tap-plugins-doc-20040817/0000755000175000017500000000000010110401564013421 5ustar miramiratap-plugins-doc-20040817/reverbed/0000755000175000017500000000000010110401610015207 5ustar miramiratap-plugins-doc-20040817/ladspa/0000755000175000017500000000000010110401600014654 5ustar miramiratap-plugins-doc-20040817/sflogo.png0000644000175000017500000001172410110401430015415 0ustar miramiraPNG  IHDR>}gAMA  cHRMnt$m_l<XGO[IDATxb` Q0###@1 FH2aa~c @;~ F+Y;wlNNNiiiULW20``ggfPee`bb`QB`@޽}6BFFFJJJUUnPA$ =J FQPQQͅsܸ{a+f ZN 6 <u9<}[tuu:0m߾9u}ӧ.0 2j?,Y͐><3\ dT"'`聮 01K$10h_`2 ozun@eCσ4@!8:X`6 N:yT@V,K"/oaIO<怩5jLSIm@YO}cp+@n#0C `}mΤ[S B+  ^O9QF@,@dѐ2HF9t?4 MyʼnFilEE`5`EL90t@U<_K{ ZN@ OB8ƃ, "vF-֔v" 3e@T,>څ\c8d)NxAב дC2Zq8YCF-E}`{_^̪gQQ2^9w};x#;d-Ze!d6ӝ;*d=%d! 4dq3Asނ[p*F303!!Qq"Oy"RZ1ujDZSZ07 _\5gV[$հ*d"wXL&Ē$!Ϻs\-b`z P|^RqPL,>Xp NJ7Uwxð-UXMlѮ6^·iFz+D-x5:wژ7vJa~^<]O#p&;`rZt(0q@ou (3ܟ/~$}K40"6e 3 F ;h||!*1pjXGCbf} oƠ c:u.ßoOtv B@@3 aL"]D`ѝc?0=p} G,ud2pI00iNk[`d7elF:`$`d7  :$&;ݰ8  ,hll$o @&Q@Caa!h4ٍr0Sh4ٍ0Mv4l%&&Rh@&Q@r@'> j'>;s6lx"D}@@g@+.\1Y@@@__ @~ >|ٙ BGCF0^__9EAAn~zdȲ4 ٸq#Z_)00RAab`] 4~:@h $MxS45###@A1 3@;4,B{#D;PP 8-d[.MvC'0@!`*\4I e#rY(Ov4@;ܫyKP"Wh-Eʓ@ =,̾#2\ǻ2ɮ h4 =|L8\p!MpC^^vkt F?632aR֧!:8L֩h4\]pu965ïߌ_?2,Vc  ", + iЎ@ɎHc | Ï >1g{u4@#4Ofx~ATAPS쾽b`aeV_#ƗJ\H @v)eOA@AԞAԎAP_33VyA+ h4 SOWC 20cdq29G 6h%K'f 2Ï ~(׹pڈŋia FK;:1;× 29B3|?}c 1b 6P*B@ɎN'2| /0:!w >'?v4i`94~ o0x)o_oaAj绣%oILL$oc".@ɎN?Zh><2H´(~0q-pE\{$'ÿO0I0 pe7.hhhl&Q(b{{{bqʀs  4UA.x022h+̋?@/I%A *P/`[HR  L|FR&??(F`ʁ+K FMi`o'T ,I $0  {FZ` J\; F i+IENDB`5072tap-plugins-doc-20040817/reverbed.html0000644000175000017500000000625210110401430016102 0ustar miramira TAP-plugins
TAP-plugins
Tom's Audio Processing plugins
for audio engineering on the Linux platform
[ Home ] [ LADSPA plugins ] [ TAP Reverb Editor ]
[ Compiling & installing ] [ User Manual ]


TAP Reverb Editor
An interactive tool for room acoustics simulation
Latest version: Release 0

TAP Reverb Editor is the standalone JACK counterpart of the LADSPA plugin TAP Reverberator, which is part of the TAP-plugins LADSPA plugin set. This means that the two programs/plugins perform the same audio processing, but they have some advantages over each other:

Reverb Types created with this program can be easily 'exported' into the LADSPA version. (Easily means: you have to copy two files and re-compile TAP-plugins.) For a detailed description of this process, please refer to the manual.

To get satisfactory results with TAP Reverb Editor, you will need to set your system up to run JACK well. See http://jackit.sf.net for details.

This program relies on The GIMP Toolkit (GTK+) version 2.0. You need the GTK+-2.0 development libraries correctly installed to be able to compile.


$Id: reverbed.html,v 1.2 2004/06/22 13:36:25 tszilagyi Exp $
tap-plugins-doc-20040817/ladspa.html0000644000175000017500000001113010110401430015537 0ustar miramira TAP-plugins
TAP-plugins
Tom's Audio Processing plugins
for audio engineering on the Linux platform
[ Home ] [ LADSPA plugins ] [ TAP Reverb Editor ]
[ Releases ] [ CVS ] [ General Info ] [ Plugin Manuals ]

About TAP-plugins (the LADSPA ones)

TAP-plugins is short for Tom's Audio Processing plugins. It is a bunch of LADSPA plugins for digital audio processing, intended for use in a professional DAW environment such as Ardour. These plugins should compile and run on any recent (that is, not seriously outdated) GNU/Linux system. They don't require any special libraries besides the standard GNU C and math libraries, which are expected to be provided on the machine used for compiling.

Check the LADSPA homepage for links to other great plugins available on the Linux platform. Also feel free to check out LinuxLinks.com and get a feel of the amazing amount of excellent software available on Linux (you will find TAP-plugins in the section Software/Multimedia/Tools). Dave Phillips also has a very complete link collection of Linux MIDI & Sound Applications.

The plugins have been developed with Ardour as a primary host in mind, but they should be usable within any LADSPA-capable host. The main issue here is that LADSPA plugins don't generate their own GUIs, but the GUIs are generated by the host. Therefore the arrangement and appearance of the controls may vary using another host. In particular, Ardour displays drop-down lists instead of pure integer inputs in LADSPA plugin GUIs, if and when appropriate RDF metadata of the plugins is available. TAP-plugins makes use of this feature, see the screenshots of TAP Dynamics and TAP Reverberator for example.

On other (non-RDF-aware) hosts, it is very likely that only numerical input fields will appear in place of drop-down lists. In this case, the mapping is simple: 0 means the first item in the list, 1 the following and so on. However, no audio processing ability is involved, so the plugins should perform the same way even with a somewhat lacking GUI.

To support easy spotting/selection of the TAP-plugins in a plugin selection dialog loaded with lots of other available plugins (and to achieve consistency), every plugin's name starts with the letters TAP. The actual name of the plugin follows after a space.

The audio processing algorithms done by TAP-plugins are coded to be independent of the actual sample rate. The sample rate is always a parameter during computations. The plugins have been tested with sample rates 44.1 kHz and 96 kHz, as the author uses these values in his studio. Please note that although all plugins should be essentially functional at virtually any sample rate, the audio fidelity depends slightly on the actual sample rate used. Higher sample rate is better, of course. This means that an equalizer or reverberator plugin will produce higher quality output, and will sound a bit smoother at 96 kHz compared to, say, 44.1 kHz. This is a natural effect that results from the fundamental properties of digital signal processing, but you should be aware of it nevertheless.


$Id: ladspa.html,v 1.2 2004/06/22 13:36:25 tszilagyi Exp $
tap-plugins-doc-20040817/lad.gif0000644000175000017500000000614310110401430014644 0ustar miramiraGIF89aZ!,Z "'&###**",,)32)88-446=<3::;=>CEE4ABRN:TR<[Y4njvp~xd`,nj*eb5uo)vr.|v*~z.tp2CDBFHLMLCLNQSRGWVL\]E\[NQRRTU[^^VYZ]]_acbKdcUff^llRjj^vrVzzVzzZbehnnejjhhjpnpurrcvvl||juvzz{q{}z|~##$&&&*bp|q}jj~r~Ƽ**...žŎžϜ֞ƣʪ±͵ʺڬԵԽְ۾ްs HTXȰÇ#J0@ZN(PMlP$ %CX1KZAi4x@@ ʼZjUXښʕVN}muX%()'Ȗ=y&З{Kh` aX}Ă2RIcjUSuXWƞeJT ф/i28@a,pC+sZq‰ 'exU̓?:%NuU`ƌ v EgA+a!lr  .H`&6d%dK,#dE,2F# cz`5ڍXklgG_TLafdA 1TQiA0A%,6)"˙h e,+'|tRgjb`p"AXt4D(t@ L!⩙i,f-R U*FV +‘-E%`$L2I&ds:7Kb\a,8 Ԃ*2'8PUYcYC@-qTInbo&8d, *p:ڪ7ډqZ+Fڮ) &0_%ax0i&`^FKȢ t, QK At1z6j^6!Ŧ&<dqA FPW2\p[ HXx: Rzt)="VӳƊYB{t"  A䑇-!K8$M#0-AD#P Bp)9LY5HLI!CFh_Q 9@DL 0z *<1 7["?Є,? E >0 ՎؠeO^ A.@vp̅.@<sE$B | ZA ~  T0` T @)Ѐ?C@C Ċa#n@8)0  p XB$0FZ` ON` A,HB(AN1<((T$`A`AP|_쀇+Үv" *h(V4@+0KXre.vK\%рIK `Uf 1J\f&,XX"n g,`ANX"0,JARӝBUaz@)O[{,~I; ` D%Hb8ۚ-jCF7l)o7Bi\ԨfiPR؄&l-Ad-Ƀ"X_r!:5(`4 | f sz4YV @K &pQ h>;%a060 BAAh!L*@";o: |QV@p@CcЂ3dgA<`qnf  .x  G`~'8 qA fM`"\` @J<:B4ᱨ@ |#W&y/[[rhAm\ x/n0* IHGeE#4"E`'e^S2 )04[p"L8sD(l@ Ȅ -@$wH@ P&4$5T#貭. G \;BP<;J@ pT i,.37[g֨DJ ሤHl!B'A C\a M̢! @юT'a-洪j+N d6%aKkK0a0oBRdP]';ArPBb 011 P(  #hVhA6BpΠ6!J%Ds%bP4 n HOe0@V5:$ qv$ax(% PaUb3hPWb@b$z@LLx™HуO*04B B \Ux#)x3,,(p@=t (A*9>"H<:#C# H'XAMC O" C@PJ;tap-plugins-doc-20040817/index.html0000644000175000017500000001316310110401504015414 0ustar miramira TAP-plugins
TAP-plugins
Tom's Audio Processing plugins
for audio engineering on the Linux platform
[ Home ] [ LADSPA plugins ] [ TAP Reverb Editor ]
[ SourceForge project page ] [ Web-based CVS browser ]

TAP-plugins
Tom's Audio Processing plugins
for audio engineering on the Linux platform




Hosted by
SourceForge.net Logo

About the TAP-plugins project

This website holds information concerning some audio software usable on UNIX-like operating systems, particularly GNU/Linux. The project producing this software started out in January 2004 when the author took the plunge of using Linux Audio (particularly Ardour) in his recording studio. Initially four LADSPA plugins were written, but the number of available plugins steadily increased over time. New plugins are still being actively developed.

It was in early June 2004 that the author realized he needed a reverb solution with such flexibility that a LADSPA plugin could never provide; not because the sound processing was lacking, but user accessibility to the internal structure and variables of the reverb algorithm was needed. As a result, TAP Reverb Editor was written as a separate JACK application.

Today the project provides two software packages for download:

  • tap-plugins: A set of LADSPA plugins.
  • tap-reverbed: TAP Reverb Editor, a separate JACK app.

Please go to the SourceForge project page to download any of these packages.

As a supplement, this website (which acts both as a homepage and as a manual for all TAP-plugins software) is available for download as a separate package called tap-plugins-doc (get it from the SourceForge project page). However, because the online version may be updated or corrected between releases, you may want to take a look at it if you feel something is outdated or plain wrong in the latest tarball.


Announcements and Feedback

Linux Audio Developers mailing list

Announcements of new versions of any TAP-plugins packages will be sent to the Linux Audio Developers mailing list. Announcements of greater ("milestone") releases will be CC:-ed to Linux Audio Users and Linux Audio Announce as well.

TAP-plugins is being developed by Tom Szilagyi. You can send him mail to <tszilagyi at users dot sourceforge dot net>. (You should generally receive a reply in 48 hours, if your mail deserves it; please note that I have a life, I have to sleep sometimes and I live on the other side of the planet.) If you would like to start public discussion about TAP-plugins, please send your mail to the Linux Audio Developers or Linux Audio Users mailing list, depending on the nature of your mail (I am subscribed to both lists).

Please write if you have problems compiling or running any of this software, or you feel some plugin does something different than it should. The author is not a professional programmer, and he is no DSP guru either; so if you find something isn't right then it probably ain't. So please write -- unreported bugs never get fixed.

In one word: any feedback is most appreciated.


License and Disclaimer

TAP-plugins are released under the GNU General Public License, version 2. See the file COPYING (included in the tarball releases of all software packages) for details.

DISCLAIMER: The plugins described here are available to you free of charge, and you are welcome to examine their internal workings, modify and re-distribute them. But keep in mind that TAP-plugins is provided "AS IS", and it comes with ABSOLUTELY NO WARRANTY of any kind, either expressed or implied, included, but not limited to, the implied warranties of MERCHANTABILITY and FITNESS FOR A PARTICULAR PURPOSE. Again, see the file COPYING for details.


$Id: index.html,v 1.3 2004/08/17 13:04:48 tszilagyi Exp $
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TAP Reverb Editor
User Manual

Starting the program

If the program is correctly installed on your system, all you have to do is type reverbed. However, there are a few command-line parameters that are worth mentioning:

  • -a: by default, the program does not connect its inputs and outputs to any JACK port. When this option is used, the program will try to connect its inputs to the first two hardware capture ports, and its outputs to the first two hardware playback ports.
  • -i: same as -a, but connect only the inputs to hardware capture ports.
  • -o: same as -a, but connect only the outputs to hardware playback ports.
  • -c <client_name>: use <client_name> instead of the default 'reverbED' when registering to JACK. You need this option if you want to run more than one instance of the program at the same time, since JACK client programs must have unique client names.

The main window

Editor window (1)

The main window (as shown above) lets you do most of the work. It consists of three areas: the top part provides controls for adjusting global parameters of the reverberation unit, as well as three buttons to launch additional windows (Port Setup, Save / Export, About). The middle part (with the combo box and the New, Copy, Rename, Del buttons) lets you manage your Reverb Types by creating new ones from scratch or from an existing one, as well as renaming and deleting them. Finally, the notebook provides controls to adjust internal parameters of a chosen Reverb Type. So let's describe them in detail.

Global parameters

  • Comb filters: this toggle button switches processing of comb filters on/off, the default being switched on. Comb filters simulate the early reflections part of the reverb sound.
  • Allpass filters: switches processing of allpass filters on/off, the default being switched on. Allpass filters simulate the dense 'tail' of the reverb; they add more depth to the reverberated sound.
  • Bandpass filter: switches the bandpass filter on/off, the default being switched on. The bandpass filter has a low and high cutoff frequency; the spectral content that falls outside this range is attenuated. It processes the sound coming from the comb and allpass filters, and makes the effect more natural by filtering out those frequencies that normally do not occur in natural reverberation.
  • Enhanced Stereo: adds spatial spread to the reverb sound, largely adding to its depth and dimension. It sounds so great, it's best to always leave this on. It does not consume extra CPU, just changes the way internal parameters are calculated.

The TAP Reverberator manual has detailed advice about setting the following plugin parameters.

  • Decay: adjusts a mostly important global parameter of the whole effect. Larger values create depth, while smaller ones create the feel of tighter, smaller spaces.
  • Dry Level: adjusts the amount of the incoming dry signal in the output signal.
  • Wet Level: adjusts the amount of processed signal in the output signal.

Some people will agree that the BYPASS button provides the most useful feature of the program. ;-)

Managing Reverb Types

It's all about creating the perfect sounding reverb for your own use! TAP Reverb Editor comes with a set of Reverb Types, but the whole point is that you can create your own ones. Let's see what the program provides to this end.

  • The Reverb Type selector combo box holds the name of all currently available Reverb Types. Use it to select a Reverb Type to listen to, or operate on.

These buttons provide functions for Reverb Type management:

  • New: create a new Reverb Type from scratch. After you enter the new name in the dialog that pops up when you press this button, an 'empty' Reverb Type with that name is created and inserted into the list, so it will show up in the combo box. The new Reverb Type is not completely empty: it has one comb filter and one allpass filter, with their parameters set to default values. The bandpass low and high cutoff frequencies are also set to default values.
  • Copy: create a new Reverb Type, starting out as a copy of the currently selected Reverb Type. Use this to enhance existing Reverb Types while keeping the old version as well. Or create a working copy of an already satisfactory Reverb Type for random experimentations without spoiling the original.
  • Rename: change the name of the currently selected Reverb Type.
  • Delete: remove a Reverb Type that you don't like.

Any changes you make to any Reverb Type (including creating, renaming and deleting them) remains in memory until you explicitly tell the program to save Reverb Types to file (more on saving later). So if you mess something up, just exit the program without using the Save / Export button, and all your changes will be gone.

Editing a Reverb Type

Reverberation is modelled by a set of comb filters, allpass filters and a bandpass filter. The maximum number of comb filters is 20, and the same limit applies to allpass filters. (It's easy to heighten this limit in the source code, but that is beyond the scope of this manual.)

Mastering the filters

The notebook pages Comb Filters and Allpass Filters consist of a graphical display representing each comb/allpass filter with a vertical line. There are controls to cycle through all filters (Next and Prev buttons), add/remove filters (New, Del) and adjust the parameters of the currently selected filter (spin/slider controls at the bottom of the page). The currently selected filter is highlighted in the graphical display.

The reverb sound will immediately follow the changes you make to filter settings. It is possible to set filters so hot that they start operating as oscillators instead of filters (usually at extreme high feedback and extreme low delay time settings). If this happens while you are editing a Reverb Type, don't panic. Just hit the BYPASS button -- that will zero out all internal buffers so everything will cool down. While the effect is bypassed, move the filter parameters that caused trouble back to the 'safe area', then re-enable the plugin.

Comb filters

Comb filters are responsible for creating early reflections. They have three parameters: Delay, Feedback and Freq. Response. The delay time is proportional to the distance the sound travels before it reaches your ear as an early reflection. As each comb filter simulates a certain area where acoustic reflection occurs (a wall or the ceiling for example, but possibly other objects as well), the delay time you set determines the virtual distance of this object from the sound source and the listener. In the graphical display, the horizontal position of the line representing the filter depends on this parameter.

Various kinds of materials reflect and absorb acoustic energy in various degrees. The feedback parameter provides control of this effect. For something that is a very good reflector (a flat brick-wall for example) a reasonably high feedback value should be used. In the graphical display, the length of the line representing the filter depends on this parameter.

There is a secondary effect taken into account when simulating early reflections: not only does the reflection ratio of acoustic surfaces vary from one to another, but the reflection ratio of surfaces is also frequency-dependent. Higher frequencies are attenuated more, thus high frequency components decay in a shorter time. The Frequency Response slider sets the amount of high attenuation for a given comb filter. There is nearly no extra attenuation of high frequencies when it is set to zero. In the graphical display, the color of the line representing the filter depends on this parameter. Filters with lower Freq. Response values (which mean smaller extra attenuation of high frequencies) will be plot with a 'hotter' shade.

