Steinberg Groove Agent 4 Manual

							131
Effects Reference
Reverb and Delay Effects
REVerence
REVerence is a convolution tool that allows you to apply room characteristics 
(reverb) to the audio.
By recording an impulse in a room, you capture the characteristics of this room. 
Convolut
ion superimposes these characteristics to the sound. The result is a very 
natural sounding reverb. Included with this effect is a collection of high-quality 
reverb impulse responses.
Impulse Response
Allows you to select an impulse resp ons
 e. This determines the basic sound 
character of the reverb.
Reverse Reverses the impulse response.
Predelay Determines the amount of time between the dry signal and the onset of the 
re
verb. With higher predelay values, you can simulate larger rooms.
Time Controls the reverb time. At a setting of 100  %, the impulse response is 
applied with its original length.
Size Scales the size of the simulated room. At a setting of 100  %, the impulse 
response 

is applied as recorded in the original room. 
						

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Reverb and Delay Effects132
LevelAdjusts the level of the impulse response.
Equalizer Activates the built-in three-band equalizer.
ER Tail Split Sets the split point between the early reflections and the reverb tail.
ER Tail Mix Sets the balance between the early reflections and the reverb tail. At a setting 
of
 50  % the early reflections and the tail have  the 
 same volume level. Settings 
below 50  % raise the early reflections and lower the tail, as a result the sound 
sou

rce moves towards the front of the room. Settings above 50  % raise the 
ta

il and lower the early reflections, as a result the sound source moves 
towards the back of the room.
Reverb
This effect produces a high-quality algorithmic reverb with early reflections and 
reverb tail.
The early reflections are responsible for the spatial impression in the first 
mi
 lliseconds of the reverb. Fo r emulating different rooms, you can choose between 
different early reflections patterns and adjust their size. The reverb tail, or late 
reverberation, offers parameters for controlling the room size and the reverb time. 
You can adjust the reverb time individually in 3 frequency bands.
Predelay
Determines the amount of time between the dry signal and the onset of the 
re
verb. With higher predelay values, you can simulate larger rooms.
Early Reflections Here, you select an early reflections pattern. The early reflections pattern 
c
ontains the most important delays that deliver the key information for the 
spatial impression of the room.
Show Early Reflections/Chorusing Page With the two buttons below the  Early
  Reflections pop-up menu, you can 
choose whether to display the early reflections settings or the chorusing 
settings in the lower left  part of the effect panel. 
						

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Reverb and Delay Effects133
ER/Tail MixSets the level balance between the early reflections and the reverb tail. At a 
setting of
  50 %, early reflections and tail have the same volume. Settings 
below 50  % raise the early reflections and lower the tail, as a result the sound 
sou

rce moves towards the front of the room. Settings above 50  % raise the 
ta

il and lower the early reflections, as a result the sound source moves 
towards the back of the room.
Size Adjusts the length of the early refl ection
 s pattern. At a setting of 100 %, the 
pattern is 
applied with it s original length and th e room sounds the most 
natural. At settings below 100  %, the early reflections pattern is compressed 
and the room 

is perceived smaller.
Low Cut Attenuates the low frequencies of the earl y 
 reflections. The higher this value, 
the less low frequencies are present in the early reflections.
High Cut Attenuates the high frequencies of the ea rly 
 reflections. The lower this value, 
the less high frequencies the early reflections will have.
Delay Delays the onset of the reverb tail.
Room Size Controls the dimensions of the simulated room. At a setting of 100  %, the 
dime

nsions correspond to a cathedral or  a large concert hall. At a setting of 
50  %, the dimensions correspond to a medium-sized room or studio. Settings 
below 50  % simulate the dimensions  of 
 small rooms or a booth.
Main Time Controls the overall reverb time of the ta i
 l. The higher this value, the longer the 
reverb tail will decay. At a setting of 100  %, the reverb time is infinitely long. 
T

he  Main Time  parameter also represents the mid band of the reverb tail.
High Time Controls the reverb time for the high frequencies of the reverb tail. With 
positive val
 ues, the decay time of the high frequencies is longer. With negative 
values, it is shorter. Frequencies are affected depending on the  High Freq 
parameter.
Low Time Controls the reverb time for the low frequencies of the reverb tail. For positive 
value
s, low frequencies decay longer and vice versa. Frequencies will be 
affected depending on the  Low Freq parameter.
High Freq Sets the cross-over frequency between the mid and the high band of the 
r
everb tail. You can offset the reverb time for frequencies above this value 
from the main reverb time with the  High Time parameter. 
						

