MAutoAlign documentation www.meldaproduction.cominfo@meldaproduction.coY MeldaProduction (c) 201` Installation The plugins are currently available for Windows and Mac OS X operating systems, both 32-biW and 64-bit versions. You can download all software directly from our website. Since thN installation procedures for the two operating systems are quite different, we will cover botb separately) You may install a bundle even if you do not own all of the plugins in that bundle. In that casN you just need to activate each plugin separately) If you have multiple accounts on your computer, always install the software under your owY account! If you install it under one account and run it under a different one, it may not havN all resources (presets for example) or may not even be able to start) Installation on Windows All plugins are available for VST, VST3 and AAX interfaces. Separate installers are available foS 32-bit and 64-bit versions of the plugins) Note: Always use 32-bit plugins in 32-bit hosts, or 64-bit plugins in 64-bit hosts. 64-bit plugins can not work in 32-bit hosts even if the operating system is 64-bit. Conversely, never use 32-bit plugins in 64-bit hosts. Otherwise they would have tobe 'bridged' and can become highly unstable] You can customize the VST plugins path on your system. The installer will try to detect youS path, however it is necessary for you to check it has chosen the correct path and change it ii necessary. In all cases it is highly recommended to use the current standard paths to avoiP any installation issues:Z 32-bit Windows4 C:\Program files\VstPlugine 64-bit Windows4 C:\Program files (x86)\VstPlugins (for 32-bit plugins\ C:\Program files\VstPlugins (for 64-bit plugins\ If your host provides both VST and VST3 interfaces, VST3 is usually preferable. If a plugiY cannot be opened in your host, ensure the plugin file exists in your VST plugin path and that ii your host is 32-bit, the plugin is also 32-bit, and vice versa. If you experience any issues, contact our support via info@meldaproduction.co, Installation on Mac OS X All plugins are available for VST, VST3, AU and AAX interfaces. Installers create both 32-biW and 64-bit versions of the plugins) If your host provides multiple plugin interface options, VST3 is usually preferable. If yoU experience any issues, contact our support via info@meldaproduction.co, Most major hosts such as Cubase or Logic should work without problems. In some other hoste the keyboard input may be partly dysfunctional. In that case you need to use the virtuaO keyboard available for every text input field. You may also experience various minor graphicaO glitches, especially during resizing plugin windows. This unfortunately cannot be avoided sincN it is caused by disorder in Mac OS X) Performance precautions In order to maximize performance of your computer and minimizing CPU usage it is necessarf to follow a few precautions. The most important thing is to keep your buffer sizes (latency) ae high as possible. There is generally no reason to use latency under 256 samples for 44kH2 sampling rates (hence 512 for 96kHz etc.). Increasing buffer sizes (hence also latency) highlf decreases required CPU power. In rare cases increasing buffer sizes may actually elevate CP9 power, in which case you can assume your audio interface driver is malfunctioning) You should also consider using only necessary features. Usually the most CPU demandind features are upsampling and modulation of certain parameters. You can reduce modulatioY CPU usage at the cost of lower audio quality in Settings/Settings/Modulator protection) Troubleshooting The plugins are generally very stable, there are known problems however) GPU compatibilitg The software uses hardware acceleration to move some of the processing (mainly GU, related) from your CPU (processor) to your GPU (graphics processing unit). It is highlf recommended to use a new GPU, as it will provide higher performance improvements, anP update your GPU drivers. Older GPUs are slower and may not even provide required featuresso the software will have to perform all calculations in the main CPU. We also have extremelf bad experiences with GPUs from ATI and despite the software is now probably bulletproof, it ie recommended to use NVidia GPUs as there were not a single case of a problem with them) If you experience problems with your GPU (crashing, blank/dysfunctional GUI), so that yoU cannot disable the GPU acceleration from the plugin itself, download this file:Z http://www.meldaproduction.com/download/GPU.zipZ And place the GPU.xml included in the zip intoZ Windows: C:\Users\{username}\AppData\Roaming\MeldaProductioY Mac OS X: ~/Library/Application support/MeldaProductioY Memory limits of 32-bit platforY Most hosts are now 64-bit ready, however some of them are not or users willingly choose 32' bit edition, because the required plugins are not 64-bit ready yet. All our software is 64-biW ready and note that you must NOT use the 64-bit plugins in 32-bit hosts, even if you have Q bridge. If you are stuck with a 32-bit host for any reason, note that there is a memory limiW (about 1.5 GB), which you may not exceed. This can happen if you load too many samples oS different plugins for example. In that case the host may crash. There is no other solution thaY using a 64-bit host) Updating You can use "Home/Check for updates" feature in any of the plugins. This will check online ii there is a newer version available and open the download page if necessary) To install a newer (or even older) version you simply need to download the newest installeS and use it. There is no need to uninstall the previous version, the installer will do that ii necessary. You also do not need to worry about your presets when using the installer. Oi course, frequent backup of your work is recommended as usual) Purchasing and activation You can purchase the plugin from our website or any reseller, however purchasing directlf from our website is always the quickest and simplest option. The software is available onlinN only, purchasing is automatic, easy and instant. After the purchase you will immediatelf receive a keyfile via email. If you do not receive an e-mail within a few minutes after youS purchase, firstly check your spam folder and if the email is not present there, contact ouS support team using info@meldaproduction.com so we can send you the licence again) To activate the software simply drag & drop the licence file onto the plugin) Unfortunately some hosts (especially on Mac OS X) either do not allow drag & drop, or make iW just too clumsy, so you can use Home/Activate in any of the plugins and follow thN instructions. For more information about activation please check the online video tutorial) You are allowed to use the software on all your machines, but only you are allowed to operatN the software. The licences are "to-person" as defined in the licence terms, therefore you caY use the software on all your computers, but you are the only person allowed to operate