Allpass filters

Allpass filters are responsible for creating a reverb tail that makes the reverberation thicker and more natural sounding. They have two parameters, identical to the first two parameters of comb filters. Note, however, that the maximum delay time of allpass filters is about an order of magnitude lower than of comb filters. The graphical representation of allpass filters is done in the same way as comb filters, but here each line has the same color.

Bandpass filter

This notebook page provides two sliders to set the low and high cutoff frequencies of the bandpass filter.

Impulse Response: a visual aid

Editor window (2)

A cornerstone of linear systems theory is that any linear system (such as a complex digital filter like this reverb) is unequivocally determined by its impulse response. Apart from this theoretical curiosity, it may be useful to take a look at the impulse response of a Reverb Type while inspecting or modifying it.

The Length slider below the plot lets you choose the end time of the simulation (with the start point being at time zero). The time needed to finish plotting is proportional to the time simulated. As this is quite a CPU-demanding operation, it is never performed automatically: you have to press the Recalculate button every time you want to see a new plot of the currently active Reverb Type.

Please note that the simulation shows the impulse response of the 'clean' reverb: the settings of the dry and wet levels as well as the BYPASS button are irrelevant. The decay time setting and the global switches (Comb Filters, Allpass Filters, Bandpass Filter, Enhanced Stereo) do affect the plot, though.

Port Setup

Port Setup dialog

When you press the Port Setup button, a dialog similar to the above pops up. It is very much like the input/output connections dialog of a mixer-strip in Ardour, the only difference being that here the input and output ports setup is performed in one dialog.

The upper half of the window handles connections to the input ports. On the left, each input port has a list of its current connections. By clicking on any list item, that connection will be removed. The Clear connections button removes all connections from the input ports.

The notebook on the right has a page for all client programs and hardware devices available to the JACK server. By selecting a page, you will see a list of that client's output ports. Clicking on a list item connects the port to the currently selected input port (which has a blue header). You can change the selected input port by clicking on the unselected (grey) list header. When you add connections to the input ports, the selection alters between the two inputs.

Connecting the outputs can be performed in the same manner. If you start up another JACK client while the dialog is open, you may press the Rescan button to make it appear in the notebooks on the right. Closing and re-opening the dialog has the same effect, since JACK ports are re-read and a new dialog instance is built every time.

Save / Export

Save / Export dialog

Saving your work

After you have had a good time messing around with Reverb Types, you may want to leave everything as it was. In this case, just exit the program and every change you made will be lost. However, there may be times when you do have something to save: in this case, you will want to make the changes permanent. So press the Save / Export button, and the above dialog will appear.

Since there is quite a lengthy explanation included in this dialog, things are pretty straightforward. The program stores everything there is to Reverb Types in one file, and reads it every time you start the program. The file read on program startup is always ~/.reverbed (a file called .reverbed in your home directory), but you have the option to write to another file in case you want to maintain different versions of the file.

A request to all users

The author of this program kindly asks you that if you develop any new Reverb Type that you think would be of general interest, please send him your .reverbed file via e-mail, along with your name (if your mail headers don't tell it all). Good Reverb Types will be included in the next release (with due credit given to the original author, that's why I need your name). This is a perfect way to give something back for this software, and other users will benefit from it as well. Thank you.

Exporting to TAP Reverberator

Since this program is a JACK client, it cannot be automated from within powerful hosts such as Ardour. However, if you created a good Reverb Type, the program supports transferring its data into TAP Reverberator, which is a LADSPA plugin for the same reverberation algorithm. It has the advantage of being automatable on Ardour mixes, but it has no capabilities for editing Reverb Types (that's why TAP Reverb Editor was created, after all).

Exporting is the process of making the set of Reverb Types in TAP Reverberator be identical to the set of Reverb Types in this program. To do this, you have to export two files named tap_reverb_presets.h and tap_reverb.rdf to an arbitrary place on your computer storage. In the source code directory of the TAP-plugins LADSPA plugin package you will find two files with these names. Overwrite them with the newly exported ones, and re-compile and re-install the TAP-plugins package. That's all, you will have the same Reverb Types available in TAP Reverberator after that. Pretty cool, eh?


$Id: manual.html,v 1.2 2004/06/22 13:36:36 tszilagyi Exp $
tap-plugins-doc-20040817/reverbed/install.html0000644000175000017500000000670610110401430017554 0ustar miramira TAP-plugins
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Tom's Audio Processing plugins
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Compiling and installing
TAP Reverb Editor

You need the following libraries to compile TAP Reverb Editor:

You also need to have:

If you have all these, just go on and type ./configure, then make. The configure script will complain if anything is missing. Note: when you install packages like JACK from source, always specify the correct prefix parameter to the package's configure script; this way you can be sure the package will be installed in the right location (the question is usually whether the local path should be used, eg. /usr/local vs. /usr).

After a clean make, type make install (as root) to install the executable. If you want to change the default place (which depends on your system, but is usually something like /usr/local/bin), please pass the appropriate --prefix option to ./configure.

IMPORTANT: TAP Reverb Editor writes to and reads from a file named .reverbed, which is always expected to be found in the home directory of the user who runs the program. TAP Reverb Editor comes with a default .reverbed file (located in the src/ subdirectory along with the source code), which you should manually copy to all those user's home directories who will want to use the program -- 'make install' does not do this for you! Don't forget to set the file permissions so that the user who will run the program has read and write permissions on his/her copy. Finally (if everything went fine) you can start the program by typing reverbed. You need an already running JACK server of course.


$Id: install.html,v 1.2 2004/06/22 13:36:36 tszilagyi Exp $
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~`'sy1kvO%T~Go<^.ui.?|Щ'apvF{'pS@nK c@P!Y*@'$^pǒPCQxERzM~@&$^\IPwcyƼ‘bRJBJS=YfQcRq\ع{KM9j)\-EG7g:DU䳱⾾lO֫2֌j) 7i|16(ic}Q;||kOZ@$pևDNtm fjZJ2֏-|)Fza6}Sݷ>wWgFzq[0ε2PyG^^SO|i5V_v-;ʗuvהxm4'T<dQx,cU10{>KBQxERJQEQxPrE&^P@Qx 0fw GJRE?η(,L |7PF(|( <*G]5w ;P ;9KjG4z)̅ j_aR+767RU s)Y) :1Ț\OsʼJToz^},{xG 3Fo)QoFv}1î8ڋ|V/WxÌ7C/W[[[I] < bJxY@x|ڽzxN` \7Q D CQHb%(<TP*  *EJRCO_zAN$ [[[٠0@HP)T"@HP)T"@HP)T"@HP)T"@HP)Tj`ݿܘ ~ohj/r*EJR$ *Z( IENDB`tap-plugins-doc-20040817/ladspa/tubewarmth.html0000644000175000017500000001736610110401430017742 0ustar miramira TAP-plugins
TAP-plugins
Tom's Audio Processing plugins
for audio engineering on the Linux platform
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[ TAP AutoPanner ] [ TAP Chorus/Flanger ] [ TAP DeEsser ] [ TAP Dynamics (Mono & Stereo) ] [ TAP Equalizer and TAP Equalizer/BW ] [ TAP Fractal Doubler ] [ TAP Pink/Fractal Noise ] [ TAP Pitch Shifter ] [ TAP Reflector ] [ TAP Reverberator ] [ TAP Rotary Speaker ] [ TAP Scaling Limiter ] [ TAP Sigmoid Booster ] [ TAP Stereo Echo ] [ TAP Tremolo ] [ TAP TubeWarmth ] [ TAP Vibrato ]

TAP TubeWarmth

[TAP TubeWarmth GUI as shown in Ardour]

TAP TubeWarmth adds the character of vacuum tube amplification to your audio tracks by emulating the sonically desirable nonlinear characteristics of triodes. In addition, this plugin also supports emulating analog tape saturation.

General information

Unique ID2158
I/O ports1 input / 1 output
CPU usage (44.1 kHz)0.4%
CPU usage (96 kHz)0.9%
Hard RT CapableYes
In-place operationSupported
run_adding() functionProvided

Usage tips

Tube preamps and reel-to-reel tape recorders have been around for a long time. Until the end of the seventies, the sound of almost every great recording bears the watermarks of these intrinsically nonlinear devices. In the eighties everything went digital, and the "harmful", "non-perfect" nonlinearities were greatly eliminated from the recording and mix-down process. However, it became clearly obvious shortly afterwards, that without these nonlinear artifacts recordings often sound dull, boring, colourless and thin, just like a piece of plastic. As a result, efforts have been made to bring the sound of analog equipment back to the studio -- with the power of DSP. This plugin offers the sound of these analog devices, but without the high-frequency roll-off of tube amps and the hiss of reel-to-reel tape machines. With this plugin applied and properly adjusted, many types of source materials will sound subtly richer, warmer, fatter, and closer.

The Drive slider adjusts the amount of the effect. Values between 2 and 5 are a good starting point for a variety of source materials. Since audio tracks can vary quite a bit in average and peak levels, experiment with this setting and use your ears to get the sound you want. (It's quite easy if you know how real tube amps sound like...) If the drive level is set too high, the signal will most likely sound distorted. If it's too low, you may not hear the effect working.

The Tape--Tube Blend slider controls the colour of the TubeWarmth sound. When set all the way to the right (+10 or default position), the plugin emulates the sound of triode tube distortion. The result is asymmetrical, producing mostly second harmonics and some third. When set all the way to the left (-10), the plugin emulates the sound of analog tape. The result is symmetrical and produces mostly third harmonics and some second. With high drive settings, moving the blend control to the left increases the apparent loudness of low-level signals dramatically. This is because the zero-attack, zero-release compression effect is increased under these conditions. Use the blend control to set the sound of the plugin anywhere between Tape and Tube sound.

In multitrack production work, using TAP TubeWarmth on selected individual tracks before the mixdown is generally a smart idea. Applying the plugin to electric guitars and bass is essential. A smaller amount applied to cymbals can make their sound substantially richer. Also, don't miss a try on your keyboards and vocals. Start with Tape--Tube Blend set to +10 for tube emulation, which is the default. This generally has a more musical effect than tape emulation, but of course this will depend on the source material, taste, and the dictates of your project.

To warm up a stereo mix during mastering, a Drive setting of 2 or 1 or even lower may be most appropriate, but this depends on the overall level. Look for an increase in the apparent loudness or fattening of the low end, and that warm tube sound. Too much effect and you'll hear the low end get too loose and/or the top end get too sizzly.

TAP TubeWarmth does not limit high frequency response. Some tube circuits, especially preamps with high gain, will start to roll off before 20 kHz. This is due to the plate-to-grid Miller capacitance. The plugin purposefully does not do this. If you want to limit highs (which can, in itself, make things sound a little warmer) use an equalizer plugin. You could do this before but will probably want to do it after processing with TubeWarmth.

Summary of user controls

namemin. valuedefault valuemax. value
Drive 0.1 2.575 10
Tape--Tube Blend -10 10 10

Notes

The Drive setting and the signal level are independent but related. Essentially the same results can be obtained by processing a low-level signal with a high drive setting as by processing a high-level signal with a low drive setting. The net effect on the signal will be the same in either case, with the only difference being the level of the resultant signal.


$Id: tubewarmth.html,v 1.1 2004/08/17 13:05:16 tszilagyi Exp $
tap-plugins-doc-20040817/ladspa/sigmoid.html0000644000175000017500000001333510110401430017203 0ustar miramira TAP-plugins
TAP-plugins
Tom's Audio Processing plugins
for audio engineering on the Linux platform
[ Home ] [ LADSPA plugins ] [ TAP Reverb Editor ]
[ Releases ] [ CVS ] [ General Info ] [ Plugin Manuals ]
[ TAP AutoPanner ] [ TAP Chorus/Flanger ] [ TAP DeEsser ] [ TAP Dynamics (Mono & Stereo) ] [ TAP Equalizer and TAP Equalizer/BW ] [ TAP Fractal Doubler ] [ TAP Pink/Fractal Noise ] [ TAP Pitch Shifter ] [ TAP Reflector ] [ TAP Reverberator ] [ TAP Rotary Speaker ] [ TAP Scaling Limiter ] [ TAP Sigmoid Booster ] [ TAP Stereo Echo ] [ TAP Tremolo ] [ TAP TubeWarmth ] [ TAP Vibrato ]

TAP Sigmoid Booster

[TAP Sigmoid Booster GUI as shown in Ardour]

This plugin applies a time-invariant nonlinear amplitude transfer function to the signal. Depending on the signal and the plugin settings, various related effects (compression, soft limiting, emulation of tape saturation, mild distortion) can be achieved.

General information

Unique ID2157
I/O ports1 input / 1 output
CPU usage (44.1 kHz)0.7%
CPU usage (96 kHz)2.1%
Hard RT CapableYes
In-place operationSupported
run_adding() functionProvided

Usage tips

Given an input sample value of x, the plugin yields an output sample value of y(x) according to the transfer function

Equation of the transfer characteristics of the plugin

A plot of this function on a linear scale (red), compared to the zero-gain identity transfer function (green):

Transfer characteristics of the plugin, linear scaled

This curve resembles the saturation characteristics of magnetic recording tape. Therefore, this effect results in compression of louder portions of the input signal, a "hardening up" of the sound (try it on kick and snare drums), and (when fed with a higher level input signal) harmonic distortion consisting mainly of odd harmonics.

Let's see how this curve looks like on a logarithmical scale:

Transfer characteristics of the plugin, log scaled

As you can see, signals below -12 dB get amplified by about 8 dB's in a fairly linear manner. Higher levels receive a constantly decreasing amount of gain, resulting in no extra gain at 0 dB. Although not shown on the above plot, the curve continues horizontally to the right, meaning that complete saturation occurs at 0 dB.

The Pre Gain control scales the input signal before the transfer function is applied to it. For low level input, you may want to increase the input level to reach the nonlinear section of the curve. For loud input signals, you will often have to decrease it to reduce (or completely eliminate) the amount of audible distortion.

The Post Gain can be used to adjust the output gain of the plugin.

Summary of user controls

namemin. valuedefault valuemax. value
Pre Gain [dB] -90 0 20
Post Gain [dB] -90 0 20

Notes

About the name of the plugin: it is "Sigmoid" because the transfer function has been derived from the sigmoid function commonly used in cells of neural networks as a nonlinear saturating function.


$Id: sigmoid.html,v 1.1 2004/08/17 13:05:16 tszilagyi Exp $
tap-plugins-doc-20040817/ladspa/chorusflanger.html0000644000175000017500000001734310110401430020415 0ustar miramira TAP-plugins
TAP-plugins
Tom's Audio Processing plugins
for audio engineering on the Linux platform
[ Home ] [ LADSPA plugins ] [ TAP Reverb Editor ]
[ Releases ] [ CVS ] [ General Info ] [ Plugin Manuals ]
[ TAP AutoPanner ] [ TAP Chorus/Flanger ] [ TAP DeEsser ] [ TAP Dynamics (Mono & Stereo) ] [ TAP Equalizer and TAP Equalizer/BW ] [ TAP Fractal Doubler ] [ TAP Pink/Fractal Noise ] [ TAP Pitch Shifter ] [ TAP Reflector ] [ TAP Reverberator ] [ TAP Rotary Speaker ] [ TAP Scaling Limiter ] [ TAP Sigmoid Booster ] [ TAP Stereo Echo ] [ TAP Tremolo ] [ TAP TubeWarmth ] [ TAP Vibrato ]

TAP Chorus/Flanger

[TAP Chorus/Flanger GUI as shown in Ardour]

This plugin is an implementation capable of creating traditional Chorus and Flanger effects, spiced up a bit to make use of stereo processing. It sounds best on guitar and synth tracks.

General information

Unique ID2159
I/O ports2 inputs / 2 outputs
CPU usage (44.1 kHz)2.8%
CPU usage (96 kHz)6.2%
Hard RT CapableYes
In-place operationSupported
run_adding() functionProvided

Usage tips

The Chorus and Flanger effects operate on a very similar basis, that's why they were implemented in the same plugin. Both effects are achieved by creating a time-varying delay of the incoming signal and mixing it with the original. The delay time is modulated by a sinusoidal. After the time-varying delay is applied to the signal, it is further delayed by an (adjustable) amount of time. If this additional delay is small (under 10 ms), then mixing the dry and wet signals will introduce strong phase distortions, and thus a Flanger effect is achieved. If the delay time is greater than 20 ms, then the wet signal is more likely perceived as an additional "voice". Thus, mixing the two signals yields a Chorus effect.

The Frequency control determines the LFO frequency with which the time-varying delay is modulated. The higher the frequency, the more intense the effect will be. Values in the range of 1-3 Hz should be a good starting point in most cases.

This plugin is capable of creating true stereo chorus/flanger effects. The L/R Phase Shift control is provided to this end. The two LFO's controlling the delay modulation of the two channels run in sync with the same frequency, but the phase shift between them can be adjusted with this control. The higher this setting, the stronger the "stereo-ness" of the effect will be. When set to 0, processing of the two channels will be in-phase; when set to 180 degrees, the two LFO's are is counter-phase to create the widest stereo effect.

The Depth control allows for adjusting the modulation depth of the delay. Increasing it will result in stronger modulation using the same LFO frequency. It should be noted that the Frequency and Depth settings jointly determine the intensity of the effect. Smaller frequencies usually allow for using a greater modulation depth, and vice versa. If the modulation is fast (higher frequency) and deep (higher depth) at the same time, a vibrato effect is introduced. You may or may not want this.

The Delay control determines the fixed amount of time with which the signal is delayed after the time-varying delay has been applied. The setting of this control distinguishes between the Chorus and Flanger effects. Delays smaller than 10 ms can be labeled Flanger, delays above 20 ms yield Chorus, and delays in the range of 10-20 ms result in a blend between Chorus and Flanger.

Contour is the cutoff frequency of a high-pass filter applied to the now twice-delayed signal. By setting it anywhere above 20 Hz, you can protect the lower frequency spectral content in the original signal from being disturbed by the effect. Set it to somewhere in the range of 100-500 Hz if you feel that your bass tones get smeared or lose definition. Set it to somewhere between 1000-6000 Hz to have a Chorus/Flanger that lets the bulk of the signal through, but changes the sound of the cymbals, higher guitar tones, etc. This results in an interesting effect when applied to mixes.

The Dry Level and Wet Level settings allow for a final tuning of the sound. The strongest effect is achieved if the two settings are about the same. Decreasing one of them (preferably the Wet Level, to mitigate any unwanted side effects) results in a subtler effect.

Summary of user controls

namemin. valuedefault valuemax. value
Frequency [Hz] 0 1.25 5
L/R Phase Shift [deg] 0 90 180
Depth [%] 0 75 100
Delay [ms] 0 25 100
Contour [Hz] 20 100 20000
Dry Level [dB] -90 0 20
Wet Level [dB] -90 0 20

Notes

Naturally, the two separate delays described above (one modulated and one constant) are realised at once, as a single delay line. This saves you a lot of CPU cycles (...but you are obliged to run other TAP-plugins in those cycles. Just kidding, of course.)


