Tascam Digital Audio Production Environment SX-1 Reference Manual

							Part V–Effects
 TASCAM SX-1 Reference Manual 111
Routing Effect Examples
Below are step by step instructions for patching an 
effect plugin into your mix. Both routing a plugin to Aux Sends and Returns and inserting directly on a 
channel are covered.
Aux Send & Return
1Go to the VGA Effects screen and add a TC 
Reverb on quadrant 1 (the 
Effect Slot field).
2Using the 
Input Routing field to the right of the 
Effect Slot field, select Aux Send 1 as the left 
input. Select Aux Send 2 as the right input.
3Using the 
Output Routing field, send the reverb’s 
left output to Return 1, and the reverb’s right 
output to Return 2.
4
On the Mixer screen, select the Return/Group 
Fader Bank (press MIXER from the MAIN DISPLAY MODE, then press RTN/ GRP in the 
LCD ACCESS section) and make sure that 
Returns 1 and 2 are assigned to the L/R Buss. If 
they are not linked, press the 
Link key on either 
return channel.
5Select the fader bank for a channel that has 
audio playing back, and raise the level on 
Aux sends 1 and 2 until you can hear the 
reverb. That’s it—repeat these steps to assign 
an effect to the other quadrants.
Inserting an Effect
1Go to the VGA Effects screen and add a TC 
Reverb on quadrant 1 (the 
Effect Slot field).
2Go to the VGA 
Routing screen and select the 
Insert Preset tab. In the User Name field for Insert 1, 
type in the name 
Reverb. Use the PS/2 key-
board to enter the text and then press 
[RETURN].
3From the 
Insert Send pull down menu for Insert 
1, select 
Effect/TC Reverb Left In.
4From the 
Insert Receive pull down menu for 
Insert 1, select 
Effect/TC Reverb Left Out.5Go to the VGA 
Mixer screen, and right-click 
on the 
FX INSERT key of the channel you want 
to use. From the menu that appears, select 
Insert 1 (Reverb) as the insert you would like to 
use.
6Left-click on the Insert 
FX INSERT to enable 
Insert 1. You should now hear the TC Reverb 
on the inserted channel when you press 
PLAY. That’s it—repeat these steps to insert 
an effect on other channels. 
						

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112 TASCAM SX-1 Reference Manual
Chapter 15 – Examples of Effect Algorithms
Categories
The SX-1 comes stock with over 15 native plugin 
effects. Below is a list of these effects grouped by 
category:
Distortion
• Tascam Distortion
Dynamics
• Tascam Guitar Compressor
• Tascam Soft-knee
• Compressor
• Tascam DeEssor
Enhancer
• Tascam Exciter
Modeling
• Antares Mic Modeler• Antares Speaker Modeler
Modulation
• Tascam Chorus
• Tascam Delay
• Tascam Phaser
• Tascam Flanger
Pitch Shift
• Tascam Pitch Shifter
Reverb
• TC SX-1 Reverb
Utilities
• Tascam/Nemesys HD1 Dither
• Tascam Test Tone
Common Effect Parameters
There are several effect parameters which are com-
mon to many of the plugins. How these controls 
operate are always identical, even if the parameters 
which they adjust, or select, are different.
TIP
Describing the common effect parameters here means 
that not every parameter is explained for all effects. If 
you are looking at an VGA or LCD effect screen and 
don’t see all the items explained next to the manual’s 
illustration, the missing controls are probably explained 
here.
Input  This controls the input level going to the 
effect plugin.
Mix This controls the wet-to-dry mix ratio of the 
effect. If you are using the effect on a Return, start 
with this value at 100% to avoid phasing.
Output This controls the output level coming from 
the effect plugin.
L/R Balance This controls the left-to-right balance 
of the effect plugin’s output.
COMPARE Press this key to compare your current 
settings with your last saved settings.
BYPASS Press this key to bypass the effect. In the 
case of an insert, the source signal will pass through 
the plugin without being effected (remaining com-
pletely dry). 
