Creative FX Collection

CREATIVE FX COLLECTION
&
CREATIVE FX COLLECTION PLUS
User Guide
Manual Version 1.0

Table of Contents
Introduction......................................................... 3 Frequency Shifter ...................................... 24

System Requirements & Product Support...... 3 Fuzz-Wah.................................................. 25
Installation ....................................................... 4 Kill EQ ....................................................... 27
Troubleshooting .......................................... 4 Lo Fi .......................................................... 28
Operation ............................................................ 6 Maximizer.................................................. 31
Adjusting the Controls .................................... 6 Multi-Chorus ............................................. 32
Buttons ....................................................... 6 Multi-Delay ................................................ 33
Knobs ......................................................... 6 Non-Linear Reverb .................................... 35
Menus ........................................................ 6 Parametric EQ ........................................... 37
Using Presets .................................................. 7 Phaser ...................................................... 40
MIDI Learn....................................................... 8 Pumper ..................................................... 42
Plugins ............................................................ 9 Reverb ...................................................... 44
Chorus ..................................................... 10 Saturation Filter ......................................... 48
Compressor.............................................. 11 Spectral .................................................... 51
Diffuser Delay............................................ 12 Spring Reverb ........................................... 54
Distortion .................................................. 13 Stereo Width ............................................. 55
Dynamic Delay .......................................... 15 Talkbox ..................................................... 57
Enhancer .................................................. 18 Tube Drive ................................................ 60
Ensemble ................................................. 19 Vintage Filter ............................................. 61
Filter Gate ................................................. 20 Trademarks & Licenses.................................... 64
Flanger ..................................................... 22
2
Introduction
Plugins are special-purpose software components that provide additional signal processing and other
functionality to your digital audio workstation (DAW). Creative FX Collection from AIR Music Technology
includes 20 effect plugins. Creative FX Collection Plus includes 28 effect plugins.
Click a plugin name below to jump to its chapter. Names with (Plus) are unique to Creative FX Collection Plus.
Chorus Filter Gate Multi-Chorus Saturation Filter (Plus)
Compressor (Plus) Flanger Multi-Delay Spectral (Plus)
Diffuser Delay (Plus) Frequency Shifter Non-Linear Reverb Spring Reverb
Distortion Fuzz-Wah Parametric EQ (Plus) Stereo Width
Dynamic Delay Kill EQ Phaser Talkbox
Enhancer Lo Fi Pumper (Plus) Tube Drive (Plus)
Ensemble Maximizer (Plus) Reverb Vintage Filter
System Requirements & Product Support

® ®
Creative FX Collection supports VST32, VST64, and AU64 formats. For support for Avid Pro Tools
®
formats (RTAS and AAX), install the AIR Virtual Instruments bundle included with your version of Pro
Tools. Creative FX Collection Plus supports VST32, VST64, AU64, and AAX64 formats.
For the most complete and current system requirements, compatibility information, documentation, and
product registration, visit the AIR website: airmusictech.com.
For additional support, visit airmusictech.com/support.
3
Installation
® ® ®
1. Double-click the .exe (Windows ) or .pkg (Mac OS X ) installer file you downloaded.
2. Follow the on-screen instructions. If the authorization dialog box did not automatically appear when
opening Creative FX Collection in your digital audio workstation (DAW), please see the following
Troubleshooting section.
®
Note: Use the iLok License Manager to authorize your installation of Creative FX Collection.
Troubleshooting
In some cases, the authorization dialog box may not automatically appear when you open Creative FX
Collection in your digital audio workstation (DAW). This can especially happen if you cancel the
authorization procedure before completing it, causing your DAW not to recognize Creative FX Collection.
Please try the following solutions for your DAW and operating system.
To authorize Creative FX Collection without opening your DAW:
Mac OS X users: Go to /Applications/AIR Music Technology/Creative FX Collection/ on your

computer, and open Creative FX Collection Authorizer.app to start the activation process.
4
To make your DAW rescan Creative FX Collection the next time you open it (which will also open the
authorization dialog box), follow the instructions below for your DAW:
Ableton Live™
1. Open Live.
2. Windows users: Click the Options menu, select Preferences, and click the File/Folder tab.
Mac OS X users: Click the Live menu, select Preferences, and click the File/Folder tab.
3. Under Plug-In Sources, click Browse next to VST Plugin Custom Folder, and make sure
Creative FX Collection.vst or Creative FX Collection.dll is in that folder.
4. Set Use VST Plug-Ins Custom Folder to Off, and then set it to On again. (This forces Live to
rescan all plugins, including those disabled in a previous scan, which is different from just clicking
Rescan Plug-Ins.)
5. Close the Preferences window.
® ®
Apple Logic Pro X
1. Close Logic Pro X.
2. Go to ~/Library/Caches/AudioUnitCache/ and delete the file named com.apple.audiounits.cache.
3. Open Logic Pro X.
Steinberg™ Cubase™ or Nuendo™

1. Close Cubase or Nuendo.
2. Windows 7 or Windows 8 users: Go to \Users\[your user name]\AppDataRoaming\
Steinberg\[Nuendo or Cubase] and delete the file named Vst2xBlacklist.xml.
Mac OS X users: Go to ~/Library/Preferences/[Nuendo or Cubase] and delete the file named
Vst2xBlacklist.xml.
3. Open Cubase or Nuendo.
5
Operation
Adjusting the Controls
Buttons
Click a button to turn it on or off. It will be lit when it is on, unlit when it is off.
Knobs
Click a knob and then drag it up or down to adjust its setting.

Alternatively, click the field under it, use your computer keyboard to
enter a number, and then press Enter.
Press and hold Alt (Windows) or Option (Mac OS X) on your computer
keyboard and then click a knob to reset it to its default value.
Tip: Make finer (“higher-resolution”) adjustments by pressing and holding Ctrl (Windows) or
 (Mac OS X) while adjusting the knobs.
Some knobs will have only two or a few settings. Click it and drag it up or down to select
one of its settings.
Menus
Click a drop-down menu to view its options. Click an option to select it, or
click outside of the menu to cancel and close the menu.
6
Using Presets
The preset browser lets you select

quickly select and load a preset.
To load a preset, do either of the following:

• Click the preset browser and select one of the presets in the drop-down menu that appears.
• Click the left (<) or right (>) arrow in the preset browser to load the previous or next preset immediately.
To save a preset, click Save (next to the preset browser), select a location, and enter a name for the
preset (.tfx) file.
Alternatively, press and hold Shift on your computer keyboard and then click Save to overwrite the
current preset without opening a dialogue box.
7
MIDI Learn
Using the MIDI Learn feature, you can assign many Creative FX Collection
controls to your hardware MIDI controller.
To assign a control in Creative FX Collection to a hardware MIDI controller:

1. Right-click the desired control in the Creative FX Collection plugin. A
drop-down menu will appear containing the control’s name and available
assignment options.
2. Select Learn MIDI CC.
3. Move or press the desired control on your hardware MIDI controller.
To set the minimum and maximum values of an assigned control:

Note: The control on your hardware MIDI controller will always send its full range of values, but the
range of the control in the plugin will be “re-scaled” to fit it. This is useful if you want to limit a hardware
control to the “sweet spot” of a parameter. Your hardware MIDI control will also have better resolution.
1. Set the assigned control to the desired minimum or maximum value.
2. Right-click the desired control in the Creative FX Collection plugin. A drop-down menu will appear
containing the control’s name and available assignment options.
3. To set the desired minimum value, select Set Min.
To set the desired maximum value, select Set Max.
4. To switch the minimum and maximum values (thus reversing the operation of the controller), select
Invert Range.
To unassign a control from a hardware MIDI controller:

1. Right-click the desired control in the Creative FX Collection plugin. A drop-down menu will appear
containing the control’s name and available assignment options.
2. Select Forget MIDI CC.
8
Plugins
This chapter describes each Creative FX Collection plugin its adjustable parameters. Click a plugin name
below to jump to its chapter. Names with (Plus) are unique to Creative FX Collection Plus.
Chorus Filter Gate Multi-Chorus Saturation Filter (Plus)
Compressor (Plus) Flanger Multi-Delay Spectral (Plus)
Diffuser Delay (Plus) Frequency Shifter Non-Linear Reverb Spring Reverb
Distortion Fuzz-Wah Parametric EQ (Plus) Stereo Width
Dynamic Delay Kill EQ Phaser Talkbox
Enhancer Lo Fi Pumper (Plus) Tube Drive (Plus)
Ensemble Maximizer (Plus) Reverb Vintage Filter
9
Chorus
Chorus applies a short, modulated delay to give depth

and space to an audio signal.
These are the main parameters:

• Rate: This knob sets the rate for the oscillation of
the low-frequency oscillator (LFO) in Hertz (Hz).
• Depth: This knob sets the depth of LFO modulation
of the audio signal.
• Chorus Section: The Chorus plugin’s chorus
section’s controls let you select the amount of
feedback and the length of pre-delay.
o Feedback: Sets the Feedback amount.
o Pre-Delay: Delays the chorused signal, in
milliseconds (ms).
• LFO Section: The Chorus plugin’s LFO section’s
controls let you select the waveform, phase, rate,
and depth of modulation.
o Waveform: Selects either a Sine wave or a
Triangle wave for the LFO.
o L/R Phase: Sets the relative phase of the
LFO’s modulation in the left and right
channels.
• Mix: This knob adjusts the Mix between the “wet”
(processed) and “dry” (unprocessed) signal. 0% is
all dry, and 100% is all wet, while 50% is an equal
mix of both.
10
Compressor (Creative FX Collection Plus)
Compressor changes the dynamic range of a signal by

automatically reducing its gain if it exceeds a certain
level (the threshold).