$Id: chorusflanger.html,v 1.1 2004/08/17 13:05:16 tszilagyi Exp $
tap-plugins-doc-20040817/ladspa/vibrato.html0000644000175000017500000001241510110401430017214 0ustar miramira TAP-plugins
TAP-plugins
Tom's Audio Processing plugins
for audio engineering on the Linux platform
[ Home ] [ LADSPA plugins ] [ TAP Reverb Editor ]
[ Releases ] [ CVS ] [ General Info ] [ Plugin Manuals ]
[ TAP AutoPanner ] [ TAP Chorus/Flanger ] [ TAP DeEsser ] [ TAP Dynamics (Mono & Stereo) ] [ TAP Equalizer and TAP Equalizer/BW ] [ TAP Fractal Doubler ] [ TAP Pink/Fractal Noise ] [ TAP Pitch Shifter ] [ TAP Reflector ] [ TAP Reverberator ] [ TAP Rotary Speaker ] [ TAP Scaling Limiter ] [ TAP Sigmoid Booster ] [ TAP Stereo Echo ] [ TAP Tremolo ] [ TAP TubeWarmth ] [ TAP Vibrato ]

TAP Vibrato

[TAP Vibrato GUI as shown in Ardour]

This plugin modulates the pitch of its input signal with a low-frequency sinusoidal signal. It is useful for guitar and synth tracks, and it can also come handy if a strange effect is needed.

General information

Unique ID2148
I/O ports1 input / 1 output
CPU usage (44.1 kHz)4.1%
CPU usage (96 kHz)8.8%
Hard RT CapableYes
In-place operationSupported
run_adding() functionProvided

Usage tips

The "Frequency" control determines how fast the pitch is modulated up-down. Set the amount of pitch modulation via the "Depth" control. When trying to enhance synth or guitar tracks, use the "Depth" control sparingly: if you set it too high, you can easily get the sound of an old tape deck with a worn-out tape -- of course, that may be just what you want... With an even higher setting, you can get the feel of a strongly pulled-about vibrato bar of an electric guitar. Hint: create vibrato simulations with the power of Ardour automation editing.

At small depth settings (between 0.5% and 1.5%) and a frequency setting between 5 and 15 Hz, mixing the pitch-modulated signal with the original sound yields a chorus-like effect. The "Dry Level" and "Wet Level" controls exist to support this kind of setup. By default, the dry signal is muted, and the wet signal is output with 0 dB, so you won't need to touch these contols if you don't want to create such a mix.

Summary of user controls

namemin. valuedefault valuemax. value
Frequency [Hz] 0 0 30
Depth [%] 0 0 20
Dry Level [dB] -90 -90 20
Wet Level [dB] -90 0 20
latency latency time is 32 ms,
value depends on sample rate

Notes

Resampling is done using linear interpolation. Higher orders would probably yield somewhat better quality (at least in theory), but since no side-effects were heard (apart from the fact that this plugin is a side-effect in itself), that was considered to be a waste of CPU.


$Id: vibrato.html,v 1.3 2004/08/17 13:05:16 tszilagyi Exp $
tap-plugins-doc-20040817/ladspa/tremolo.html0000644000175000017500000001130510110401430017224 0ustar miramira TAP-plugins
TAP-plugins
Tom's Audio Processing plugins
for audio engineering on the Linux platform
[ Home ] [ LADSPA plugins ] [ TAP Reverb Editor ]
[ Releases ] [ CVS ] [ General Info ] [ Plugin Manuals ]
[ TAP AutoPanner ] [ TAP Chorus/Flanger ] [ TAP DeEsser ] [ TAP Dynamics (Mono & Stereo) ] [ TAP Equalizer and TAP Equalizer/BW ] [ TAP Fractal Doubler ] [ TAP Pink/Fractal Noise ] [ TAP Pitch Shifter ] [ TAP Reflector ] [ TAP Reverberator ] [ TAP Rotary Speaker ] [ TAP Scaling Limiter ] [ TAP Sigmoid Booster ] [ TAP Stereo Echo ] [ TAP Tremolo ] [ TAP TubeWarmth ] [ TAP Vibrato ]

TAP Tremolo

[TAP Tremolo GUI as shown in Ardour]

The tremolo effect is probably one of the most ancient effects, originated in the earliest days of the history of studio recording. It lost some of its popularity over time (and with the emerge of more exciting digital effects), but you still hear this effect on newer recordings from time to time.

General information

Unique ID2144
I/O ports1 input / 1 output
CPU usage (44.1 kHz)1.4%
CPU usage (96 kHz)3.2%
Hard RT CapableYes
In-place operationSupported
run_adding() functionProvided

Usage tips

This plugin sounds good mainly on acoustic or electric guitar tracks, and should be used only occasionally. To create a "floating" effect, set the frequency value to 3-6 Hz. To create a more intensive effect, set it to 8-15 Hz (recommended mostly on electric guitar tracks). The depth should be probably set somewhere between 50% and 90%. If you feel that the overall loudness of the track decreases when this effect is applied, you can compensate this by setting the "Gain" control.

Summary of user controls

namemin. valuedefault valuemax. value
Frequency [Hz] 0 0 20
Depth [%] 0 0 100
Gain [dB] -70 0 20

Notes

The sine function is implemented via a sine table, which is computed when the host loads the plugin library. This sort of implementation was necessary because calling sinf() for every sample proved to be way too expensive -- that very call itself doubled the CPU usage.


