FL Manual 18 EQ2/Reverb/Peak/phaser Flashcards

Question

FL STUDIO - Fruity Parametric EQ 2 - Parameters Main Level

Answer 1

-Left-click outside the Bands to adjust the main level control (the cursor will change from pointer to a cross).

Answer 2

-Right-click on the token to open a menu of Type (Low Pass, Band Pass, High Pass, Band Cut, Low Shelf, Peaking and High Shelf), Order / (slope = 12 to 48 dB/Octave) and Key that center the frequency band of the Token to the fundamental frequency of the selected note.

Answer 3

-Prevents the comparison temporary save state from being overwritten.

Answer 4

-Increases the resolution of the background frequency spectrum monitoring at the expense of display latency (plugin audio latency remains unaffected).

Answer 5

- Switches to the frequency-spectrograph algorithm used prior to FL Studio 12. - -The 'legacy' algorithm tends to blur the lowest frequency bands, but has the advantage it can be easier to identify the center frequency of these low frequency bands.

Answer 6

-Shows version details and credits.

Answer 7

- Uses oversampling to improve audio quality, particularly in the region above 15 kHz. - -NOTE: HQ mode increases CPU load and the resampling associated with this process will cause inter-sample peaks, increasing the output peak levels.

Answer 8

-Turns the tokens ON/OFF.

Answer 9

-Turns the spectral monitoring ON/OFF or shows the spectrum of the plugin output.

Answer 10

- Click the first down-arrow to save the current EQ settings to a spare bank. - -Click the up/down arrow control to swap between the saved bank and the main bank. - --Tweaking any parameter in the spare bank will cause it to become the main bank again. - ---Use this to compare EQ settings. Note that the comparison bank is saved along with the main bank, so keep this in mind if you are creating presets.

Answer 11

-When the filter type is set to 'off', peaking/shelf Bands that are not amplified will not use CPU resources.

Answer 12

- Fruity Peak Controller one of many internal controllers and it is used to automate targets in response to the volume envelope of an input sound AND OR its own intenal LFO generator. - -A typical use of the Peak Controller is to create 'Sidechain compression' style effects by putting Peak Controller on the kick track and use the automation signal to control (duck) the volume of other Mixer tracks

Answer 13

- Orange envelope - Peak automation. - -Green envelope - LFO automation. - --White envelope - Peak + LFO automation. - ----NOTES: 1. Hold the Vol click and hold Peak or LFO controls to see their envelopes in isolation. 2. Fruity Peak Controller will only use input signals above -50 dB.

Answer 14

- Load the Peak Controller on the Mixer Track that has the audio signal to control the target parameter. - -To hear the control audio, disable the MUTE switch on the lower-right corner of the Peak Controller plugin. - --Peak Controller will appear as an 'Internal controller' link option in the 'Link to controller \> Link assignment' Right-click link dialog.

Answer 15

-The combination (sum) of the above two automation signals.

Answer 16

- The peak control only. - -Automation comes from the plugins volume peaks of the input audio signal.

Answer 17

-The LFO controller only

Answer 18

-Base, or lowest value (offset), of the control output.

Answer 19

- Maximum value of the control output. - -The control is bi-polar with values from -200% (maximum to left) to 200% (maximum right). - --When using positive values a higher volume means higher Peak Control output values. - ---Negative volumes result in a 'ducking' effect where the Peak Controller output is negative and dips with each input peak. - ----You will need to set this in conjunction with the Base level to create 'sidechain pumping' effects. - -----Turn up the Base and then turn the Volume to negative.

Answer 20

- The shape of the attack and release curve (the controls graphic shows the effect). - -NOTE: As the attack of most sounds is very short you won't see or hear an effect of this parameter. - --It will be most useful on the decay side of the envelope.

Answer 21

-Time taken to decay to the 'Base' level.

Answer 22

The LFO runs independently of the audio input.

Answer 23

-Base, or lowest value the LFO will output.