• Reduction: This meter indicates how much the
signal is being compressed.
• Out: This meter indicates the compressor’s output
signal level. You can adjust the level with the
Output knob.
• Compressor Section: These controls determine
how the compressor acts on the audio signal.
o Attack: This is how much time the compressor takes to start applying compression to the
incoming signal once it exceeds the threshold. High settings may allow some signal peaks to
bypass the compressor.
o Release: This is how much time the compressor takes to stop applying compression to the
incoming signal once it falls below the threshold.
o Ratio: This determines how much compression is applied to any signal that exceeds the
threshold. For example, if the Ratio is set to the maximum setting (100.0:1), an increase of
level above the threshold will result in a 1 dB increase in output (above the threshold). The
minimum setting (1.0:1) results in no compression.
o Smooth: This determines how much the signal is compressed as it exceeds the threshold. At
lower settings, the signal is not compressed until it exceeds the threshold, after which it is
compressed dramatically. At higher settings, the signal is compressed slightly before it
exceeds the threshold, resulting in a compression that is gradual but greater overall.
• Threshold: This is the volume level at which compression will be applied. Any sound at this volume
or higher will be compressed. Any signal lower than this setting will bypass the compressor.
• Output: This setting lets you raise or lower the gain level of the compressed signal. If the signal is
heavily compressed, you may want to set this to a higher value.
11
Diffuser Delay (Creative FX Collection Plus)
Diffuser Delay is a delay line effect that is synchronized

to your session tempo and uses an adjustable amount of
diffusion, thus emulating the dissipation of echoes in
reverberant space.

• Delay: This knob selects a rhythmic subdivision or
multiple of the beat (based on your session tempo)
for the delay time.
Select from the following rhythmic values:
1/64 (sixty-fourth note) 1/16D (dotted sixteenth note) 1/4D (dotted quarter note)
1/32 (thirty-second note) 1/8 (eighth note) 2/4 (half note)
1/16T (sixteenth-note triplet) 1/4T (quarter-note triplet) 4/4T (whole-note triplet)
1/32D (dotten thirty-second note) 1/8D (dotted eighth note) 3/4 (dotted half note)
1/16 (sixteenth note) 1/4 (quarter note) 4/4 (whole note)
1/8T (eighth-note triplet) 1/2T (half-note triplet)
• Feedback (Fdbck): This knob adjusts the amount of delay feedback. At 0% the delayed signal
repeats only once. As you increase the feedback, the number of times the delay repeats increases.
At 100%, the delay doesn’t repeat indefinitely, but it does last a very long time!
• Diffuse: This knob adjusts how much the delayed signal dissipates. At 0%, the delayed signal
sounds very dry. At 100%, the delayed signal will sound very distant and less defined.
• High: This knob adjusts the high-frequency damping of the delayed signal. At 0%, the delayed
signal will sound duller. At 100%, the delayed signal will sound brighter.
• Mix: This knob balances the amount of dry signal with the amount of wet (delayed) signal. At 50%,
there are equal amounts of dry and wet signal. At 0%, the output is all dry and at 100% it is all wet.
12
Distortion
Distortion colors the audio signal with various types and

varying amounts of distortion.
Main Controls

• Drive: This knob lets you increase the drive (input
volume) of the signal from 0 dB (no distortion) to 60
dB (way too much distortion!). Sometimes an
increase or decrease of just 1 of 2 decibels can make
a big difference on the amount and quality of
distortion.
• Output: This knob lets you lower the output level of
the distorted signal from 0–100%. At 0%, no
distorted signal passes through the output. At 100%,
the distorted signal passes through the output at full volume.
• Mix: This knob balances the amount of dry signal with the amount of wet (distorted) signal. At 50%,
Use this control in conjunction with the Output control to find just the right balance of the distorted
signal with the input (dry) signal. For example, with Mix set to 50%, equal amounts of the dry and
wet signal pass to the output. You can then lower the Output control to decrease the amount of
distorted signal being passed to the output until you get exactly the right mix between the two
signals, and just the right overall level.
• Stereo: When Stereo is enabled, the left and right channels of the incoming stereo signal are
processed separately. When it is disabled, the incoming stereo signal is summed and processed as
mono. The Stereo button is lit when it is enabled.
13
Tone Selection Controls
These controls shape the timbral quality of the distortion:

• Pre-Shape: This knob lets you increase or decrease a broad gain boost (or attenuation) of treble
frequencies in the processed signal. Pre-Shape is essentially a pre-distortion tone control that
makes the distortion bite at different frequencies.
Set to 0%, the Pre-Shape control doesn’t affect the tone at all. Higher settings provide a boost in
the high end of the distorted signal (more treble distortion), while lower settings suppress the high
end, with some mid-range boost, for a darker less distorted tone.
• High Cut: This knob adjusts the frequency of the high-cut filter. To attenuate the high end of the
processed signal, lower the frequency.
Clipping Controls
These controls let you adjust the DC bias and the threshold:
• DC Bias: This knob lets you change clipping from being symmetrical to being asymmetrical, which
makes it sound richer, and nastier at high settings. The difference is most noticeable at lower Drive
settings.
• Threshold: This knob adjusts the headroom for the dynamic range of the distorted signal between
–20.0 dBFS and 0.0 dBFS. Rather than using the Drive to adjust the signal level relative to a fixed
clipping level, use the Headroom control to adjust the clipping level without changing the signal
level.
Distortion Mode Controls
Select one of the following Distortion Mode options:

• Hard: Provides a sharp, immediate distortion of the signal.
• Soft: Provides a softer, more gradual distortion of the signal.
• Warp: Wraps the waveform back on itself for a complex distortion tone that changes quickly from
soft to harsh.
14
Dynamic Delay
Dynamic Delay is a delay line effect that can synchronize to

your session tempo and be modulated by an envelope follower.
Main Controls

• Sync: When Sync is enabled, the delay time
synchronizes to your session tempo. When Sync is
disabled, you can set the delay time in milliseconds (ms)
independently of your session tempo. The Sync button is
lit when it is enabled.
• Delay: When Sync is enabled, the Delay control selects a rhythmic subdivision or multiple of the
beat (based on your session tempo) for the delay time.
16 (sixteenth note) 4 (quarter note) 4/4 (whole note)

8T (eighth-note triplet) 2T (half-note triplet) 5/4 (five tied quarter notes)
16D (dotted sixteenth note) 4D (dotted quarter note) 6/4 (dotted whole note)
8 (eighth note) 2 (half note) 7/4 (seven tied quarter notes)
4T (quarter-note triplet) 1T (whole-note triplet) 8/4 (double whole note)
8D (dotted eighth note) 3/4 (dotted half note)
When Sync is disabled, the Time control lets you set the delay time in milliseconds (ms) and
seconds (1 ms to 4.00 seconds).
15
• Feedback: This knob adjusts the amount of delay feedback. At 0% the delayed signal repeats only
once. As you increase the feedback, the number of times the delay repeats increases. At 100%, the
delay doesn’t repeat indefinitely, but it does last a very long time!
Note: Each Delay mode produces a different feedback pattern, especially when the L/R Ratio
control is not centred.
Delay Controls
This section provides L/R Ratio and Stereo Width controls.

• L/R Ratio: This knob lets you set the ratio of left to right delay times. Move the control all the way to
the left (50:100) and the left channel delay time is half the right channel delay time. Move the control
all the way to the right (100:50) the right channel delay time is half the left channel delay time.
• Stereo Width: This knob adjusts the width of the delay effect in the stereo field.
EQ Controls
This section provides low and high cut filters.

