Steinberg WaveLab 7 Operation Manual

							12.8 Steinberg Compressor 337
12.8 Steinberg Compressor
Compressor reduces the dynamic range of the audio, making softer sounds louder or louder
sounds softer, or both.
Compressor features separate controls for threshold, ratio, attack, hold, release and make-
up gain parameters. Compressor features a separate display that graphically illustrates the
compressor curve shaped according to the Threshold and Ratio parameter settings. Com-
pressor also features a Gain Reduction meter that shows the amount of gain reduction in
dB, Soft knee/Hard knee compression modes and a program-dependent Auto feature for
the Release parameter.
The following parameters are available:
ˆ Threshold (-60 to 0dB)
Determines the level where Compressor "kicks in". Signal levels above the set threshold
are affected, but signal levels below are not processed.
ˆ Ratio (1:1 to 8:1)
Sets the amount of gain reduction applied to signals over the set threshold. A ratio of
3:1 means that for every 3dB the input level increases, the output level will increase by
only 1dB.
ˆ Soft Knee button
If this button is off, signals above the threshold are compressed instantly according to
the set ratio (hard knee). When Soft Knee is activated, the onset of compression is
more gradual, producing a less drastic result.
ˆ Make-up (0 to 24dB or Auto mode)
This parameter is used to compensate for output gain loss, caused by compression.
If the Auto button is activated, the knob becomes dark and the output is automatically
adjusted for gain loss.
ˆ Attack (0.1 to 100ms)
Determines how fast Compressor will respond to signals above the set threshold. If
the attack time is long, more of the early part of the signal (attack) passes through
unprocessed.
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ˆ Hold (0 to 5000ms)
Sets the time the applied compression will affect the signal after exceeding the thresh-
old. Short hold times are useful for "DJ-style" ducking, while longer hold times are
required for music ducking, e.g. when working on a documentary film.
ˆ Release (10 to 1000ms or Auto mode)
Sets the amount of time it takes for the gain to return to its original level when the
signal drops below the threshold level. If the Auto button is activated, Compressor will
automatically find an optimal release setting that varies depending on the audio material.
ˆ Analysis (0 to 100) (Pure Peak to Pure RMS)
Determines whether the input signal is analyzed according to peak or RMS values (or
a mixture of both). A value of 0 is pure peak and 100 pure RMS. RMS mode operates
using the average power of the audio signal as a basis, whereas Peak mode operates
more on peak levels. As a general guideline, RMS mode works better on material with
few transients such as vocals, and Peak mode works better for percussive material with
a lot of transient peaks.
ˆ Live button
When this button is activated, the "look ahead" feature of Compressor is disengaged.
Look ahead produces more accurate processing, but adds a certain amount of latency
as a trade-off. When Live mode is activated, there is no latency, which might be better
for "live" processing.
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12.9 Steinberg DeEsser
A de-esser is used to reduce excessive sibilance, primarily for vocal recordings. Basically,
it is a special type of compressor that is tuned to be sensitive to the frequencies produced
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							12.9 Steinberg DeEsser 339
by the "s" sound, hence the name de-esser. Close proximity microphone placement and
equalizing can lead to situations where the overall sound is just right, but there is a problem
with sibilant (hissing) sounds.
The following parameters are available:
ˆ Reduction
Controls the intensity of the de-essing effect.
ˆ Threshold
When the Auto Threshold option is deactivated, you can use this control to set a thresh-
old for the incoming signal level, above which the plug-in starts to reduce the sibilants.
ˆ Auto
The Auto Threshold function automatically and continually chooses an optimum thresh-
old setting independent of the input signal. The Auto Threshold function does not work
for low-level signals ( 
						

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12.10 Steinberg Mono Delay
This is a mono delay effect using freely specified delay time settings.
The following parameters are available:
ˆ Delay
Sets the base note value for the delay from 0.1 to 5000 milliseconds.
ˆ Feedback
Sets the number of repeats for the delay.
ˆ Filter Lo
This filter affects the feedback loop of the effect signal and allows you to roll off low
frequencies from 10Hz up to 800Hz. The button below the knob activates/deactivates
the filter.
ˆ Filter Hi
This filter affects the feedback loop of the effect signal and allows you to roll off high
frequencies from 20kHz down to 1.2kHz. The button below the knob activates/deacti-
vates the filter.
ˆ Mix
Sets the level balance between the dry signal and the effect. If MonoDelay is used as
a send effect, set this to the maximum value as you can control the dry/effect balance
with the send.
Note that the delay can also be controlled from another signal source via the side-chain input.
When the side-chain signal exceeds the threshold, the delay repeats are silenced. When the
signal drops below the threshold, the delay repeats reappear.
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WaveLab 7 
						