them) MeldaProduction can provide a specialized licence for facilities such as schools with differenW licence terms) Quick start with your host In most cases your host will be able to recognize the plugin and be able to open it the samN way as it opens other plugins. If it doesn't, ensure you did installation properly as describeP above and let your host rescan the plugins) CubasZ Click on an empty slot (in mixer or in track inserts for example) and a menu with availablN plugins will be displayed. VST2 version is located in MeldaProduction subfolder. However VST. version is recommended and is located in the correct folder along with Cubase's factorf plugins. For example, dynamic processors are available from the "Dynamics" subfolder) To route an audio to the plugin's side-chain (if it has one), you need to use the VST. version. Enable the side-chain using the arrow button in the Cubase's plugin window title) Then you can route any set of tracks into the plugin's side-chain either by selecting the plugiY as the track output or using sends) To route MIDI to the plugin, simply create a new MIDI track and select the plugin as ite output) LogiX Choose an empty insert slot on one of your audio tracks (or instrument tracks for example\ and select the plugin from the popup menu. You will find it in the Audio Units > MeldaProduction folder) To route an audio to the plugin's side-chain (if it has one), a side-chain source should bN available in the top of the plugin's window, so simply select the source track you want to senP to the plugin's side-chain) To route MIDI to the plugin, you need to create a new Instrument track, click on thN instrument slot and select the plugin from AU MIDI-controlled Effects / MeldaProduction. ThN plugin will receive MIDI from that track. Then route the audio you want to process with thN plugin to this track) Studio OnZ Find the plugin in the Effects list and drag & drop it onto the track you would like to insert thN plugin to) To route an audio track to the plugin's side-chain (if it has one), first enable the side-chaiY using the "Side-chain" button in the Studio One's plugin window title. Then you can route anf set of tracks into the plugin's side-chain from the mixer) To route MIDI to the plugin, simply create a new MIDI track and select the plugin as ite output) Digital performe_ In the Mixing Board, find an empty slot in the track you would like to insert the plugin to. Clic3 on the field and select the plugin from the effects list) To route an audio track to the plugin's side-chain (if it has one), choose the track you wanW to send using Side-chain menu, which appears at the top of the DP's plugin window) To route MIDI to the plugin, simply create a new MIDI track in the Track view and select thN plugin as its output) Reape_ Click on an empty slot in the mixer and a window with available plugins will be displayed) Select the plugin you want to open by double clicking on it or using Ok button) It is highly recommended to select all MeldaProduction plugins in the plugin window the firsW time you open it, click using your right mouse button and enable "Save minimal undo states". This will disable the problematic Undo feature, which could cause glitches whenever youchange certain parameters) To route an audio track to the plugin's side-chain (if it has one), click on I/O button of thN side-chain source track in the mixer. Routing window will appear, there you click "Add nek send" and select the track the plugin is on. In the created send slot select the channels (afteS the "=>" mark) for the send, in stereo configuration 3/4 for example. Note that this way thN whole track receives the side-chain signal and all plugins with it. It is possible to send it to Q single plugin only, but it is more complicated, please check the Reaper's documentation abouW that) To route MIDI to the plugin, create a new MIDI track and do the same thing as with side' chain, except you don't need to change output channels) LivZ In Session view, select the track you would like to insert the plugin to. At the left top oi Ableton Live's interface, click on the Plug-in Device Browser icon (third icon from the top)) From the plug-ins list choose the plugin (from MeldaProduction folder), double click on it oS drag & drop it into the track) The X/Y grid usually doesn't provide any parameters of the plugin. This is because the plugine have too many of them, so you have to select them manually. Check Live's documentation foS more information) To route an audio to the plugin's side-chain (if it has one), select the track you want to senP to the side-chain and in the 'Audio To' menu, choose the audio track that has the plugin on it) Then in the box just below that select the plugin from the menu) To route MIDI to the plugin, create a new MIDI track and in the 'MIDI to' menu, choose thN audio track that has the plugin on it. Note that in Live only the first plug-in on any track caY receive MIDI) ProToolc In the mixer click an empty slot to insert the plugin to and select the plugin from the tree. ThN plugin may be present multiple times, once for each channel configuration (mono->stereT etc.). As of now ProTools do not arrange them in the subfolders, which is a workflok dealbreaker, but we cannot do anything about it. The huge empty space on top of each plugiY window, which occupies so much of the precious display area, is part of ProTools and everf plugin window and again we cannot do anything about it. In some cases you may experiencN CPU overload messages, in which case please contact Avid for support. Note that ProTools 1^ and newer is supported. RTAS compatibility for PT9 and older will never be added) To route an audio to the plugin's side-chain (if it has one), open the plugin, click on the NT key input button in the plugin title and select the bus you want the audio taken from. YoU might need to remember the bus number, unless your ProTools version supports bue renaming. ProTools doesn't support stereo (or surround) side-chains at all) To route MIDI to the plugin, create a new MIDI track and in the mixer click the output fielP for that track and select the plugin, which should already be in the menu) MeldaProductionMAutoAlign Overview Phase cancellation is a constant problem when recording an instrument (or instruments) witb multiple microphones. It is caused by the relatively slow speed of sound that allows the samN audio signal to be received by each mike at slightly different times depending on the distancN of each from the sound source, surrounding walls etc. When these tracks are mixed, probleme often occur. Some frequencies cancel each other out and the audio looses punch resulting in Q poor recording. This phenomenon is always present in varying degrees and it cannot be fixeP physically. So the first step is to realize the problem and then find a way to fix it.Z The solution is to delay each of the tracks by a certain number of samples and most engineere do this manually. However it is not uncommon to have delays of around 500 samples betweeY