• Low Cut: This knob adjusts the frequency of the low-cut filter. For less bass, raise the frequency.
• High Cut: This knob adjusts the frequency of the high-cut filter. For less treble, lower the
frequency.
16
Env Mod (Envelope Modulation) Controls
The envelope follower can control various parameters in real time.

• Rate: This knob adjusts how quickly the Feedback and Mix parameters respond to input from the
Envelope follower.
• Fbk: This knob adjusts how much the Envelope follower affects the Feedback amount.
• Mix: This knob adjusts how much the Envelope follower affects the wet/dry mix.
o At 0%, the Envelope follower has no effect on the given parameter.
o At +100%, the parameter’s value is increased in direct proportion to the incoming signal’s
amplitude envelope.
o At –100%, the parameter’s value is decreased in direct proportion to the incoming signal’s
amplitude envelope.
Feedback Mode
Select one of the following Feedback Mode options:

• Mono: Sums the incoming stereo signal to mono, then offers separate left and right delay output
taps from that signal.
• Stereo: Processes the left and right channels of the incoming stereo signal independently and
outputs the processed signal on the corresponding left and right channels.
• Cross: Processes the left and right channels of the incoming stereo signal independently, and
feeds the each side’s delayed signal back to the opposite channel.
17
Enhancer
Enhancer enhances the low and high broadband frequencies

of an audio signal.
Main Controls

• High Gain: This knob adjusts how much the high end is
boosted.
• Low Gain: This knob adjusts how much the low end is
boosted.
• Output: This knob lets you lower the Output level from 0.0 dB to –INF dB.
Tune Controls
These controls let you set the center frequency for low- and high-end enhancement.
• Low: This knob adjusts the center frequency of the bass boost.
• High: This knob adjusts the center frequency of the treble boost.
Harmonic Generation Controls
These controls let you generate additional high-frequency harmonics, which can brighten up dull signals.
• Depth: This knob generates additional high frequency harmonics in the signal (0.0–12.0 dB).
• Phase: Toggle this control to change the polarity of the generated harmonics, changing their phase
relationship with the dry signal.
18
Ensemble
Ensemble applies fluid, shimmering modulation effects to

the audio signal.

• Rate: This knob changes the frequency of the
modulating LFO (0.01–10.0 Hz).
• Depth: This knob adjusts the amount of modulation
applied to the Delay time.
• Modulation Section: These controls let you adjust
and/or randomize the delay time.
o Delay: This knob adjusts the Delay time.
o Shimmer: This knob lets you randomize the
Delay time, adding texture to the effect.
• Stereo Width: This knob lets you widen or narrow
the effect’s stereo field.
• Mix: This knob balances the amount of dry signal
with the amount of wet signal. At 50%, there are
equal amounts of dry and wet signal. At 0%, the
output is all dry and at 100% it is all wet.
19
Filter Gate
Filter Gate lets you chop up an audio signal into staccato

rhythmic patterns with variable filtering, amplitude, and
panning.
Main Controls

• Pattern: This menu lets you select from a number of
preset rhythmic patterns that the gate will follow.
• Rate: This selector sets the duration, or frequency of
the low-frequency oscillator (LFO). The duration of one
cycle of the LFO is measured in steps.
• Swing: This knob sets the amount of rhythmic swing
applied to the chosen gating pattern.
(filtered) and “dry” (unfiltered) signal. 0% is all dry,
and 100% is all wet, while 50% is an equal mix of
both.
Gate Controls
These controls adjusts the attack, hold, and release amounts for the step sequencer pattern. At the
maximum settings, the gating provides a smooth morphing effect.
• Attack: This knob adjusts the duration of the attack as a percentage of the step duration.
• Hold: This knob adjusts the duration of the hold (or sustain) as a percentage of the step duration.
• Release: This knob adjusts the duration of the release as a percentage of the step duration.
20
Filter Controls
These controls are for the selected filter type:

• Mode: This selector sets the type of filter.
o Off: Provides no filtering.
o LP: Provides a low-pass filter.
o BP: Provides a band-pass filter.
o HP: Provides a high-pass filter.
o Phaser: Provides a phaser.
• Cutoff: This knob adjusts the filter cutoff frequency.
• Res: This knob adjusts the resonance at the cutoff frequency.
Modulation Controls
These controls affect the modulation:

• Env: This knob adjusts how much an envelope follower affects the cutoff frequency. Note that the
cutoff is fixed for the duration of each step, so it will not respond to a peak in the envelope until the
start of the next step.
• LFO Mod: This knob adjusts the amount of LFO modulation of the cutoff frequency.
• LFO Steps: This knob sets the duration of one cycle of the LFO to the selected number of steps.
Changes to the Rate consequently affect the durations of cycles of the LFO. When set to Random
mode, the level of the LFO changes randomly every step, for a “sample and hold” waveform.
21
Flanger
Flanger applies a short modulating delay to the audio signal.
Main Controls

• Sync: When Sync is enabled, the Rate knob
synchronizes to your session tempo. When Sync is
disabled, you can set the delay time in milliseconds (ms)
independently of your session tempo. The Sync button is
lit when it is enabled.
• Rate: When Sync is enabled, the Rate knob selects a
rhythmic subdivision or multiple of the beat for the
flanger modulation rate.
8 (eighth note) 2 (half note) 8/4 (double whole note)
4T (quarter-note triplet) 1T (whole-note triplet)
When Sync is disabled, the Rate knob lets you the modulation rate in independently of your session
tempo.
• Depth: This knob adjusts the amount of modulation applied to the Delay time.
• Feedback: This knob adjusts the amount of delay feedback for the Flanger. At 0%, the delay
repeats only once. At +/–100%, the Flanger feeds back on itself.
22
• Mix: This knob balances the amount of dry signal with the amount of wet (flanged) signal. At 50%,
This knob can be used to create an “infinite phaser” effect between the dry and shifted signals,
which is always rising or always falling (depending on the direction of shift)
• Pre-Delay: This knob sets the minimum delay time in milliseconds.
LFO Controls
These controls adjust the low-frequency oscillator (LFO) used to modulate the delay time.
• Wave: This knob lets you interpolate between a triangle wave and a sine wave for the modulating
LFO.
• L/R Offset: This knob adjusts the phase offset for the LFO waveform applied to the left and right
channels.
• Retrigger: Click this button to reset the LFO phase. This lets you manually start the filter sweep
from that specific point in time (or using automation, at a specific point in your arrangement).
Clicking the Trig button also forces the Mix control up if it is too low while the button is held; this
ensures that the sweep is audible.
EQ Controls
These controls are for cutting lows from the flanger signal, and inverting phase.
• Low Cut: This knob adjusts the low cut frequency of the flanger, to limit the flanger effects to
higher frequencies.
• Phase Invert: When Phase Invert is enabled, the wet signal’s polarity is flipped, which changes the
harmonic structure of the effect.
23
Frequency Shifter
Frequency Shifter shifts the audio signal’s individual

frequencies inharmonically, creating a unique effect.

• Frequency: This knob sets the amount of frequency
shifting.
• Shifter Section: This section provides control over the
direction of frequency shift, and feedback of the signal
through the algorithm.
• Mode: This knob sets the direction of the frequency
shifting effect.
o Up: Shifts frequencies up.
o Down: Shifts frequencies down.
o Up & Down: Shifts frequencies equally up and
down, and the two shifted signals are heard
simultaneously.
o Stereo: Shifts the right channel frequencies up,
and the left channel down.
• Feedback: This knob lets you run the signal through
the pitch shifting algorithm multiple times, creating a
cascading, layered effect.
• Mix: This knob balances the amount of dry signal with
the amount of wet (pitch-shifted) signal. At 50%, there
are equal amounts of dry and wet signal. At 0%, the
24
Fuzz-Wah
Fuzz-Wah lets you add color to an audio signal with various

types and varying amounts of transistor-like distortion.
Main Controls

• Fuzz: This button turns the distortion effect on or off.
• Drive: This knob sets the level of gain in the Fuzz
algorithm.
• Mix: This knob balances the amount of dry signal with
the amount of wet (distorted) signal. At 50%, there are
equal amounts of dry and wet signal. At 0%, the
• Post Wah: This button lets you place the Fuzz section
before the Wah section, or vice versa.
• Wah: Click this button to turn the wah filter on and off.
• Pedal: This knob sweeps the wah center frequency up and down.
• Filter: This knob switches the wah filter between LP (low-pass), BP (band-pass), and HP (high-
pass) modes.
• Mix: This knob balances the amount of dry signal with the amount of wet (wah-processed) signal.
At 50%, there are equal amounts of dry and wet signal. At 0%, the output is all dry and at 100% it
is all wet.
• Mix (Overall): This knob balances the amount of fuzz-processed signal with the amount of wah-
processed signal. At 50%, there are equal amounts of fuzz and wah signal. At 0%, the output is all
fuzz, and at 100% it is all wah.
25
Fuzz Controls
This section provides tonal and volume control over the plugin.
• Tone: This knob lets you change the brightness of the Fuzz algorithm.
• Output: This knob sets the overall output volume of the Fuzz section.
Min/Max Section Controls
This section controls the minimum and maximum settings of the filter.
• Freq: Sets the low (Pedal Min) and high (Pedal Max) limits of the wah filter’s frequency sweep.
• Res: Sets the low (Pedal Min) and high (Pedal Max) limits of the wah filter’s resonance.
Modulation Controls
This section controls the low-frequency oscillator (LFO) and envelope follower (ENV) that can be used to
modulate the wah filter’s sweep.
• Rate: This knob sets either the LFO frequency, or the response time of the envelope follower,
depending on the setting of the Mode control.
• Type: This knob selects either the LFO or the envelope follower as the modulation source for the
wah filter.
• Depth: This knob sets the amount of modulation sent by the LFO or envelope follower.
26
Kill EQ
Kill EQ removes the low, mid, or high broadband

frequency range from an audio signal. This is a popular
effect with DJs and is commonly used in electronic music
production (especially in dance music).