						

							Part V–Effects
 TASCAM SX-1 Reference Manual 113
Examples
Since many of the SX-1’s effects are recording studio 
standards (such as, chorus, distortion, delay, etc.), not 
all of the plugins are explained here. If you are unfa-
miliar with such standard types of effects, you should refer to an introductory handbook on engineering. 
What are explained on the following pages are the 
SX-1’s plugins.
Antares Mic Modeler
Antares Audio Technologies has created precise digi-
tal models of a wide variety of microphones using 
their patented Spectral Shaping Tool™ technology. 
TASCAM has licensed their popular Mic Modeler 
plugin, which is based on this technology, for the 
SX-1. With this plugin assigned to one of the SX-1’s 
four effect quadrants (and properly routed), you can 
simply tell Mic Modeler what microphone you are 
actually recording with and what microphone you 
would like it to sound like. You can easily turn an 
inexpensive dynamic mic into an expensive sounding 
condenser, or vice versa.
Not only do the modeling choices reproduce all of 
the subtle sonic characteristics that make each micro-
phone unique, but they also give you control of each 
mic’s specific options and recording characteristics: 
low cut filter, wind screen, and placement. Each 
option produces the same sonic effect that it would 
have with the actual modeled mic. And for that final 
touch of perfection, you can even add some tasty 
tube saturation.
TIP
With Mic Modeler, you can record each track through a 
model of the specific mic that will best produce the 
ideal sound you’re looking for. You can also use it dur-
ing mixdown to change the perceived mic sound on an 
already recorded track.
Signal Flow Mic Modeler is divided into a num-
ber of discreet functional blocks as follows (in the 
order of signal flow):
Input For setting the input level of the audio to be 
processed.
Source Mic For indicating the mic (and the state of 
its various parameters) that was actually used to 
record the audio.
Modeled Mic For selecting the mic (and the state 
of its various parameters) whose sound you would 
like to model.
Tube Saturation For adding a model of analog 
tube saturation distortion.
Input Section The Input Gain slider is used to set 
the level of the incoming audio. The exact amount of 
gain or attenuation is displayed numerically above 
the slider. In most instances, the input gain should be 
set at the highest level that does not cause the 0 dB 
“LED” of the graphic level meter to light.
Level Meter The Level Meter displays the level of 
the audio as it is being processed by both the Source 
and Modeled Mic models. Because some models (or 
combinations of models) can result in increased 
amplitude at various frequencies, changing to a dif-
ferent mic model or changing a model’s settings may  
						

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114 TASCAM SX-1 Reference Manual
require an adjustment of the Input Gain to avoid clip-
ping. In practice, you should start out by setting the 
Input Gain at a bit under the optimum level. Once 
you’re confident that you’ve found the right mic set-
tings for your track, you should go back and fine tune 
the gain for maximum level without clipping.
Source Mic Section The Source Mic section is 
where you specify the mic and the settings that were 
(or will be) used to capture the input sound. The pur-
pose of these selections is to remove the effect of the 
source microphone, resulting in the signal that would 
have been recorded by an ideal instrumentation 
microphone with no proximity effect.
Source Mic Menu The Source Mic pop-up menu is 
used to select a specific model of mic. In some cases 
a mic will have a second listing with 
(w) appended to 
the mic’s name. This indicates that the mic that was 
modeled was supplied with a windscreen and this is 
the model of the mic with the windscreen attached. If 
your audio was captured using the windscreen, you 
should select this version of the model.
The menu also offers a selection called 
Bypass. With 
Bypass selected, the source signal is passed unmodi-
fied to the Modeled Mic section. You should select 
Bypass when your source was not recorded with a 
microphone (such as a guitar via direct box or a 
direct synth input). If your desired mic is not listed in 
the menu, you can try one of the following (in order 
of preference):
1) Use a different mic that is listed—this is, of 
course, only an option if you’ve not yet recorded the 
audio and do, in fact, have another listed mic.
2) Select another mic on the list whose characteris-
tics are known to be similar to your mic (a similar 
model from the same manufacturer, for example).
3) Select another mic of the same general type as 
your mic (such as, dynamic, large diaphragm con-
denser, etc.).