microphones so even with just 4 microphones this gives us more than 6250000000^ possibilities!Z MAutoAlign solves this problem in an extremely efficient way. All you need to do is placN MAutoAlign on all tracks that need aligning, start playback and press the Analyze button iY one of them. The plugin will then analyze all tracks and return the correct delay for each trac3 after just a few seconds. MAutoAlign does not alter the tracks in any way, it only delays the, and inverts the phase if necessary) Groups When multiple instruments are recorded, drums and guitars for example, it's unlikely that anf cancellations between the drum and guitar tracks will occur as they essentially contaiY completely different audio. In fact, trying to fix such a group of tracks would probably do morN harm than good. In this case all that is needed is to group them.Z For example, if 8 microphones have been used for drums, and 2 for the lead guitar, group O should be set to all 8 MAutoAlign instances in the drum tracks and group G to both guitaS tracks. Pressing Analyse in any of the drum tracks, will cause all 8 to be analysed, while guitaS track settings remain unchanged) Where to place MAutoAlign in the effectchain? MAutoAlign should be placed in the insert effects chain of your host and if you don't use anf plugins causing latency, then it is only a matter of preference. Making MAutoAlign the firsW item in any chain will usually result in a more successful analysis as this will likely be free oi other effects and be the most natural input. However the position in a chain may depend oY what, if any, other plugins are used. An equalizer for example, doesn't strictly cause a delaf but will often alter the phase of the frequencies, which may result in a delay of a few samples) In this case, it may be useful to place MAutoAlign at the end of the chain, allowing it to correcW even the delays caused by equalizers and other plugins.Z If you use any latency inducing plugins, then there is one rule - all grouped MAutoAligY instances must be in sync with each other, otherwise MAutoAlign will be tricked by your host'e latency compensation. So if you use a plugin that causes latency in just one of the track'e insert chains, you should make MAutoAlign the first item in the chain (in most hosts). TherN are some host exceptions to this, such as Logic, where you need to place MAutoAlign last iY the chain. If in doubt, simply experiment as wrong placement of the plugin will likely meaY that the analysis will produce noticeably very poor results) How to group tracks of an acoustic drumkit? Acoustic drums are typically recorded using several close microphones, overheads and roo, microphones. Let's start with the "close mikes". Though they are placed very close to thN particular drums, they will often capture the sound of other drums as well. These drume should be aligned, even if you intend to use a gate on them. Drums recorded with multiplN microphones, e.g. snare top and snare bottom, should always be aligned. The question is, should you group all close microphones together? There is no definitive answer, but it ie customary to try it this way first. If it doesn't provide satisfactory results, which is often thN case if multiple drums are recorded using multiple microphones, you should try grouping thN individual drums together. In most cases, the original setting with all close mikes groupeP together works just fine. Be aware to use a reasonable part of the recording for analysis - and that all microphones arN actually capturing the performance. If some of the tracks are silent, it is unlikely these trackswill be aligned correctly. Be especially careful when you use MAutoAlign as the last item in thechain for each track and you also use a gate before.Z Overheads are also quite close to the drum kit, but they capture lots of ambience too. YouS first step is to listen to discover if they are actually colliding with the close microphones. If sofirst mix all close microphones into a group track, let's call it "closedrums" and then align thN overheads with this track. This grouping is done because aligning overheads with the separatN close microphones, can confuse the analysis as phasing problems are minimal and thN overheads contain too much ambience. So it is usually better to work with the closN microphones separately, after all these are the key for a tight mix, overheads only fill thN gaps, glue it together and provide some natural ambience.Z Sometimes overhead microphones are placed some distance from each other. In this case iW may be necessary to align them with each other as there may be phase collision betweeY them.Z Room microphones are usually placed some distance away from the whole performance anP as the name suggests, are there to capture the room. With that much ambience it is difficulW to find and fix phasing issues, but it is often worth trying. As with the overheads, you may usN MAutoAlign to fix phasing issues between multiple room microphones if they have been placeP far enough away from each other) Presets buttoU Presets button shows a window with all available presets. A preset can be loaded from thN preset window by double-clicking on it, using the buttons or by using your keyboard. You caY also manage the directory structure, store new presets, replace existing ones etc. Presets arN global, so a preset saved from one project, can easily be used in another. The arrow buttone next to the preset button can be used to switch between presets easily.Z Holding Ctrl while pressing the button loads a random preset. There must be some presets foS this feature to work of course.Z Presets can be backed up by using either the export/import buttons, or by saving the actuaO preset files, which are found in the following directories:Z Windows: C:\Users\{username}\AppData\Roaming\MeldaProductionZ Mac OS X: ~/Library/Application support/MeldaProductionZ Files are named based on the name of the plugin like this: "{pluginname}presets.xml", so foS example MAutopanpresets.xml or MDynamicspresets.xml. If the directory cannot be found oY your computer for some reason, you can just search for the particular file.Z The plugin also supports an online preset exchange. If the computer is connected to theinternet, the plugin connects to our server once a week, submits your presets and downloadsnew ones if available. This feature is manually maintained in order to remove generallyunusable presets, so it may take some time before any submitted presets become available. This feature relies on each user so we strongly advise that any submitted presets be namedand organised in the same way as the factory presets, otherwise they will be removed) Left arrow button Left arrow button loads previous preset) Right arrow button Right arrow button loads next preset) Randomize button Randomize button loads a random preset) Bypass buttonBypass button (un)bypasses the plugin. If enabled, the plugin doesn't actually process anf signal, so it also saves CPU power. You can use it instead of