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
• Detune slider and field (Extended Parameters area): Detunes the input signal by the set
value. This parameter is of particular benefit when automated.
Setting Vocal Transformer Pitch and Formant Parameters
Use the Vocal Transformer’s Pitch parameter to transpose the pitch of the signal upward
or downward. Adjustments are made in semitone steps. Incoming pitches are indicated
by a vertical line below the Pitch Base field. Transpositions of a fifth upward (Pitch = +7),
a fourth downward (Pitch = −5), or by an octave (Pitch = ±12) are the most useful,
harmonically.
As you alter the Pitch parameter, you might notice that the formants don’t change.
Formants are characteristic emphases of certain frequency ranges. They are static and do
not change with pitch. Formants are responsible for the specific timbre of a given human
voice.
The Pitch parameter is expressly used to change the pitch of a voice, not its character. If
you set negative Pitch values for a female soprano voice, you can turn it into an alto voice
without changing the specific character of the singer’s voice.
The Formant parameter shifts the formants, while maintaining—or independently
altering—the pitch. If you set this parameter to positive values, the singer sounds like
Mickey Mouse. By altering the parameter downward, you can achieve vocals reminiscent
of Darth Vader.
Tip: If you set Pitch to 0 semitones, Mix to 50%, and Formant to +1 (with Robotize turned
off), you can effectively place a singer (with a smaller head) next to the original singer.
Both will sing with the same voice, in a choir of two. This doubling of voices is quite
effective, with levels easily controlled by the Mix parameter.
151Chapter 9 Vocal Effects