4) Select 
Bypass from the menu. It must be stressed 
that selecting option 2, 3, or especially, 4, will com-
promise the Microphone Modeler’s ability to accu-
rately reproduce the sound of the desired modeled 
mic. That’s not to say that you won’t be able to get 
something that sounds great, just that it’s unlikely to 
be an accurate simulation of whichever mic you 
chose in the Modeled Mic section.
Low-Cut Menu If the mic you select in the Source 
Mic
 menu is equipped with a user-selectable low-cut filter, the 
Low-Cut pop-up menu will allow you to 
select from among the actual filter settings available 
on that mic. (If the selected mic does not have a low-
cut filter, the menu will be grayed out.)
If the source mic does include a low-cut filter, select 
the low-cut setting that was (or will be) used when 
capturing your audio.
NOTE
It is important to keep in mind that the purpose of this 
setting is to “undo” the effect of any low-cut filter that 
was used to capture your audio. You may initially think 
that it’s working “backwards” because changing the 
menu selection from OFF to any filter setting will actu-
ally cause a bass boost in the monitored audio. How-
ever, the purpose of all the controls in the Source Mic 
section is to neutralize the effects of the source mic. To 
do this the model must now boost the bass an equal 
amount to remove the source mic’s sonic coloration.
Pattern If the mic you select in the Source Mic menu 
is equipped with user-selectable pick-up patterns 
(e.g., omni, cardioid, hypercardioid, etc.), the 
Pattern 
pop-up menu will allow you to select from the actual 
pattern settings available on that mic. (If the source 
mic does not have selectable patterns, the menu will 
be grayed out.)
If the source mic does include multiple patterns, 
select the pattern that was (or will be) used when 
capturing your audio.
TIP
The purpose of the Pattern selection is to neutralize the 
varying frequency characteristics that result from each 
of the available pattern settings, with the assumption 
that the audio was recorded on axis (i.e. from the front 
of the microphone). Since the Microphone Modeler has 
no way of knowing the actual placement of the signal 
source, it does not attempt to simulate off-axis perfor-
mance.
Proximity The Proximity knob in the Source Mic sec-
tion should be used to set the average distance that 
separated the mic and the signal source during the 
recording of the audio. The purpose of this control is 
to allow the model to remove any Proximity Effect 
that may have been introduced by the source mic.
Mics operating in omnidirectional mode do not 
exhibit a proximity effect. Consequently, if the 
source mic is an omni mic, or the source mic has 
selectable patterns and omni is chosen, the 
Proximity 
control will be disabled. 
						

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 TASCAM SX-1 Reference Manual 115
TIP
Proximity Effect is a boost in bass frequencies resulting 
from placing a directional mic in close proximity to a 
signal source. The amount of the effect varies from mic 
to mic, and is inversely proportional to the distance 
from the mic to the source (for example, the smaller the 
distance, the greater the bass boost).
Modeled Mic Section Here’s where the magic 
really starts. The 
Modeled Mic section is where you 
select the mic (and its settings) whose characteristics 
you want to apply to your audio.
Modeled Mic Menu The Modeled Mic pop-up 
menu is used to select your desired mic. In some 
cases a mic will have a second listing with 
(w) 
appended to the mic’s name. This indicates that the 
mic modeled was supplied with a windscreen and 
this is the model of the mic with the windscreen 
attached. If you wish to simulate the use of the wind-
screen, you should select this version of the model. 
Additionally, the menu offers a selection called 
Bypass. When Bypass is selected, no mic model is 
applied. The net sonic effect of selecting 
Bypass here 
depends on the setting of the 
Source Mic menu:
• If the correct source mic is selected in the 
Source Mic 
menu, and 
Bypass is selected in the Modeled Mic 
menu, the final output of the Microphone Modeler 
will be stripped of the characteristics of the source 
mic. This results in a signal that would have been 
recorded by an ideal instrumentation microphone 
with no proximity effect.