$Id: tremolo.html,v 1.3 2004/08/17 13:05:16 tszilagyi Exp $
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nն\5;K6wU<.-evo7lG҆^`P-{B#ծQBFƧlp_Gh>٭hGw[^lj;Pbڸ`&@v@_g7ƕ:70@ U]KřA^PHU֫ͅ\ϯ$d%.\xUWݣe=\ }!bj:PxO 5pXٝNSa5CE8|Wu*oMIz˙H...* F%}B.}POBAA` u"/Tήbbb2bDw@R~ZrCAAAU\MfgBmnu1u1u1u|<-R]sqhTUPqVAZhTUPqVAZ寳0.4Կ4- Z )g8,q$8@](*IDATKJdm:P?jx޳:HVun?2<la\L& qY%ϺemTժYO*Yn|tn&؇\L޽{{x0&F=d <3쫝^璺21  =5"N[Wp;k83ob#:z`[*چU۶]*<+A`rq hpZ  uVb(IIENDB`tap-plugins-doc-20040817/ladspa/tap_eq_bode.eps0000644000175000017500000006627710110401430017652 0ustar miramira%!PS-Adobe-2.0 EPSF-1.2 %%Creator: MATLAB, The Mathworks, Inc. %%Title: E:\tap_eq_bode.eps %%CreationDate: 01/27/2004 19:21:00 %%DocumentNeededFonts: Helvetica %%DocumentProcessColors: Cyan Magenta Yellow Black %%Extensions: CMYK %%Pages: 1 %%BoundingBox: 72 197 549 582 %%EndComments %%BeginProlog % MathWorks dictionary /MathWorks 160 dict begin % definition operators /bdef {bind def} bind def /ldef {load def} bind def /xdef {exch def} bdef /xstore {exch store} bdef % operator abbreviations /c /clip ldef /cc /concat ldef /cp /closepath ldef /gr /grestore ldef /gs /gsave ldef /mt /moveto ldef /np /newpath ldef /cm /currentmatrix ldef /sm /setmatrix ldef /rm /rmoveto ldef /rl /rlineto ldef /s {show newpath} bdef /sc {setcmykcolor} bdef /sr /setrgbcolor ldef /sg /setgray ldef /w /setlinewidth ldef /j /setlinejoin ldef /cap /setlinecap ldef /rc {rectclip} bdef /rf {rectfill} bdef % page state control /pgsv () def /bpage {/pgsv save def} bdef /epage {pgsv restore} bdef /bplot /gsave ldef /eplot {stroke grestore} bdef % orientation switch /portraitMode 0 def /landscapeMode 1 def /rotateMode 2 def % coordinate system mappings /dpi2point 0 def % font control /FontSize 0 def /FMS {/FontSize xstore findfont [FontSize 0 0 FontSize neg 0 0] makefont setfont} bdef /ISOLatin1Encoding where {pop /WindowsLatin1Encoding 256 array bdef ISOLatin1Encoding WindowsLatin1Encoding copy pop /.notdef/.notdef/quotesinglbase/florin/quotedblbase/ellipsis/dagger /daggerdbl/circumflex/perthousand/Scaron/guilsinglleft/OE/.notdef/.notdef /.notdef/.notdef/quoteleft/quoteright/quotedblleft/quotedblright/bullet /endash/emdash/tilde/trademark/scaron/guilsinglright/oe/.notdef/.notdef /Ydieresis WindowsLatin1Encoding 128 32 getinterval astore pop} {/WindowsLatin1Encoding StandardEncoding bdef} ifelse /reencode {exch dup where {pop load} {pop StandardEncoding} ifelse exch dup 3 1 roll findfont dup length dict begin { 1 index /FID ne {def}{pop pop} ifelse } forall /Encoding exch def currentdict end definefont pop} bdef /isroman {findfont /CharStrings get /Agrave known} bdef /FMSR {3 1 roll 1 index dup isroman {reencode} {pop pop} ifelse exch FMS} bdef /csm {1 dpi2point div -1 dpi2point div scale neg translate dup landscapeMode eq {pop -90 rotate} {rotateMode eq {90 rotate} if} ifelse} bdef % line types: solid, dotted, dashed, dotdash /SO { [] 0 setdash } bdef /DO { [.5 dpi2point mul 4 dpi2point mul] 0 setdash } bdef /DA { [6 dpi2point mul] 0 setdash } bdef /DD { [.5 dpi2point mul 4 dpi2point mul 6 dpi2point mul 4 dpi2point mul] 0 setdash } bdef % macros for lines and objects /L {lineto stroke} bdef /MP {3 1 roll moveto 1 sub {rlineto} repeat} bdef /AP {{rlineto} repeat} bdef /PDlw -1 def /W {/PDlw currentlinewidth def setlinewidth} def /PP {closepath eofill} bdef /DP {closepath stroke} bdef /MR {4 -2 roll moveto dup 0 exch rlineto exch 0 rlineto neg 0 exch rlineto closepath} bdef /FR {MR stroke} bdef /PR {MR fill} bdef /L1i {{currentfile picstr readhexstring pop} image} bdef /tMatrix matrix def /MakeOval {newpath tMatrix currentmatrix pop translate scale 0 0 1 0 360 arc tMatrix setmatrix} bdef /FO {MakeOval stroke} bdef /PO {MakeOval fill} bdef /PD {currentlinewidth 2 div 0 360 arc fill PDlw -1 eq not {PDlw w /PDlw -1 def} if} def /FA {newpath tMatrix currentmatrix pop translate scale 0 0 1 5 -2 roll arc tMatrix setmatrix stroke} bdef /PA {newpath tMatrix currentmatrix pop translate 0 0 moveto scale 0 0 1 5 -2 roll arc closepath tMatrix setmatrix fill} bdef /FAn {newpath tMatrix currentmatrix pop translate scale 0 0 1 5 -2 roll arcn tMatrix setmatrix stroke} bdef /PAn {newpath tMatrix currentmatrix pop translate 0 0 moveto scale 0 0 1 5 -2 roll arcn closepath tMatrix setmatrix fill} bdef /vradius 0 def /hradius 0 def /lry 0 def /lrx 0 def /uly 0 def /ulx 0 def /rad 0 def /MRR {/vradius xdef /hradius xdef /lry xdef /lrx xdef /uly xdef /ulx xdef newpath tMatrix currentmatrix pop ulx hradius add uly vradius add translate hradius vradius scale 0 0 1 180 270 arc tMatrix setmatrix lrx hradius sub uly vradius add translate hradius vradius scale 0 0 1 270 360 arc tMatrix setmatrix lrx hradius sub lry vradius sub translate hradius vradius scale 0 0 1 0 90 arc tMatrix setmatrix ulx hradius add lry vradius sub translate hradius vradius scale 0 0 1 90 180 arc tMatrix setmatrix closepath} bdef /FRR {MRR stroke } bdef /PRR {MRR fill } bdef /MlrRR {/lry xdef /lrx xdef /uly xdef /ulx xdef /rad lry uly sub 2 div def newpath tMatrix currentmatrix pop ulx rad add uly rad add translate rad rad scale 0 0 1 90 270 arc tMatrix setmatrix lrx rad sub lry rad sub translate rad rad scale 0 0 1 270 90 arc tMatrix setmatrix closepath} bdef /FlrRR {MlrRR stroke } bdef /PlrRR {MlrRR fill } bdef /MtbRR {/lry xdef /lrx xdef /uly xdef /ulx xdef /rad lrx ulx sub 2 div def newpath tMatrix currentmatrix pop ulx rad add uly rad add translate rad rad scale 0 0 1 180 360 arc tMatrix setmatrix lrx rad sub lry rad sub translate rad rad scale 0 0 1 0 180 arc tMatrix setmatrix closepath} bdef /FtbRR {MtbRR stroke } bdef /PtbRR {MtbRR fill } bdef /stri 6 array def /dtri 6 array def /smat 6 array def /dmat 6 array def /tmat1 6 array def /tmat2 6 array def /dif 3 array def /asub {/ind2 exch def /ind1 exch def dup dup ind1 get exch ind2 get sub exch } bdef /tri_to_matrix { 2 0 asub 3 1 asub 4 0 asub 5 1 asub dup 0 get exch 1 get 7 -1 roll astore } bdef /compute_transform { dmat dtri tri_to_matrix tmat1 invertmatrix smat stri tri_to_matrix tmat2 concatmatrix } bdef /ds {stri astore pop} bdef /dt {dtri astore pop} bdef /db {2 copy /cols xdef /rows xdef mul dup 3 mul string currentfile exch readhexstring pop dup 0 3 index getinterval /rbmap xdef dup 2 index dup getinterval /gbmap xdef 1 index dup 2 mul exch getinterval /bbmap xdef pop pop}bdef /it {gs np dtri aload pop moveto lineto lineto cp c cols rows 8 compute_transform rbmap gbmap bbmap true 3 colorimage gr}bdef /il {newpath moveto lineto stroke}bdef currentdict end def %%EndProlog %%BeginSetup MathWorks begin 0 cap end %%EndSetup %%Page: 1 1 %%BeginPageSetup %%PageBoundingBox: 72 197 549 582 MathWorks begin bpage %%EndPageSetup %%BeginObject: obj1 bplot /dpi2point 12 def portraitMode 0216 7344 csm 656 352 5727 4628 MR c np 88 dict begin %Colortable dictionary /c0 { 0 0 0 sr} bdef /c1 { 1 1 1 sr} bdef /c2 { 1 0 0 sr} bdef /c3 { 0 1 0 sr} bdef /c4 { 0 0 1 sr} bdef /c5 { 1 1 0 sr} bdef /c6 { 1 0 1 sr} bdef /c7 { 0 1 1 sr} bdef c0 1 j 1 sg 0 0 6919 5187 PR 6 w 0 2107 5218 0 0 -2107 1043 2736 4 MP PP -5218 0 0 2107 5218 0 0 -2107 1043 2736 5 MP stroke 4 w DO 0.4 sg 1043 2736 mt 1043 629 L 1043 629 mt 1043 629 L 2086 2736 mt 2086 629 L 2086 629 mt 2086 629 L 3130 2736 mt 3130 629 L 3130 629 mt 3130 629 L 4173 2736 mt 4173 629 L 4173 629 mt 4173 629 L 5217 2736 mt 5217 629 L 5217 629 mt 5217 629 L 6261 2736 mt 6261 629 L 6261 629 mt 6261 629 L 1043 2736 mt 6261 2736 L 6261 2736 mt 6261 2736 L 1043 2472 mt 6261 2472 L 6261 2472 mt 6261 2472 L 1043 2209 mt 6261 2209 L 6261 2209 mt 6261 2209 L 1043 1945 mt 6261 1945 L 6261 1945 mt 6261 1945 L 1043 1682 mt 6261 1682 L 6261 1682 mt 6261 1682 L 1043 1419 mt 6261 1419 L 6261 1419 mt 6261 1419 L 1043 1155 mt 6261 1155 L 6261 1155 mt 6261 1155 L 1043 892 mt 6261 892 L 6261 892 mt 6261 892 L 1043 629 mt 6261 629 L 6261 629 mt 6261 629 L SO 6 w 1043 629 mt 6261 629 L 1043 2736 mt 6261 2736 L 6261 2736 mt 6261 629 L 1043 2736 mt 1043 629 L 1043 2736 mt 6261 2736 L 1043 2736 mt 1043 629 L 1043 2736 mt 1043 2709 L 1043 629 mt 1043 655 L DO 1043 2736 mt 1043 629 L 1043 629 mt 1043 629 L SO 1043 2736 mt 1043 2683 L 1043 629 mt 1043 681 L 1357 2736 mt 1357 2709 L 1357 629 mt 1357 655 L DO 1357 2736 mt 1357 629 L 1357 629 mt 1357 629 L SO 1540 2736 mt 1540 2709 L 1540 629 mt 1540 655 L DO 1540 2736 mt 1540 629 L 1540 629 mt 1540 629 L SO 1671 2736 mt 1671 2709 L 1671 629 mt 1671 655 L DO 1671 2736 mt 1671 629 L 1671 629 mt 1671 629 L SO 1772 2736 mt 1772 2709 L 1772 629 mt 1772 655 L DO 1772 2736 mt 1772 629 L 1772 629 mt 1772 629 L SO 1855 2736 mt 1855 2709 L 1855 629 mt 1855 655 L DO 1855 2736 mt 1855 629 L 1855 629 mt 1855 629 L SO 1924 2736 mt 1924 2709 L 1924 629 mt 1924 655 L DO 1924 2736 mt 1924 629 L 1924 629 mt 1924 629 L SO 1985 2736 mt 1985 2709 L 1985 629 mt 1985 655 L DO 1985 2736 mt 1985 629 L 1985 629 mt 1985 629 L SO 2038 2736 mt 2038 2709 L 2038 629 mt 2038 655 L DO 2038 2736 mt 2038 629 L 2038 629 mt 2038 629 L SO 2086 2736 mt 2086 2709 L 2086 629 mt 2086 655 L DO 2086 2736 mt 2086 629 L 2086 629 mt 2086 629 L SO 2086 2736 mt 2086 2683 L 2086 629 mt 2086 681 L 2400 2736 mt 2400 2709 L 2400 629 mt 2400 655 L DO 2400 2736 mt 2400 629 L 2400 629 mt 2400 629 L SO 2584 2736 mt 2584 2709 L 2584 629 mt 2584 655 L DO 2584 2736 mt 2584 629 L 2584 629 mt 2584 629 L SO 2714 2736 mt 2714 2709 L 2714 629 mt 2714 655 L DO 2714 2736 mt 2714 629 L 2714 629 mt 2714 629 L SO 2816 2736 mt 2816 2709 L 2816 629 mt 2816 655 L DO 2816 2736 mt 2816 629 L 2816 629 mt 2816 629 L SO 2898 2736 mt 2898 2709 L 2898 629 mt 2898 655 L DO 2898 2736 mt 2898 629 L 2898 629 mt 2898 629 L SO 2968 2736 mt 2968 2709 L 2968 629 mt 2968 655 L DO 2968 2736 mt 2968 629 L 2968 629 mt 2968 629 L SO 3029 2736 mt 3029 2709 L 3029 629 mt 3029 655 L DO 3029 2736 mt 3029 629 L 3029 629 mt 3029 629 L SO 3082 2736 mt 3082 2709 L 3082 629 mt 3082 655 L DO 3082 2736 mt 3082 629 L 3082 629 mt 3082 629 L SO 3130 2736 mt 3130 2709 L 3130 629 mt 3130 655 L DO 3130 2736 mt 3130 629 L 3130 629 mt 3130 629 L SO 3130 2736 mt 3130 2683 L 3130 629 mt 3130 681 L 3444 2736 mt 3444 2709 L 3444 629 mt 3444 655 L DO 3444 2736 mt 3444 629 L 3444 629 mt 3444 629 L SO 3628 2736 mt 3628 2709 L 3628 629 mt 3628 655 L DO 3628 2736 mt 3628 629 L 3628 629 mt 3628 629 L SO 3758 2736 mt 3758 2709 L 3758 629 mt 3758 655 L DO 3758 2736 mt 3758 629 L 3758 629 mt 3758 629 L SO 3859 2736 mt 3859 2709 L 3859 629 mt 3859 655 L DO 3859 2736 mt 3859 629 L 3859 629 mt 3859 629 L SO 3942 2736 mt 3942 2709 L 3942 629 mt 3942 655 L DO 3942 2736 mt 3942 629 L 3942 629 mt 3942 629 L SO 4012 2736 mt 4012 2709 L 4012 629 mt 4012 655 L DO 4012 2736 mt 4012 629 L 4012 629 mt 4012 629 L SO 4072 2736 mt 4072 2709 L 4072 629 mt 4072 655 L DO 4072 2736 mt 4072 629 L 4072 629 mt 4072 629 L SO 4126 2736 mt 4126 2709 L 4126 629 mt 4126 655 L DO 4126 2736 mt 4126 629 L 4126 629 mt 4126 629 L SO 4173 2736 mt 4173 2709 L 4173 629 mt 4173 655 L DO 4173 2736 mt 4173 629 L 4173 629 mt 4173 629 L SO 4173 2736 mt 4173 2683 L 4173 629 mt 4173 681 L 4487 2736 mt 4487 2709 L 4487 629 mt 4487 655 L DO 4487 2736 mt 4487 629 L 4487 629 mt 4487 629 L SO 4671 2736 mt 4671 2709 L 4671 629 mt 4671 655 L DO 4671 2736 mt 4671 629 L 4671 629 mt 4671 629 L SO 4802 2736 mt 4802 2709 L 4802 629 mt 4802 655 L DO 4802 2736 mt 4802 629 L 4802 629 mt 4802 629 L SO 4903 2736 mt 4903 2709 L 4903 629 mt 4903 655 L DO 4903 2736 mt 4903 629 L 4903 629 mt 4903 629 L SO 4985 2736 mt 4985 2709 L 4985 629 mt 4985 655 L DO 4985 2736 mt 4985 629 L 4985 629 mt 4985 629 L SO 5055 2736 mt 5055 2709 L 5055 629 mt 5055 655 L DO 5055 2736 mt 5055 629 L 5055 629 mt 5055 629 L SO 5116 2736 mt 5116 2709 L 5116 629 mt 5116 655 L DO 5116 2736 mt 5116 629 L 5116 629 mt 5116 629 L SO 5169 2736 mt 5169 2709 L 5169 629 mt 5169 655 L DO 5169 2736 mt 5169 629 L 5169 629 mt 5169 629 L SO 5217 2736 mt 5217 2709 L 5217 629 mt 5217 655 L DO 5217 2736 mt 5217 629 L 5217 629 mt 5217 629 L SO 5217 2736 mt 5217 2683 L 5217 629 mt 5217 681 L 5531 2736 mt 5531 2709 L 5531 629 mt 5531 655 L DO 5531 2736 mt 5531 629 L 5531 629 mt 5531 629 L SO 5715 2736 mt 5715 2709 L 5715 629 mt 5715 655 L DO 5715 2736 mt 5715 629 L 5715 629 mt 5715 629 L SO 5845 2736 mt 5845 2709 L 5845 629 mt 5845 655 L DO 5845 2736 mt 5845 629 L 5845 629 mt 5845 629 L SO 5946 2736 mt 5946 2709 L 5946 629 mt 5946 655 L DO 5946 2736 mt 5946 629 L 5946 629 mt 5946 629 L SO 6029 2736 mt 6029 2709 L 6029 629 mt 6029 655 L DO 6029 2736 mt 6029 629 L 6029 629 mt 6029 629 L SO 6099 2736 mt 6099 2709 L 6099 629 mt 6099 655 L DO 6099 2736 mt 6099 629 L 6099 629 mt 6099 629 L SO 6159 2736 mt 6159 2709 L 6159 629 mt 6159 655 L DO 6159 2736 mt 6159 629 L 6159 629 mt 6159 629 L SO 6213 2736 mt 6213 2709 L 6213 629 mt 6213 655 L DO 6213 2736 mt 6213 629 L 6213 629 mt 6213 629 L SO 6261 2736 mt 6261 2709 L 6261 629 mt 6261 655 L DO 6261 2736 mt 6261 629 L 6261 629 mt 6261 629 L SO 6261 2736 mt 6261 2683 L 6261 629 mt 6261 681 L 1043 2736 mt 1095 2736 L 6261 2736 mt 6208 2736 L %%IncludeResource: font Helvetica /Helvetica /WindowsLatin1Encoding 96 FMSR 846 2771 mt (-20) s 1043 2472 mt 1095 2472 L 6261 2472 mt 6208 2472 L 846 2507 mt (-15) s 1043 2209 mt 1095 2209 L 6261 2209 mt 6208 2209 L 846 2244 mt (-10) s 1043 1945 mt 1095 1945 L 6261 1945 mt 6208 1945 L 899 1980 mt (-5) s 1043 1682 mt 1095 1682 L 6261 1682 mt 6208 1682 L 955 1717 mt (0) s 1043 1419 mt 1095 1419 L 6261 1419 mt 6208 1419 L 955 1454 mt (5) s 1043 1155 mt 1095 1155 L 6261 1155 mt 6208 1155 L 902 1190 mt (10) s 1043 892 mt 1095 892 L 6261 892 mt 6208 892 L 902 927 mt (15) s 1043 629 mt 1095 629 L 6261 629 mt 6208 629 L 902 664 mt (20) s 1043 629 mt 6261 629 L 1043 2736 mt 6261 2736 L 6261 2736 mt 6261 629 L 1043 2736 mt 1043 629 L 0 sg 770 2008 mt -90 rotate (Magnitude \(dB\)) s 90 rotate gs 1043 629 5219 2108 MR c np /c8 { 0.000000 0.000000 1.000000 sr} bdef c8 63 0 63 -1 63 -1 63 -2 62 -2 82 -4 81 -5 81 -8 81 -12 81 -16 81 -23 81 -33 81 -45 81 -64 59 -62 66 -93 54 -104 46 -116 39 -124 32 -130 27 -118 22 -76 19 -12 19 45 22 93 27 116 32 121 39 116 46 108 55 98 65 87 61 61 81 60 81 43 81 30 81 22 82 15 81 11 81 7 81 5 81 4 81 3 81 2 81 1 81 1 81 1 81 0 82 0 81 0 81 1 81 0 81 0 926 0 1043 1682 54 MP stroke 0 sg 0 -2108 5365 2737 2 MP stroke /c9 { 0.000000 0.650000 0.000000 sr} bdef c9 63 0 63 1 63 1 63 2 62 2 82 4 81 5 81 8 81 12 81 16 81 23 81 33 81 45 81 64 59 62 66 93 54 104 46 116 39 124 32 130 27 118 22 76 19 12 19 -45 22 -93 27 -116 32 -121 39 -116 46 -108 55 -98 65 -87 61 -61 81 -60 81 -43 81 -30 81 -22 82 -15 81 -11 81 -7 81 -5 81 -4 81 -3 81 -2 81 -1 81 -1 81 -1 81 0 82 0 81 0 81 -1 81 0 81 0 926 0 1043 1682 54 MP stroke 0 sg 0 -2108 5365 2737 2 MP stroke /c10 { 1.000000 0.000000 0.000000 sr} bdef c10 63 0 63 0 63 0 63 0 62 0 96 0 96 0 96 0 96 0 96 -1 96 0 96 -1 95 -1 96 -1 96 -2 96 -4 96 -5 96 -8 96 -11 96 -18 95 -27 96 -39 96 -60 96 -89 77 -107 63 -122 51 -137 41 -149 34 -145 27 -104 23 -20 22 58 27 117 34 139 41 139 51 128 63 115 78 101 39 39 96 72 96 48 96 32 96 21 96 15 95 9 96 6 96 4 96 3 96 2 96 1 96 1 96 0 95 0 96 1 77 0 1043 1682 56 MP stroke 0 sg 0 -2108 5365 2737 2 MP stroke /c11 { 0.000000 0.750000 0.750000 sr} bdef c11 63 0 63 0 63 0 63 0 62 0 96 0 96 0 96 0 96 0 96 1 96 0 96 1 95 1 96 1 96 2 96 4 96 5 96 8 96 11 96 18 95 27 96 39 96 60 96 89 77 107 63 122 51 137 41 149 34 145 27 104 23 20 22 -58 27 -117 34 -139 41 -139 51 -128 63 -115 78 -101 39 -39 96 -72 96 -48 96 -32 96 -21 96 -15 95 -9 96 -6 96 -4 96 -3 96 -2 96 -1 96 -1 96 0 95 0 96 -1 77 0 1043 1682 56 MP stroke 0 sg 0 -2108 5365 2737 2 MP stroke /c12 { 0.750000 0.000000 0.750000 sr} bdef c12 22 -10 25 -31 27 -52 31 -73 35 -93 21 -60 38 -121 34 -118 29 -118 25 -114 23 -107 19 -88 16 -54 15 -14 15 19 16 53 19 76 23 87 25 89 29 87 34 84 38 79 44 75 51 70 39 44 63 61 63 48 63 39 63 31 63 25 63 19 63 16 63 12 63 9 63 7 63 5 63 5 64 3 63 2 63 2 63 2 63 1 63 0 63 1 63 1 63 0 63 0 63 0 63 1 63 0 63 0 63 0 63 0 63 0 1801 0 1043 1682 56 MP stroke 0 sg 0 -2108 5365 2737 2 MP stroke /c13 { 0.800000 0.800000 0.000000 sr} bdef c13 22 10 25 31 27 52 31 73 35 93 21 60 38 121 34 118 29 118 25 114 23 107 19 88 16 54 15 14 15 -19 16 -53 19 -76 23 -87 25 -89 29 -87 34 -84 38 -79 44 -75 51 -70 39 -44 63 -61 63 -48 63 -39 63 -31 63 -25 63 -19 63 -16 63 -12 63 -9 63 -7 63 -5 63 -5 64 -3 63 -2 63 -2 63 -2 63 -1 63 0 63 -1 63 -1 63 0 63 0 63 0 63 -1 63 0 63 0 63 0 63 0 63 0 1801 0 1043 1682 56 MP stroke 0 sg 0 -2108 5365 2737 2 MP stroke gr 1 sg 0 1868 5218 0 0 -1868 1043 4616 4 MP PP -5218 0 0 1868 5218 0 0 -1868 1043 4616 5 MP stroke 4 w DO 0.4 sg 1043 4616 mt 1043 2748 L 1043 2748 mt 1043 2748 L 2086 4616 mt 2086 2748 L 2086 2748 mt 2086 2748 L 3130 4616 mt 3130 2748 L 3130 2748 mt 3130 2748 L 4173 4616 mt 4173 2748 L 4173 2748 mt 4173 2748 L 5217 4616 mt 5217 2748 L 5217 2748 mt 5217 2748 L 6261 4616 mt 6261 2748 L 6261 2748 mt 6261 2748 L 1043 4597 mt 6261 4597 L 6261 4597 mt 6261 4597 L 1043 4139 mt 6261 4139 L 6261 4139 mt 6261 4139 L 1043 3682 mt 6261 3682 L 6261 3682 mt 6261 3682 L 1043 3224 mt 6261 3224 L 6261 3224 mt 6261 3224 L 1043 2766 mt 6261 2766 L 6261 2766 mt 6261 2766 L SO 6 w 1043 2748 mt 6261 2748 L 1043 4616 mt 6261 4616 L 6261 4616 mt 6261 2748 L 1043 4616 mt 1043 2748 L 1043 4616 mt 6261 4616 L 1043 4616 mt 1043 2748 L 1043 4616 mt 1043 4589 L 1043 2748 mt 1043 2774 L DO 1043 4616 mt 1043 2748 L 1043 2748 mt 1043 2748 L SO 1043 4616 mt 1043 4563 L 1043 2748 mt 1043 2800 L 970 4784 mt (10) s %%IncludeResource: font Helvetica /Helvetica /WindowsLatin1Encoding 72 FMSR 1076 4717 mt (1) s 1357 4616 mt 1357 4589 L 1357 2748 mt 1357 2774 L DO 1357 4616 mt 1357 2748 L 1357 2748 mt 1357 2748 L SO 1540 4616 mt 1540 4589 L 1540 2748 mt 1540 2774 L DO 1540 4616 mt 1540 2748 L 1540 2748 mt 1540 2748 L SO 1671 4616 mt 1671 4589 L 1671 2748 mt 1671 2774 L DO 1671 4616 mt 1671 2748 L 1671 2748 mt 1671 2748 L SO 1772 4616 mt 1772 4589 L 1772 2748 mt 1772 2774 L DO 1772 4616 mt 1772 2748 L 1772 2748 mt 1772 2748 L SO 1855 4616 mt 1855 4589 L 1855 2748 mt 1855 2774 L DO 1855 4616 mt 1855 2748 L 1855 2748 mt 1855 2748 L SO 1924 4616 mt 1924 4589 L 1924 2748 mt 1924 2774 L DO 1924 4616 mt 1924 2748 L 1924 2748 mt 1924 2748 L SO 1985 4616 mt 1985 4589 L 1985 2748 mt 1985 2774 L DO 1985 4616 mt 1985 2748 L 1985 2748 mt 1985 2748 L SO 2038 4616 mt 2038 4589 L 2038 2748 mt 2038 2774 L DO 2038 4616 mt 2038 2748 L 2038 2748 mt 2038 2748 L SO 2086 4616 mt 2086 4589 L 2086 2748 mt 2086 2774 L DO 2086 4616 mt 2086 2748 L 2086 2748 mt 2086 2748 L SO 2086 4616 mt 2086 4563 L 2086 2748 mt 2086 2800 L %%IncludeResource: font Helvetica /Helvetica /WindowsLatin1Encoding 96 FMSR 2013 4784 mt (10) s %%IncludeResource: font Helvetica /Helvetica /WindowsLatin1Encoding 72 FMSR 2119 4717 mt (2) s 2400 4616 mt 2400 4589 L 2400 2748 mt 2400 2774 L DO 2400 4616 mt 2400 2748 L 2400 2748 mt 2400 2748 L SO 2584 4616 mt 2584 4589 L 2584 2748 mt 2584 2774 L DO 2584 4616 mt 2584 2748 L 2584 2748 mt 2584 2748 L SO 2714 4616 mt 2714 4589 L 2714 2748 mt 2714 2774 L DO 2714 4616 mt 2714 2748 L 2714 2748 mt 2714 2748 L SO 2816 4616 mt 2816 4589 L 2816 2748 mt 2816 2774 L DO 2816 4616 mt 2816 2748 L 2816 2748 mt 2816 2748 L SO 2898 4616 mt 2898 4589 L 2898 2748 mt 2898 2774 L DO 2898 4616 mt 2898 2748 L 2898 2748 mt 2898 2748 L SO 2968 4616 mt 2968 4589 L 2968 2748 mt 2968 2774 L DO 2968 4616 mt 2968 2748 L 2968 2748 mt 2968 2748 L SO 3029 4616 mt 3029 4589 L 3029 2748 mt 3029 2774 L DO 3029 4616 mt 3029 2748 L 3029 2748 mt 3029 2748 L SO 3082 4616 mt 3082 4589 L 3082 2748 mt 3082 2774 L DO 3082 4616 mt 3082 2748 L 3082 2748 mt 3082 2748 L SO 3130 4616 mt 3130 4589 L 3130 2748 mt 3130 2774 L DO 3130 4616 mt 3130 2748 L 3130 2748 mt 3130 2748 L SO 3130 4616 mt 3130 4563 L 3130 2748 mt 3130 2800 L %%IncludeResource: font Helvetica /Helvetica /WindowsLatin1Encoding 96 FMSR 3057 4784 mt (10) s %%IncludeResource: font Helvetica /Helvetica /WindowsLatin1Encoding 72 FMSR 3163 4717 mt (3) s 3444 4616 mt 3444 4589 L 3444 2748 mt 3444 2774 L DO 3444 4616 mt 3444 2748 L 3444 2748 mt 3444 2748 L SO 3628 4616 mt 3628 4589 L 3628 2748 mt 3628 2774 L DO 3628 4616 mt 3628 2748 L 3628 2748 mt 3628 2748 L SO 3758 4616 mt 3758 4589 L 3758 2748 mt 3758 2774 L DO 3758 4616 mt 3758 2748 L 3758 2748 mt 3758 2748 L SO 3859 4616 mt 3859 4589 L 3859 2748 mt 3859 2774 L DO 3859 4616 mt 3859 2748 L 3859 2748 mt 3859 2748 L SO 3942 4616 mt 3942 4589 L 3942 2748 mt 3942 2774 L DO 3942 4616 mt 3942 2748 L 3942 2748 mt 3942 2748 L SO 4012 4616 mt 4012 4589 L 4012 2748 mt 4012 2774 L DO 4012 4616 mt 4012 2748 L 4012 2748 mt 4012 2748 L SO 4072 4616 mt 4072 4589 L 4072 2748 mt 4072 2774 L DO 4072 4616 mt 4072 2748 L 4072 2748 mt 4072 2748 L SO 4126 4616 mt 4126 4589 L 4126 2748 mt 4126 2774 L DO 4126 4616 mt 4126 2748 L 4126 2748 mt 4126 2748 L SO 4173 4616 mt 4173 4589 L 4173 2748 mt 4173 2774 L DO 4173 4616 mt 4173 2748 L 4173 2748 mt 4173 2748 L SO 4173 4616 mt 4173 4563 L 4173 2748 mt 4173 2800 L %%IncludeResource: font Helvetica /Helvetica /WindowsLatin1Encoding 96 FMSR 4100 4784 mt (10) s %%IncludeResource: font Helvetica /Helvetica /WindowsLatin1Encoding 72 FMSR 4206 4717 mt (4) s 4487 4616 mt 4487 4589 L 4487 2748 mt 4487 2774 L DO 4487 4616 mt 4487 2748 L 4487 2748 mt 4487 2748 L SO 4671 4616 mt 4671 4589 L 4671 2748 mt 4671 2774 L DO 4671 4616 mt 4671 2748 L 4671 2748 mt 4671 2748 L SO 4802 4616 mt 4802 4589 L 4802 2748 mt 4802 2774 L DO 4802 4616 mt 4802 2748 L 4802 2748 mt 4802 2748 L SO 4903 4616 mt 4903 4589 L 4903 2748 mt 4903 2774 L DO 4903 4616 mt 4903 2748 L 4903 2748 mt 4903 2748 L SO 4985 4616 mt 4985 4589 L 4985 2748 mt 4985 2774 L DO 4985 4616 mt 4985 2748 L 4985 2748 mt 4985 2748 L SO 5055 4616 mt 5055 4589 L 5055 2748 mt 5055 2774 L DO 5055 4616 mt 5055 2748 L 5055 2748 mt 5055 2748 L SO 5116 4616 mt 5116 4589 L 5116 2748 mt 5116 2774 L DO 5116 4616 mt 5116 2748 L 5116 2748 mt 5116 2748 L SO 5169 4616 mt 5169 4589 L 5169 2748 mt 5169 2774 L DO 5169 4616 mt 5169 2748 L 5169 2748 mt 5169 2748 L SO 5217 4616 mt 5217 4589 L 5217 2748 mt 5217 2774 L DO 5217 4616 mt 5217 2748 L 5217 2748 mt 5217 2748 L SO 5217 4616 mt 5217 4563 L 5217 2748 mt 5217 2800 L %%IncludeResource: font Helvetica /Helvetica /WindowsLatin1Encoding 96 FMSR 5144 4784 mt (10) s %%IncludeResource: font Helvetica /Helvetica /WindowsLatin1Encoding 72 FMSR 5250 4717 mt (5) s 5531 4616 mt 5531 4589 L 5531 2748 mt 5531 2774 L DO 5531 4616 mt 5531 2748 L 5531 2748 mt 5531 2748 L SO 5715 4616 mt 5715 4589 L 5715 2748 mt 5715 2774 L DO 5715 4616 mt 5715 2748 L 5715 2748 mt 5715 2748 L SO 5845 4616 mt 5845 4589 L 5845 2748 mt 5845 2774 L DO 5845 4616 mt 5845 2748 L 5845 2748 mt 5845 2748 L SO 5946 4616 mt 5946 4589 L 5946 2748 mt 5946 2774 L DO 5946 4616 mt 5946 2748 L 5946 2748 mt 5946 2748 L SO 6029 4616 mt 6029 4589 L 6029 2748 mt 6029 2774 L DO 6029 4616 mt 6029 2748 L 6029 2748 mt 6029 2748 L SO 6099 4616 mt 6099 4589 L 6099 2748 mt 6099 2774 L DO 6099 4616 mt 6099 2748 L 6099 2748 mt 6099 2748 L SO 6159 4616 mt 6159 4589 L 6159 2748 mt 6159 2774 L DO 6159 4616 mt 6159 2748 L 6159 2748 mt 6159 2748 L SO 6213 4616 mt 6213 4589 L 6213 2748 mt 6213 2774 L DO 6213 4616 mt 6213 2748 L 6213 2748 mt 6213 2748 L SO 6261 4616 mt 6261 4589 L 6261 2748 mt 6261 2774 L DO 6261 4616 mt 6261 2748 L 6261 2748 mt 6261 2748 L SO 6261 4616 mt 6261 4563 L 6261 2748 mt 6261 2800 L %%IncludeResource: font Helvetica /Helvetica /WindowsLatin1Encoding 96 FMSR 6188 4784 mt (10) s %%IncludeResource: font Helvetica /Helvetica /WindowsLatin1Encoding 72 FMSR 6294 4717 mt (6) s 1043 4597 mt 1095 4597 L 6261 4597 mt 6208 4597 L %%IncludeResource: font Helvetica /Helvetica /WindowsLatin1Encoding 96 FMSR 846 4632 mt (-90) s 1043 4139 mt 1095 4139 L 6261 4139 mt 6208 4139 L 846 4174 mt (-45) s 1043 3682 mt 1095 3682 L 6261 3682 mt 6208 3682 L 955 3717 mt (0) s 1043 3224 mt 1095 3224 L 6261 3224 mt 6208 3224 L 902 3259 mt (45) s 1043 2766 mt 1095 2766 L 6261 2766 mt 6208 2766 L 902 2801 mt (90) s 1043 2748 mt 6261 2748 L 1043 4616 mt 6261 4616 L 6261 4616 mt 6261 2748 L 1043 4616 mt 1043 2748 L gs 1043 2748 5219 1869 MR c np c8 63 18 63 16 63 16 63 17 62 17 82 25 81 27 81 31 81 36 81 41 81 45 81 51 81 56 81 58 59 41 66 40 54 21 46 -1 39 -32 32 -75 27 -131 22 -184 19 -191 19 -176 22 -148 27 -99 32 -55 39 -21 46 4 55 25 65 41 61 42 81 57 81 53 81 49 81 43 82 38 81 32 81 28 81 23 81 20 81 16 81 14 81 12 81 10 81 8 81 7 82 6 81 5 81 4 81 3 81 3 926 6 1043 3690 54 MP stroke 0 sg 0 -1869 5365 4617 2 MP stroke gr 0 sg 770 3942 mt -90 rotate (Phase \(deg\)) s 90 rotate gs 1043 2748 5219 1869 MR c np c9 63 -17 63 -16 63 -16 63 -17 62 -17 82 -25 81 -27 81 -31 81 -36 81 -41 81 -45 81 -51 81 -56 81 -58 59 -41 66 -40 54 -21 46 1 39 32 32 75 27 131 22 184 19 191 19 176 22 148 27 99 32 55 39 21 46 -4 55 -25 65 -41 61 -42 81 -57 81 -53 81 -49 81 -43 82 -38 81 -32 81 -28 81 -23 81 -20 81 -16 81 -14 81 -12 81 -10 81 -8 81 -7 82 -6 81 -5 81 -4 81 -3 81 -3 926 -6 1043 3673 54 MP stroke 0 sg 0 -1869 5365 4617 2 MP stroke c10 63 2 63 2 63 1 63 2 62 2 96 3 96 3 96 4 96 5 96 6 96 8 96 9 95 11 96 13 96 17 96 21 96 25 96 30 96 37 96 44 95 52 96 59 96 65 96 67 77 48 63 22 51 -10 41 -57 34 -125 27 -201 23 -224 22 -202 27 -159 34 -93 41 -40 51 -2 63 27 78 49 39 27 96 67 96 63 96 55 96 48 96 40 95 33 96 27 96 23 96 18 96 15 96 12 96 10 96 8 95 6 96 5 77 4 1043 3700 56 MP stroke 0 sg 0 -1869 5365 4617 2 MP stroke c11 63 -1 63 -2 63 -1 63 -2 62 -2 96 -3 96 -3 96 -4 96 -5 96 -6 96 -8 96 -9 95 -11 96 -13 96 -17 96 -21 96 -25 96 -30 96 -37 96 -44 95 -52 96 -59 96 -65 96 -67 77 -48 63 -22 51 10 41 57 34 125 27 201 23 224 22 202 27 159 34 93 41 40 51 2 63 -27 78 -49 39 -27 96 -67 96 -63 96 -55 96 -48 96 -40 95 -33 96 -27 96 -23 96 -18 96 -15 96 -12 96 -10 96 -8 95 -6 96 -5 77 -4 1043 3663 56 MP stroke 0 sg 0 -1869 5365 4617 2 MP stroke c12 22 108 25 109 27 102 31 90 35 73 21 32 38 37 34 6 29 -21 25 -51 23 -86 19 -121 16 -146 15 -145 15 -141 16 -131 19 -107 23 -76 25 -49 29 -29 34 -12 38 1 44 13 51 23 39 20 63 38 63 39 63 40 63 38 63 37 63 34 63 32 63 28 63 26 63 23 63 21 63 18 64 16 63 14 63 13 63 10 63 10 63 8 63 7 63 6 63 6 63 5 63 4 63 3 63 3 63 3 63 3 63 2 63 1 1801 11 1043 3683 56 MP stroke 0 sg 0 -1869 5365 4617 2 MP stroke c13 22 -108 25 -109 27 -102 31 -90 35 -73 21 -32 38 -37 34 -6 29 21 25 51 23 86 19 121 16 146 15 145 15 141 16 131 19 107 23 76 25 49 29 29 34 12 38 -1 44 -13 51 -23 39 -20 63 -38 63 -39 63 -40 63 -38 63 -37 63 -34 63 -32 63 -28 63 -26 63 -23 63 -21 63 -18 64 -16 63 -14 63 -13 63 -10 63 -10 63 -8 63 -7 63 -6 63 -6 63 -5 63 -4 63 -3 63 -3 63 -3 63 -3 63 -2 63 -1 1801 -11 1043 3680 56 MP stroke 0 sg 0 -1869 5365 4617 2 MP stroke gr 3347 514 mt (Bode Diagram) s 3213 4934 mt (Frequency \(rad/sec\)) s end eplot %%EndObject epage end showpage %%Trailer %%EOF tap-plugins-doc-20040817/ladspa/tap_eq.png0000644000175000017500000002613110110401430016637 0ustar miramiraPNG  IHDR<<ݵ IDATxOl%ǝ.}ّ׆O:L! @NCiј!8 'I FEA0B+`% M@5Gvf| rfʡRu_? ի_=Olkw)(#:]mqoSnmRcտw:G6SqNǫwP#}osK" |\yҝu|?rSL\m{r;%|,ӱ=Nw|߶cWۧwNIƕwJ2.)XXIKk6K7_i;}4{ugz?~̪ZJDw{Y4/58Ӝǒ:% tSTg4[d~>о'2?ntVZ?RO^<_?{HsІԘ¾6']s^2:n@2u8RPK/}5SZ{zy/SXW6޽ݗo7M#,˷ 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TAP-plugins
Tom's Audio Processing plugins
for audio engineering on the Linux platform
[ Home ] [ LADSPA plugins ] [ TAP Reverb Editor ]
[ Releases ] [ CVS ] [ General Info ] [ Plugin Manuals ]
[ TAP AutoPanner ] [ TAP Chorus/Flanger ] [ TAP DeEsser ] [ TAP Dynamics (Mono & Stereo) ] [ TAP Equalizer and TAP Equalizer/BW ] [ TAP Fractal Doubler ] [ TAP Pink/Fractal Noise ] [ TAP Pitch Shifter ] [ TAP Reflector ] [ TAP Reverberator ] [ TAP Rotary Speaker ] [ TAP Scaling Limiter ] [ TAP Sigmoid Booster ] [ TAP Stereo Echo ] [ TAP Tremolo ] [ TAP TubeWarmth ] [ TAP Vibrato ]