• Kill Switches: These switches toggle their respective
frequency bands on and off.
• Gain: These knobs control the relative volume of the
three frequency bands.
• Freq: These controls set the crossover frequencies
of the low and high pass filters. The Sweep control
changes both the low and high-band cutoff
frequencies simultaneously. When the high and low
bands are killed, manipulating this control creates a
swept band-pass filter effect.
• Output: This knob sets the final output volume.
27
Lo Fi
Lo Fi bit-crushes, downsamples, clips, rectifies, or mangles

an input signal.
Main Controls

• Sample Rate: This knob resamples the audio signal at
another sample rate.
• Bit Depth: This knob truncates the bit depth of the
incoming signal from 16 bits all the way down to 1 bit.
(processed) and “dry” (unprocessed) signal. 0% is all
dry, and 100% is all wet, while 50% is an equal mix of
both.
Anti-Alias Controls
This section controls the anti-aliasing filters that can be used before and after downsampling to reduce
aliasing in the resampled audio signal.
• Pre: This knob adjusts the anti-aliasing filter cutoff applied to the audio signal before resampling.
The filter is applied as a multiplier of the sample frequency (Fs) between 0.12 Fs and 2.00 Fs.
• Post: This knob adjusts the range of anti-aliasing filter cutoff applied to the audio signal after
resampling. The filter is applied as a multiplier of the sample frequency (Fs) between 0.12 Fs and
2.00 Fs.
• On: For a much grittier sound, disable the Anti-Alias filter. The Anti-Alias button is lit when the filter
is enabled.
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LFO Controls
The LFO controls apply a low-frequency oscillator (LFO) to modulate the Sample Rate.
• Rate: When Sync is enabled, the Rate knob selects a rhythmic subdivision or multiple of the beat
for the LFO Rate.
When Sync is disabled, the Rate knob lets you change the efefect rate independently of your
session tempo.
• Wave: Select from the following waveforms for the LFO.
o Name: Description
o Sine: Provides a sine wave.
o Tri: Provides a triangle wave.
o Saw: Provides a saw-tooth wave.
o Square: Provides a square wave.
o Morse: Provides a Morse code-like rhythmic effect.
o S&H: Provides Sample and Hold (S&H) modulation.
o Random: Provides random modulation.
• Depth: This knob adjusts the amount of modulation applied to the Sample Rate.
• Sync: Enable Sync to synchronize the LFO Rate to your session tempo. When Sync is disabled,
you can set the Rate time in Hertz (Hz) independently of your session tempo. The Sync button is lit
when it is enabled.
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Env Mod (Envelope Modulation) Controls
This section provides control over an envelope follower that can affect the Sample Rate. This is useful
for accentuating and enhancing signal peaks (such as in drum loops) with artificially generated high-
frequency aliasing.
• Attack: This knob adjusts the time it takes to respond to increases in the audio signal level.
• Release: This knob adjusts the time it takes to recover after the signal level falls.
Distortion Controls
This section provides controls for adding dirt and grunge to the signal.
• Clip: Adds transistor-like distortion to the signal.
• Noise: Adds a buzzy, noisy edge to the signal.
• Rectify: Acts as a waveshaper, adding aggressive, harsh distortion to the signal.
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Maximizer (Creative FX Collection Plus)
Maximizer is a limiter optimized for mastering.

Note: This plugin “looks ahead” to determine its response,
which produces latency in your host DAW. If this happens,
turn on your DAW’s latency compensation (if available). This
may cause some slight latency when playing MIDI notes in
your session, though. If you decide to leave latency
compensation off, tracks using this plugin may be slightly
out of time.

• In: This meter indicates Maximizer’s incoming signal level.
• Reduction: This meter indicates how much the incoming signal is being reduced.
• Maximizer Section: These controls determine how Maximizer limits the incoming signal.
o Release: This is how much time Maximizer takes to stop limiting to the incoming signal once it
falls below the threshold.
o LF Mono: This knob controls the range of low frequencies that will be mono instead of stereo.
Any frequencies below this setting will be summed into a mono signal. This is useful when
mastering songs for a vinyl format.
• Knee: This determines how much the signal’s gain is reduced as it exceeds the threshold. The
Hard setting does not affect the signal until it exceeds the threshold, after which it dramatically
reduces its gain. The Soft setting slightly reduces the signal’s gain before it exceeds the threshold,
resulting in a more gradual gain reduction (this option actually applies more limiting to the signal
than Hard limiting).
• Threshold: This is the volume level at which limiting will be applied. Any sound at this volume or
higher will be limited. Any signal lower than this setting will pass through Maximizer unaffected.
• Ceiling: This knob sets the highest possible level of the audio signal after limiting is applied.
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Multi-Chorus
Multi-Chorus applies a thick, complex chorus effect to an

audio signal.
Main Controls

• Rate: This knob sets the rate for the oscillation of the
LFO in Hertz (Hz).
• Depth: This knob sets the depth of LFO modulation of
the audio signal in milliseconds (ms).
• Voices: This knob sets the number of layered chorus
effects that are applied to the audio signal. The more
Voices that are used, the thicker the effect.
(processed) and “dry” (unprocessed) signal. 0% is all
dry, and 100% is all wet, while 50% is an equal mix of
both.
Chorus Controls
This section controls the low-frequency content and stereo width of the effect.
• Low Cut: This knob adjusts the low-cut frequency for the effect to limit to higher frequencies.
• Width: This knob lets you widen or narrow the effect’s stereo field.
Mod Controls
This section controls the Pre-Delay amount and the waveform of the LFO.
• Pre-Delay: Sets the Pre-Delay in milliseconds (ms).
• Waveform: Selects either a Sine wave or a Triangle wave for the LFO.
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Multi-Delay
Multi-Delay lets you apply up to six delay lines to the

audio signal.
Main Controls

• Sync: When Sync is enabled, the Delay time
synchronizes to your session tempo.
When Sync is disabled, you can set the delay time
in milliseconds (ms) independently of your session
tempo. The Sync button is lit when it is enabled.
• Delay: When Sync is enabled, the Delay control
lets you set the main delay length in 16th note
lengths (based on your session tempo).
When Sync is disabled, the Time control lets you
the main delay time in milliseconds (ms) and
seconds.
• Feedback: This knob adjusts the amount of delay
feedback. At 0% the delayed signal repeats only
once. As you increase the feedback, the number of
times the delay repeats increases. At 100%, the
delay doesn’t repeat indefinitely, but it does last a
very long time!
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• From/To: These controls let you feed signal from one delay Tap to another, or back to the main
input, to create complex delay/feedback effects.
o From: This knob sets the tap from which signal will be cross-routed.
o To: This knob sets the tap (or the main input) that the cross-routed signal will be routed to. If
the delay time of the To tap is greater than the delay time of the From tap, then the result is
“feed-forward” rather than feedback, so only one delay repeat will be heard.
• High Cut: This knob adjusts the frequency of the high-cut filter. For less treble, lower the frequency.
Delay Tap Controls
The Multi-Delay provides five taps (delay lines). Each tap provides the same set of controls. Controls for
each tap can be edited independently of the other taps. Each tap provides the following controls:
• On: This button turns the selected tap’s signal on or off.
• Delay: This knob adjusts the length of delay for the tap, relative to the main Delay setting.
• Level: This knob adjusts the output level of the tap.
• Pan: This knob adjusts the panning the audio signal from the tap left or right in the stereo field.
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Non-Linear Reverb
Non-Linear Reverb applies special gated or reversed

reverb effects to the audio signal, creating a synthetic,
processed ambience.
Main Controls

• Reverse: This button turns Reverse mode on and
off. In Reverse mode, the tail of the reverb signal
fades up to full volume, then disappears, rather
than fading out.
• Pre-Delay: This knob determines the amount of
time that elapses between the original audio event
and the onset of reverberation.
• Dry Delay: This knob applies a specified amount of
delay to the dry portion of the signal, which can
create a “reverse reverb” effect, where the reverb
tail is heard before the dry signal.
• Reverb Time: This knob adjusts the length of the
reverberation’s decay.
mix of both.
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Reverb Controls
This section controls over the reverb’s diffusion and stereo width.
• Diffusion: This knob adjusts the rate at which the sound density of the reverb tail increases over
time. Higher Diffusion settings create a smoother reverberated sound. Lower settings result in more
fluttery echo.
• Width: This knob widens or narrow the effect’s stereo field.
EQ Controls
This section controls the tone of the reverb signal.