• If 
Bypass is selected in the Source Mic menu and 
Bypass is selected in the Modeled Mic menu, the 
final output of the Microphone Modeler will be 
identical to the original input signal (with the 
exception of any added tube saturation).
Low-Cut Menu If the mic you select in the 
Modeled Mic menu is equipped with a user-selectable 
low-cut filter, the 
Low-Cut pop-up menu will allow 
you to select from among the filter settings available 
on that mic. (If the selected mic does not have a low-
cut filter, the menu will be grayed out.) If the mod-
eled mic does include a low-cut filter, selecting a 
low-cut setting will reproduce the same effect that 
selecting that setting would have on the actual mod-
eled mic.
TIP
The setting labels that appear in the menu are those 
that appear on the physical mic. In some cases, the label 
is the cut-off frequency of the low-cut filter as specified by the mic’s manufacturer. However, the Microphone 
Modeler does not simply apply a generic low-cut filter 
at the stated frequency, but instead models the actual 
filter performance of each modeled mic. In other words, 
a stated cut-off frequency is only as accurate as the fil-
ter on the actual mic.
Pattern If the mic you select in the Modeled Mic 
menu is equipped with user-selectable pick-up pat-
terns (e.g., omni, cardioid, hypercardioid, etc.), the 
Pattern pop-up menu will allow you to select from the 
actual pattern settings available on that mic. (If the 
modeled mic does not have selectable patterns, the 
menu will be grayed out.) If the modeled mic does 
include multiple patterns, select the pattern whose 
characteristics produce the effect you desire.
TIP
The purpose of the Pattern selection is to model the 
varying frequency characteristics that result from each 
of the available pattern settings, with the assumption 
that the audio was recorded on axis (that is, from the 
front of the microphone). Since the Microphone Mod-
eler has no way of knowing the actual placement of the 
signal source, it does not attempt to simulate off-axis 
performance.
Proximity The Proximity knob in the Modeled Mic sec-
tion can be used to select a desired amount of prox-
imity effect. Using the 
Proximity knob to set a 
particular distance will result in the amount of prox-
imity effect that would be produced by the actual 
modeled mic when placed at that distance from the 
signal source.
The effect of the 
Proximity control is unique for each 
model of microphone. The Microphone Modeler 
does not use a generalized approximation of proxim-
ity effect. Each model reflects the specific physical 
properties that create the individual proximity effect 
for that mic.
Mics operating in omnidirectional mode do not 
exhibit a proximity effect. Consequently, if the mod-
eled mic is an omni mic, or the modeled mic has 
selectable patterns and omni is chosen, the Proximity 
control will be disabled.
NOTE
A secondary effect of mic-to-source distance is the 
extent to which environmental ambience is picked up 
by a mic. For example, as a mic is moved away from the 
source, the proximity effect decreases, but the amount 
of “room tone” increases (assuming that you are not in 
an anechoic chamber). The Micro-hone Modeler does 
not model this effect. However, judicious use of the  
						

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116 TASCAM SX-1 Reference Manual
Proximity control in combination with some appropri-
ately programmed reverb will allow you to create the 
same effect, with the additional bonus of being able to 
control the exact nature of the room tone.
Preserve Source The Preserve Source controls 
allows you to split your audio into its bass and treble 
ranges and process each range separately. This lets 
you create hybrid mics that combine the bass charac-
teristics of one mic and the treble characteristics of 
another. One of the two mics will be your actual 
source mic and the other can be selected from any of 
the available models.
Say, for example, that you have a mic whose bass 
response is great for a particular track, but whose tre-
ble response just doesn’t sound right. With this fea-
ture you can preserve the bass response of your 
source mic while replacing its treble characteristics 
with that of any of the modeled mics.
Here’s how it works:
1Make all the appropriate settings in the 
Source 
Mic
 section. (Do not select Bypass unless you 
are going for some special effect, as it will 
defeat the normal function of this feature).
2Choose the other mic for your hybrid and 
make all the appropriate settings in the 
Modeled Mic section. (Again, do not select Bypass 
unless you are going for some special effect.)