Answer 24

- Maximum value of the LFO output. - -The control is bi-polar with values from -100% (maximum to left) to 100% (maximum to right). - --Use in conjunction with the Base value.

Answer 25

- Drag up and down to alter the shape of the curve used to map the LFO values to LFO controller values. - -You can think of tension as a multiplier for the output.

Answer 26

- Select the shape of the LFO waveform. - -Choose from sine, triangle, square, saw and random values (dice icon).

Answer 27

- LFO speed. - -Turn to left to speed up the LFO. - --Turn to right to slow down.

Answer 28

- This sets the phase offset for the LFO. - -This effectively controls the start-position.

Answer 29

- Prevents abrupt changes in output values. - -Use this if the parameters you link to clicks and pops when changed too quickly

Answer 30

- OFF the signal passes through the Fruity Peak Controller plugin. - -ON the output of the plugin is muted. - --For example, mute the output if you want to create a 'sidechain pumping' effect without the kick audio being heard.

Answer 31

- Fruity Phase Inverter inverts the phase of either the left or right channel. - -NOTE: Be careful as L/R phase inverted channels will cancel each other if the output is converted to mono.

Answer 32

- Fruity Phaser is a low-CPU phaser plugin. - -Phasing is closely related to Flanging. - --Various frequencies in the original signal are delayed by different amounts, causing peaks and troughs in the output signal which are not spaced evenly. - ---Phasing and flanging sound similar, as both come from combining delayed versions of the signal with the original. - ----However, the Phasing effect is significantly more intense, with a greater 'sweeping' effect across the spectrum.

Answer 33

- Sets the frequency of the LFO which controls the phaser. - -The range of this parameter depends on the Frequency Range parameter. - --If the value for that parameter is large, Sweep Frequency will change the frequency between 0 and 10Hz. - ---If the range is small, it will change the frequency between 0 and 2Hz.

Answer 34

- Control the range of the phaser action. - -The phaser will be swept between these values.

Answer 35

-Sets the frequency range using for the Sweep Frequency parameter.

Answer 36

- Use this control to widen the stereo image. - -If it's set to 0, the LFO on the left and right channel will be in perfect synchronization. - --At 180 degrees the left and right channel will be 100% out of phase. - ---This means that the left channel will reach its maximum when the right channel is at minimum. - ----Range: 0 to 360 degrees. - -----Try setting 10 degrees for subtle stereo enhancement.

Answer 37

- Stages controls the number of phasing stages. - -Old stompbox phasers usually have 4 or 6 stages, but this digital equivalent can have up to 23 stages. - --As the number of stages rises, the effect becomes more aggressive and more pronounced.

Answer 38

-Determines how much of the signal is sent back into the phaser.

Answer 39

-Sets the mixture of processed and non-processed sound.

Answer 40

- Sets the additional gain for the signal at the output of the effect. - -Use this parameter to boost silent signals.

Answer 41

- Pitcher is a real-time pitch-correction, manipulation & harmonization plugin that can correct and harmonize under MIDI control from a keyboard or the Piano roll. - -A related plugin for detailed pitch correction, editing and sample manipulation is Newtone.

Answer 42

- Avoid singing pitches on the boundary between notes in the scale. - -Use the Input Pitch detection indicator as a guide. - --Avoid excessive vibrato. - ---Pitcher works with monophonic (single note) sounds. - ----It won't work with choirs, chords or complete mixes although abusing it this way may yield creative effects. - -----Select the appropriate scale for your vocal. - ------If you don't know what key your vocals are in, watch the pitch indicator and deselect notes that are detected but unwanted. - Put Pitcher first in the effects chain so that it receives a non-effected input. Phasing, chorus and reverb can negatively impact pitch detection. - -When using MIDI control, align (or play) notes slightly ahead of the vocal so you don't miss the vocal attack sound.

Answer 43

-Watch the pitch indicator and deselect notes that are detected but unwanted.

Answer 44

- Select the input channel, L, R or Independent, used for pitching. - -Independent tunes the L and R channels independently.

