Waves Linear-Phase MultiBand Software Audio Processor manuel d'utilisation

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Un bon manuel d’utilisation

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Le mot vient du latin "Instructio", à savoir organiser. Ainsi, le manuel d’utilisation Waves Linear-Phase MultiBand Software Audio Processor décrit les étapes de la procédure. Le but du manuel d’utilisation est d’instruire, de faciliter le démarrage, l'utilisation de l'équipement ou l'exécution des actions spécifiques. Le manuel d’utilisation est une collection d'informations sur l'objet/service, une indice.

Malheureusement, peu d'utilisateurs prennent le temps de lire le manuel d’utilisation, et un bon manuel permet non seulement d’apprendre à connaître un certain nombre de fonctionnalités supplémentaires du dispositif acheté, mais aussi éviter la majorité des défaillances.

Donc, ce qui devrait contenir le manuel parfait?

Tout d'abord, le manuel d’utilisation Waves Linear-Phase MultiBand Software Audio Processor devrait contenir:
- informations sur les caractéristiques techniques du dispositif Waves Linear-Phase MultiBand Software Audio Processor
- nom du fabricant et année de fabrication Waves Linear-Phase MultiBand Software Audio Processor
- instructions d'utilisation, de réglage et d’entretien de l'équipement Waves Linear-Phase MultiBand Software Audio Processor
- signes de sécurité et attestations confirmant la conformité avec les normes pertinentes

Pourquoi nous ne lisons pas les manuels d’utilisation?

Habituellement, cela est dû au manque de temps et de certitude quant à la fonctionnalité spécifique de l'équipement acheté. Malheureusement, la connexion et le démarrage Waves Linear-Phase MultiBand Software Audio Processor ne suffisent pas. Le manuel d’utilisation contient un certain nombre de lignes directrices concernant les fonctionnalités spécifiques, la sécurité, les méthodes d'entretien (même les moyens qui doivent être utilisés), les défauts possibles Waves Linear-Phase MultiBand Software Audio Processor et les moyens de résoudre des problèmes communs lors de l'utilisation. Enfin, le manuel contient les coordonnées du service Waves en l'absence de l'efficacité des solutions proposées. Actuellement, les manuels d’utilisation sous la forme d'animations intéressantes et de vidéos pédagogiques qui sont meilleurs que la brochure, sont très populaires. Ce type de manuel permet à l'utilisateur de voir toute la vidéo d'instruction sans sauter les spécifications et les descriptions techniques compliquées Waves Linear-Phase MultiBand Software Audio Processor, comme c’est le cas pour la version papier.

Pourquoi lire le manuel d’utilisation?

Tout d'abord, il contient la réponse sur la structure, les possibilités du dispositif Waves Linear-Phase MultiBand Software Audio Processor, l'utilisation de divers accessoires et une gamme d'informations pour profiter pleinement de toutes les fonctionnalités et commodités.

Après un achat réussi de l’équipement/dispositif, prenez un moment pour vous familiariser avec toutes les parties du manuel d'utilisation Waves Linear-Phase MultiBand Software Audio Processor. À l'heure actuelle, ils sont soigneusement préparés et traduits pour qu'ils soient non seulement compréhensibles pour les utilisateurs, mais pour qu’ils remplissent leur fonction de base de l'information et d’aide.

Table des matières du manuel d’utilisation

  • Page 1

    W aves L inMB soft ware guid e page 1 of 28 W a v es – Linear-Phase MultiBand Softwar e Audio Pr ocessor User s Guid e[...]

  • Page 2

    W aves L inMB soft ware guid e page 2 of 28 Chapter 1 – Introduc tion Introducing Waves Linear -Phase Multi Band Proc essor. The LinMB is an ev olved v ersion of the C 4 MultiBan d Parametr ic Process or. If you are fam ilia r w ith C4 you will f ind the Linear Ph ase MultiBand very similar, adding so me true br eakthrough i nnovati on and techn [...]

  • Page 3

    W aves L inMB soft ware guid e page 3 of 28 MultiBand devices ar e especial ly handy when dealing with the dynamics of a full rang e mix. In a symphonic orchestra as w ell as in a Rock n Roll ba nd different instruments dominat e differen t frequency ranges. Many times the low range do minates t he whole dynamic res ponse w hile the higher frequenc[...]