							12.11 Steinberg Distortion 341
12.11 Steinberg Distortion
Distortion will add crunch to your tracks.
The following parameters are available:
ˆ Boost
Increases the distortion amount.
ˆ Feedback
Feeds part of the output signal back to the effect input, increasing the distortion effect.
ˆ Tone
Lets you select a frequency range to which to apply the distortion effect.
ˆ Spatial
Changes the distortion characteristics of the left and right channel, thus creating a
stereo effect.
ˆ Output
Raises or lowers the signal going out of the effect.
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12.12 Steinberg Dual Filter
The DualFilter effect filters out certain frequencies while allowing others to pass through.
The following parameters are available:
ˆ Position
Sets the filter cutoff frequency. If you set this to a negative value, DualFilter will act as
a low-pass filter. Positive values cause DualFilter to act as a high-pass filter.
ˆ Resonance
Sets the sound characteristic of the filter. With higher values, a ringing sound is heard.
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							12.13 Steinberg Envelope Shaper 343
12.13 Steinberg Envelope Shaper
EnvelopeShaper can be used to cut or boost the gain of the Attack and Release phase of
audio material. You can either use the knobs or drag the breakpoints in the graphical display
to change parameter values. Be careful with levels when boosting the gain and if needed
reduce the Output level to avoid clipping.
The following parameters are available:
ˆ Attack
(-20 to 20dB) Changes the gain of the Attack phase of the signal.
ˆ Length
(5 to 200ms) Determines the length of the Attack phase.
ˆ Release (-20 to 20dB)
Changes the gain of the Release phase of the signal.
ˆ Output
(-24 to 12dB) Sets the output level.
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WaveLab 7 
						

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12.14 Steinberg Expander
Expander reduces the output level in relation to the input level for signals below the set
threshold. This is useful when you want to enhance the dynamic range or reduce the noise
in quiet passages. You can either use the knobs or drag the breakpoints in the graphical
display to change the Threshold and the Ratio parameter values.
The following parameters are available:
ˆ Threshold (-60 to 0dB)
Determines the level where expansion "kicks in". Signal levels below the set threshold
are affected, but signal levels above are not processed.
ˆ Ratio (1:1 to 8:1)
Determines the amount of gain boost applied to signals below the set threshold.
ˆ Soft Knee button
If this button is off, signals below the threshold are expanded instantly according to the
set ratio ("hard knee"). When Soft Knee is activated, the onset of expansion is more
gradual, producing a less drastic result.
ˆ Attack (0.1 to 100ms)
Determines how fast Expander responds to signals below the set threshold. If the attack
time is long, more of the early part of the signal (attack) passes through unprocessed.
ˆ Hold (0 to 2000ms)
Sets the time the applied expansion will affect the signal below the Threshold.
ˆ Release (10 to 1000ms or Auto mode)
Sets the amount of time it takes for the gain to return to its original level when the signal
exceeds the threshold level. If the Auto button is activated, Expander will automatically
find an optimal release setting that varies depending on the audio material.
ˆ Analysis (0 to 100) (Pure Peak to Pure RMS)
This parameter determines whether the input signal is analyzed according to peak or
RMS values (or a mixture of both). A value of 0 is pure peak and 100 pure RMS. RMS
mode operates using the average power of the audio signal as a basis, whereas Peak
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							12.15 Steinberg Gate 345
mode operates more on peak levels. As a general guideline, RMS mode works better
on material with few transients such as vocals, and Peak mode better for percussive
material, with a lot of transient peaks.
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12.15 Steinberg Gate
Gating, or noise gating, silences audio signals below a set threshold level. As soon as the
signal level exceeds the set threshold, the gate opens to let the signal through.
The following parameters are available:
ˆ Threshold (-60 to 0dB)
Determines the level where Gate is activated. Signal levels above the set threshold
trigger the gate to open, and signal levels below the set threshold will close the gate.
ˆ State LED
Indicates whether the gate is open (LED lights up in green), closed (LED lights up in
red) or something in between (LED lights up in yellow).
ˆ Filter buttons (LP, BP, and HP)
When the Side-Chain button (see below) is activated, you can use these buttons to set
the filter type to either low-pass, band-pass, or high-pass.
ˆ Side-Chain button
This button (below the Center knob) activates the sidechain filter. The input signal can
then be shaped according to set filter parameters. Internal side-chaining can be useful
for tailoring how the Gate operates.
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ˆ Center (50Hz to 20000Hz)
When the Side-Chain button is activated, this sets the center frequency of the filter.
ˆ Q-Factor (0.01 to 10000)
When the Side-Chain button is activated, this sets the resonance of the filter.
ˆ Monitor button
Allows you to monitor the filtered signal.
ˆ Attack (0.1 to 1000ms)
Sets the time it takes for the gate to open after being triggered. If the Live button (see
below) is deactivated, it ensures that the gate will already be open when a signal above
the threshold level is played back. Gate manages this by "looking ahead" in the audio
material, checking for signals loud enough to pass the gate.
ˆ Hold (0 to 2000ms)
Determines how long the gate stays open after the signal drops below the threshold
level.
ˆ Release (10 to 1000ms or Auto mode)
Sets the amount of time it takes for the gate to close (after the set hold time). If the
Auto button is activated, Gate will find an optimal release setting, depending on the
audio material.
ˆ Analysis (0 to 100) (Pure Peak to Pure RMS)
Determines whether the input signal is analyzed according to Peak or RMS values (or
a mixture of both). A value of 0 is pure Peak and 100 pure RMS. RMS mode operates
using the average power of the audio signal as a basis, whereas Peak mode operates
more on peak levels. As a general guideline, RMS mode works better on material with
few transients such as vocals, and Peak mode better for percussive material, with a lot
of transient peaks.
ˆ Live button
When this button is activated, the "look ahead" feature of Gate is disengaged. Look
ahead produces more accurate processing, but adds a certain amount of latency as a
trade-off. When Live mode is activated, there is no latency, which might be better for
"live" processing.
Note that the gate can also be controlled from another signal source via the side-chain input.
When the side-chain signal exceeds the threshold, the gate opens.
Related topics
Audio Plug-ins
Master Section
How do I add effects?
Presets
WaveLab 7