TAP Rotary Speaker

[TAP Rotary Speaker GUI as shown in Ardour]

This plugin simulates the sound of rotating speakers. Two pairs of rotating speakers are simulated, each pair fixed on a vertical axis, with their horns spreading the sound in opposite directions. The two pairs of speakers are rotating with different revolutions (frequencies). The incoming sound is split into a low and a high part (with a low-pass and a high-pass filter, using a crossover frequency of 1 kHz). The low part is fed into the "Rotor" pair of speakers, and the high part into the "Horn" pair. A pair of horizontally aligned microphones is used to pick up the resulting sound. The distance of the microphones (the width of the stereo image of the effect) is adjustable.

General information

Unique ID2149
I/O ports2 inputs / 2 outputs
CPU usage (44.1 kHz)8.5%
CPU usage (96 kHz)19%
Hard RT CapableYes
In-place operationSupported
run_adding() functionProvided

Usage tips

For every speaker pair, two physical effects are simulated. First, in the situation when one speaker is behind the other one (from our point of view), the speaker that is behind has lower volume (because of the distance), the one in front of us has higher volume. At this moment, the speakers have no velocity in our direction, so no pitch shift is perceived. Second, when the two speakers are at the same distance from us (after a 90 degree turn), they have the greatest velocity in our direction. One is rolling away, resulting in its pitch lowering caused by the Doppler effect. The other one is coming near, so its pitch will be perceived to be higher.

To set the rotating speed of the "Rotor" and the "Horn" pair of speakers, use the "Rotor Frequency" and "Horn Frequency" controls. Remember that sounds under 1 kHz will be fed (mostly) into the "Rotor" pair, and sounds higher than 1 kHz will go (mostly) into the "Horn" pair. You can adjust the stereo width of the effect via the "Mic Distance" control. The higher this setting, the wider the stereo image will be. Finally, you may adjust the mix of sounds coming from the "Horn" and "Rotor" parts with the "Rotor/Horn Mix" control. At a setting of zero, only the sound coming from the "Rotor" is heard; when set to 1, only the "Horn" sound is heard. The default setting of 0.5 yields an equal mix of "Rotor" and "Horn" sounds.

The settings shown in the above screenshot should provide a good starting point for your own experimentation.

Summary of user controls

namemin. valuedefault valuemax. value
Rotor Frequency [Hz] 0 0 30
Horn Frequency [Hz] 0 0 30
Mic Distance [%] 0 25 100
Rotor/Horn Mix 0 0.5 1
latency latency time is 48 ms,
value depends on sample rate

Notes

Rotary speaker effects usually deal with the finite mass of real speakers, so when the user changes a speed setting, gradual acceleration of the corresponding speaker pair is simulated. TAP Rotary Speaker does not implement this, because if needed, this effect can easily be produced on a mix using Ardour automation.


$Id: rotspeak.html,v 1.3 2004/08/17 13:05:16 tszilagyi Exp $
tap-plugins-doc-20040817/ladspa/reverb.html0000644000175000017500000003207210110401430017034 0ustar miramira TAP-plugins
TAP-plugins
Tom's Audio Processing plugins
for audio engineering on the Linux platform
[ Home ] [ LADSPA plugins ] [ TAP Reverb Editor ]
[ Releases ] [ CVS ] [ General Info ] [ Plugin Manuals ]
[ TAP AutoPanner ] [ TAP Chorus/Flanger ] [ TAP DeEsser ] [ TAP Dynamics (Mono & Stereo) ] [ TAP Equalizer and TAP Equalizer/BW ] [ TAP Fractal Doubler ] [ TAP Pink/Fractal Noise ] [ TAP Pitch Shifter ] [ TAP Reflector ] [ TAP Reverberator ] [ TAP Rotary Speaker ] [ TAP Scaling Limiter ] [ TAP Sigmoid Booster ] [ TAP Stereo Echo ] [ TAP Tremolo ] [ TAP TubeWarmth ] [ TAP Vibrato ]

TAP Reverberator

[TAP Reverberator GUI as shown in Ardour]

TAP Reverberator is unique among reverberators freely available on the Linux platform. It supports creating no less than 43 reverberation effects, but its design permits this to be extended even further by the user, without doing any actual programming. Please take a look at TAP Reverb Editor, a separate JACK application for more information about this.

The design is based on the comb/allpass filter model. Comb filters create early reflections and allpass filters add to this by creating a dense reverberation effect. The output of the set of comb and allpass filters (also called the reverberator chamber) is processed further by sending it through a bandpass filter. The resulting band-limited reverberation is very similar to the natural reverberation that occurs in acoustic rooms. To achieve an even more natural-sounding effect, all comb filters have high-frequency compensation in their feedback loop. This is to model that the reflection ratio of acoustic surfaces is the function of frequency: higher frequencies are attenuated more, and thus decay time of higher frequency components is significantly shorter.

To enhance the reverberation sound even further, a special option called Enhanced Stereo is provided. When turned on (which is the default), it results in an added spatial spread of the reverb sound. This feature is most noticeable when applying the plugin to mono tracks: the sound of these tracks will "open up" in space.

General information

Unique ID2142
I/O ports2 inputs / 2 outputs
CPU usage (44.1 kHz)10.7% max. (see Notes)
CPU usage (96 kHz)24.8% max. (see Notes)
Hard RT CapableNo
In-place operationSupported
run_adding() functionProvided

Usage tips

Despite the rather complex algorithm of this plugin, usage is relatively simple and the user is required to adjust only a limited number of global controls. This is achieved by defining "presets" called Reverb Types which actually mean larger sets of internal control values. When choosing a Reverb Type, the plugin loads all values associated to that type, and operates according to the newly loaded values. (If you want access to the internals of a Reverb Type, please check out TAP Reverb Editor.)

The most important global variable of the whole effect is the decay time. By adjusting this, you can create the feel of a larger acoustic space (set the decay to more than 2-3 seconds for this), as well as a "tight", relatively dry effect (for which you should set a much lower value). But you should be aware of the fact that not every reverberation type sounds good at any decay setting (see the table below for recommended decay values). For example, a Room (Small) will not sound too good when you set the decay to a very large value, and vice versa, a Hall (Large) will not sound optimal at very small decay settings. However, when choosing a more artificial type of reverberation (Afterburn, Pulse Chamber (Reverse) or Warble Chamber, for example), there is no "natural" decay time: set it as you see fit according to the effect you are trying to achieve.

General advice about adjusting the dry and wet signal levels: the wet level should be about 3 to 15 dB lower than the dry level, according to the reverb type you are using. Of course if you want to create an artificial sounding effect, you can decrease the dry level, even down to -70 dB if that is what you want. However, one thing to know is that you shouldn't set the wet level to a very high value (generally not above 0 dB) because the output level of the plugin may become too high and you may overdrive the next plugin in the chain, or you may cause signal clipping in the master output of your multitrack. Furthermore, because the wet signal is added to the incoming dry signal, you should decrease the dry level as well by a few dB-s (and then set the wet level according to this) so as not to raise the overall loudness of the track.

Usually, when trying to create a natural-sounding reverberation effect, all components (comb filters, allpass filters, the bandpass filter and the stereo enhancement mode) should be switched on. However, to create artificial effects, it is possible to turn off any of these components. For example, if you only want the sound of multiple echoes, you can turn off everything but the comb filters; if you want to create a more unnatural, harsh effect, turn off the bandpass filter processing. (Also note that bandpass filters of different Reverb Types have different low and high cutoff frequencies, since this filtering also affects the nature of the reverberated sound very much.) Naturally, components that are switched off don't consume CPU power.

As mentioned earlier, not all Reverb Types sound good with any decay setting. The following table contains decay time settings adequate for particular Reverb Types. Decay times are shown in seconds. As a rule of thumb, when decay times are above 3 seconds, the "Wet Level" should be at least 6 or more decibels below the "Dry Level". The values below are only general advice, and they are provided merely as a starting point for your experimentation. You are free to use any value that sounds good for your mix.

Recommended decay times

Reverb TypeDecay Time
AfterBurn2.8
AfterBurn (Long)4.8
Ambience1.1
Ambience (Thick)1.2
Ambience (Thick) - HD1.2
Cathedral10
Cathedral - HD10
Drum Chamber3.6
Garage2.3
Garage (Bright)2.3
Gymnasium5.9
Gymnasium (Bright)5.9
Gymnasium (Bright) - HD5.9
Hall (Small)2.0
Hall (Medium)3.0
Hall (Large)5.1
Hall (Large) - HD5.1
Plate (Small)1.7
Plate (Medium)2.6
Plate (Large)5.7
Plate (Large) - HD5.7
Pulse Chamber3.1
Pulse Chamber (Reverse)3.1
Resonator (96 ms)4.0
Resonator (152 ms)4.2
Resonator (208 ms)5.1
Room (Small)1.9
Room (Medium)2.8
Room (Large)4.4
Room (Large) - HD4.4
Slap Chamber2.3
Slap Chamber - HD2.9
Slap Chamber (Bright)3.4
Slap Chamber (Bright) - HD3.7
Smooth Hall (Small)1.8
Smooth Hall (Medium)3.0
Smooth Hall (Large)5.9
Smooth Hall (Large) - HD5.9
Vocal Plate3.1
Vocal Plate - HD3.1
Warble Chamber4.0
Warehouse6.0
Warehouse - HD6.0

Q: What is that HD in the name of some Reverb Types?