  • Page 4

    W aves L inMB soft ware guid e page 4 of 28 Chapter 2 – Basic Op eration. T HE W AVES L INEA R P HA S E M ULTI B AND ’ S CONTROL G RO UPS – T HE CROSSOVER FREQUENCIES - The 4 Xov er frequenci es are s et directl y under t he graph by grabbi ng their graph m arker or using the tex t button. Thes e define the cutoff fr equencies i n which the W[...]

  • Page 5

    W aves L inMB soft ware guid e page 5 of 28 Other deal with the ov erall pr ocessor out put – Gain , Tr im and Dither . The Makeup control allows selection betw een manual m ode and Auto Makeup. Finally there are 4 g eneral c ompression be havior contr ols – Adaptive (Expl ained further in the nex t chapter), R elease – Sel ect betw een W ave[...]

  • Page 6

    W aves L inMB soft ware guid e page 6 of 28 Note that this Q uick Start routin e is not the Golde n recipe to mastering w ith the Linear MultiBan d, it does howev er provi de a general type practice that should let us ers new to MultiBan d follow a r ecommended w orkflow . This example only scratch es the surface of possib ilities with the Linear M[...]

  • Page 7

    W aves L inMB soft ware guid e page 7 of 28 Chapter 3 – Specialtie s of the Chef A DA P T I VE T HRESHOLDS AND D E - MA SK IN G . The effect of louder sou nds on so fter sounds h as been resear ched for decades. Ther e are many classificatio ns to masking and the most effectiv e masking is considere d forward i n time and upward in frequency . Si[...]

  • Page 8

    W aves L inMB soft ware guid e page 8 of 28 hear how the adaptive beh avior r esponds to the m adding a more dy namic approach t o dynami cs. This ex ample is so mewhat ex treme and i t is recommende d to try settings around –12 dB for subtle ad aptive de-mas king. It may also b e interesti ng to low er the over all thres hold of the top 4 “Ada[...]

  • Page 9

    W aves L inMB soft ware guid e page 9 of 28 results, y ou may set y our releas e time for the best co mpromise between Distort ing and Pu mping and t hen apply ARC to get even better result s with less artifacts. Altern atively y ou can just count on t his technology , set your release v alue to the desired ball park or stick w ith the release scal[...]

  • Page 10

    W aves L inMB soft ware guid e page 10 of 28 Chapter 4 – Li nMB Contro ls and Displays. C ONT ROLS Individual Band Controls T HRESHOLD . 0- -80dB . Default – 0.0dB Defines t he point o f reference for that ban d’s energ y. W henev er the ener gy in a certain band exceeds the threshold gain adjust ment will be ap plied. For your convenience , [...]

  • Page 11

    W aves L inMB soft ware guid e page 11 of 28 Defines the time it will take to re lea se the applied gain adjustment f r om the moment t he det ected energ y falls bel ow the thr eshold. S OLO . Solo’s th e band to th e main pr ocessors output for monit oring the band-pass by itsel f or along w ith other sol oed ban ds. B YPASS . Bypasses all proc[...]

  • Page 12

    W aves L inMB soft ware guid e page 12 of 28 Sets the overal l output gain. The dou bl e preci si on pr ocess assures no in put or internal cli pping so thi s gain i s used at the o utput to pr event cli pping. T RIM – The Auto Trim button up dates the peak val ue and when cl icked it adj usts the output ga in control to trim the margin so that t[...]

  • Page 13

    W aves L inMB soft ware guid e page 13 of 28 The Auto rel ease control sets an optimal r elease tim e in relati on to the manual release ti me. W hen Manual rel ease is sele cted then the releas e of the attenuation will be a bsolute as indicated, Add ing ARC will ma ke the release sensitiv e to the amount of atten uation and s et the best rel ease[...]

  • Page 14

    W aves L inMB soft ware guid e page 14 of 28 D ISPLAYS T HE M ULTI B AND GRAPH : The Multi Band grap h is like a n EQ gr aph showi ng Amplitud e in the Y- axis and Frequency in X-axi s. In the Middl e of the gr aph resides the Dy namicLine  that show s the per b and gain a djustment as it happens w ithin the R ange, represen ted by the Bluish hi[...]

  • Page 15

    W aves L inMB soft ware guid e page 15 of 28 Chapter 5 – Ra nge and Threshold Conc ept The concep t of ‘Threshol d’ and ‘R ange’ ins tead of th e traditional ‘Ratio’ control crea tes some v ery flexibl e and power ful uses for t he LINMB. Th ey include low -lev el compression a nd expansi on, givi ng you mul tiband “upw ard comp res[...]