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Reverb and Delay Effects134
Low FreqSets the cross-over frequency between the low and the mid band of the 
r
everb tail. The reverb time for frequenci es below this value can be offset from 
the main reverb time with the  Low Time parameter.
Shape Controls the attack of the reverb tail. At a setting of 0  %, the attack is more 
im

mediate, which is a good setting for drums. The higher this value, the less 
immediate the attack.
Density Adjusts the echo density of the reverb tail. At a setting of 100  %, single 
r

eflections from walls cannot be heard. The lower this value, the more single 
reflections can be heard.
High Cut Attenuates the high frequencies of the reverb tail. The lower this value, the 
le
ss high frequencies the reverb tail will have.
Width Adjusts the output of the reverb signal between mono and stereo. At a setting 
of
 0  %, the output of the reverb is mono, at 100  % it is stereo.
Mix Sets the ratio between the dry and the wet signal.
Chorusing
Chorusing allows you to enrich the reverb  tail through subtle pitch modulations. To 
access the chorusing parameters, click the  Show Chorusing Page button.
Chorusing On/Off Activates/Deactivates the chorusing effect.
Chorusing Rate Specifies the frequency of the pitch modulation.
Chorusing Depth Sets the intensity of the pitch modulation. 
						

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Reverb and Delay Effects135
Multi Delay
This effect produces delays, with adjustable time, feedback, and filters.
With the  Mode parameter
 , you can set up this effect as Stereo, Cross, or 
Ping-Pong delay effect. Depending on the selected mode, the echoes repeat in 
varying patterns across the stereo panorama.
Mode
Multi Delay offers three different modes:
•Ster
eo  mode has two independent delay lines, one for the left and one 
for the right audio channel, each with a feedback path of its own.
• Cross  mode has two delay lines with  cross feedback. Cross feedback 
means that the delay of the left channe l is fed back into the delay of the 
right channel, and vice versa.
• Ping-Pong  mode mixes the left and right  input channel and sends it to 
hard-panned left and right delays. This way, the echoes bounce like a 
ping-pong ball between left and  right in the stereo panorama.
Time Sets the overall time for the left and right delay. Use the  Delay
  L/R parameter 
to shorten the time for the left or right delay. Activate  Sync to set the delay 
time as a note value.
Sync Activate  Sync t
 o synch ron ize  the  delay time  to the  host tempo. Wh en   Sync is 
activated, the time is set as a note value.
NOTE
The maximum delay time is 5000  ms. If the note length exceeds this value, it 
is automatically shortened.
Delay L/R
Offsets the time of the left or right delay from the overall delay time. At a factor 
o
f 1, the right or left delay time has t he same length as the overall delay time. 
At a factor of 0.5, the time is half as  long as the overall delay time. To offset 
the left delay time, turn the control to the left. To offset the right delay time, 
turn the control to the right. 
						

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EQ Effects136
FeedbackSets the overall amount of feedback fo r the left and 
 right delay. Feedback 
means that the output of the delay is fe d back to its input. At a setting of 0 %, 
yo

u hear one echo. At a setting of 100  %, the echoes repeat endlessly.
Feedback L/R Offsets the amount of feedback of the  left or right delay 
 from the overall 
feedback. A factor of 1 means that the amount of feedback corresponds to 
the overall feedback. A factor of 0.5 mean s that the amount is half the overall 
feedback. To offset the left feedback, turn the control to the left. To offset the 
right feedback, turn the control to the right.
NOTE
This parameter is only available in  Stereo mode.
Filter Low
Attenuates the low frequencies of the delays.
Filter High Attenuates the high frequencies of the delays.
Mix Sets the ratio between the dry and the wet signal.
EQ Effects
Studio EQ
Studio EQ is a high-quality 4-band parametric equalizer.
With the 4 frequency bands, you can shape the tone color, to create a brighter or 
darker sound, for example. The two mid-range bands act as peak filters and the low 
and high bands act as shelving filters. All bands are fully parametr ic with adjustable 
gain, frequency, and Q factor.
Each frequency band offers the following controls: 
						

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EQ Effects137
GainSets the amount of cut or boost for the corresponding band.
Freq Sets the frequency that is cut or boosted with the  Gain parameter.
Q (Quality) Use this parameter to adjust the bandwi dth of 
 the mid-range peak filters from 
wide to narrow. By increasing the  Q value on the low and high shelving filters, 
you can add a dip to their shape.
• To adjust the parameters  Ga
 in and  Freq  simultaneously, drag the points in the 
EQ curve display.
Graphic EQ
Graphic EQ is an equalizer with ten freque ncy bands that can be cut or boosted by 
up to 12  dB. In addition, you can specify the overall range and output of the 
equ

alizer.
Output
Controls the overall output level of the equalizer.
Mode Allows you to add color or character to the equalized output. The following 
op
tions are available:
• True Respon
 se mode uses serial filters with accurate frequency 
response.
• Classic  mode uses parallel filters wh ere the resonance depends on the 
amount of gain.
• Constant Q  mode uses parallel filters where the resonance is raised 
when boosting the gain.
Range Adjusts the maximum cut or boost for all frequency bands together.
Invert Activate this to invert the EQ curve. 
						