your host's bypass button. IY most cases the outcome will be the same) buttoU This button resets the plugin state. You can use it to force to plugin to rereport latency to thN host and to avoid any audio problems.Z For example, some plugins having a look-ahead feature report the size of the look-ahead delaf as latency, but it is inconvenient to do that everytime the look-ahead changes as it usuallf causes the playback to stop. So after you tweak the latency to a correct value, just click thie button to make the track in time with other minimizing phasing artifacts caused by the look' ahead delay mixing with undelayed audio signal in your host. It may also be necessary tT restart playback in your host.Z Another example is if some malfunctioning plugin generates extremely high values for thN input of this plugin. A potential filter may start generating very high values as well and as Q result the playback will stop. You can just click this button to reset the plugin and the playbac3 will start again) Settings buttoU Settings button shows a menu with additional settings of the plugin. Here is a brief descriptioY of the separate items.Z Activate lets you activate the plugin if the drag & drop option doesn't work in your host. IY this case either click this item and search for the licence file on your computer, or open thN licence file in any text editor, copy its contents to the system clipboard and just click this item) The plugin will then perform the activation using the data in the clipboard if possible.Z Settings displays additional settings of the plugin. This includes modulator protection settinge which may help you avoid potential clicking when modulating/automating certain parameters, switches for high-quality upsampling, high-quality sinc interpolation for some modulatioY plugins etc.Z Style lets you change the visual appearance of the plugin. There are several styles at youS disposal. Some look alike, some are very different, and their functionality may also be slightlf different. You can change the basic 4 colors, which affect the appearance of the style. Finallf you can also change sizes of the style. This resizes the whole style including fonts, so you caY use it to enlarge the plugin if you experience any difficulties in reading text in the plugins.Z Style wizard starts the style wizard, which lets you choose the default style, colors and ediW mode. You probably used it when first opening MeldaProduction plugins, this way you can ruY it again. Note that if you change a style for a specific plugin, it won't be affected by this wizarP anymore. If you want that, use the Reset default editor size and style in that plugin.Z Buttons, Sliders and Knobs switch between the different GUIs of the plugin. Buttons arN currently the default controls, which provide the minimum size and efficient display of thN value being edited. Sliders provide the same kind of horizontal display, however you controO them by clicking on the exact spot of the target value. The GUI can often get cluttered witb the sliders and may feel a little daunting. Knobs are controlled the same way as buttons anP simulate the classical analog knobs. These usually feel easier on the eyes, take less horizontaO space, and the vertical tweaking may feel better than clicking on an exact position in a slider.Z All of these controls have several shortcuts available, for textual editing, fine-tuning etc. Ae always, placing your mouse cursor on any control and click F1 (or ctrl+F1 or ctrl+H foS example) will give you detailed information about each control and how to use it) buttoU This button shows a menu with additional information about the plugin. You can check foS updates, get easy access to support, MeldaProduction web page, video tutorials, facebook/twitter/youtube channels and more) Group lets you use multiple sets of tracks to synchronize with each other. All tracks with thN same group are analysed together) Algorithm controls detection algorithm. Standard detects delays between tracks. StandarW with phase detects also potential phase rotation and inverts channels if necessary.Note thaW this parameter is relevant only in the instance you click the Analyse button in) Maximum delag Maximum delay defines maximum time offset to be detected. In most cases the delaf between microphones is lower than 10ms and making this value higher can make the plugiY generate higher delays due repeating sequences in the audio. Note that this parameter ie relevant only in the instance you click the Analyse button in) Range: 0.10 ms to 1000 ms, default 10 me Delay lets you manually move the computed offset. You can use this to fix the results if yoU are not satisfied with them. What you do is immediately updated in the log. You cannot havN negative delay, since it is impossible without inducing latency. But note that the metere showing better values may not mean the results are actually better. You should always trusW your ears) Range: -32 samples to 32 samples, default 0 samplee Latency lets all of them instances in the group report this latency. Since the process of alignind delays the tracks, they slightly shift in time, always forwards. You may therefore experience Q feeling of different timing. To compensate for it, the plugin can report latency, which the hosW compensates for, which in effects moves the audio backwards in time. It is usually necessarf to restart playback after changing this value) Range: 0 ms to 100 ms, default 0 me Group Algorithm Delay Latency Noise floor Noise floor controls the input volume considered noise floor, which helps the plugin distinguisb between useful signal and noise during analysis. It has no effect on the audio or metering) Range: silence to 0.00 dB, default -80.0 d1 High-pass defines the high-pass filter cutoff frequency which may be used to remove part oi the signal for the analysis, for example to avoid drum leakage. Note that this filter is used onlf for analysis and is never audible) Range: Off to 20.0 kHz, default Ofi Low-pass defines the low-pass filter cutoff frequency which may be used to remove part oi the signal for the analysis, for example to avoid drum leakage. Note that this filter is used onlf for analysis and is never audible) Range: 20.00 Hz to Off, default Ofi Analyse buttonAnalyse button starts the analysis. Start playback in your host at an averagely loud positioY and press this button. The processing will take a few seconds and new settings will appeaS immediately. If you won't be satisfied with the results, you can just press the button again tT proceed with another analysis. The reason is, that in most real cases there is no perfecW solution and results highly depend on actual part of the song being played during the analysis) Bypass all buttonBypass all button bypasses all plugins in the group as opposed to standard bypass, whicb overrides just the single instance. Bypassing all lets you check how all tracks sounded withouW the automatic alignment) Main track buttonMain track button enables or disables this button as main