A: HD stands for High Density. Reverb Types marked with this are enhanced versions of other types, for example Hall (Large) - HD is derived from Hall (Large). Enhancement means additional comb and/or allpass filters, which result in an even smoother reverberation effect. However, more filters mean more CPU usage, so it's up to you to decide whether to choose them or not. If CPU usage is not a great concern, it is recommended to use the HD versions where available.

Summary of user controls

namemin. valuedefault valuemax. value
Decay [ms] 0 2500 10000
Dry Level [dB] -70 0 +10
Wet Level [dB] -70 0 +10
Comb Filters OFF ON ON
Allpass Filters OFF ON ON
Bandpass Filter OFF ON ON
Enhanced Stereo OFF ON ON
Reverb Type 0 0 42

Notes

The maximum number of filters is 20 combs and 20 allpass filters. Actually it is double this much because every filter exists in two instances for the two channels. This amount allows for the creation of very dense, very smooth-sounding Reverb Types.

Comb filters are implemented as first-order IIR filters with a biquadratic low-pass filter in the feedback loop, which has its cutoff frequency determined by the frequency response parameter of the comb filter. Allpass filters are implemented as ordinary first-order IIR filters.

When Enhanced Stereo is enabled, parameters of the two instances of the same filter are set to slightly different values. Without this option, the two input channels are processed in the exact same way. It is absolutely recommended to turn this on when applying the plugin to mono tracks, but it is also useful on stereo tracks.

Because the varying complexity of Reverb Types and the fact that options can be switched on/off individually, CPU usage is a function of user settings. For this reason, this plugin is not hard RT capable. The CPU usage was measured with all options turned on, and the Reverb Type set to Ambience (Thick) - HD, which is the most complex one at the moment. Other Reverb Types with fewer comb/allpass filters utilize proportionately less CPU.


$Id: reverb.html,v 1.3 2004/08/17 13:05:16 tszilagyi Exp $
tap-plugins-doc-20040817/ladspa/releases.html0000644000175000017500000001501710110401430017352 0ustar miramira TAP-plugins
TAP-plugins
Tom's Audio Processing plugins
for audio engineering on the Linux platform
[ Home ] [ LADSPA plugins ] [ TAP Reverb Editor ]
[ Releases ] [ CVS ] [ General Info ] [ Plugin Manuals ]

Releases

Please go to the SourceForge project page to download tarball releases listed in the following table.

versiondatecomments
0.7.0 2004-08-17 Added new plugins TAP Chorus/Flanger, TAP Sigmoid Booster and TAP TubeWarmth.
Fixed denormal FP problem leading to runaway CPU usage in TAP Stereo Echo.
0.6.0 2004-06-22 Added new plugins TAP Fractal Doubler, TAP Pink/Fractal Noise and TAP Reflector.
Enhanced the internal workings of TAP Reverberator to result in much better reverb sound.
Fixed CPU runaway problems in TAP Reverberator and TAP Dynamics (Mono & Stereo).
Added new Reverb Types: Ambience, Ambience (Thick), Ambience (Thick) - HD, Cathedral, Cathedral - HD.
Complete website/docs redesign, now downloadable as a separate package.
0.5.0 2004-05-01 Added TAP Dynamics (Mono & Stereo).
Ardour now supports drop-down lists in plugin GUIs, so there are no more long port labels.
Minor fixes, improvements, new screenshots ;-)
0.4.2 2004-03-03 TAP Deesser's Monitor control didn't work, apparently because my awesome out-of-range protection applied to that input didn't let anything but zero get through due to a typo in the source. Sigh.
0.4.1 2004-03-03 Added TAP Equalizer/BW, which is identical to TAP Equalizer but provides separate controls to set the bandwidth of each EQ band filter.
Fixed yet another crashing bug in TAP Reverberator (which appears to be introduced upon fixing the previous crashing bug).
0.4.0 2004-02-21 Added new plugins TAP Pitch Shifter, TAP Rotary Speaker and TAP Vibrato.
Fixed crashing bug in TAP Reverberator (the bug appeared with hosts that call activate() before connect_port()).
Fixed lock-up bug in TAP DeEsser (the bug appeared when an input sample had +/- INF value).
Various smaller bugfixes (almost every plugin locked up when control input values of +/- INF were appiled).
0.3.0 2004-02-04 Added new plugins TAP AutoPanner and TAP DeEsser.
Changed TAP Tremolo code to compute and store the cosine table only once on library loading, not for every instance.
Changes were made to the memory management of TAP Limiter.
0.2.0 2004-01-28 Added new plugin TAP Scaling Limiter.
Added Bode diagram to the TAP Equalizer manual.
Changed versioning from x.y-z to x.y.z to fit better in Debian, Gentoo and such distributions.
Moved project to SourceForge.net on 2004-01-29. Minor changes to HTML page. Changed name from TAP to TAP-plugins.
0.1-1 2004-01-25 Added RDF support in the form of an .rdf file describing the plugins. Hosts that obey RDF metadata should have less difficulties displaying plugin GUIs. [1]
0.1-0 2004-01-24 Initial release. Available plugins: TAP Equalizer, TAP Reverberator, TAP Stereo Echo and TAP Tremolo. [1]

[1] These versions are no more available since they were released before this project moved to SourceForge, and the author sees no point in keeping outdated versions around.

Packages for various distributions

  • Anand Kumria maintains a Debian package of this software.
  • RPM packages are available from Planet CCRMA.
  • RPMs are also available for the Mandrake Linux distribution from Thac's collection. Please follow the link to the "Sound" section after choosing this link.
  • There are also eBuilds for the Gentoo Linux distribution.
Request to package maintainers: If you would like to include TAP-plugins in your distro, or provide packages of some format on your own decision, just go ahead. However, when you have made a package of TAP-plugins publicly available, please notify me so I can include your distribution (and you as well, if you want it) in the above list. To do so, please send me the URL where your package is available (possibly a sub-page of your distro's online package browser, or your own package collection), along with your name and email address (if your mail headers don't tell it all). Thank you.

$Id: releases.html,v 1.3 2004/08/17 13:05:16 tszilagyi Exp $
tap-plugins-doc-20040817/ladspa/reflector.html0000644000175000017500000001211710110401430017532 0ustar miramira TAP-plugins
TAP-plugins
Tom's Audio Processing plugins
for audio engineering on the Linux platform
[ Home ] [ LADSPA plugins ] [ TAP Reverb Editor ]
[ Releases ] [ CVS ] [ General Info ] [ Plugin Manuals ]
[ TAP AutoPanner ] [ TAP Chorus/Flanger ] [ TAP DeEsser ] [ TAP Dynamics (Mono & Stereo) ] [ TAP Equalizer and TAP Equalizer/BW ] [ TAP Fractal Doubler ] [ TAP Pink/Fractal Noise ] [ TAP Pitch Shifter ] [ TAP Reflector ] [ TAP Reverberator ] [ TAP Rotary Speaker ] [ TAP Scaling Limiter ] [ TAP Sigmoid Booster ] [ TAP Stereo Echo ] [ TAP Tremolo ] [ TAP TubeWarmth ] [ TAP Vibrato ]

TAP Reflector

[TAP Reflector GUI as shown in Ardour]

This plugin creates a psychedelic reverse audio effect. Overlapping time intervals of incoming samples are treated as blocks called 'fragments'. Each fragment is reversed in time, and faded in and out while played back to the output, hence creating a nearly constant signal level with the mixture resembling a normal reverse-played track -- with the difference that the audio actually progresses forward, only pieces of it are reversed.

General information

Unique ID2154
I/O ports1 input / 1 output
CPU usage (44.1 kHz)4.5%
CPU usage (96 kHz)9.7%
Hard RT CapableYes
In-place operationSupported
run_adding() functionProvided

Usage tips

The Fragment Length setting has a great impact on the sound of the effect. It is best to set it to approximately match the tempo of the track, so the Fragment Length is equal to the time of one measure. Other settings may also be interesting (particularly larger ones). This is a very experimental effect, so experimentation is also required when using it.

When mixed together with the dry signal, the effect is somewhat similar to reverse reverberation. If you aim for such a sound, set the Wet Level a few dB-s below the Dry Level. On the other hand, raise the Wet Level if you want a really psychedelic effect. It is especially worth trying this plugin on sustained guitar and vocal tracks. Percussive sounds also create a very characteristic atmosphere when played backwards.

Summary of user controls

namemin. valuedefault valuemax. value
Fragment Length [ms] 20 415 1600
Dry Level [dB] -90 -90 20
Wet Level [dB] -90 0 20

Notes

If for some reason you need longer Fragment Length times, it is safe to raise the value set by the #define MAX_FRAGMENT_LEN at the top of tap_reflector.c.


$Id: reflector.html,v 1.3 2004/08/17 13:05:16 tszilagyi Exp $
tap-plugins-doc-20040817/ladspa/pitch.html0000644000175000017500000001503710110401430016660 0ustar miramira TAP-plugins
TAP-plugins
Tom's Audio Processing plugins
for audio engineering on the Linux platform
[ Home ] [ LADSPA plugins ] [ TAP Reverb Editor ]
[ Releases ] [ CVS ] [ General Info ] [ Plugin Manuals ]
[ TAP AutoPanner ] [ TAP Chorus/Flanger ] [ TAP DeEsser ] [ TAP Dynamics (Mono & Stereo) ] [ TAP Equalizer and TAP Equalizer/BW ] [ TAP Fractal Doubler ] [ TAP Pink/Fractal Noise ] [ TAP Pitch Shifter ] [ TAP Reflector ] [ TAP Reverberator ] [ TAP Rotary Speaker ] [ TAP Scaling Limiter ] [ TAP Sigmoid Booster ] [ TAP Stereo Echo ] [ TAP Tremolo ] [ TAP TubeWarmth ] [ TAP Vibrato ]

TAP Pitch Shifter

[TAP Pitch Shifter GUI as shown in Ardour]

This plugin gives you the opportunity to change the pitch of individual tracks or full mixes, in the range of plus/minus one octave. Audio length (tempo) is not affected by this plugin, since audio is completely resampled. Besides being a special effect for creating foxy guitar tracks, it may come handy if your (otherwise very attractive) singer or chorus-girl was a bit indisposed at the time of recording: with the power of Ardour automation, you are given a chance to correct smaller pitch errors.

General information

Unique ID2150
I/O ports1 input / 1 output
CPU usage (44.1 kHz)7.4%
CPU usage (96 kHz)16.3%
Hard RT CapableYes
In-place operationSupported
run_adding() functionProvided

Usage tips

There are two controls to set the same thing: you can set the amount of pitch shift by either setting the "Semitone Shift" or the "Rate Shift" control. The former is scaled in semitones, allowing you to set musically sensible pitch shift rates. The latter is scaled in percentage of the original pitch, so that is closer to a "physical", non-musical approach.

The available pitch shift range is one octave up or down. One octave downwards (-12 semitones) corresponds to a setting of -50% of the "Rate Shift" control, one octave upwards (+12 semitones) corresponds to a "Rate Shift" setting of +100%. The "Semitone Shift" control has priority over the "Rate Shift" control in a way that if "Semitone Shift" is nonzero, it determines the amount of pitch shift in itself. If "Semitone Shift" is zero, then the "Rate Shift" setting comes into play. (Note that in Ardour, setting a control back to zero is as easy as shift-clicking on it.)

You can achieve attractive effects by mixing the pitch-shifted signal together with the original: that's why the "Dry Level" and "Wet Level" controls are provided. By default, the dry signal is muted, and the wet signal is output with 0 dB, so you won't need to touch these contols if you don't want to create such a mix.

To thicken the sound of your heavy-metal guitars even further, shift them down with 12 semitones and mix that with the original sound, with a level of 2-6 decibels lower than the original. To create harmonies of a vocal track (simulating another vocalist singing the same thing a bit lower/higher), apply a pitch shift of 3 or 5 semitones to the track, and mix it to the original with a slightly lower volume.

Summary of user controls

namemin. valuedefault valuemax. value
Semitone Shift -12 0 12
Rate Shift [%] -50% 0 100%
Dry Level [dB] -90 -90 20
Wet Level [dB] -90 0 20
latency varies with sample rate
and pitch shift settings

Notes

Unfortunately, this plugin is far from being perfect. (Anyone heard of a perfect pitch shifter?) Varying amounts of phasing effects are introduced at varying pitch shift rates. The good news is, if you settle on a particular setting, the side effects of the plugin are static: no parasite tremolo, vibrato, etc. effects built in, only static attenuation of certain frequencies due to phase cancellation. That's not very lovely, but still not as confusing as some other pitch shifters with strong, time-varying side effects.


$Id: pitch.html,v 1.3 2004/08/17 13:05:16 tszilagyi Exp $
tap-plugins-doc-20040817/ladspa/pinknoise.html0000644000175000017500000001171410110401430017546 0ustar miramira TAP-plugins
TAP-plugins
Tom's Audio Processing plugins
for audio engineering on the Linux platform
[ Home ] [ LADSPA plugins ] [ TAP Reverb Editor ]
[ Releases ] [ CVS ] [ General Info ] [ Plugin Manuals ]
[ TAP AutoPanner ] [ TAP Chorus/Flanger ] [ TAP DeEsser ] [ TAP Dynamics (Mono & Stereo) ] [ TAP Equalizer and TAP Equalizer/BW ] [ TAP Fractal Doubler ] [ TAP Pink/Fractal Noise ] [ TAP Pitch Shifter ] [ TAP Reflector ] [ TAP Reverberator ] [ TAP Rotary Speaker ] [ TAP Scaling Limiter ] [ TAP Sigmoid Booster ] [ TAP Stereo Echo ] [ TAP Tremolo ] [ TAP TubeWarmth ] [ TAP Vibrato ]

TAP Pink/Fractal Noise

[TAP Pink/Fractal Noise GUI as shown in Ardour]

This plugin came to life as a secondary product of the development of TAP Fractal Doubler. It adds pink noise to the incoming signal using a one-dimensional random fractal line generated by the Midpoint Displacement Method, which is a computationally cheap method suitable for generating random fractals.

General information

Unique ID2155
I/O ports1 input / 1 output
CPU usage (44.1 kHz)1.5%
CPU usage (96 kHz)3.3%
Hard RT CapableYes
In-place operationSupported
run_adding() functionProvided

Usage tips

The fractal line has one parameter: Fractal Dimension, which may be between 0 and 1. This parameter determines the spectral density of the generated noise. The graph below demonstrates 1024 samples of generated fractal noise using three different settings of the Fractal Dimension. The green graph was made with a setting of 0 (so it is white noise, actually), the red curve is of Fractal Dimension 0.5 and the blue one's dimension is 1.

Fractal Noise Samples

In addition to setting the Fractal Dimension of the generated pink noise, you can mix it to the incoming signal in different amounts. This way you can emulate different signal/noise ratios, and therefore test how your tracks degrade due to additive noise. A really geeky entertainment for hardcore mixing engineers.

Summary of user controls

namemin. valuedefault valuemax. value
Fractal Dimension 0 0.5 1
Signal Level [dB] -90 0 20
Noise Level [dB] -90 -90 20

Notes

It is always worth putting this plugin on your tracks... because when you turn it off, they suddenly get so much better! :-)


$Id: pinknoise.html,v 1.3 2004/08/17 13:05:16 tszilagyi Exp $
tap-plugins-doc-20040817/ladspa/manuals.html0000644000175000017500000001134210110401430017204 0ustar miramira TAP-plugins
TAP-plugins
Tom's Audio Processing plugins
for audio engineering on the Linux platform
[ Home ] [ LADSPA plugins ] [ TAP Reverb Editor ]
[ Releases ] [ CVS ] [ General Info ] [ Plugin Manuals ]
[ TAP AutoPanner ] [ TAP Chorus/Flanger ] [ TAP DeEsser ] [ TAP Dynamics (Mono & Stereo) ] [ TAP Equalizer and TAP Equalizer/BW ] [ TAP Fractal Doubler ] [ TAP Pink/Fractal Noise ] [ TAP Pitch Shifter ] [ TAP Reflector ] [ TAP Reverberator ] [ TAP Rotary Speaker ] [ TAP Scaling Limiter ] [ TAP Sigmoid Booster ] [ TAP Stereo Echo ] [ TAP Tremolo ] [ TAP TubeWarmth ] [ TAP Vibrato ]

LADSPA Plugin Manuals

This section contains detailed information, benchmarks and usage tips for each available LADSPA plugin. It is intended to serve as a reference manual for the TAP-plugins package.

If you are new to TAP-plugins, please read through the plugin manuals to gain some basic understanding of these plugins. Some plugin settings can be rather tricky and you may not achieve the desired effect easily if you have not at least skimmed through the manuals, or you are not an experienced audio engineer. You have been warned.

For every plugin, some general information is provided in a table. The Unique ID is an identification number that each and every LADSPA plugin must uniquely have. See the LADSPA homepage for details. I/O ports describes the number of input and output audio ports. A plugin is mono if it has 1 input and 1 output, and it is stereo if it has 2 inputs and 2 outputs. The CPU usage measures were explained in a previous section.

A plugin qualifies as hard RT capable (suitable for use in hard realtime environments) if it satisfies all of the following:

  • it does not use malloc(), free() or other heap management within its buffer processing functions;
  • does not call any library functions (except for functions in the ANSI standard C and C math libraries);
  • does not access files, devices, pipes, sockets, IPC or any other mechanism that might result in process or thread blocking;
  • the time needed to process a buffer can be approximated in the form (A+B*SampleCount) where A and B depend on the machine and host in use -- the time may not depend on input signals and plugin state.

A plugin is capable of in-place operation if it does not get confused when it is asked to use the same memory buffer for both input and output sample data. Finally, the run_adding() function is an optional buffer processing function described in the LADSPA specification. When provided, this may make life of some hosts easier.


$Id: manuals.html,v 1.3 2004/08/17 13:05:16 tszilagyi Exp $
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TAP-plugins
Tom's Audio Processing plugins
for audio engineering on the Linux platform
[ Home ] [ LADSPA plugins ] [ TAP Reverb Editor ]
[ Releases ] [ CVS ] [ General Info ] [ Plugin Manuals ]
[ TAP AutoPanner ] [ TAP Chorus/Flanger ] [ TAP DeEsser ] [ TAP Dynamics (Mono & Stereo) ] [ TAP Equalizer and TAP Equalizer/BW ] [ TAP Fractal Doubler ] [ TAP Pink/Fractal Noise ] [ TAP Pitch Shifter ] [ TAP Reflector ] [ TAP Reverberator ] [ TAP Rotary Speaker ] [ TAP Scaling Limiter ] [ TAP Sigmoid Booster ] [ TAP Stereo Echo ] [ TAP Tremolo ] [ TAP TubeWarmth ] [ TAP Vibrato ]

TAP Scaling Limiter

[TAP Scaling Limiter GUI as shown in Ardour]

You want to maximize the loudness of your master tracks. Your drummer has the habit of playing with varying velocity. You want to squeeze high transient spikes down into the bulk of the audio. You want a limiter with transparent sound, but without distortion. This is for you, then. The unique design of this innocent looking plugin results in the ability to achieve signal level limiting without audible artifacts.