  • Page 16

    W aves L inMB soft ware guid e page 16 of 28 H IGH - LEVEL EXPA NSION ( UPW A RD EXP A NDER ) An upw ard expander from the C 1, with a ra tio of 0. 75:1, Thres hold at -35. Equiv alent LINMB set ting w ould be a Rang e of +10 or so, quite a bit more than y ou’d probably ever need. Show n only for clear ex ample. To make an upw ard expander (an ?[...]

  • Page 17

    W aves L inMB soft ware guid e page 17 of 28 Upper li ne shows Low -level compressi on (upw ard), achiev ed when Ra nge is negativ e and Gain is equal b ut positiv e. Lower li ne shows Low -level expansion ( downw ard), achieved w hen Range is positiv e and Gain is equal but negati ve. Grap h is taken from C1 to hel p visualiz e the gain structur e[...]

  • Page 18

    W aves L inMB soft ware guid e page 18 of 28 change at al l, whic h means ev erything well below it gets “l ifted up”. (I f you take this just a bit further, you’ll f igu re that all audio exactly at the Threshold will have half of the Range’s v alue in posi tive g ain). O NE M ORE WA Y TO T HINK AB OUT IT Here is an other bit o f help so t[...]

  • Page 19

    W aves L inMB soft ware guid e page 19 of 28 example for several reasons. It i s (1) a very realistic setting tha t could be equal to w hat is bei ng done by the prev iously mentio ned engine ers; (2) only raising the noise floor by an acceptable amount for many appl ications; ( 3) easy to h ear on nearl y any ty pe of audio, not only classical. In[...]

  • Page 20

    W aves L inMB soft ware guid e page 20 of 28 Chapter 6 – Ex amp les of use P RA CTIC E OF M ULT I B AND A ND M A S TERING Upon a ti me the me diums just c ouldn’t h andle the sa me dynami c rang e that an orchestr a can produc e or a Microph one transduce , so for t he lower passages not to be too low and the p eaks not too high, compr ession a[...]

  • Page 21

    W aves L inMB soft ware guid e page 21 of 28 T O FIX A MIX Most of the time, you w ant to use relati vely equivalent Gai n and Rang e settings across t he bands s o to not cha nge the spectral balance t oo much. Howev er, it’s not a perfect w orld, and many mix es are not per fect either. So let’s say you have a mix that h as too muc h kick, th[...]

  • Page 22

    W aves L inMB soft ware guid e page 22 of 28 How to create your own dyn amic EQ setting (for low-level enhancement) : 1. Set the R ange to the amount of gain re duction desir ed in each b and; this also sets the “ EQ” of the co mpressed signal. 2. Set the G ain of each band so th at the desir ed low -level EQ is seen. For instance, y ou may wan[...]

  • Page 23

    W aves L inMB soft ware guid e page 23 of 28 or above t he Threshold , the signal is incre ased in gain. U pward ex pansion takes more time to adju st because y ou must tr y to find the subjectiv ely eq ual settings o f what was do ne to the s ound, an d even if y ou know the “ numbers” on the original processor, the numbers r eally don’ t re[...]

  • Page 24

    W aves L inMB soft ware guid e page 24 of 28 Chapter 7 – F acto ry Presets. G ENERAL TIPS ! Here is a r ecommended order for adjusting a preset, even i f you have no intention o f “using pr esets”. They are merely g ood places to st art. Create y our own l ibrary by using our U ser Preset com mand in th e Save M enu. • The first st ep shoul[...]

  • Page 25

    W aves L inMB soft ware guid e page 25 of 28 Deeper Not a “ flat” preset, by any means, this has deeper Ranges on the hig h end, which means th e signal will be bassier as it gets louder, and more compressed i n the hig h end as it g ets louder . Attack and release ti mes are faste r, so the compressor gra b s more. Low-level Enhanc er A classi[...]

  • Page 26

    W aves L inMB soft ware guid e page 26 of 28 having the classic setup of a high- level compress or. Chang ing the Mas ter Release and makin g the release times significan tly fa ster w ill still pre serve transients and mark edly i ncrease the aver age lev el. Multi Electro M astering The other end of the spectrum, insofar as the mastering goes, wi[...]

  • Page 27

    W aves L inMB soft ware guid e page 27 of 28 BassComp/De-Es ser A common problem w ith small studi o mixes is the l ow end, du e to near -field monitor s, improp er room low -frequency abs orption, b eer, and de manding clients. Anot her common problem i s the lack of e nough de- essers to go around, a nd further more, the insi stence o f drummers [...]