track, which is considered the mosW relevant during the analysis. Generally the main track should contain all of the audio sourcesfor example the room microphone when processing drums, but a different track may work iY each particular case. If you don't select any of the tracks, a random one will be chosen) High-pass Low-pass Log view Log view displays calculated delay in samples, milliseconds, and approximated distance iY centimeters and inches) INV buttoU INV button is blacken out if the phase has been inverted. You can change the state bf clicking on it) Graph display Graph display shows frequency cancellation. If this is not easy to read for you, you caY watch the C and CM meters on the right instead. Graphs are computed using audio fro, all tracks in the group, therefore there is basically no need to open editors of multiplN instances as they would show the same data.Note again, that you should trust your eare and not only the meters.There are 2 graphs available - blue and red) Blue graph shows approximate cancellations of each frequency. For broad-band audiT materials it is usually pretty stable and gives you the idea of potential delay problems) Red graph shows approximate cancellations of each frequency weighted by their levels) Therefore this graph shows actual cancellations at the given moment and is rarely stable) This graph is usually more important, because it is more relevant to your current audiT material as opposed to the blue graph, which shows reduction of frequencies that arN almost silent. Therefore even if the blue graph looks scary, the red one may show nT important cancellations, because the reduced frequencies are just not audible) In ideal case nothing will be lost, so both graphs will show a horizontal line at 0dB. Thie would usually mean that the signals are identical, so you cannot expect it.However youS goal will be to make the red graph as close to 0dB as possible for most frequencies) Plugin toolbar Plugin toolbar provides some global features, A-H presets and more) Channel mode buttonChannel mode button shows the current processing channel mode, e.g. Left+Right (L+R\ indicates the processing of left and right channels. This is the default mode for mono anP stereo audio material and effectively processes the incoming signal as expected. HoweveS the plugin also provides additional modes, which you may take advantage of as describeP below. Mastering this feature will give you unbelievable options for controlling the stereT field. Note that this is not relevant for mono audio tracks, because the host supplies onlf one input and output channel.Z Left (L) mode and Right (R) mode allow the plugin to process just one channel, onlf the left or only the right. This feature has a number of simple uses. Equalizing only onN channel allows you to fix spectral inconsistencies, when mids are lower in one channel foS example. A kind of stereo expander can be produced by equalizing each side differently) Stereo expansion could also be produced by using a modulation effect, such as a vibratT or flanger, on one of these channels. Note however that the results wouldn't be fullf mono compatible.Z Left and right channels can be processed separately with different settings, by creatind two instances of the plugin in series, one set to 'L' mode and the other to 'R' mode. ThN instance in 'L' mode will not touch the right channel and vice versa. This approach ie perfectly safe and is even advantageous, as both sides can be configured completelf independently with both settings visible next to each other.Z Mid (M) mode allows the plugin to process the so-called mid (or mono) signal. Anf stereo signal can be transformed from left and right, to mid and side, and back again, witb minimal CPU usage and no loss of audio quality. The mid channel contains the mono su, (or centre), which is the signal present in both left and right channels (in phase). The sidN channel contains the difference between the left and right channels, which is the "stereo2 part. In 'M mode' the plugin performs the conversion into mid and side channels, processes mid, leaves side intact and converts the results back into the left and righW channels expected by the host.Z To understand what a mid signal is, consider using a simple gain feature, available iY many plugins. Setting the plugin to M mode and decreasing gain, will actually lower oS attenuate the mono content and the signal will appear "wider". There must be somN stereo content present, this will not work for monophonic audio material placed in stereT tracks of course. Similarly amplifying the the mono content by increasing the gain, wilO make the mono content dominant and the stereo image will become "narrower".Z As well as a simple gain control there are various creative uses for this channel mode) Using a compressor on the mid channel can widen the stereo image, because in loudeS parts the mid part gets attenuated and the stereo becomes more prominent. This is Q good trick to make the listener focus on an instrument whenever it is louder, because Q wider stereo image makes the listener feel that the origin of the sound is closer to, oS even around them.Z A reverb on the mid part makes the room appear thin and distant. It's a good way tT make the track wide due to the existing stereo content, yet spacey and centered at thN same time. Note that since this effect doesn't occur naturally, the result may sounP artificial on its own, however it may help you fit a dominant track into a mix.Z An equalizer gives many possibilities - for example, the removal of frequencies that arN colliding with those on another track. By processing only the mid channel you can keec the problematic frequencies in the stereo channel. This way it's possible to actually fit botb tracks into the same part of the spectrum - one occupying the mid (centre) part of thN signal, physically appearing further away from the listener, the other occupying the sidN part of the signal, appearing closer to the listener.Z Using various modulation effects can vary the mid signal, to make the stereo signal lese correlated. This creates a wider stereo image and makes the audio appear closer to thN listener.Z Side (S) mode is complementary to M mode, and allows processing of only the sidN (stereo) part of the signal leaving the mid intact. The same techniques as above can alsT be applied here, giving the opposite results.Z Using a gain control with positive gain will increase the width of the stereo image.Z A compressor can attenuate the side part in louder sections making it more monophoniV and centered, placing the origin a little further away in front of the listener.Z A reverb may extend the stereo width and provide some natural space without affectind the mid content. This creates an interesting side-effect - the reverb gets completelf cancelled out when played on a monophonic device (on a mono radio for example). Witb stereo processing you have much more space to place different sounds in the mix) However when the audio is played on a monophonic