Most limiters operate on the same basis as compressors: they monitor the signal level, and when it gets above a threshold level they reduce the gain on a momentary basis, resulting in an unpleasant "pumping" effect. Or even worse, they chop the signal at the top. This plugin actually scales each half-cycle individually down to a smaller level so the peak is placed exactly at the limit level. This operation (from zero-cross to zero-cross) results in an instantaneous blending of peaks and transient spikes down into the bulk of the audio.

General information

Unique ID2145
I/O ports1 input / 1 output
CPU usage (44.1 kHz)0.5% (see Notes)
CPU usage (96 kHz)1.1% (see Notes)
Hard RT CapableNo
In-place operationSupported
run_adding() functionProvided

Usage tips

Although this limiter is an exceptionally clean sounding one, it is possible to introduce distortion by setting the limit level down into the bulk of the audio. Only transients, drum beats and such things (which "stand out" of the waveform) should be attacked. To illustrate the optimal setting of this plugin, let's look at the following waveforms (seemingly some unmastered rock music):

[Before/After Limiter Waveforms 1]

As you can see, no signal gets above the limit level, so this plugin acts as a brickwall limiter (with a compression ratio of inf:1 above the limit level). But the two waveforms above sound exactly the same! This is possible because transients last for a very short amount of time, and despite their high level, they don't carry very much energy compared to the bulk of the audio. Now let's take a closer look at the same waveforms:

[Before/After Limiter Waveforms 2]

As it can be seen, the waveform does not lose any of its details, because half-cycles (from zero-cross to zero-cross) are individually scaled down to the limit level (only those that have peaks above the limit, of course).

When setting the "Limit Level", you should not go more than 7-8 dB below the average peak level of the signal, which should be observed via some peak-holding level meter. When using this plugin in Ardour, this can be done very easily because the meters of the mixer strips provide an excellent way to monitor exact peak values. Assuming an unmastered mix of some rock music with drums, bass, guitars etc. you can usually get down to the point where the Ardour level meter doesn't move very much. Without hearing any distortion, of course. Because high transients are squeezed down, the overall signal level can be raised with the "Output Volume" control. Thus, this plugin is a very effective way to transparently maximize the loudness of your mixes.

Summary of user controls

namemin. valuedefault valuemax. value
Limit Level [dB] -30 0 +20
Output Volume [dB] -30 0 +20
latency latency time is 12.5 ms,
value depends on sample rate

Notes

This plugin has a processing function that examines the input audio signal and makes decisions based on sample values. So by definition, this plugin cannot qualify as hard RT capable, although CPU demand tends to be fairly constant during usage.


$Id: limiter.html,v 1.3 2004/08/17 13:05:16 tszilagyi Exp $
tap-plugins-doc-20040817/ladspa/general.html0000644000175000017500000002211310110401430017157 0ustar miramira TAP-plugins
TAP-plugins
Tom's Audio Processing plugins
for audio engineering on the Linux platform
[ Home ] [ LADSPA plugins ] [ TAP Reverb Editor ]
[ Releases ] [ CVS ] [ General Info ] [ Plugin Manuals ]

General Information

Installation

Should be pretty easy. Download and untar the archive and cd into the resulting directory tap-plugins-x.y.z. If you store your plugin .so files in a different directory than /usr/local/lib/ladspa (which is the default) then please edit the top of the Makefile first of all. There is a default place also for RDF metadata. Set it according to your own needs. Because the plugins do not require any special library (apart from the standard GNU C library), there is no ./configure script. All you have to do is issue a make and (as root) a make install. If you don't get any errors (you shouldn't), fire up your host and check out your new plugins. You may also want to check the README file for additional information.


A few words about signal routing

When connecting plugins to audio inputs/outputs and to each other in order to build a digital audio processing chain, it is important to understand how audio is actually routed between individual input/output ports. Plugins can have a different number of audio inputs and outputs, and routing is handled by the host.

The TAP-plugins have either 1 input and 1 output (mono plugins) or 2 inputs and 2 outputs (stereo plugins). No other combinations are used, although it would be perfectly legal for a plugin to have 1 input and 2 outputs, for example.

When you apply a mono plugin to a mono track, everything is clear. The one and only input of the plugin gets connected to the mono signal, and the single plugin output is routed back somewhere (to the input of another plugin, or to a master out, etc). Another simple case is when you apply a stereo (2 in / 2 out) plugin to a stereo track. Here again, everything gets connected as you would expect.

But what happens if you apply a mono plugin to a stereo track (or put it in a chain of plugins after a plugin with stereo outputs)? In this case, actually two instances are created of the same plugin, and the two input channels are processed by these two separate plugins to get two output channels. The two instances are binded to the same GUI controls, so you see and adjust only one plugin GUI. But keep in mind that it's actually two plugins running in the background, consuming twice as much memory and CPU power as one single plugin would cost. The CPU usage metrics (provided as part of the plugin manuals) for mono plugins assume you are actually using only one instance, so you should double the figures when applying them to a stereo track.

The last possible arrangement is when you apply a stereo plugin to a mono track (or put it in a chain of plugins after a plugin with only one output). Here the stereo plugin receives the same data on both input channels. This can be an important issue because there are some effects requiring that audio is received on only one input and the other input muted (i.e. feeded with zeroes) if the input is actually mono. (See the Haas effect switch of the TAP Stereo Echo plugin for an example).

Given the above routing behaviour, TAP-plugins have been written in a manner that minimizes the number of stereo plugins. If the stereo version of a plugin would process two input signals identically and separately, then there is no stereo version of the plugin since applying the mono plugin to a stereo track yields the exact same effect. A plugin is implemented as stereo if and only if it uses an algorithm that results in differences between the output channels even with identical input data (echoing and reverberation algorithms are an example of this). If one of the input channels needs to be muted to achieve a particular effect when the inputs are identical, there is a user controllable toggle button built in the plugin to achieve this.


About CPU usage metrics

CPU usage metrics are provided for each plugin. This is not a very accurate way to tell how much a plugin setup costs, but it should provide a general idea about how expensive each plugin is, and it is better than nothing. Please don't rely on these figures when you need to predict the system load in a situation where the results of system overload (stopping of the transport, falling out of sync, etc) are unacceptable. For example, if you are recording a live show or doing live PA work, never ever go into calculations that result in saying that you will need only 98% of your CPU power when using such-and-such plugins. This is extremely dangerous, and there are much easier ways to commit suicide as well.

The CPU usage figures were measured running the plugins within Ardour, and recording the increase of "DSP Load" indicated at the top of the Ardour Editor window. The machine used for measurements was a uniprocessor Pentium IV machine with a processing power of approximately 3395 BogoMIPS. Mono plugins were applied to mono tracks, and stereo plugins were applied to stereo tracks (read the above section about routing to understand why this is important). Measurements were made at both 44.1 kHz and 96 kHz sampling frequencies. CPU usage is proportional to the sampling rate (at least in theory), so at 48 kHz you should expect somewhat greater CPU demand than at 44.1 kHz, and at 192 kHz expect roughly twice as much CPU usage as the value at 96 kHz. The actual figures are provided as part of the plugin manuals.


About latency issues

To be able to perform complex tasks, several plugins have some latency. The value of latency means the number of samples the output is "late" when compared to the input. You can tell if a plugin has latency, because it is always indicated in the "Summary of user controls" table of the plugin manual. Certain plugins have a latency of fixed samples, others have a fixed time of latency, which yields different latency values at different sample rates. And there are plugins that have latency values dependent on user settings.

A latency value of a few hundred samples is not a long time (when you are waiting for a bus, for example), but there may be situations where latency causes problems. One possible case is when you have multiple channels containing some of the same sound source (a live drum recording for example, with a great amount of snare leakage into cymbal microphones). It can happen that the time shift introduces phasing effects when you place a latent plugin on one of these tracks.

The control output named "latency" is provided to solve this problem. The exact amount of latency is always written to this output during operation. Advanced hosts can shift the entire track backwards in time, based on this value. Or they may delay other tracks artificially so there is no time shift error between tracks. This compensation of LADSPA plugin latency works well in Ardour, so if you are an Ardour user, you have nothing to do with latency. Note that contrary to other control outputs, Ardour does not display the one named "latency" -- so you won't actually see the latency output.

If you are using another host, you may want to check if your host supports this kind of latency compensation. If not, it is recommended to shift the track backwards manually, by the number of samples indicated by the "latency" output (provided that your host displays this output, which is likely if it does not use it). Fortunately, latency is not an issue when using a plugin on master outputs or processing separate tracks outside the context of a mix.


$Id: general.html,v 1.3 2004/08/17 13:05:16 tszilagyi Exp $
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TAP-plugins
Tom's Audio Processing plugins
for audio engineering on the Linux platform
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TAP Equalizer

and TAP Equalizer/BW


[TAP Equalizer GUI as shown in Ardour]

This plugin is an 8-band equalizer with adjustable band center frequencies. It allows you to make precise adjustments to the tonal coloration of your tracks. The design and code of this plugin is based on that of the DJ EQ plugin by Steve Harris, which can be downloaded (among lots of other useful plugins) from http://plugin.org.uk.

General information

Unique ID2141 [1]
I/O ports1 input / 1 output
CPU usage (44.1 kHz)4.0% max. (see Notes)
CPU usage (96 kHz)8.8% max. (see Notes)
Hard RT CapableNo
In-place operationSupported
run_adding() functionProvided
[1] Unique ID for TAP Equalizer/BW is 2151.

Usage tips

The TAP Equalizer is a powerful tool in the hands of a skilled mixing engineer. The main use of the band frequency controls is to allow to "tune in" various resonance frequencies of musical instruments, and by adjusting the gain of these frequencies, to alter the tone of an instrument in a desired way. For example, the sound of kick drums consists of two mainly distinct parts: the energy is mainly concentrated around 80-100 Hz (this is the "boom" part), but there is another component at around 2.5 kHz which gives the "edge" of the sound. By adjusting the level of these components, different tonal results can be achieved.

While listening to the track (soloed or not) with this plugin applied, raise the gain of the appropriate band (that is, the one with the closest default frequency) by an amount of about 6-12 dB and adjust the frequency control of the same band until you feel that you "got" that particular resonant tone of the instrument. Then play around with the gain settings to achieve the tonal balance you are going for.

Since you only pay (in terms of CPU usage) for the bands you actually use, it is recommended that you set the gains of unneeded bands to exactly 0 dB (you can do this in Ardour quickly by shift+clicking on the control fader) since processing of bands with 0 dB gain will be skipped. So don't leave a band gain at -0.12 dB unless you really need that -0.12 dB to be there.

Summary of user controls

namemin. valuedefault valuemax. value
Band 1 Freq [Hz] 40 100 280
Band 1 Gain [dB] -50 0 +20
Band 1 Bandwidth [octaves] [2] 0.1 1 5
Band 2 Freq [Hz] 100 200 500
Band 2 Gain [dB] -50 0 +20
Band 2 Bandwidth [octaves] [2] 0.1 1 5
Band 3 Freq [Hz] 200 400 1000
Band 3 Gain [dB] -50 0 +20
Band 3 Bandwidth [octaves] [2] 0.1 1 5
Band 4 Freq [Hz] 400 1000 2800
Band 4 Gain [dB] -50 0 +20
Band 4 Bandwidth [octaves] [2] 0.1 1 5
Band 5 Freq [Hz] 1000 3000 5000
Band 5 Gain [dB] -50 0 +20
Band 5 Bandwidth [octaves] [2] 0.1 1 5
Band 6 Freq [Hz] 3000 6000 9000
Band 6 Gain [dB] -50 0 +20
Band 6 Bandwidth [octaves] [2] 0.1 1 5
Band 7 Freq [Hz] 6000 12000 18000
Band 7 Gain [dB] -50 0 +20
Band 7 Bandwidth [octaves] [2] 0.1 1 5
Band 8 Freq [Hz] 10000 15000 20000
Band 8 Gain [dB] -50 0 +20
Band 8 Bandwidth [octaves] [2] 0.1 1 5
[2] These controls appear only in the TAP Equalizer/BW implementation.

Notes

This plugin consists of 8 Peaking EQ filters (which are IIR filters with an order of two). Filter coefficients are re-computed if and only if the user changed a control value since the last buffer run. Furthermore, those filters that are left at 0 dB gain are not processed at all. For this reason, the CPU demand of this plugin is a function of the control settings, hence it is not hard RT capable. However, the CPU demand is still somewhat predictable: moving all gains away from 0 dB will switch every filter on. The CPU usage measured in this state will not increase significantly when filter coefficients are re-computed in response to a changed control. Of course, if the user sets a gain back to 0 dB, that filter will be switched off, freeing CPU power. The CPU usage values displayed in the above table were measured with all filters working.

The bandwidth of the Peaking EQ filters is fixed to 1 octave in the TAP Equalizer implementation. However, because setting individual bandwidth values may be needed in certain cases, another implementation called TAP Equalizer/BW is also provided. Using that plugin, you can set the bandwidth of every filter between 0.1 and 5 octaves. The reason for keeping TAP Equalizer around as well is that you don't always need the ability to set bandwidth values, and TAP Equalizer/BW has a large amount of controls which may be disturbing in this case.

Below you can see a Bode diagram of the filter that makes up this plugin. The three frequencies are 100 Hz, 1 kHz and 10 kHz, with gain values of -20 and +20 dB and a sampling rate of 44.1 kHz. Bandwidth was set to 1 octave (which is the default). This plot is also available as an EPS file.

[TAP Equalizer filter Bode diagram]
$Id: eq.html,v 1.3 2004/08/17 13:05:16 tszilagyi Exp $
tap-plugins-doc-20040817/ladspa/echo.html0000644000175000017500000002125110110401430016462 0ustar miramira TAP-plugins
TAP-plugins
Tom's Audio Processing plugins
for audio engineering on the Linux platform
[ Home ] [ LADSPA plugins ] [ TAP Reverb Editor ]
[ Releases ] [ CVS ] [ General Info ] [ Plugin Manuals ]
[ TAP AutoPanner ] [ TAP Chorus/Flanger ] [ TAP DeEsser ] [ TAP Dynamics (Mono & Stereo) ] [ TAP Equalizer and TAP Equalizer/BW ] [ TAP Fractal Doubler ] [ TAP Pink/Fractal Noise ] [ TAP Pitch Shifter ] [ TAP Reflector ] [ TAP Reverberator ] [ TAP Rotary Speaker ] [ TAP Scaling Limiter ] [ TAP Sigmoid Booster ] [ TAP Stereo Echo ] [ TAP Tremolo ] [ TAP TubeWarmth ] [ TAP Vibrato ]

TAP Stereo Echo

[TAP Stereo Echo GUI as shown in Ardour]

This plugin supports conventional mono and stereo delays, ping-pong delays and the Haas effect (also known as Cross Delay Stereo). A relatively simple yet quite effective plugin.

General information

Unique ID2143
I/O ports2 inputs / 2 outputs
CPU usage (44.1 kHz)0.4%
CPU usage (96 kHz)0.8%
Hard RT CapableYes
In-place operationSupported
run_adding() functionProvided

Usage tips

If you want to create a conventional mono or stereo delay, all you have to do is set the delay times and feedback ratios for the two input channels. If the feedback is set to zero, then only one delay of the input is created (as if a traditional tape delay was used). When feedback is greater than zero, the same bit of audio is sent back and delayed over and over again, with decreasing amplitudes. In this case the decay time is dependent of the feedback value.

When you turn the Cross Mode switch on, the feedback loops are being feeded by the delayed signal of the opposite input channel. A sound coming from the left input channel will be delayed by the Left Delay time value, but the output of the left delay ringbuffer will be sent back to the right input (instead of the left) with regard to the right channel's feedback setting. In Cross mode, a sound appearing at one input will be bouncing between the two output channels, hence the popular name "ping-pong delay". If you use this effect with high delay times and feedback values, even the dumbest listener will notice that your mix is stereo.

A third effect achievable with this plugin is the so-called Haas effect. This effect is founded by the following psycho-acoustic experience: if a sound reaches one ear, and the same sound reaches the other ear but with a time shift of 15-40 milliseconds, only one sound is heard, but with a spatial feeling. The Haas effect (also known as Cross Delay Stereo, which refers to the means by which the effect is created) is widely used by mixing engineers to avoid their mixes being "pan-potted mono", or to "stretch out" their otherwise mono guitar, vocal etc. tracks in space. This effect is a great alternative to reverberation (although it produces a noticeably different quality).



How to create the Haas effect

It only makes sense to create the Haas effect on a mono track. On a stereo track, you should apply a cross or normal stereo echo instead.

To create the Haas effect on a mono track, follow these steps.

1. Switch on the "Cross Mode" and "Haas Effect" controls of the plugin. The "Haas Effect" switch will mute the second (right) input channel, because when applied to a mono track, the plugin receives the same mono data on both inputs and this would kill the Haas effect (this topic was discussed in the section about signal routing).
2. Set the "R/Haas Delay" time to 15-40 milliseconds. The bigger this setting, the wider the mono track will "stretch out". But if you increase the Haas delay above a certain threshold, the listener will begin to hear two separate sounds shifted in time instead of the Haas effect (which is actually the case at lower delays as well, but the feeling is something completely different).
3. Set the "R/Haas Feedback" near 100% (above 80% will do).
4. "Left Feedback" shouldn't be very large (stay below 50%) or the ping-pong delay which makes up the Haas effect will not decay in a short time, and this will create a very unpleasant sound.
5. Set the "L Delay" time as you see fit.
6. The sound of a mono track "streched out" in space with the Haas effect tends to have some directionality (the listener feels the sound source is a bit nearer to the right side than the left, or vice versa). If the sound of the track would fit into your overall mix better with the left and right sides swapped, you can do this by switching "Swap Outputs" on.
7. Mute the direct sound (set "Dry Level" to -70 dB). It is not needed in this scenario.


Summary of user controls

namemin. valuedefault valuemax. value
L Delay [ms] 0 100 2000
L Feedback [%] 0 0 100
R/Haas Delay [ms] 0 100 2000
R/Haas Feedback [%] 0 0 100
L Echo Level [dB] -70 0 +10
R Echo Level [dB] -70 0 +10
Dry Level [dB] -70 0 +10
Cross Mode OFF OFF ON
Haas Effect OFF OFF ON
Swap Outputs OFF OFF ON

Notes

The maximum delay time (which is currently 2000 ms) can be set to a greater value in tap_echo.c if needed. When activating the plugin, memory is allocated for a ringbuffer which is large enough to contain audio as long as this value. Because this amount of memory is proportional to the maximum delay, it is not desirable to set it to a very large value if you don't want to actually use it since you will be only wasting memory. (This waste will be temporary of course, since memory is freed when the host deactivates the plugin -- that is, when you remove it from the mixer/patchbay/whatever your host has.)