• High Cut: This knob adjusts the frequency of the high-cut filter. For less treble, lower the frequency.
36
Parametric EQ (Creative FX Collection Plus)
Parametric EQ is a four-band parametric equalizer with

four independent EQ ranges.

• High Cut: These controls determine how the high-
cut filter acts on the incoming signal.
o High Cut On/Off: This button enables or
disables the high-cut filter.
o High Cut Frequency: This knob adjusts the
frequency of the high-cut filter. To attenuate
the high end of the processed signal, lower
the frequency.
o High Cut Attenuation: This selector sets the
shape of the high-cut filter. Frequencies above
the cutoff frequency will be attenuated at 6,
12, 18, or 24 dB/octave.
• Low Cut: These controls determine how the low-
cut filter acts on the incoming signal.
o Low Cut On/Off: This button enables or
disables the low-cut filter.
o Low Cut Frequency: This knob adjusts the
frequency of the low-cut filter. To attenuate
the low end of the processed signal, raise the
frequency.
o Low Cut Attenuation: This selector sets the
shape of the low-cut filter. Frequencies below
the cutoff frequency will be attenuated at 6,
12, 18, or 24 dB/octave.
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• High Section: This section controls the effect’s high-frequency handling.
o Type: This selector sets what kind EQ is applied to the high-frequency band. The Shelf setting
affects the center of the frequency band and higher frequencies, with a gentle roll-off. The Bell
setting affects frequencies around the frequency band with identical slopes on either side
(which you can adjust with the Q knob).
o On/Off: This selector enables or disables the high-frequency section of the effect.
o Freq: This knob adjusts the center of frequency band to which the high-frequency EQ is
applied (1.20 kHz – 20.0 kHz).
o Q: This knob adjusts the width of the high-frequency band. The higher the setting, the wider
the band will be around the center frequency (which you can adjust with the Freq knob). This
knob works regardless of the Type of EQ (Shelf or Bell).
o Gain: This knob adjusts how much the center of the high-frequency band is boosted or cut.
• High Mid Section: This section controls the effect’s high-mid-frequency handling.
o On/Off: This selector enables or disables the high-mid-frequency section of the effect.
o Freq: This knob adjusts the center of frequency band to which the high-mid-frequency EQ is
applied (120 Hz – 16.0 kHz).
o Q: This knob adjusts the width of the high-mid-frequency band. The higher the setting, the
wider the band will be around the center frequency (which you can adjust with the Freq knob).
o Gain: This knob adjusts how much the center of the high-mid-frequency band is boosted or cut.
• Low Mid Section: This section controls the effect’s low-mid-frequency handling.
o On/Off: This selector enables or disables the low-mid-frequency section of the effect.
o Freq: This knob adjusts the center of frequency band to which the low-mid-frequency EQ is
applied (40.0 Hz – 8.00 kHz).
o Q: This knob adjusts the width of the low-mid-frequency band. The higher the setting, the
wider the band will be around the center frequency (which you can adjust with the Freq knob).
o Gain: This knob adjusts how much the center of the low-mid-frequency band is boosted or cut.
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• Low Section: This section controls the effect’s low-frequency handling.
o Type: This selector sets what kind EQ is applied to the low-frequency band. The Shelf setting
affects the center of the frequency band and lower frequencies, with a gentle roll-off. The Bell
setting affects frequencies around the frequency band with identical slopes on either side
(which you can adjust with the Q knob).
o On/Off: This selector enables or disables the low-frequency section of the effect.
o Freq: This knob adjusts the center of frequency band to which the low-frequency EQ is
applied (20.0 Hz – 1.00 kHz).
o Q: This knob adjusts the width of the low-frequency band. The higher the setting, the wider
the band will be around the center frequency (which you can adjust with the Freq knob). This
knob works regardless of the Type of EQ (Shelf or Bell).
o Gain: This knob adjusts how much the center of the low-frequency band is boosted or cut.
• Meter: This meter indicates the equalizer’s output signal level. You can adjust the overall level with
the Gain (Overall) knob under it or with the Gain knob for each frequency band.
• Gain (Overall): This knob adjusts the gain level of the signal sent from the equalizer after processing.
39
Phaser
Phaser applies a phaser to an audio signal for that

wonderful “wooshy,” “squishy” sound.
Main Controls

• Sync: When Sync is enabled, the Phaser Rate
control synchronizes to your session tempo.
When Sync is disabled, you can set the Rate in
milliseconds (ms) independently of your session
tempo. The Sync button is lit when it is enabled.
• Rate: When Sync is enabled, the Rate knob lets you
select a rhythmic subdivision or multiple of the beat
for the Phaser Modulation Rate.

When Sync is disabled, the Rate knob lets you the rate of the Phaser in independently of your
session tempo.
• Depth: This knob adjusts the depth of modulation, which in turn affects the amount of phasing
applied to the audio signal.
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• Feedback: This knob feeds the output signal of Phaser back into the input, creating a resonant or
singing tone in the phaser when set to its maximum.
• Mix: This knob adjusts the Mix between the “wet” (effected) and “dry” (unprocessed) signal. 0% is
all dry, and 100% is all wet, while 50% is an equal mix of both.
• Low Cut: This knob adjusts the frequency of the low-cut filter in the phaser’s feedback loop. This
can be useful for taming low frequency “thumping” at high feedback settings.
Phaser Controls
This section controls the effect’s center frequency and number of phaser stages (or poles).
• Center: This knob determines the frequency center (100 Hz to 10.0 kHz) of the phaser poles.
• Poles: Select the number of phaser poles (stages): 2, 4, 6, or 8. The number of poles changes the
character of the sound. The greater the number of poles, the thicker and squishier the sound.
LFO Controls
This section controls the waveform and stereo offset of the low-frequency oscillator (LFO).
• Wave: This knob interpolates between a triangle wave and a sine wave for modulating the Phaser.
• L/R Phase: This knob adjusts the relative phase of the LFO modulation applied to the left and right
channels.
41
Pumper (Creative FX Collection Plus)
Pumper creates a rhythmic pumping effect, similar to that

of sidechain compression, with an assignable speed,
depth, and envelope shape.
Main Controls

• Depth: This knob adjusts the depth of the pumping
effect—how much the volume is reduced each
time. Higher values create a more dramatic effect,
while lower values are more subtle.
• Speed: This selector sets the rate of the pumping effect.
1/32T (thirty-second-note triplet) 1/8T (eighth-note triplet) 1/2T (half-note triplet)

1/16T (sixteenth-note triplet) 1/4T (quarter-note triplet) Bar (whole note)
1/16 (sixteenth note) 1/4 (quarter note)
• Mode: This selector sets how the pumping effect will be triggered. When set to Auto, the effect will
be triggered at the rate set by the Speed selector, creating a rhythmic effect. When set to By MIDI,
each individual pump will be triggered by an incoming MIDI note and then stop based on the
envelope settings (you may need to create a dedicated MIDI track in your DAW to use this option).
42
Envelope Controls
• Attack: This knob adjusts how long the pumper takes to reduce the signal fully (set by the Depth
knob).
• Hold: This knob adjusts how long the pumper keeps the signal at its fully reduced level.
• Release: This knob adjusts how long it takes for the signal to return to its original level. Use this in
conjunction with the Shape knob.
• Shape: This knob adjusts the contour of the release phase. At lower values, the release phase
starts gradually, increasing in steepness near its end. At higher values, the release phase starts
sooner and more sharply, reaching the original level sooner while tapering off near the end.
Note: With a very low Release setting, this Shape setting will produce less of an audible effect.
• Shift: This knob adjusts where the pumper’s attack phase begins. Use this to offset the pumper
envelope slightly
Tip: When applying Pumper to drums or other tracks with loud transients right on the beat, those
transients will tend to remain dramatically loud. You can preven this by setting Shift to a negative
value can prevent this (as Pumper will have already fully reduced the signal when the transients play).
43
Reverb
Reverb lets you apply reverberation to the audio signal,

creating a sense of room or space. Typically, you’ll want
to use Reverb on one of the Effect Send inserts or Main
Effects inserts. This way you can process audio from
multiple Pro Tools tracks, giving them all a sense of
being in the same space.
Main Controls

