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Get­ting started with T-Chain CM

Computer Music - - Free Software | Lvc-Audio T-chain Cm -

1 In­sert T-Chain CM into a chan­nel in your DAW. The de­fault setup has the DynoPhuzz-CM dy­namic dis­tor­tion mod­ule loaded. The Thresh­old, At­tack and Re­lease knobs ad­just the in­put level and speed at which the dis­tor­tion amount (set by the Dy­namic knob) kicks in and drops out; and the Static knob con­trols how much dis­tor­tion is ap­plied be­low the thresh­old. Fuzz and Pen­tode al­go­rithms of­fer two sonic colours.

2 In the global T-Chain CM in­ter­face, the In­put and Out­put knobs and Dry/Wet slider cover level and mix con­trol, and the By­pass but­ton dis­ables all pro­cess­ing. The In­put and Out­put me­ters com­bine VU (in orange), peak (in red) and dy­namic range (the yel­low area) mon­i­tor­ing, and are cal­i­brated to 0dBFS. A range of over­sam­pling op­tions are also on hand.

3 To switch mod­ule, click the Load but­ton and se­lect from the menu that ap­pears. At the bot­tom, T-Chain CM’s sec­ond sat­u­ra­tion ef­fect is Phuzz, which fea­tures seven dis­tor­tion al­go­rithms, each one gov­ern­ing an un­der­ly­ing multi­band process and di­alled in with the Sat­u­ra­tion knob. Phuzz in­vites ex­per­i­men­ta­tion, as each al­go­rithm has its own par­tic­u­lar re­sponse and sound.

4 Two dy­nam­ics-re­lated mod­ules are on­board. The Dig­i­tal Comp com­pres­sor of­fers Ra­tios up to 30:1, com­bined at­tack and re­lease con­trol via the Tim­ing knob, and a gain re­duc­tion me­ter. Dig­i­tal Gate also gives vis­ual feed­back on gain re­duc­tion, and can be set to at­ten­u­ate the sig­nal be­low the thresh­old by up to 60dB, with up to 100ms At­tack and 1s Re­lease.

5 Equal­i­sa­tion is cov­ered by Dig­i­tal EQ and Dig­i­tal HLP. The for­mer is a four­band EQ with high and low shelves flank­ing two para­met­ric peak fil­ters. Each band de­liv­ers up to 20dB of cut or boost, and the shelves have two slope set­tings. HLP, mean­while, com­prises sim­ple hig­h­and low-pass res­o­nant fil­ters.

6 ClipShifter is a dy­namic clip­per. The Init fader sets an in­put thresh­old, and when this is ex­ceeded, the clip­ping point drops to the level set by the End fader. With Shape at 0%, the clip­ping is soft; at 100%, it’s hard. The speed and re­cov­ery of the drop are es­tab­lished by the At­tack and Re­lease knobs, while low­er­ing the Har­monic knob un­bal­ances the clip­ping sym­me­try; and the Lock but­ton re­duces ClipShifter to a con­ven­tional static clip­per.

7 The dis­play at the top switches be­tween Wave­form and Spec­trum (FFT) views via the right-click menu. As well as sig­nal level, the Wave­form view also shows a few per-mod­ule pa­ram­e­ters. The hor­i­zon­tal slider de­ter­mines the amount of time vis­i­ble in the Wave­form view, from 0.25 to 15s, and the ver­ti­cal slider sets the bot­tom level of the scale any­where from -60dB to -1dB.

8 Both view modes are highly cus­tomis­able, again by in­vok­ing the right-click menu. The colours of the wave­form and the FFT curve can be changed us­ing your op­er­at­ing sys­tem’s colour picker, and both the FFT Size and Win­dow are ac­ces­si­ble for mod­i­fi­ca­tion.

9 T-Chain CM also in­cludes A and B slots for com­par­i­son of two sep­a­rate mod­ule states. Flip be­tween them with the A/B but­ton, ad­just­ing the con­trols in each to to dif­fer­en­ti­ate them. To copy the state of one slot to the other, click the A-to-B or B-to-A but­ton.

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