Answer 45

- Select the minimum detected frequency in the input. - -There are two benefits to selecting the highest Minimum frequency that works with your source audio. - --1. Avoids spurious low frequencies interfering with pitch detection (e.g. rumble & vibrations, breath pops, background noise etc). Particularly useful with vocals, try 80-170 Hz with males and 170-220 Hz with females. - ---2. Reduces CPU load as frequency detectors below the Min setting are disabled.

Answer 46

-There are a group of 4 controls that affect the output pitch

Answer 47

-Select Major or Minor scale.

Answer 48

-Pitches that fall on notes not included in the scale will be shifted to the nearest note in the scale.

Answer 49

-You can adjust the frequency of A3 (440 Hz) to other reference scales.

Answer 50

- When selected the note is available for pitching input audio. - -When deselected the note is avoided and the input is pitched to the nearest active note. - --You can manually override any Scale setting by turning these notes on and off.

Answer 51

-Enable/Disable Pitcher.

Answer 52

-Input pitches falling in the capture zone for the note will pass un-corrected.

Answer 53

- Fast settings sound more artificial and slower settings more natural. - -Slower settings are particularly useful when the vocal contains legato or glissando style singing.

Answer 54

- Pan position for each of the 4 voices. - -When playing a chord, the highest note is assigned to the top slider and lower notes to the sliders below based on the number of notes in the chord.

Answer 55

- Panning multiplier. - -Single control to adjust the spread of the voice panning set above.

Answer 56

- In 'Replace' mode the harmonized audio replaces the incoming audio. - -In 'Mix' mode the incoming signal is mixed with the harmonized audio.

Answer 57

- When selected the MIDI velocity will affect harmonized voice volume. - -NOTE: Octaves must be deselected for this feature to work.

Answer 58

-Formant override control.

Answer 59

- Formant preservation. - -A formant is a resonance or peak in the frequency spectrum of a sound. - --It's most commonly used to describe the throat, mouth and nasal cavity resonances in the human voice. - ---As the resonance is related to the size and shape of these cavities, formants are a major aural cue to the age and sex of a speaker. - ----The Formant option maintains a constant formant as the pitch is varied from the original (particularly useful in MIDI mode). - -----When it's off, you will hear the common 'I've been sucking on helium' vocal sound with pitch-shifts of more than a few notes.

Answer 60

-Adjust the output tuning of the plugin +/- 100 cents (1 semitone).

Answer 61

- All switches off. - -Pitches are rescaled to the active notes automatically.

Answer 62

-MIDI notes will scale the incoming audio to the note in the detected octave.

Answer 63

-MIDI notes will scale the incoming audio to the note AND octave played.

Answer 64

-Up to 4 MIDI notes can independently scale the incoming audio to the note(s) AND octave(s) played.

Answer 65

- MIDI Mode allows you to play the 'corrected' pitch from a MIDI keyboard or from the Piano Roll. - -Perfect for live improvisation or to use manual pitch correction and/or harmonizing (play chords).

Answer 66

- Select MIDI mode - Click the MIDI switch on Pitcher. When selected the Port display (as shown above) will appear at the bottom left on the plugin window. - -MIDI Out - Load the MIDI Out generator on a channel and set the Port number (0 to 255) by dragging up/down in the Port window. This number is used to link the MIDI Out plugin to Pitcher. - --Match Port numbers - Set the Port Number on Pitcher (drag up/down where it shows '1' above. When no port is set this shows '...' ) to match the Port Number on MIDI Out. This links the two plugins so the MIDI Out Channel will control Pitcher's harmonization or pitch. - ---Set other MIDI modes - Select Octaves & Harmonize (down position) if you want to play chords. - ----Formant - Turn the Formant switch ON (illuminated) if desired. Vocals will sound more natural with formant correction. - -----Play - Play notes on your keyboard while singing or routing audio to Pitcher's Mixer Track (and be amazed that you are milliseconds away from fame and stardom!).