• Pre-Delay: This knob determines the amount of
time that elapses between the original audio event
and the onset of reverberation. Under natural
conditions, the amount of pre-delay depends on
the size and construction of the acoustic space,
and the relative position of the sound source and
the listener. Pre-Delay attempts to duplicate this
phenomenon and is used to create a sense of
distance and volume within an acoustic space.
Long Pre-Delay settings place the reverberant field
behind rather than on top of the original audio signal.
• Room Size: This knob adjusts the apparent size of the space.
• Reverb Time: This knob adjusts the rate at which the reverberation decays after the original direct
signal stops. At its maximum value, infinite reverberation is produced.
• Balance: This knob adjusts the output level of the early reflections. Setting the Level control to 0%
produces a reverb effect that is only the reverb tail.
• Mix: This knob adjusts the Mix between the “wet” (effected) and “dry” (unprocessed) signal. 0% is
44
Early Reflection Controls
Different physical environments have different early reflection signatures that our ears and brain use to
localize sound. These reflections affect our perception of the size of a space as well as where an audio
source sits within it. Changing early reflection characteristics changes the perceived location of the
reflecting surfaces surrounding the audio source.
Early reflections are simulated in Reverb by using multiple delay taps at different levels that occur in
different positions in the stereo spectrum (through panning). Long reverberation generally occurs after
early reflections dissipate.
• Type: The following Types of Early Reflection models are provided:
o Booth: Simulates a vocal recording booth.
o Club: Simulates a small, clear, natural-sounding club ambience.
o Room: Simulates the center of a small room without many reflections.
o Small Chamber: Simulates a bright, small-sized room.
o Medium Chamber: Simulates a bright, medium-sized room.
o Large Chamber: Simulates a bright, large-sized room.
o Small Studio: Simulates a small, live, empty room.
o Large Studio: Simulates a large, live, empty room.
o Scoring Stage: Simulates a scoring stage in a medium-sized hall.
o Philharmonic: Simulates the space and ambience of a large, symphonic, concert hall.
o Concert Hall: Simulates the space and ambience of a large concert hall.
o Church: Simulates a medium-sized space with natural, clear-sounding reflections.
o Opera House: Simulates the space and ambience of an opera house.
o Vintage 1: Simulates a vintage digital reverb effect.
o Vintage 2: Simulates a vintage digital reverb effect.
• Spread: Controls the length of the early reflections.
45
Reverb Controls
This section controls the stereo width of the reverb algorithm.

• In Width: Widens or narrows the stereo width of the incoming audio signal before it enters the
reverb algorithm.
• Out Width: Widens or narrows the stereo width of the signal once reverb has been applied.
• Delay: Sets the size of the delay lines used to build the reverb effect. Higher values create longer
reverberation.
Room Controls
This section controls the overall spatial feel of the simulated room.
• Ambience: This knob affects the attack of the reverb signal. At low settings, the reverb arrives
quickly, simulating a small room. At higher settings, the reverb ramps up more slowly, emulating a
larger room.
• Density: This knob adjusts the rate at which the sound density of the reverb tail increases over
time. Higher Density settings create a smoother reverberated sound. Lower settings result in more
fluttery echo.
46
High-Frequency Controls
This section shapes the tonal spectrum of the reverb by adjusting the decay times of higher frequencies.
• Time: This knob decreases or increases the decay time for mid- to high-range frequency bands.
Higher settings provide longer decay times and lower settings provide shorter decay time. With
lower settings, high frequencies decay more quickly than low frequencies, simulating the effect of
air absorption in a hall.
• Freq: This knob adjusts the frequency boundary between the mid- and high-range frequency
bands.
• Cut: This knob adjusts the frequency of the High Cut filter (1.00–20.0 kHz). Adjust this control to
change the decay characteristics of the high-frequency components of the Reverb. To cut the high
end of the processed signal, lower the frequency.
47
Saturation Filter (Creative FX Collection Plus)
Saturation Filter applies a filter to an incoming audio

signal and then applies a selectable type of distortion,
reduction, etc. to that filtered signal.

• Cutoff: This knob adjusts the filter cutoff frequency.
• Resonance: This knob adjusts the resonance at
the cutoff frequency.
• Filter Section: These controls determine how the
incoming signal is filtered.
o Type: This selector sets the type of filter:
 LP4: Four-pole low-pass. Frequencies above the cutoff are attenuated at 24 dB/octave.
 LP3: Three-pole low-pass. Frequencies above the cutoff are attenuated at 18 dB/octave.
 LP2: Two-pole low-pass. Frequencies above the cutoff are attenuated at 12 dB/octave.
 LP1: One-pole low-pass. Frequencies above the cutoff are attenuated at 6 dB/octave.
 BP2: Two-pole band-pass: 6 dB/octave high-pass and 6 dB/octave low-pass in series.
Frequencies below and above the cutoff are attenuated at 6 dB/octave.
 BP4: Four-pole band-pass: 12 dB/octave high-pass and 12 dB/octave low-pass in series.
Frequencies below and above the cutoff are attenuated at 12 dB/octave.
 HP2_LP1: Combination that forms a three-pole asymmetric band-pass. Frequencies
below and above the cutoff are attenuated. With a 12 dB/octave high-pass and a 6
dB/octave low-pass in series, low frequencies are faster attenuated than high frequencies.
 HP3_LP1: Combination that forms a four-pole asymmetric band-pass. Frequencies below
and above the cutoff are attenuated. With an 18 dB/octave high-pass and a 6 dB/octave
low-pass in series, low frequencies are faster attenuated than high frequencies.
48
 HP4: Four-pole high-pass. Frequencies below the cutoff are attenuated at 24 dB/octave.
 HP3: Three-pole high-pass. Frequencies below the cutoff are attenuated at 18 dB/octave.
 HP2: Two-pole high-pass. Frequencies below the cutoff are attenuated at 12 dB/octave.
 HP1: One-pole high-pass. Frequencies below the cutoff are attenuated at 6 dB/octave.
 BR2: Two-pole band-reject: 6 dB/octave low-pass and 6 dB/octave high-pass in parallel.
Frequencies around the cutoff are attenuated at 6 dB/octave.
 BR4: Four-pole band-reject: 12 dB/octave low-pass and 12 dB/octave high-pass in
parallel. Frequencies around the cutoff are attenuated at 12 dB/octave.
 BR2_LP1: Combination that forms a three-pole asymmetric band-reject. Frequencies
around and above the cutoff are attenuated. With a two-pole band-reject and a 6 dB/octave
low-pass in series, high frequencies obtain more attenuation than mid frequencies.
 BR2_LP2: Combination that forms a four-pole asymmetric band-reject. Frequencies around
and above the cutoff are attenuated. With a two-pole band-reject and a 12 dB/octave low-
pass in series, high frequencies obtain more attenuation than mid frequencies.
 HP1_BR2: Combination that forms a three-pole asymmetric band-reject. Frequencies
below and around the cutoff are attenuated. With a 6 dB/octave high-pass and a two-
pole band-reject in series, low frequencies obtain more attenuation than mid frequencies.
 BP2_BR2: Combination that is sometimes called a four-pole tooth filter because the
frequency plot of the filter forms the shape of a tooth.
 HP1_LP2: Combination that forms a three-pole asymmetric band-pass. Frequencies
below and above the cutoff are attenuated. With a 6 dB/octave high-pass and a 12
dB/octave low-pass in series, high frequencies are faster attenuated than low frequencies.
 HP1_LP3: Combination that forms a four-pole asymmetric band-pass. Frequencies below
and above the cutoff are attenuated. With a 6 dB/octave high-pass and an 18 dB/octave
low-pass in series, high frequencies are faster attenuated than low frequencies.
 AP3: Phase shifter, using three poles of the filter for phasing effects.
 AP3_LP1: Phase shifter with a one-pole low-pass in series. In addition to the phasing
effect, high frequencies are attenuated at 6 dB/octave.
 HP1_AP3: Phase shifter with a one-pole high-pass in series. In addition to the phasing
effect, low frequencies are attenuated at 6 dB/octave.
49
o Mode: This knob selects the filter’s mode. Selct DCF to apply a digitally controlled filter.
Select VCF to apply a voltage-controlled filter.
• Saturation Section: This section determines the type and amount of saturation applied to the
filtered signal.
o Type: This selector sets the type of saturation:
 Resample: This type of saturation removes bits from the filtered digital signal and applies
several additional filters and anti-aliasing to attempt to retain the original sound quality.
This is a method used by popular vintage samplers and sampling drum machines from
the 1980s. Resampler can be used to achieve a “dirty” sound on drum loops, without the
harshness of distortion.
 Bit Crush: This type of saturation downsamples the filtered signal by removing bits from
it. The result is an effect ranging from mild to almost completely pure digital distortion,
depending on the setting and the source material.
 Rectify: This type of saturation shapes any monophonic wave into a rectangular
waveform—a familiar, “classic” type of edgy distortion.
 Hard Clip: This type of saturation emulates “clipping” of the filtered signal as though its
input volume were too high, creating a harsh type of distortion.
 Distort: This type of saturation applies a “fuzzy” distortion to the filtered signal.
 Overdrive: This type of saturation emulates a mildly “overdriven” tube amp, creating a
smoother-sounding distortion.
o Drive: This knob lets you increase the amount of saturation applied to the signal. Sometimes
an increase or decrease of just 1 of 2 decibels can make a big difference on the amount and
quality of saturation.
• Output: This setting lets you raise or lower the output level of the saturated signal.
50
Spectral (Creative FX Collection Plus)
Spectral analyzes an incoming signal (its frequencies, level,