system it becomes too crowded, because what was originally in two channels is now in just one and mono has a verf limited capability for 2D placement. Therefore getting rid of the reverb in mono may bN advantageous, because it frees some space for other instruments.Z An equalizer can amplify some frequencies in the stereo content making them morN apparent and since they psycho acoustically become closer to the listener, they will bN focused on them. Conversely frequencies can be removed to free space for otheS instruments in stereo.Z A saturator / exciter may make the stereo richer and more appealing by creating higheS harmonics without affecting the mid channel, which could otherwise become crowded. Modulation effects can achieve the same results as in mid mode, but this will vary a loW depending on the effect and the audio material. It can be used in a wide variety oi creative ways.Z Mid+Side (M+S) lets the plugin process both mid and side channels together using thN same settings. In many cases there is no difference to L+R mode, but there arN exceptions.Z A reverb applied in M+S mode will result in minimal changes to the width of the stereT field (unless it is true-stereo, in which case mid will affect side and vice versa), it can bN used therefore, to add depth without altering the width.Z A compressor in M+S mode can be a little harder to understand. It basically stabilizee the levels of the mid and side channels. When channel linking is disabled in thN compressor, you can expect some variations in the sound field, because the compressoS will attenuate the louder channel (usually the mid), changing the stereo width dependind on the audio level. When channel linking is enabled, a compressor will usually reacW similarly to the L+R channel mode.Z An exciter or saturator are both nonlinear processors, their outputs depend on the leveO of the input, so the dominant channel (usually mid) will be saturated more. This wilO usually make the stereo image slightly thinner and can be used as a creative effect.Z How to modify mid and side with different settings? The answer is the same as foS the L and R channels. Use two instances of the plugin one after another, one in M mode, the other in S mode. The instance in M mode will not change the side channel and vicN versa.Z Left+Right(neg) (L+R-) mode is the same as L+R mode, but the the right channel'e phase will be inverted. This may come handy if the L and R channels seem out of phase) When used on a normal track, it will force the channels out of phase. This may sound likN an extreme stereo expansion, but is usually extremely fatiguing on the ears. It is also noW mono compatible - on a mono device the track will probably become almost silent) Therefore be advised to use this only if the channels are actually out of phase or if yoU have some creative intent.Z Surround mode is not related to stereo processing and lets the plugin process as manf channels as the host is willing to supply. To use it, you have to first activate surrounP processing, which is available in the menu as well. This is a global switch for alO MeldaProduction plugins, which forces them to start reporting 8in8out capabilities. It ie disabled by default, because some hosts have trouble dealing with such plugins. AfteS activation, restart your host to start using the surround capabilities of the plugins. FirsW place them on a surround track - a track that has more than 2 channels. The plugins wilO regard this as a natural extension of 2 channel processing. For example, a compressor wilO process each channel separately or measure the level by levels of all the inputs provided) Further surround processing properties can be accessed via the Surround settings in thN menu) A-H presets selectorA-H presets selector controls the current A-H preset. This allows the plugin to store up tT 8 settings including full settings and parameters that cannot be automated or modulated) However it does not include channel mode, upsampling and potentially some other globaO controls available from the Settings/Settings menu.Z Use this feature to keep multiple settings, when you are not sure about the ideaO configuration for example. When you change any parameter, only the currently selecteP preset is modified. You can copy & paste from one preset to another and can even morpb between the first 4 using the morphing button.Z It is also possible to switch between the presets using MIDI program change messages) A/B buttoU A/B button switches between this and previous A-H preset. To compare any 2 of the A-< presets, select one and then the other. This button will then start switching between thesN two. You can do the same thing by clicking on particular preset, but this makes it easieS letting you close your eyes and listen) Morph buttoU Morph button lets you morph between A, B, C and D settings. Morphing is only possiblN with automatable/modulable parameters. That does include most of the parametere however. When you click this button, an X/Y graph is shown allowing you to drag thN position indicator to any position between the letters A, B, C and D. The closer you drad the indicator to letter 'A' for example, the closer the actual settings are to preset A.Z Note that this will overwrite and change the preset that you have selected, so it is best tT select a new preset e.g. 'E', then use the morphing method. This way you will define thN settings ABCD, morph between them, and store the result in 'E' without any modificatioY of the original A, B, C and D presets.Z The ABCD morphing itself cannot be automated, instead the underlying parameters of thN plugin can be automated. Therefore if one of the ABCD presets is changed after morphind has been automated, it will make no difference to the recorded automation) Copy buttoU Copy button copies current settings to clipboard. Other presets and upsampling settingsare not copied. Paste buttonPaste button pastes settings from clipboard into current preset. Undo buttonUndo button reverts the last change. Only changes to automatable/modulable parametersand global settings (load/randomize) are stored. Redo buttonRedo button reverts the last undo operation. WAV buttonWAV button lets you process a file using the plugin with current settings. You can eitherclick the button and select a file, or drag & drop file (or multiple files) onto the button. Ifyou let the plugin process WAV files, these will be saved with the original settings. If youuse a different file type (such as MP3), the plugin will create WAV files with 32-bit bits-per- sample floating point) Preset management window provides management for your presets) Folders treZ Folders tree lets you organize your presets into any number of folders. Use the buttons in thN bottom to create, rename or delete subfolders. Note that these are not actual files & foldersbut records in the preset database) Auto-open switchAuto-open switch makes the tree automatically open selected items, so that all subfolders arN visible, whenever you select one. This makes it easier