Answer 67

-Razer Chroma is a visualization effect to control Razer Chroma enabled hardware including: laptops, keyboards, mice, mouse pads and headsets from FL Studio

Answer 68

Fruity Reeverb, short for reverberation, simulates acoustic spaces.

Answer 69

- Adjusts the low cutoff frequency. - -Use this parameter to remove low frequencies from the input signal before reverb is added. - --For example, when adding reverb to a drum track, you might want to remove some of the 'rumble' from the bass drum by attenuating the bass frequencies. - ---Setting this parameter to the minimum value will bypass the Low Cut filter, displaying OFF in the value field.

Answer 70

- Similar to Low Cut. - -Adjusts the high cutoff frequency. - --Use to remove high frequencies from the input signal.

Answer 71

- Controls the delay time between the direct input signal and the first reverb reflection. - -Set to lower values for small rooms, and increase relative to the room size. - --Predelay creates a slap-back echo effect that can add atmosphere and muffle the signal, so use it wisely.

Answer 72

- Sets the size of the virtual room where the reverb is created. - -Adjust according to decay time. - --The Room Size should be adjusted according to the decay time. - ---Small rooms sound best with a shorter decay times, while large rooms are suited to longer decay times.

Answer 73

- Controls the density of the reflections bouncing off the walls of the virtual room. - -A low diffusion setting makes the reflections sound more distinct, like closely spaced echoes. - --A high diffusion setting creates reflections so close they sound more like noise, in which echoes are indistinguishable.

Answer 74

- Use to adjust the decay time of the bass frequencies of the signal. - -Five settings are available: Brighter, Bright, Flat, Warm and Warmer. - --This parameter allows you to change the overall perceived mood, or 'sound' of the virtual room. - ---A bright room has a low bass response, while a warm room has a high bass response. - ----In a flat room, the response of the bass is equal to the general frequency response.

Answer 75

- Controls the decay time of the reverb, i.e. the time it takes for the signal to decay to -60dB (1/1000 of the maximum amplitude). - -Use low decay times for small rooms or boxes, and long decay times for large rooms, halls or churches. - --You should also make sure that the Room Size parameter has an appropriate value.

Answer 76

- Allows you to adjust damping of the high frequencies in the reverb signal over time. - -Damping refers to the high frequencies being attenuated and dying out. - --This causes the sound to become gradually warmer and more muffled, as if it is being absorbed in the room. - ---Setting this parameter to the maximum value will bypass the High Damping, displaying OFF in the value field.

Answer 77

-Sets the relative dry output level.

Answer 78

-Sets the relative reverb (wet) signal level.

Answer 79

- Fruity Reeverb 2 simulates acoustic spaces. - -Fruity Reeverb 2 can create lush and smooth reverberations of up to 20 seconds duration and is the most sophisticated reverb in the FL Studio stable. - --Alternatives to Fruity Reeverb 2 are Fruity Reeverb and Fruity Convolver.

Answer 80

- Process the Mid or Side components of the input signal. The default is MID processing, summed mono (Left+Right). - -The input must have stereo information before SIDE processing will have any effect. - --Processing in SIDE mode can be useful when you are processing a complete mix, giving a sense of space and reverberation without washing out the details, as reverb tends to do in this situation. - ---Side reverberation processing affects the sound in the L/R stereo field while instruments panned close to center will remain unaffected. - ----See Fruity Stereo Shaper for more details on Mid vs Side signals.

Answer 81

- Changes the high cut-off frequency. - -Use this to remove high frequencies from the reverb, or to make the room sound duller.

Answer 82

- Adjusts the low cut-off frequency. - -Use this to remove low frequencies from the reverberations. - --For example, if you are adding reverb to a drum track, using the L.Cut parameter will reduce the 'rumble' and muddiness from the bass drum by attenuating the bass frequencies before being passed to the reverb engine.

Answer 83

- Controls the delay time between the direct input signal and the first reverb reflection. - -There is a TEMPO switch that selects 'tempo based' predelay. - --Predelay should be set to modest values for small rooms, and can be increased to suit room size. - ---Predelay creates a slap-back echo effect that can add atmosphere and muffle the signal, so use it wisely.