33) In the 
Preserve Source section, click on either 
the 
Bass or Treble button (its associated “LED” 
will light) depending on whether you want to 
preserve the bass or treble characteristics of 
your source mic.
There are four possible states of the two Pre-
serve Source buttons. Here’s what each does 
(` = LED lit, < = LED not lit):
Preserve Source: Bass 
						

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 TASCAM SX-1 Reference Manual 117
Output Level The Output Level control is used 
to fine-tune the Microphone Modeler’s output level. 
This control is strictly an attenuator (i.e., no gain is 
available). You should always start with it at 0dB (the top of its range) and then reduce level as necessary. It 
is particularly useful when adding large amounts of 
tube saturation.
Antares Speaker Modeler
More of Antares Audio Technologies’ patented mod-
eling technology is found in the Speaker Modeler 
plugin (the SX-1 is, we’re proud to say, its debut). 
This plugin lets you sonically morph one type of stu-
dio monitor into a completely different speaker. For 
example, let’s say you want an audio track to sound 
like it is coming out of a car stereo; or, perhaps you 
just need to hear what your entire mix would sound 
like out of a TV speaker. This plugin will help you 
achieve these effects. Its uses range from creative 
sound effects (when inserted on a channel or fed an aux send) to simulating different sound systems dur-
ing reference monitoring (when fed an entire mix).
Source Speaker Use this field to select the type 
of speaker that your source material was recorded 
from, or select Bypass to leave your source material 
dry. Use this setting when you want the audio coming 
from your studio monitors to accurately emulate the 
speakers selected in the 
Modeled Speaker field.
Modeled Speaker Use this field to define the 
type of speaker you want to emulate.
Tascam DeEssor
This plugin is used to limit sibilance in vocal record-
ings (for example, over exaggerated “sss” sounds). It 
is based on a frequency dependent limiter that only 
affects high frequencies at a very narrow bandwidth.THRESHOLD This control sets the level at which 
you want processing to begin. The higher the 
Threshold setting, the less often de-essing will occur.
KNEE This control determines the curve, or steep-
ness, at which the limiting occurs.
CNTR FREQ Use this slider to define the center fre-
quency around which limiting will occur. Depending 
on the person singing or talking, excessive sibilance 
often occurs between 6 and 8 kHz. Try a value in this 
range as a starting point. 
						

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118 TASCAM SX-1 Reference Manual
Tascam Exciter (Stereo)
Use this plugin to add extra high-frequency punch to 
your tracks. It is especially useful for improving the 
clarity of poorly recorded vocals.SENSE This control determines how often the 
exciter effect will occur.
FREQUENCY This control defines the frequency 
above which exciting occurs.
Tascam/Nemesys HD1 Dither
This plugin is for changing and enhancing the resolu-
tion of digital recordings. Its dithering algorithm 
boasts an extremely flat, low-noise spectrum. Use it 
to convert bit resolutions, to dither, and to truncate.
TIP
This plugin is best used post-fader (either on inserts or 
busses), as the last processor in a signal chain. If it is placed in a position where DSP processing happens 
afterwards, you lose the bit resolution effect.
Bit Depth Select the bit depth you want to convert 
to in this field (16, 18, 20, or 24).
Type In this field there are three choices: HD1, 
Truncate, or Bypass.
HD1  This setting uses the TASCAM/Nemesys high-
definition dithering algorithm to improve the low 
amplitude fidelity of your digital signal.
Truncate  This setting cuts off the least significant 
bits in your digital recording. This might prove use-
ful when using the 
Bypass key to compare sound qual-
ity between 24-bit versions and 16-bit versions of 
your mix.
Bypass Select bypass to bypass the effect. 
						

							Part V–Effects
 TASCAM SX-1 Reference Manual 119
TC SX-1 Reverb
The TC Reverb plugin is a very comprehensive and 
high-quality reverb algorithm. It mainly consists of 4 functional blocks: Level Mix Controls, Space Editor, Highcut 
Filter
, and Time Editor.