MIDI notes, and other information) and determines which
frequencies will—and will not—be part of the resynthesized
output signal. Set the incoming signal with the Filter By
controls, and then play with the “dissolve,” envelope, and
stereo phase controls to experiment with the sound—the
results may surprise you!
Note: This plugin “looks ahead” to determine its response,
which produces latency in your host DAW. If this happens, turn
on your DAW’s latency compensation (if available). This may
cause some slight latency when playing MIDI notes in your
session, though. If you decide to leave latency compensation
off, tracks using this plugin may be slightly out of time.
Note: This plugin may consume a lot of CPU, so be mindful of
this while using it in your session.
Filter by Frequency Section
These controls set the range of the frequencies that will remain in the output signal.
• Min Freq: This knob adjusts the lowest frequency of the range. Any frequencies lower than this will
be filtered out.
• Max Freq: This knob adjusts the highest frequency of the range. Any frequencies higher than this
will be filtered out.
Filter by Level Section
These controls set the volume range of the signal that will remain in the output signal.
• Min Level: This knob adjusts the lowest volume level of the range. Any part of the signal lower than
this will be filtered out.
• Max Level: This knob adjusts the highest volume level of the range. Any part of the signal higher
than this will be filtered out.
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Random Dissolve Section
These controls set a random (!!!) parameter to determine what remains in the output signal, ultimately
creating a kind of watery effect.
• Dissolve: This knob adjusts the amount of the effect applied to the signal.
for the effect rate.
1/32T (thirty-second-note triplet) 1/8T (eighth-note triplet) 1/2T (half-note triplet)

1/16T (sixteenth-note triplet) 1/4T (quarter-note triplet) Bar (whole note)
1/16 (sixteenth note) 1/4 (quarter note)
When Sync is disabled, the Rate knob lets you the effect rate in independently of your session
tempo (10.0 ms – 10.0 s).
• Sync: When Sync is enabled, the Rate knob synchronizes to your session tempo. When Sync is
disabled, you can set the delay time independently of your session tempo. The Sync button is lit
when it is enabled.
Partial Envelope Section
These controls adjust an envelope that swaps which frequencies are unfiltered (by frequency, level, the
random dissolve parameter, and MIDI note). The process also removes “clicks” to smooth out the sound.
• Attack: This knob adjusts how long it takes for the envelope to reach its highest level. At lower
settings, this is more dramatic. At higher settings, it is gentler and subtler.
• Release: This knob adjusts how long it takes for the envelope to return to its lowest level. At lower
settings, this is more dramatic. At higher settings, it is gentler and subtler.
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Stereo Phase De-Link Section
These controls create a highly artificial stereo width by modifying the phase of individual frequencies.
• Depth: This knob adjusts the depth of the generated stereo field.
• Low Pass: This knob adjusts a low-pass filter. Frequencies lower than this setting will bypass the
stereo phase de-link process.
Filter by MIDI Note Section
These controls let you filter what remains in the output signal by MIDI notes and their overtones.
• On: This button enables or disables Spectral’s filtering of the signal by its MIDI notes.
• Strength: This knob sets how restrictive the MIDI note filter is. At lower levels, fewer MIDI notes will
be filtered out. At higher levels, more MIDI notes will be filtered out.
Output Section
These controls adjust Spectral’s overall output signal.

• Gain: This setting lets you raise or lower the output level of the output signal.
• Mix: This knob balances the amount of dry (unaffected) signal with the amount of wet (affected)
signal. At 50%, there are equal amounts of dry and wet signal. At 0%, the output is all dry and at
100% it is all wet.
53
Spring Reverb
Spring Reverb lets you apply a classic “spring reverb”

sound. Just don’t kick your computer trying to get the
springs to rattle!
This plugin models an analog spring reverb. An analog spring
reverb is an electromechanical device much like a plate
reverb. An audio signal is fed to a transducer at the end of a
long suspended metal coil spring. The transducer causes the
spring to vibrate, which results in the signal reflecting from
one end of the spring to the other. At the other end of the
spring is another transducer that converts the motion of the
spring back into an electrical signal, thus creating a delayed
and reverberated version of the input signal.

• Pre-Delay: This knob determines the amount of time (0–250 ms) that elapses between the original
audio event and the onset of reverberation.
• Reverb Time: This knob adjusts the reverberation decay time (1.0–10.0 seconds) after the original
direct signal stops. Shorter times result in a tighter, more ringing and metallic reverb, such as when
walking down a narrow hall with hard floors and walls. Longer times result in a larger reverberant
space, such as an empty, large, concrete cistern.
• Mix: This knob adjusts the Mix between the “wet” (reverbed) and “dry” (non-reverbed) signal. 0% is
• Low Cut: This knob adjusts the frequency of the low-cut filter (20.0 Hz–1.00 kHz). Use the Low Cut
filter to reduce some of the potential “boomyness” you can get with longer Reverb Times.
• Diffusion: This knob adjusts the rate at which the sound density of the reverb tail increases over
time. Higher Diffusion settings create a smoother reverberated sound. Lower settings result in
“flutterier” echo.
• Width: This knob adjusts the spread of the reverberated signal in the stereo field. A setting of 0%
produces a mono reverb, but leaves the panning of the original source signal unprocessed. A
setting of 100% produces a open, panned stereo image.
54
Stereo Width
Stereo Width creates a wider stereo presence for mono

audio signals.
Main Controls

• Mode: This knob lets you specify the method by which
the Stereo Width plugin will create the artificial stereo
field. Choices include the following:
• Adjust: Adjusts the existing stereo width of the signal
by M-S encoding, equalizing the S component with the
Low/Mid/High controls and boosting/attenuating it
with the Width control, then M-S decoding back to
stereo. The Delay control delays the right signal
relative to the left for an additional widening effect
(known as Haas panning).
• Comb: Adds artificial width to the signal by M-S
encoding then adding a delayed version of the M
component to the S component. This creates a comb
filtering effect that shifts some frequencies to the left
and others to the right.
• Phase: In this mode the Low/Mid/High controls set the
centre frequencies of 3 phase shifters which shift the
relative phase of the left and right channels, giving a
much more subtle effect than Comb mode.
• Delay: This knob specifies the duration of delay used
in Phase mode (0–8 ms)
• Width: This knob sets the final width of the generated
stereo field.
55
Process Controls
These controls boost or cut the Low-, Mid-, and High-frequency bands of the generated stereo signal.
Trim Controls
These controls adjust the perceived center/source of the generated stereo signal.
• Level: This knob sets the volume of the perceived center of the stereo signal.
• Pan: This knob sets the position left-to-right of the perceived center of the stereo signal.
56
Talkbox
Talkbox adds voice-like resonances to audio signals.
Main Controls

• Vowel: This knob lets you choose the shape of the
formant filter, by the vowel sound that is simulated:
OO, OU, AU, AH, AA, AE, EA, EH, EE, ER, UH,
OH, OO).
• Env Depth: This knob creates a positive or
negative offset in the setting of the Vowel control,
effected by the Envelope follower. At its center, the
knob has no effect. Turned to the right or left of
center, the Env Depth knob shifts the value of the
Vowel control up or down.
When the envelope follower is triggered, the Vowel
parameter moves to its normal setting (in time with
the envelope’s attack), then back to the offset value
(in time with the envelope’s release).
• Formant: This knob shifts the formant center of the
processed audio up or down 12 semitones,
changing the harmonic structure dramatically.
mix of both.
57
LFO Controls
This section controls a low-frequency oscillator (LFO) that can modulate the Formant setting.
for the LFO Rate.