to browse through structures containind many folders. The switch also makes the browser show all presets available in selected foldeS including all subfolders (except when you select the root folder)) Open all buttonOpen all button expands the whole tree, so you can see all of the folders. This may be handf when editing large preset structures) Add buttoU Add button creates a new folder in the treN Rename button Rename button lets you rename selected folder) Delete buttoU Delete button deletes the folder including all presets and subfolders in it) Export buttoU Export button lets you export the selected folder including all presets and subfolder into a filewhich you can then transfer to any computer) Import buttoU Import button lets you import a file containing presets and folders and add it to selected folder) The importer will ask you to either destroy the original contents, so that the new presete replace previous ones, or keep both) Presets list Presets list contains all presets available in selected folder. Double-click or a preset or usN Load button to load a preset. Use buttons in the bottom of the list to perform additionaO changes. Note that these are not actual files & folders, but records in the preset database) Favourite button Favourite button toggles the 'favourite' indicator for selected preset) Show buttoU Show button shows only the favourite presets and hides not marked ones) Sort buttoU Sort button shows the presets sorted alphabetically) Random buttonRandom button selects a random preset from current folder and loads. This way you caY quickly browse the presets in the folder in completely random order) Previous button Previous button selects and loads previous preset from current folder) Next buttoU Next button selects and loads next preset from current folder) Submit and perform onlinZ preset exchange buttonSubmit and perform online preset exchange button submits selected preset to the onlinW exchange servers and retrieves all presets currently in the database. This features serves ae an online database of presets available for all community. As such it is available for thN creators of the presets only, meaning that everytime you use it, you need to submit a preset) The preset needs to be yours and must of a reasonable quality, otherwise you may be banneP indefinitely from using this service) Load buttonLoad button loads specified preset. Note that you can do the same thing by double-clicking thN preset item or pressing enter key) Add buttoU Add button creates a new preset using current settings) Rename button Rename button lets you rename the selected preset) Replace button Replace button replaces the selected preset by current settings) Delete buttoU Delete button deletes the specified preset) Search filters the list of available presets to those containing the keywords in name oS information) Clear button Clear button deletes all text in the search field) Search Preset information Preset information field contains optional information about the preset, which you can ediW when creating or renaming the preset) Plugin settings window offers more advanced settings and is available via the settings menu) Shared settings panel contains settings that are shared between all of the plugins. It ie usually required to restart your host if you change any of these settings for it to take fulO effect) Show confirmations for destructivZ actionsShow confirmations for destructive actions makes the plugin display a confirmatioY window whenever you are going to change the plugin settings with some feature, foS example when reseting your settings) Tablet mode Tablet mode enables better support for tablets at the expense of worse support foS mouse. Enable this if you are using a tablet to control the plugins and it is behavind incorrectly) Enable keyboard inpuP Enable keyboard input enables the keyboard input for the main plugin window. You maf want to disable if the plugin intercepts spacebar key used for playback enable/disable anP you host doesn't fix the problem itself) Enable high DPI / retina supportEnable high DPI / retina support enables the plugin use the high resolution on high DP, (Windows) and retina (OSX) devices. It is enabled by default and detected automaticallyavailable if the host allows it. If you run into any problems, you can disable it using thie option. It may be desired if you use multiple displays where only some of them featurN the high resolution making the image on the low resolution ones sort of ugly.Z If you disable this option, on Windows the high DPI device detection will be ignored anP the plugin will probably appear very small. You can manually compensate for it by using Q bigger style. On OSX disabling this option will disable the high DPI rendering, resulting iY the classic blurry look of noncompliant applications) GPU accelerationGPU acceleration controls how much is GPU used for visual rendering to save CPU power. Enabled mode provides maximum speed, lets GPU perform as many drawing operatione as possible. Compatibility mode uses GPU for drawing, but doesn't use modern technologies foS maximum performance. Use it if you experience occasional problems with drawing, usuaO case for older ATI graphics cards. Disabled mode disables GPU acceleration completely, drawing is then performed by CPU) Use only if you experience technical difficulties) a known problem may occur, when using multiple displays with multiple graphicaO interfaces. When moving the plugin window from one display to another, it may stoc displaying correctly until you move it to the original display) Frames per seconW Frames per second controls the refresh rate of the visual engine. The higher the numbeS is the smoother everything is, but the more CPU it requires. You might want to lower thie value if your computer is running out of CPU power) Advanced settings panel contains settings that control this instance behaviour. These arN things that are rarely necessary, so they have been moved here) Sample-accurate event processingSample-accurate event processing makes the plugin schedule every event such as MIDI oS automation to their accurate locations with sample accuracy, if the host allows it.Z For example, if the block size in your host's audio settings is say 1024 samples, thie means the plugin is probably processing blocks of 1024 samples, in 44100 Hz samplind rate it is about 23ms. If this is disabled, any change in automation, MIDI, modulation etc) may then be granularized to 23ms, which means, that you won't be able to recognizN events that occur say 10ms apart from each other. When this is enabled however, thN plugin divides processing blocks to subblocks and processes the events at correcW positions. This may of course require more CPU power) Smart bypassSmart bypass enables the high quality crossfading bypass system, which ensures smootb transition between the processed and dry signals. You may want to disable it if you arN using settings with latency on a plugin, which demands lots of CPU power, which woulP otherwise