Answer 84

- Use this knob to set the size of the virtual room being simulated (the display will give you feedback). - -For realistic effects, the Room Size should be adjusted according to the decay time. - --Small rooms sound better with a short decay time, large rooms sound better with longer reverb times.

Answer 85

- Controls the density of the reflections bouncing off the walls of the virtual room. - -A low diffusion setting makes the reflections sound more distinct and sparse, like closely spaced echoes. - --A high diffusion setting creates a dense series of reflections, so close they sound more like a constant decaying noise.

Answer 86

- Modulates the reverb time, to break up 'metallic' ringing sounds associated with artfical reverb. - -Small values make the reverb sound smoother and more natural. - --Extreme modulation values can add a detuned sound to the reverb.

Answer 87

-Speed of the sine-wave modulation of the reverb-time.

Answer 88

- Adjusts the decay time of the bass frequencies in the reverberations. - -The bass level has affects the overall 'mood' or sound of the virtual room. - --A bright room has less bass response, while warm rooms have a more bass response.

Answer 89

-Determines the point below which bass frequencies will be boosted by the Bass knob.

Answer 90

- Controls the decay time of the reverb, this is the time it takes for the signal to decay to -60dB (1/1000 of the maximum amplitude). - -Use low decay times for small rooms (good for fattening drum sounds), and long decay times for large rooms (halls or church-effects).

Answer 91

- Adjusts damping of the high frequencies in the reverb signal. - -Damping refers to the rate at which the high frequencies decay. - --This effect causes the sound to become gradually muffled and warmer. - ---Bypass: Setting this parameter to the maximum value will bypass the High Damping, displaying OFF in the value field.

Answer 92

- Sets the relative level of the (dry) input signal passed to the outputs. - -When using Reeverb 2 in a Send mixer track this should be set to 0% (minimum).

Answer 93

-Sets the relative level of the first reflections in the reverb.

Answer 94

- Sets the relative level of the reverberant (wet) signal. - -When using Reeverb 2 in a Send Channel this should be set to 100% (maximum).

Answer 95

- Adjusts the stereo separation of the wet reverb signal. - -Any dry signal bypassing the reverb is left unaltered.

Answer 96

- Fruity Scratcher is a vinyl turntable simulator. - -You can load any sample that is supported by FL Studio into this plugin to record your performance in real time. - --You can also adjust the turntable's acceleration (mass) to suit your needs. - ---Two closely related, but more sophisticated plugins are the WaveTraveller instrument and Gross Beat effect. Note, however, that WaveTraveller is a generator rather than an effect and thus needs to be loaded into a Channel.

Answer 97

- These four parameters control the 'gradient' generation of the turntable simulator. - -Adjusting these values may improve the results for certain types of source material.

Answer 98

-Sets the stereo panning of the audio output.

Answer 99

-Sets the volume of the output.

Answer 100

- Stops the turntable playing. - -Switch this on if you are linking the turntable platter to a MIDI Controller.

Answer 101

-Mutes the sound of the turntable (suitable for automation).

Answer 102

- Left-click and drag up/down to scratch the sample. - -Right-click to link.

Answer 103

-Press to play the sample backwards, when not scratching.

Answer 104

-Press to pause the turntable, when not scratching.

Answer 105

-Press to play the sample forward, when not scratching.

Answer 106

-Adjusts the playback speed (default: 1x).

Answer 107

-Adjusts the motion acceleration of the turntable.

Answer 108

- Adjusts the turntable's sensitivity to mouse movement. - -The lower the sensitivity, the slower the rotation from the same mouse movement.

Answer 109

-Click to select a sample as the source material to be 'scratched'.

Answer 110

-Makes Scratcher 2x larger for easier control with touch, stylus or mouse.

Answer 111

- Displays a preview of the sample. - -You can also scratch the sample using a horizontal version of the turntable display.

FL Manual 18 EQ2/Reverb/Peak/phaser Flashcards

(137 cards)