The TC SX-1 Reverb has a very powerful reverb 
algorithm core. Take a look at the block diagram 
below to get a better idea of the signal flow:
Level Mix Controls 
MIX This parameter sets the balance between the 
source signal and the processed signal. At 
0%, you 
will only hear the source, while at 
100% you will only 
hear the processed signal. When you are using the 
reverb in a send/return configuration, you will usu-
ally want to check the 
100% box. This disables the MIX 
slider and locks the mix ratio at 100% wet.
L/R BALANCE Use this control to set the left/right 
balance of the Initial Reflections.
TA I L  B A L A N C E  With this fader you can set the left/
right balance of the Reverb Tail.
STEREO WIDTH Stereo Width determines how 
“wide” the reverb should be: 
0% is the same as mono, 
and 
100% is wide stereo.
Space Editor The Space Editor defines the basic 
structure of the room. In natural reverberation, the 
early reflection happens within the first second of the 
response. This is where the sound is very clearly 
reflected by the walls and floors, and you can “feel” 
which type of room you are in. The second stage is 
the reverb process; here, the original sound is almost 
‘lost’ within millions of chain reflections—so that 
even two very different rooms often sound much 
alike. The early reflection is actually the part of the 
reverberation process that defines the room charac-
teristics.
SHAPE Shape defines the basic room type and early 
reflection pattern. By clicking on label beside the 
Shape label above the display you will get a pull- 
						

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120 TASCAM SX-1 Reference Manual
down window where you can choose the reverb’s 
shape directly. These shapes are available:
TIP
Always adjust the predelay according to the basic shape 
you have chosen. Small rooms with a long predelay, for 
example, sound very unusual.
SIZE Size sets the size of the room by scaling the 
early reflection pattern. By clicking on the 
Size label 
above the display you will get a pop-up window. 
Here you can choose a scaling factor for the room 
size. A scaling factor of 1.0 is the original room size.
WALL DIFFUSSION Wall Diffusion determines how 
much coloration the walls add to the sound. This 
parameter is used to increase the reverb decay’s den-
sity. A 
Diffusion of 0% determines a value related to 
the original sound character of the room settings 
(including decay). You can change the 
Diffusion with 
an offset of up to ±50%.
High Cut Filter The input to the TC SX-1 Reverb 
algorithm is processed with a low pass filter which 
allows you to “roll off” the high frequencies of your 
reverb effect. In general, you will want to make your 
reverb effect a bit darker than the source signal, as it 
might otherwise sound unnatural or even unpleasant.
HIGHCUT FILTER Above the HIGHCUT FILTER win-
dow, there are two frequency values displayed. The 
S 
value is the start frequency of the high cut filter, 
which is the lowest frequency influenced by the fil-
ter. The 
E value is the end value. This frequency is 
where you have reached the determined attenuation. 
The slider to the window’s right adjusts the actual 
high frequency cut. And, the slider at the bottom of 
the window adjusts the frequency position where 
S 
meets 
E.
Time Editor 
DECAY/FREQUENCY The reverb decay is a long 
tail of reverberation that happens after the initial 
burst. The Decay block receives its input from the 
early reflection. Decay time can be edited distinctly 
in 3 frequency ranges: low (L), mid (M), and high 
(H). And the frequency-ranges themselves can also 
be modified.
For each band you can set the decay time between 
0.25 and 64 seconds. The sliders to the right of the 
window adjust each band’s decay time. The two slid-
ers at the bottom of the window set the 2 crossover 
points between the 3 frequency-ranges.
TIP
When designing your reverb, keep in mind that room 
acoustics lose their high frequency energy more easily 
over time. Setting the High Decay to a large amount of 
time will usually make the room sound more artificial.
PREDELAYS The predelays determine the starting 
point for when the actual reverb effect will begin. 
HallSimulates the early reflection mea-
sured in the Boston Symphony Hall.
HorseshoeIncorporates some ideas from the 
design of the Musikvereinssaal in 
Austria.
PrismHas a pattern based on the concep-
tual ‘golden ratio’ shoe box hall.
FanIs based on the basic structure of the 
La Scala Concert Hall.
ClubIs based on a regular small club 
room.
SmallSimulates a small domestic room.