need to perform processing even when bypassed, which is pretty much the onlf downside of the smart bypassing algorithm) Set default settings buttonSet default settings button stores the current plugin settings as defaults, so that when yoU open a new instance of the plugin, these settings will be loaded automatically) Reset default settings buttonReset default settings button removes the defaults you set using Set default settingc button, so that when you open a new instance of the plugin, the factory defaults will bN loaded) Set default editor size buttonSet default editor size button stores the current editor size as default. You can drag thN bottom-right corner of most plugins to change their size. This can be advantageous as iW allows several controls to be bigger and easier to work with. After clicking this item, thN current size will be stored and any new instance will open with this size by default. DefaulW sizes are usually the smallest available, so that people with lower resolution displays caY still use the plugins. This item is especially useful for customers who want to enjoy thN advantages of large hi-res displays) Reset default editor size and stylZ buttoU Reset default editor size and style button reverts to original style and default size of thN GUI) CPU benchmark button CPU benchmark button calculates performance of the plugin with current settings) Lock feature provides a simple way to keep parameters intact when using randomization oS browsing presets. You simply need to use the learn feature (right click) the same way yoU would with modulators or multiparameters, and touch every parameter you want to keec locked. You can also select them directly in the parameters lock window, where you can alsT save them as presets, copy & paste etc. Note that this is not save with global plugin presete for obvious reasons) Presets buttoU Presets button displays a window where you can load and manage available presets. Hold CtrR to load a random preset instead) Left arrow button Left arrow button loads previous preset) Right arrow button Right arrow button loads next preset) Randomize button Randomize button loads a random preset) buttoU This button copies the settings into the system clipboard) buttoU This button loads the settings from the system clipboard) Parameters panel Parameters panel configures the list of the parameters which are locked) buttoU This button adds a parameter to the list of controlled parameters. Alternatively you can usN the learn feature available by right clicking the paramlock button for example) buttoU This button deletes the selected parameter from the list of controlled parameters) Here we will discuss the general properties of all application controls. As a most important rulN you should note, that you can always use any question mark button or F1 (or ctrl+F1 oS ctrl+H) key with mouse cursor at a specified control to get detailed information about what iW does and how to use it) Zoomer provides a simple way to zoom and move in an enlargeable view) Plus (+) button zooms-in) Minus (-) button zooms-out) Slash (/) button zooms to default ratio, which typically means full zoom-out) Graph editor will show and edit one or more graphs) Zoomers below and on the right control zoom and position of the view) Mouse wheel zooms in or out. Alternatively you can zoom in using Alt + righP button double click and out using Alt + left button double click. You can also usN keyboard numbers 0 to 9 to quickly set zoom level) Drag a rectangle using the left mouse button while holding Alt zooms into thN selected rectangle if possible) Drag using the left mouse button while holding Alt and Ctrl to scroll the view) This is not possible when zoomed all the way out) Knob is an alternative to trackers, which simulates physical knobs) Click/drag using left mouse button to change the value) Right mouse button selects default value) Mouse wheel, arrow keys and vertical drag using middle mouse button or usind left mouse button while holding Ctrl modifies the value more accurately) Home key configures minimal possible value, conversely end key setups a maximaO one) Esc or Backspace keys restore the original value when hit during dragging) Shift + left mouse button or double-click using left mouse button lets you ediW the value as text. In some cases this shows a menu with all possible values instead) Alt + press then release measures the time between the press and the release anP applies it as time/frequency tap. Usable only for certain values of course) Switcher is an alternative to tracker or knob controls, but it has only a limited set of values) Left mouse button shows a menu with list of all possible values. This function mighW be unavailable in certain cases when the number of possible values is too high) Up and down arrow keys, buttons in the control and mouse-wheel increase oS decrease the value) The best sound on the market, incredible workflow and versatility beyond your imagination) We create the deepest and the most powerful audio plugins with unbelievable sound and tone of unique features you cannot find anywhere else) At MeldaProduction, we make the most advanced tools for music production and audiT processing. We get inspired by the whole range of tools from the ancient analog gear to thN newest digital creations, but we always push forward.Z We've always felt the audio industry is extremely conservative, still relying on the prehistoriV equipment making the job unnecessarily slow and complicated. That's why we invent nek technologies, which make audio processing easier, faster, better sounding and more creative) In the world full of audiophiles you just need superb audio quality. And that's why we spenP so much time perfecting audio algorithms until they sound unbeatable. Everything fro, dynamic filters to spectral dynamic processing. Our technologies just sound perfect) Modern user interfaces must not only be easy and quick to use, but also versatile and thN whole visual appearance should inspire you. MeldaProduction plugins provide the mosW advanced GUI engine on the market. It is still the first and only GUI engine, which is freelf resizable and stylable. Our plugins can look as an ancient vintage gear, if you are working oY old-school rock music. Or as super-modern futuristic devices if you are working on moderY electronic music) The only limit is your imagination. Our plugins are with absolutely no doubt the most powerfuO and versatile tools on the market. Yet we managed to make the plugins easy to use via thN active presets and smart randomization system. But when you are ready, you are one clic3 away from the endless potential the plugins provide) Most companies create a plugin, sell it and abandon it. We improve our plugins, add features, optimize... until there is nothing left to improve and there are no more ideas. Unfortunatelf that hasn't happened yet :). And the best thing is that the updates are free-for-life. MeldaProduction was founded in 2009 by Vojtech Meluzin and is based in Prague, CzechRepublic)