When Sync is disabled, the Rate knob lets you change the modulation rate independently of your
session tempo (0.01–10.0 Hz).
• Wave: Select from the following waveforms for the LFO:
o Sine: Provides a sine wave.
o Tri: Provides a triangle wave.
o Saw: Provides a saw-tooth wave.
o Square: Provides a square wave.
o S&H: Provides Sample and Hold (S&H) modulation.
o Random: Provides random modulation.
• Depth: This knob adjusts the amount of modulation applied to the Formant setting.
• Sync: Enable Sync to synchronize the LFO Rate to your session tempo. When Sync is disabled,
you can set the Rate time in milliseconds (ms) independently of your session tempo. The Sync
button is lit when it is enabled.
58
Envelope Controls
The Talkbox plugin provides an Envelope follower for modulating the Formant setting. This is useful for
accentuating and enhancing signal peaks in rhythmic material.
• Thresh: This knob adjusts the amplitude threshold at which the Formant setting begins to be
modulated by the Envelope follower.
• Attack: This knob adjusts the time (10.0 ms to 10 seconds) it takes to respond to increases in the
audio signal level.
• Release: This knob adjusts the time (10.0 ms to 10 seconds) it takes to recover after the signal
level falls.
59
Tube Drive (Creative FX Collection Plus)
Tube Drive emulates the sound of the signal being played

through a mildly “overdriven” tube amp, creating a warm,
smooth-sounding distortion.

• Drive: This knob lets you increase the drive (input
volume) of the signal from 0 dB (no distortion) to 60
dB (way too much distortion!). Sometimes an increase
or decrease of just 1 of 2 decibels can make a big
difference on the amount and quality of distortion.
• Tube Drive Section: These controls set how the distortion is applied to the signal.
o Headroom: This knob adjusts the point at which the incoming signal starts to distort. At lower
settings, the signal will distort even at low volumes. At higher settings, the signal will remain
“clean” at lower or mid-range volumes and then start distorting when it becomes very loud.
Traditional tube amplifiers for guitars can be modified to adjust their headroom—this control
lets you do that instantly.
o Saturation: This knob adjusts how saturated the distorted signal is, which affects the “color”
of the sound. At lower settings, the distortion will sound subtler and warmer. At higher
settings, the distortion will sound harsher.
• Output: This knob adjusts the level of the output signal (-20.0 to +20.0 dB).
60
Vintage Filter
Vintage Filter applies a modulating, resonant filter to an

audio signal. Have fun with filter sweeps or give your
sounds that extra-resonant aura.
Main Controls

• Cutoff: This knob adjusts the Cutoff frequency
(20.0 Hz to 20.0 kHz) of the filter.
• Resonance: The Resonance control adjusts the
amount filter Resonance (0–100%). The filter can
go into self-oscillation at high values creating a sine
wave-like overtone at the Cutoff frequency.
• Fat: This knob adjusts the amount of overdrive in the resonant peak. At lower settings the signal
gets quieter at high Resonance settings for clean distortion. At higher settings the signal is over-
driven at high resonance settings.
• Mode: Select one of the following options for the type of filter:
o LP24: Provides a low pass filter with a 24 dB cutoff.
o BP: Provides a band pass filter.
o HP: Provides a high pass filter.
• Output: This knob lets you lower the Output level from 0.0 dB to –INF dB.
61
Envelope Controls
The Vintage Filter effect provides an envelope follower for controlling the Cutoff frequency. The envelope
section offers control over the envelope’s shape and depth of modulation.
• Attack: This knob adjusts the time (10.0 ms to 10 seconds) it takes to respond to increases in the
audio signal level.
• Release: This knob adjusts the time (10.0 ms to 10 seconds) it takes to recover after the signal
level falls.
• Depth: This knob adjusts how much the envelope follower affects the cutoff frequency.
o At 0%, the envelope follower has no effect on the cutoff frequency.
o At +100%, the attack ramps up to the cutoff frequency setting; and the release starts from the
cutoff frequency setting and ramps down.
o At –100%, the attack starts from the cutoff frequency setting and ramps down; and the release
ramps up to the cutoff frequency setting.
62
LFO Controls
The Vintage Filter effect provides a sinusoidal low-frequency oscillator (LFO) for modulating the filter cutoff
frequency. The LFO section offers control over the rate, depth and synchronization of the modulation.
for the flanger modulation rate.

When Sync is disabled, this knob increases or decreases the frequency (0.01–100.0 Hz) of the LFO.
Lower settings are slower and higher settings are faster.
• Depth: This knob adjusts increases or decreases the amount of modulation (0–100%) of the Cutoff
frequency by the LFO. Lower settings create a slight vibrato (with the rate set high) and higher
settings create a wide sweep of the Cutoff frequency range.
• Sync: Click this button to synchronize the LFO with the session tempo.
63
Trademarks & Licenses
AIR Music Technology is a trademark of inMusic Brands, Inc., registered in the U.S. and other countries.
Ableton is a trademark of Ableton AG.
Avid, Pro Tools, and RTAS are registered trademarks of Avid Technology, Inc. in the U.S. and other
countries.
Cubase, VST, and Nuendo are trademarks of Steinberg Media Technologies GmbH.
iLok is a trademark of PACE Anti-Piracy, Inc.
Logic, Mac, and OS X are trademarks of Apple Inc., registered in the U.S. and other countries.
Windows is a registered trademark of Microsoft Corporation in the United States and other countries.
All other product or company names are trademarks or registered trademarks of their respective owners.
64
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Manual Version 1.0

Introduction......................................................... 3 Frequency Shifter ...................................... 24

Chorus Filter Gate Multi-Chorus Saturation Filter (Plus)

Compressor (Plus) Flanger Multi-Delay Spectral (Plus)

Diffuser Delay (Plus) Frequency Shifter Non-Linear Reverb Spring Reverb

Distortion Fuzz-Wah Parametric EQ (Plus) Stereo Width

Dynamic Delay Kill EQ Phaser Talkbox

Enhancer Lo Fi Pumper (Plus) Tube Drive (Plus)

Ensemble Maximizer (Plus) Reverb Vintage Filter

System Requirements & Product Support

To authorize Creative FX Collection without opening your DAW:

Mac OS X users: Go to /Applications/AIR Music Technology/Creative FX Collection/ on your

Steinberg™ Cubase™ or Nuendo™

Click a knob and then drag it up or down to adjust its setting.

The preset browser lets you select

To load a preset, do either of the following:

To assign a control in Creative FX Collection to a hardware MIDI controller:

To set the minimum and maximum values of an assigned control:

To unassign a control from a hardware MIDI controller:

Chorus Filter Gate Multi-Chorus Saturation Filter (Plus)

Compressor (Plus) Flanger Multi-Delay Spectral (Plus)

Diffuser Delay (Plus) Frequency Shifter Non-Linear Reverb Spring Reverb

Distortion Fuzz-Wah Parametric EQ (Plus) Stereo Width

Dynamic Delay Kill EQ Phaser Talkbox

Enhancer Lo Fi Pumper (Plus) Tube Drive (Plus)

Ensemble Maximizer (Plus) Reverb Vintage Filter

Chorus applies a short, modulated delay to give depth

These are the main parameters:

Compressor changes the dynamic range of a signal by

These are the main parameters:

Diffuser Delay is a delay line effect that is synchronized

These are the main parameters:

Distortion colors the audio signal with various types and

These are the main parameters:

These controls shape the timbral quality of the distortion:

Distortion Mode Controls

Select one of the following Distortion Mode options:

Dynamic Delay is a delay line effect that can synchronize to

These are the main parameters:

16 (sixteenth note) 4 (quarter note) 4/4 (whole note)

This section provides L/R Ratio and Stereo Width controls.

This section provides low and high cut filters.

The envelope follower can control various parameters in real time.

Select one of the following Feedback Mode options:

Enhancer enhances the low and high broadband frequencies

These are the main parameters:

Harmonic Generation Controls

Ensemble applies fluid, shimmering modulation effects to

These are the main parameters:

Filter Gate lets you chop up an audio signal into staccato

These are the main parameters:

These controls are for the selected filter type:

These controls affect the modulation:

Flanger applies a short modulating delay to the audio signal.

These are the main parameters:

Frequency Shifter shifts the audio signal’s individual