Manual

105 PRO X User Manual
work like two limiters in series with the PS (Passive Split) button deactivated.
A crossover parameter is provided for controlling the dynamics of the signal in
two dB regions.
Finally, the brick wall limiter gives a control over the look-ahead size to be
processed. The latency introduced by the look-ahead is automatically calculated
in the delay section, and updates the display in that section.
De-esser
The de-esser is designed to reduce sibilance in human voices, such as excessive
presence of s or f sounds.
Due to the special sibilant detection algorithm, the de-esser is completely input
level independent. This means that the reduction of sibilants will not change if
the input level is changed. For example, changing the microphone amplier gain
does not aect the detector.
Although the de-esser is primarily designed to be applied on human voices, it can
also be used creatively on other instruments.
• crossover knob Part of the detection algorithm is a matched lowpass/
highpass crossover lter. The crossover frequency is adjusted by the
crossover knob. When a normal, non sibilant, sound is present in the input
the energy will be mostly focused in the lower section on the frequency
spectrum. On the other hand, when a sibilant sound is present most of the
energy will be present in the higher section of the frequency spectrum.
Therefore, the crossover knob is useful for tuning the detector so that the
de-essing mechanism is only triggered by high-frequency energy content,
as it would occur with an s sound.
The optimal crossover frequency value is indicated by the high pass lter being lit
blue only when a sibilant sound is present.
• de-esing knob When a sibilant is successfully detected the amount
of reduction can be adjusted by using the de-essing knob. At minimum
position, the reduction is 0 and equivalent to bypass, i.e. the audio is not
aected. As the user turns the knob clockwise, some MIDAS magic will
reduce the amount of sibilants.
• Enable listen In order to prevent accidental pressing of any of the listen
buttons during a live performance, the Enable Listening button must be
activated before any of the listen buttons can be pressed.
• Listen button When the listen button is pressed (after switching Enable
listen on) the signal from the high pass lter is routed directly to the output
of the de-esser, enabling ne-tuning of the crossover. Note that this happens
in place, i.e. the main output is ltered, therefore the user should be very
careful when using it.
• Ch name The user can add a specic name to each channel of the de-esser.
This will be completely scene and preset recallable.
• Bypass When pressed the input signal is unaected.
• Assignable control pages The de-esser has two dierent assignable
control pages. The rst one allows to quickly access the de-essing knobs
and bypass buttons, whereas the second page provides access to the
crossover knobs
Controls:
• Bypass
• De-essing
• Listen
• x-over
• Enable
listen
Smart Dynamics Processor
The Smart Dynamic Processor is the rst example of a new generation of Fxs
based on adaptive signal processing techniques which are able to simplify the
user workow, without compromising sound quality and versatility.
In particular, the Smart Dynamics is an intelligent dynamic range processor based
on the MIDAS Channel Compressor and is therefore is characterized by the same
unique sound signature. It can operate in two dierent processing modes: smart
transient mode or smart loudness mode.
The Smart Transient mode is designed to work on the envelope of transient
sounds, like drums or slap bass, and modify its dierent components in order to
achieve the desired sonic result.
When operating in this mode, 4 dierent Semantic Controls associated with the
desired sonic result are available:
• the Snap control, insert space which can be used to amplify or to reduce the
attack component of a transient signal;
• the Sustain control, which can be used to amplify or to reduce the sustain
component;
• the Balance control allows the blending of the dry signal with processed signal
in order to get either a more natural or enhanced sound;
• the Output level controls can be used to correct the nal output level and
avoid clipping.
The Smart Loudness mode is instead designed to increase naturally the loudness
of any type of sound, without introducing distortion. This is achieved through a
combination of intelligent upward compression and adaptive limiting.
When operating in this mode, the overall perceived loudness of the track can
be increased by operating the Loudness control, The output level can then be
adjusted to avoid clipping.
Meters:
• Gain reduction
• Output level
• Spectral balance