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EQ Effects138
FlattenResets all frequency bands to 0  dB.
DJ-EQ
This plug-in is an easy-to-use 3-band pa rametric equalizer that resembles the EQs 
found on typical DJ mixers. This plug -in is designed for quick sound fixes.
• To set the Low, Mid , and  Hi frequency bands, click and drag the EQ points.
• To fine-adjust the  Lo
 w, Mid , and  Hi frequency bands, press [Shift] and drag 
the EQ points.
• To set a parameter to zero, pre ss [Ct
 rl]/[Command] and click it.
• To change the Ga
 in values, click them and move the mouse up or down.
Low Gain Sets the amount of attenuation/boost for the low band.
Low Kill (Activates Low Cut) Cuts the low band.
Mid Gain Sets the amount of attenuat ion/boos
 t for the mid band.
Mid Kill (Activates Mid Cut) Cuts the mid band. 
						

							Effects Reference
Filter Effects139
Filter Effects
Auto Filter
Auto Filter provides 2 morphable filter shapes with distortion.
The morphing between the two shapes, as well as the cutoff, can be controlled with 
a ma
nual pedal control, an LF O, or an envelope shaper.
Filter Parameters
Filter Shapes
• LP 24, 18, 12, and 6 are low-pass filters with 24, 18, 12, and 6 dB/oct. Fr
 equencies above the cutoff are attenuated.
• BP 12 and BP 24 are band-pass filters with 12 and 24 dB/oct.  Frequencies below and above  the cutoff are attenuated.
• HP 24, 18, 12, and 6 are high-pass filters with 24, 18, 12, and 6 dB/oct.  Frequencies below the cutoff are attenuated.
• BR 12 and BR 24 are band-reject filter with 12 and 24 dB/oct.  Frequencies around the cutoff are attenuated.
• AP is an all-pass filter with 18 dB /oct. Frequencies around the cutoff are 
attenuated.
Input Adjusts the gain before the  filter 
 and distortion. This parameter only affects the 
wet signal.
Cutoff Specifies the cutoff frequency of the filter.
Resonance Emphasizes the frequencies around the cutoff. At higher resonance settings, 
the 
filter self-oscillates, wh ich results in a ringing tone. 
						

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Filter Effects140
DistortionAdds distortion to the signal. The effect depends on the selected distortion 
type. At hi
 gher settings, it creates a very intense distortion effect.
NOTE
This parameter is only available for the  Tube Drive, Hard Clip , Bit Red , and 
Rate Red types.
Type
The following options are available:
• When this parameter is set to  Off, 
 the filter offers no distortion.
• Tube Drive offers a lot of character  by adding warm, tube-like 
distortion.
• Hard Clip  adds bright, transistor-like distortion.
• Bit Red  adds digital distortion by  means of quantization noise.
• Rate Red  adds digital distortion by means of aliasing.
Output Adjusts the gain after the filter and dist ortion. This parameter 
 only affects the 
wet signal.
Mix Sets the ratio between the dry and the wet signal.
LFO Section
LFO Waveform and ShapeWaveform  selects the bas
 ic type of waveform. Shape changes the 
characteristic of the waveform.
• Sine produc
 es smooth modulation. Shape adds additional harmonics 
to the waveform.
• Triangle  is similar in character to Sine. The waveform periodically 
ramps up and down.  Shape continuously changes the triangle 
waveform to a trapezoid.
• Saw produces a ramp cycle.  Shape continuously changes the 
waveform from ramp down to triangle to ramp up.
• Pulse  produces stepped modulation, wh ere the modulation switches 
abruptly between two values.  Shape continuously changes the ratio 
between the high and low state of the waveform. At 50 %, it produces a 
square wave.
• Ramp  is similar to the  Saw waveform.  Shape increasingly puts silence 
before the sawtooth ramps up.
• Log is a logarithmic curvature.  Shape continuously changes the 
curvature from negative to positive.