$Id: echo.html,v 1.3 2004/08/17 13:05:16 tszilagyi Exp $
tap-plugins-doc-20040817/ladspa/dynamics.html0000644000175000017500000003277610110401430017371 0ustar miramira TAP-plugins
TAP-plugins
Tom's Audio Processing plugins
for audio engineering on the Linux platform
[ Home ] [ LADSPA plugins ] [ TAP Reverb Editor ]
[ Releases ] [ CVS ] [ General Info ] [ Plugin Manuals ]
[ TAP AutoPanner ] [ TAP Chorus/Flanger ] [ TAP DeEsser ] [ TAP Dynamics (Mono & Stereo) ] [ TAP Equalizer and TAP Equalizer/BW ] [ TAP Fractal Doubler ] [ TAP Pink/Fractal Noise ] [ TAP Pitch Shifter ] [ TAP Reflector ] [ TAP Reverberator ] [ TAP Rotary Speaker ] [ TAP Scaling Limiter ] [ TAP Sigmoid Booster ] [ TAP Stereo Echo ] [ TAP Tremolo ] [ TAP TubeWarmth ] [ TAP Vibrato ]

TAP Dynamics (Mono & Stereo)

[TAP Dynamics (M) GUI as shown in Ardour]

[TAP Dynamics (St) GUI as shown in Ardour]

TAP Dynamics is a versatile tool for changing the dynamic content of your tracks. Currently it supports 15 dynamics transfer functions, among which there are compressors, limiters, expanders and noise gates. However, the plugin itself supports arbitrary dynamics transfer functions, so you may add your own functions as well, without any actual programming.

The plugin comes in two versions: Mono (M) and Stereo (St). This is needed because independent processing of two channels is not always desirable in the case of stereo material. The stereo version has an additional control to set the appropriate mode for stereo processing (you may still choose to process the two channels independently, although the same effect is achieved by using the mono version).

General information

Unique ID2152 (Mono), 2153 (Stereo)
I/O ports1 input / 1 output (Mono), 2 inputs / 2 outputs (Stereo)
CPU usage (44.1 kHz)1.9% [1]
CPU usage (96 kHz)3.9% [1]
Hard RT CapableNo (see Notes)
In-place operationSupported
run_adding() functionProvided
[1] When placed on a stereo track with equal settings, the difference between the results of the mono and stereo version is not significant.

Usage tips

The Attack and Release controls set the parameters for the envelope computation code. By setting smaller values, the envelope level will follow the actual momentary volume level more accurately; by setting larger values, envelopes will be more sluggish. As a rule of thumb, the release time should be about 2-4 times as much as the attack time, but this rule is very weak: don't hesitate to set anything else if that is what you need.

Setting small attack/release times means that the plugin will spring into action on every beat. Setting relatively long attack/release times (above 200-300 ms) yield an effect that tends to compensate for volume changes in a track, and lets shorter changes (beats) get through.

The envelope level determines the amount of gain applied to the input signal, with respect to the dynamics function set. There will be times when you need to modify the threshold/limit levels of a function to get the best results. The Offset Gain control is provided for this reason. By setting this control, you specify the gain with which the whole dynamics function is shifted horizontally, in the negative direction. To put it another way, you may think of this control like a gain control applied to the input signal just before it reaches the envelope stage; however, note that this gain will not show up in the indicated envelope levels. Let's take an example: if you set the Function to, say, "Hard limiter at -12 dB", and set an Offset Gain of +6 dB, the result will be a hard limiter at -18 dB. Use this control to adjust the chosen function to the actual level of your track.

The Stereo version has an additional control: Stereo Mode. It has three values: Independent, Average and Peak. This setting controls how the envelope levels are used to determine the needed gain adjustment. When in Independent mode, the two envelope levels control the two channel's gains independently. In Average mode, the average of the two envelope levels is computed and the gain determined by this average level is applied to both input channels. Peak mode is the same as Average mode, but the greater envelope level is taken instead of the average of the two envelope levels.

Generally, you will want to use Average or Peak mode on a stereo mix in order to retain stereo balance. Independent mode tends to cancel out larger volume differences between the two channels; of course, this may be just what you want.

Dynamics transfer functions

The plots of the dynamics functions are shown below. The identity function (which always yields zero gain modification) is plot as a yellow line. The actual function's plot is red. At any input level, the gain modification is the vertical distance between the yellow and red curves.

No. Dynamics function
0 Dynamics function no. 0
1 Dynamics function no. 1
2 Dynamics function no. 2
3 Dynamics function no. 3
4 Dynamics function no. 4
5 Dynamics function no. 5
6 Dynamics function no. 6
7 Dynamics function no. 7
8 Dynamics function no. 8
9 Dynamics function no. 9
10 Dynamics function no. 10
11 Dynamics function no. 11
12 Dynamics function no. 12
13 Dynamics function no. 13
14 Dynamics function no. 14


How to add a new dynamics function

If you want to add a new function, here is how to do it. If you are not interested in creating your own functions, you can safely skip this boxed section.

You have to specify the following parameters in order to describe a dynamics transfer function.

(a) The number of breakpoints on the input/output plane (the maximum number is 20).
(b) For each breakpoint, the input (X) and output (Y) values are needed. Input coordinates must be greater or equal to -80 dB, output coordinates may be arbitrary.

Function data is described in the file tap_dynamics_presets.h in a structure written in C syntax. But don't be scared, you don't have to be a C programmer to be able to add a new function. Just follow the instructions.

First of all, at the top of the file you find this:

/* Number of dynamics presets */
#define NUM_MODES 15

It is important that this number always equals to the functions described in the file. For this reason, you have to increase this value if you add a new preset.

Below is an existing function, as it looks in the file. Note that fractional numbers are given in C float format. This means that a decimal dot is found in every number ( .0 is appended if it happens to be an integer) and it is ended with the letter f.

         { /* Compressor/Gate */
                  5,
                  {
                           {-80.0f, -105.0f},
                           {-62.0f, -80.0f},
                           {-15.4f, -15.4f},
                           {0.0f, -12.0f},
                           {20.0f, -7.6f},
                  },
         },


This function consists of 5 breakpoints (a). Each breakpoint has two coordinates, the first value is the input, the second is the output (b).

When you have designed a new function, all you have to do is append it in a form shown above, to the end of tap_dynamics_presets.h, but before the last closing }; brace. After re-compiling the plugin, your new dynamics function should be available. (Don't forget to increment the NUM_MODES constant at the top of the file, as shown above, or your new function will not show up.)

If you have developed a new preset that you think is useful, please mail it with your name and e-mail address to the author so it can be included in the next release. You will be given due credit, of course.

Summary of user controls

namemin. valuedefault valuemax. value
Attack [ms] 4 128 500
Release [ms] 4 502 1000
Offset Gain [dB] -20 0 20
Makeup Gain [dB] -20 0 20
Stereo Mode [2] Independent Independent Peak
Function 0 0 14
[2] This control appears only in the Stereo version.

Notes

The plugin consumes varying amounts of CPU power, depending on the exact function used. The plugin is by definition not hard RT capable, although CPU usage tends to be fairly constant. CPU metrics were measured with the function set to Expander, which is currently the most complex function.


$Id: dynamics.html,v 1.3 2004/08/17 13:05:16 tszilagyi Exp $
tap-plugins-doc-20040817/ladspa/doubler.html0000644000175000017500000001632210110401430017203 0ustar miramira TAP-plugins
TAP-plugins
Tom's Audio Processing plugins
for audio engineering on the Linux platform
[ Home ] [ LADSPA plugins ] [ TAP Reverb Editor ]
[ Releases ] [ CVS ] [ General Info ] [ Plugin Manuals ]
[ TAP AutoPanner ] [ TAP Chorus/Flanger ] [ TAP DeEsser ] [ TAP Dynamics (Mono & Stereo) ] [ TAP Equalizer and TAP Equalizer/BW ] [ TAP Fractal Doubler ] [ TAP Pink/Fractal Noise ] [ TAP Pitch Shifter ] [ TAP Reflector ] [ TAP Reverberator ] [ TAP Rotary Speaker ] [ TAP Scaling Limiter ] [ TAP Sigmoid Booster ] [ TAP Stereo Echo ] [ TAP Tremolo ] [ TAP TubeWarmth ] [ TAP Vibrato ]

TAP Fractal Doubler

[TAP Fractal Doubler GUI as shown in Ardour]

Originally developed to do vocal doubling, this plugin is suitable for doubling tracks with vocals, acoustic/electric guitars, bass and just about any other instrument on them. The effect is created by applying small changes to the pitch and timing of the incoming signal. These changes are created by one-dimensional random fractal lines producing pink noise.

General information

Unique ID2156
I/O ports2 inputs / 2 outputs
CPU usage (44.1 kHz)2.6%
CPU usage (96 kHz)5.6%
Hard RT CapableNo
In-place operationSupported
run_adding() functionProvided

Usage tips

As it is well known, pink noise -- being between white and brown noise in terms of spectral density and other stochastic characteristics -- is the closest to musical patterns in general. Therefore it is a natural choice to use pink noise to modulate small differences into the pitch and timing of the incoming signal. This way a second voice is obtained that sounds almost the same as the original. By mixing these two voices together, the desired effect can be achieved.

This plugin uses two separate fractal lines to generate changes in pitch and timing. The controls Time Tracking and Pitch Tracking determine how "rough" and how big these changes are. When set to 0, changes are bigger and more chaotic ("bad backup singer"). When set to 1, changes are smaller and smoother ("better tracking of the original").

The level of the two voices should be roughly the same. If the Dry Level and Wet Level settings are not equal, preferably the Dry Level should be higher (to mitigate any side-effects). If you set both levels to -3 dB, the resulting output level will match the input level, therefore giving you perfect conditions to do comparisons via the Bypass button.

In addition to setting the levels of the two voices, you may add spatial separation between them by using the panner controls Dry Left Position, Dry Right Position, Wet Left Position and Wet Right Position. These controls range between 0 and 1, 0 meaning hard left and 1 meaning hard right position. The two voices each have a left and a right output, which you can independently pan into the stereo image of the plugin output using these controls. For example, with the settings shown in the above screenshot, the dry voice is panned slightly to the left and the wet voice slightly to the right.

Summary of user controls

namemin. valuedefault valuemax. value
Time Tracking 0 0.5 1
Pitch Tracking 0 0.5 1
Dry Level [dB] -90 0 20
Dry Left Position 0 0 1
Dry Right Position 0 1 1
Wet Level [dB] -90 0 20
Wet Left Position 0 0 1
Wet Right Position 0 1 1

Notes

Samples of fractal lines are never reused. That is, not a single N-point fractal line is looped again and again, but a new fractal is generated when the old one has ended. For this reason, the plugin is not hard RT capable, since fractals are re-generated in a periodical manner, with a period that does not necessarily match the LADSPA buffer period. Also, every time the user adjusts one of the Tracking parameters, the corresponding fractal is regenerated with respect to the new setting.

Please keep in mind that this plugin is only a replacement of real doubling, which (when properly done) yields much more enjoyable results. It's perfect to use the plugin as a tonal/spatial enhancer, but if you want a real doubing effect and you can afford it, please consider doing another real recording of the same vocal/instrument, possibly with subtle changes in microphone placement and/or tonal settings. No DSP can bring you the Real Thing.


$Id: doubler.html,v 1.3 2004/08/17 13:05:16 tszilagyi Exp $
tap-plugins-doc-20040817/ladspa/deesser.html0000644000175000017500000002026010110401430017175 0ustar miramira TAP-plugins
TAP-plugins
Tom's Audio Processing plugins
for audio engineering on the Linux platform
[ Home ] [ LADSPA plugins ] [ TAP Reverb Editor ]
[ Releases ] [ CVS ] [ General Info ] [ Plugin Manuals ]
[ TAP AutoPanner ] [ TAP Chorus/Flanger ] [ TAP DeEsser ] [ TAP Dynamics (Mono & Stereo) ] [ TAP Equalizer and TAP Equalizer/BW ] [ TAP Fractal Doubler ] [ TAP Pink/Fractal Noise ] [ TAP Pitch Shifter ] [ TAP Reflector ] [ TAP Reverberator ] [ TAP Rotary Speaker ] [ TAP Scaling Limiter ] [ TAP Sigmoid Booster ] [ TAP Stereo Echo ] [ TAP Tremolo ] [ TAP TubeWarmth ] [ TAP Vibrato ]

TAP DeEsser

[TAP DeEsser GUI as shown in Ardour]

TAP DeEsser is a plugin for attenuating higher pitched frequencies in vocals such as those found in 'ess', 'shh' and 'chh' sounds. Almost any vocal recording will contain 'ess' sounds, whether a strong vocal delivery, from bad recording, speech impediments or simply many 'ess' words spoken together. Wind instruments and other musical instruments can also create shrill high-pitched noises. Audio engineers need to control these harsh 'ess' sounds in most recordings.

General information

Unique ID2147
I/O ports1 input / 1 output
CPU usage (44.1 kHz)5.9%
CPU usage (96 kHz)12.8%
Hard RT CapableNo (see Notes)
In-place operationSupported
run_adding() functionProvided

Usage tips

Audio input is fed into the audio path and the so-called Sidechain. In the Sidechain, the signal is filtered and then an attenuation value is computed based on the filter output. This computation is done using a hard-knee compressor characteristic with a threshold level set by the "Threshold" control and a compression ratio of 1:2. The compressor attack/release time is 10 ms for instant operation.

The filter applied to the Sidechain signal has two modes of operation: Highpass and Bandpass. Highpass mode is useful for attenuating several different 'ess' sounds. Bandpass mode is more suitable for attenuating a specific high frequency. The chosen filter's frequency is set by the "Frequency" control.

General advice about setting the "Frequency" control: The sounds attenuated by this plugin can be fit into four categories: male 'ess', male 'ssh', female 'ess' and female 'ssh' sounds. 'Shh' settings are quite applicable for 'ch', 'th', and hard consonants, such as 't', 'd', and 'k' as well. The following table lists frequencies for these four types of sounds. Note that these are only provided as a starting point for your own experimentations, as the characteristic frequencies of individual vocalists can vary in a suprisingly wide range. Use your ears!

Recommended frequency values

Male 'ess'4500 Hz
Male 'ssh'3400 Hz
Female 'ess'6800 Hz
Female 'ssh'5100 Hz

Generally, female 'ess' and 'shh' sounds vary more in frequency than those of males. Due to this situation, you may find that using the Sidechain filter in the Highpass mode may be more responsive. Otherwise, with the Sidechain filter in Bandpass mode, only a narrow frequency area is being responded to. So if a singer has esses with varying frequency, try the Highpass mode of the Sidechain.

When choosing between Sidechain modes (e.g. Highpass or Bandpass) and setting the "Frequency" it may be very helpful to hear the Sidechain signal, which controls the compression of the through-passing audio: this is why the Monitor control is provided. While listening to the Sidechain signal, try to set the controls so that almost everything you want attenuated can be well heard, and even more importantly, almost everything you want to keep intact doesn't show up in the Sidechain sound.

Another aid in setting the plugin is the "Attenuation" output meter: this shows the momentary attenuation applied to the signal. It shouldn't show a significant attenuation all the time. Instead, it should indicate that attenuation springs into action only occassionally.

Summary of user controls

namemin. valuedefault valuemax. value
Threshold Level [dB] -50 0 10
Frequency [Hz] 2000 5500 16000
Sidechain Filter Highpass Highpass Bandpass
Monitor Audio Audio Sidechain

Notes

Setting the "Threshold" too low will result in an unpleasant muffled sound. Also, if the singer starts sounding as if she had suddenly lost her teeth, take this as a sure sign that your "Threshold" setting is way too low. Use the ever popular Bypass button and watch out for side effects like this.

This plugin is best on vocal tracks, although it can be applied to mixed tracks as well. However, you should expect an increased amount of side effects (especially muffling and pumping of the sound) when attempting to de-ess the vocals of a mixed track.

Internal variables that depend on user settings are re-computed only when the corresponding user settings are changed. This keeps the plugin from being hard RT capable, although the effect of this occassional re-computation is not really noticeable when looking at CPU usage measures.

Because the Sidechain processing algorithm involves converting from linear to decibel values for every sample, a custom, very fast lin2db function was implemented via a log10 table, which is computed and stored when the plugin library is loaded by the host. Without this hack (that is, calling log10f() for every sample), CPU usage would be almost exactly twice this much.


$Id: deesser.html,v 1.3 2004/08/17 13:05:16 tszilagyi Exp $
tap-plugins-doc-20040817/ladspa/cvs.html0000644000175000017500000000470210110401430016341 0ustar miramira TAP-plugins
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Getting the latest source from CVS

If you suspect a bug, or are just curious whether any new (yet officially still unreleased) plugins have been added since the last release, it is recommended that you get the latest available version of the TAP-plugins code, via the CVS service provided by SourceForge.net. You can get the latest CVS snapshot of the code by issuing the following commands (% is meant to be your prompt):

% cd /usr/local/src
(just an example, it can be anywhere)

% cvs -d:pserver:anonymous@cvs.tap-plugins.sf.net:/cvsroot/tap-plugins login
(just press enter when prompted for a password)

% cvs -d:pserver:anonymous@cvs.tap-plugins.sf.net:/cvsroot/tap-plugins -z3 co tap-plugins

However, because CVS normally contains nothing other than the latest tarball release (this is a small project, after all), this is not required. You are more than welcome to send bugreports, patches etc. against the latest tarball version.


$Id: cvs.html,v 1.2 2004/06/22 13:36:33 tszilagyi Exp $
tap-plugins-doc-20040817/ladspa/autopan.html0000644000175000017500000001100110110401430017203 0ustar miramira TAP-plugins
TAP-plugins
Tom's Audio Processing plugins
for audio engineering on the Linux platform
[ Home ] [ LADSPA plugins ] [ TAP Reverb Editor ]
[ Releases ] [ CVS ] [ General Info ] [ Plugin Manuals ]
[ TAP AutoPanner ] [ TAP Chorus/Flanger ] [ TAP DeEsser ] [ TAP Dynamics (Mono & Stereo) ] [ TAP Equalizer and TAP Equalizer/BW ] [ TAP Fractal Doubler ] [ TAP Pink/Fractal Noise ] [ TAP Pitch Shifter ] [ TAP Reflector ] [ TAP Reverberator ] [ TAP Rotary Speaker ] [ TAP Scaling Limiter ] [ TAP Sigmoid Booster ] [ TAP Stereo Echo ] [ TAP Tremolo ] [ TAP TubeWarmth ] [ TAP Vibrato ]

TAP AutoPanner

[TAP AutoPanner GUI as shown in Ardour]

The AutoPanner is a very well-known effect; its hardware incarnation originates in the age of voltage controlled synthesizers. Its main use is to liven up synth tracks in the mix.

General information

Unique ID2146
I/O ports2 inputs / 2 outputs
CPU usage (44.1 kHz)0.8%
CPU usage (96 kHz)1.7%
Hard RT CapableYes
In-place operationSupported
run_adding() functionProvided

Usage tips

The "Depth" control sets the wideness of panning. A setting of 100% means that the mono input signal is panned between the extreme left and right positions. If you apply the plugin to a stereo track, it behaves as if you were adjusting the balance control on your home stereo (the left and right channels are not mixed together, but their gains are controlled separately). If you feel that the overall loudness of the track decreases when this effect is applied, you can compensate this by setting the "Gain" control.

Summary of user controls

namemin. valuedefault valuemax. value
Frequency [Hz] 0 0 20
Depth [%] 0 0 100
Gain [dB] -70 0 20

Notes

This plugin was implemented as an enhancement of the TAP Tremolo plugin: processing was extended to 2 tracks, with the LFO-s phase-shifted to be in counter-phase.


$Id: autopan.html,v 1.3 2004/08/17 13:05:16 tszilagyi Exp $