X
Table Of Contents
- Final Cut Pro X Logic Effects Reference
- Contents
- An Introduction to Logic Effects for Final Cut Pro X
- Distortion Effects
- Echo Effects
- Delay Designer
- Getting to Know the Delay Designer Interface
- Getting to Know Delay Designer’s Main Display
- Using Delay Designer’s View Buttons
- Zooming and Navigating Delay Designer’s Tap Display
- Creating Taps in Delay Designer
- Selecting Taps in Delay Designer
- Moving and Deleting Taps in Delay Designer
- Using Delay Designer’s Tap Toggle Buttons
- Editing Parameters in Delay Designer’s Tap Display
- Aligning Delay Designer Tap Values
- Editing Filter Cutoff in Delay Designer’s Tap Display
- Editing Pan in Delay Designer’s Tap Display
- Editing Taps in Delay Designer’s Tap Parameter Bar
- Editing Delay Designer Taps with the Shortcut Menu
- Resetting Delay Designer Tap Values
- Using Delay Designer’s Master Section
- Working with Delay Designer in Surround
- Modulation Delay
- Stereo Delay
- Tape Delay
- Delay Designer
- Equalizers
- Levels Effects
- Modulation Effects
- Spaces Effects
- Space Designer Convolution Reverb
- Getting to Know the Space Designer Interface
- Working with Space Designer’s Impulse Response Parameters
- Working with Space Designer’s Envelope and EQ Parameters
- Working with Space Designer’s Filter
- Working with Space Designer’s Global Parameters
- Using Space Designer’s Input Slider
- Using Space Designer’s Latency Compensation Feature
- Using Space Designer’s Definition Parameter
- Using Space Designer’s Rev Vol Compensation
- Using Space Designer’s Output Sliders
- Working with Pre-Dly (Predelay) in Space Designer
- Using Space Designer’s IR Start Parameter
- Using Space Designer’s Spread Parameters
- Automating Space Designer
- Specialized Effects and Utilities
- Vocal Effects
You can use the vocal effects of Final Cut Pro to correct the pitch of vocals or enhance
audio signals. These effects can also be used for creating unison or slightly thickened
parts, or even for creating harmony voices.
This chapter covers the following:
• DeEsser (p. 143)
• Pitch Correction Effect (p. 145)
• Pitch Shifter II (p. 148)
• Vocal Transformer (p. 149)
DeEsser
The DeEsser is a frequency-specific compressor, designed to compress a particular
frequency band within a complex audio signal. It is used to eliminate hiss (also called
sibilance) from the signal.
The advantage of using the DeEsser rather than an EQ to cut high frequencies is that it
compresses the signal dynamically, rather than statically. This prevents the sound from
becoming darker when no sibilance is present in the signal. The DeEsser has extremely
fast attack and release times.
When using the DeEsser, you can set the frequency range being compressed (the
Suppressor frequency) independently of the frequency range being analyzed (the Detector
frequency). The two ranges can be easily compared in the DeEsser’s Detector and
Suppressor frequency range displays.
The Suppressor frequency range is reduced in level for as long as the Detector frequency
threshold is exceeded.
The DeEsser does not use a frequency-dividing network—a crossover utilizing lowpass
and highpass filters. Rather, it isolates and subtracts the frequency band, resulting in no
alteration of the phase curve.
143
Vocal Effects
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