RA 是专业音频工程师的非线性插件，从插件中需求最大。 插件可以被认为是一个放大器，正在过度驱动，（波形式压缩），但有控制什么部分被过度驱动。 从摄影的类比，它就像曲线功能。 RA 中的控件分为 4 组。 第一个也是最有用的控制是低水平控制：它是在图形的中间。 此控制会显示音频的低级内容。 它也可以被认为是一个细节控制。 它的功能就像放大器被过度驱动，但在信号的低水平部分工作更多，在高级别部分工作得更少。 此控制产生第三次谐波失真。 低级控制还可以通过增加其他插件的效果对其他插件产生乘法效应。 低级控制在大多数任何类型的信号上都很有用，有点像向上压缩，具有攻击和释放时间。 尝试是在声乐和听动态的变化。 第二个对照组是 PEAK 控件。 它们就像一个可调的软夹，或放大器，在那里你可以控制它如何饱和，但离开信号的低水平部分单独。 PEAK 控件产生的失真是第三谐波。 PEAK 控制会从波形的峰值上转出，具有可更改的硬度值。 硬度控制的软设置 （0） 将峰值限制在 -3dbfs 左右，硬设置 （100） 将峰值限制在 -10dbfs 左右。 尝试的示例：采取与圈套鼓的轨道，峰值在-3dbfs的范围。 将低水平、峰值和硬度控件设置为最大值。看看仪表，你应该看到的是 -10dbfs 左右的峰值读数，但与旁路相比，插件的接合声音应该更大。 它也有助于防止偶尔结束。 下一个对照组甚至生成谐波内容。 这些控件是最难听到和描述的。 第二个谐波是八度音阶。 在测试中，有些人没有听到50%的失真，如果它只是第二谐波。 但它确实改变了事物的感觉，并可能产生厚重的效果。 顶部控制从波形状的顶部转出，底部控制从波形底部轮出。 当一起使用时，可以取消偶谐波内容，并留下第三个谐波失真。 尝试这些结合低水平控制的原声吉他，低音或踢鼓之一。 您可能已经注意到，在一些记录的轨道上，波形可以有一个转变或峰值，只有它的顶部或底部边缘，这是甚至谐波内容的结果 最后一组有两个控制更像守门。 在信号处理前的第一个控制是具有正负 6 db 范围的驱动控制。 由于失真发生器取决于水平，这将允许过程或多或少的侵略性操作，并能够更好地匹配过程与轨道。 驱动器控制也是从输入到输出的统一增益。 但是，如果您有-1dbfs信号，并将驱动器增益增加到+6 db，您将剪辑和剪辑光指示器将变为红色。 插件的最后一个控制是输出级别修剪，其范围为正负 6 db 以匹配增益。 使用修剪控制剪裁信号将点亮夹子指示灯指示器，但着色控件无法剪辑。 级别 TRIM 的主要用途是水平匹配，由于曲线弯曲是非常非线性的，因此不可能有固定的统一增益。 图形显示显示显示信号是如何被扭曲的，并且在预测插件将做什么方面很有用。 控件是交互式的，这意味着每个控件都会影响其前面的过程。 思考图形程序中的曲线显示 AAX 版本将在 PT10 和 PT11 上同时运行原生版和 DSP RA is a Nonlinear plug-in for the professional Audio Engineers that demand the most from their plug-ins. The plug-in can be thought of as an amplifier that is being over driven, (Wave Form Compression), but there is control over what part is being overdriven. An analogy from photography, it is like the curve function. The controls in RA are divided into 4 groups. The first and most useful control is the LOW LEVEL control; it is in the middle of the graphic. This control brings up the low level content of the audio. It may also be thought of as a detail control. It functions like an amplifier being over driven, but works more on the low level part of the signal and less on the high level part. This control generates third harmonic distortion. The LOW LEVEL control can also have a multiplying effect on other plug-ins by increasing their effect. The LOW LEVEL control is useful on most any kind of signal and is a little like upward compression with out attack and release times. Try is on a vocal and listen to the dynamic change. The second control group is the PEAK controls. They are like an adjustable soft clip, or an amplifier where you have control over how it saturates, but leaves the low level part of the signal alone. The distortion generated by the PEAK controls is third harmonic. The PEAK control rounds off the peaks of the wave shape and has a hardness value that can be changed. The HARDNESS control's soft setting (0) limits the peak to approximately -3dbfs and the hard setting (100) limits peaks to approximately -10dbfs. An example to try; take a track with a snare drum that peaks in the range of -3dbfs. Set the LOW LEVEL, PEAK and HARDNESS controls to max. Look at the meter, what you should see is a peak reading around -10dbfs but it should be louder with the plug-in engaged as compared to bypass. It is also useful in preventing an occasional over. The next control group generates even harmonic content. These controls are the most difficult to hear and describe. Being that the second harmonic is an octave. In a test some people did not hear 50% distortion if it is only second harmonic. But it does change the feel of things and can have a thicking effect. The TOP control rounds off the top of the wave shape and the BOTTOM control rounds off the bottom of the wave shape. When used together it is possible to have the even harmonic content cancel and have third harmonic distortion left. Try one of these in conjunction with the LOW LEVEL control on an acoustic guitar, bass or kick drum. You may have noticed that on some recorded tracks that the waveshape can have a shift or peaks on only it's top or bottom edge, this is a result of even harmonic content The last group has two controls are more like house keeping. The first control which is in front of the signal processing is a DRIVE control that has a plus and minus 6 db range. Being the distortion generator is level dependent, this will allow for a more or less aggressive operation of the process and the ability to better match the process to the track. The DRIVE control is also unity gain from the input to the output. However if you have a -1dbfs signal and increase the drive gain to +6 db you will clip and the clip light indicator will turn red. The last control of the plug-in is an output level trim which has a range of plus and minus 6 db for matching gain. Clipping the signal with the trim control will light the clip light indicator, but the coloring controls cannot clip. The main use of the LEVEL TRIM is for level matching, being the curve bending is very non linear it is not possible to have a fixed unity gain. The graphic display shows how the signal is being distorted and is useful in the prediction of what the plug-in will do. The controls are interactive which means each one will affect the process in front of it. Think of the curve display in a graphics program The AAX version will run both Native and DSP on PT10 and PT11 |
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