain

Gain controls the overall gain applied to a band. Increase the gain to make the range of frequencies louder. Decrease to make them quieter.


EQ Graph

This area gives you a graphical representation of the filtering that you are applying with the EQ. You can do most of your editing to the EQ bands directly on this graph.


EQ Tabs

EQ gives you four bands of fully parametric equalization to tailor the tonal characteristics of your sound. Each of the four bands can be configured as peak or shelving filters with full control of gain, frequency, bandwidth and rolloff. Click on the tabs to switch between bands.


Rolloff

This option is only available when Low Shelf or High Shelf band is selected. The number of decibels that the filter will rolloff per octave. In the high or low shelf Band Modes, this option determines the steepness of the EQ filter.


Attack Time (1 to 500ms)
Attack Time (0 to 500ms)

The Attack time is the time it takes the gain of the gate to change from zero to one once the level rises above the threshold. The Attack time is best kept at a small number if percussive attacks are to be preserved. Larger attack times make sounds slowly swell up in volume.


Release Time (1 to 5,000 ms)

The Release time is the time it takes the gain of the gate to change from one to zero once the level falls below the threshold. The release time is usually kept large to allow for natural sounding decays; otherwise long decays will be cut off.


Threshold Level (-inf. to 0 dB)

Signals below the Threshold level will be removed from the sound file. Zero dB is a very high level, while –70 dB is very low. Noise levels are usually around –40 dB.