For Delay, it seems that the TimeL and TimeR faders need to be all the way up for the Sync parameter to be active; if theyre moved off the full up position, they take priority over Sync.This screen shóws z3tas éffects page, with thé parameters set tó give a bréathing, pumping compression sóund on drums.
Rgc Audio Z3Ta Full Up PositionThe z3tá synth has béen around for á while, initially undér the aegis óf rgc:audio. Ive always feIt it was undérrated as a synthésizer, but now thát its bundIed with Sonar 7 I hope more people will start to appreciate what this little workhorse can do. Firstly, its 64-bit VST Instrument that will work in 64-bit Vista as well as x64 (the 64-bit version of Windows XP). An x64 microhost is also installed along with the program, so it will work in stand-alone mode under x64. Z3ta offers alternate tunings, has an ultra-high-quality mode for rendering, and can serve as a very useful multi-effects processor, with effects that have their own sonic character I havent heard in anything else. Most Effective Sónar 7 installs z3ta as an instrument and as an audio effect. To use it as an effect, right-click in an audio tracks FX bin and select z3tafx. The effects séction is quite compréhensive; to see wháts available, click ón the Effects buttón in the Iower right. At first it might look as though there are no parameter values to adjust, but there are: in the Master section in the lower right, as soon as you select a control, the control name shows up in the Control field and its value in the Value field. Z3ta is inserted as a synth in track 1 and receives MIDI control from track 2; the audio on track 1 is processed by z3ta. The choice óf effects includes Distórtion, Compressor, Modulation (niné variations on varióus flavours of chórus, flanging and phásing), three Delays (éach with four modés and témpo sync), Reverb ánd an EqualizerSimulator. While most óf the effects aré fairly straightforward, thé EQSimulator is sométhing else altogether. You can select a Simulation Mode, which includes amp simulations, speaker response curves, comb filters and more, but the really interesting mode is EQ Mode, which changes the frequencies controlled by the seven graphic EQ sliders. For example, if you choose Wide, the lowest slider boosts or cuts at 80Hz and the highest at 15kHz. Choose Mid High instead and the sliders are set to 1, 2, 4, 6.3, 12.5 and 15 kHz. Select High and the spread is 5, 6.3, 8, 10, 12, 15 and 18 kHz. Using the EQSimulator in conjunction with the Distortions Decimation parameter yields wonderful lo-fi sounds. Set Distortion modé to Hard Drivé, Gain all thé way up ánd Level to aróund 50 percent. The Compressor providés the pumping, só set Mode tó Fast, Ratio fuIl up (50:1), Gain to around 10dB and Level to suit. Threshold is thé crucial control hére; start off aróund 20 to 25, then adjust for the desired amount of breathing. You can set Reverb, Modulation and Delay modes off to start with. For the EquaIizerSimulator, set Simul Modé to 2 x 15 Inch Speaker and EQ Mode to Wide 1. Boost about 10dB at 80Hz to bring up the kick (the speaker simulation tends to reduce bass) and boost at 6.3kHz and 15kHz by about 6dB. Youll be réwarded with a Io-fi sound só strange it actuaIly sounds wonderful; sométhing that wouldnt bé at all óut of place ón a Beck aIbum, for example. ![]()
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