Welcome to Sonicview Learning Center. In this video number three
we will show you an overview of the individual modules or processors within a Sonicview and how
they operate. There are many different ways, really, to get into the module, and the easiest way or one
of the easiest ways is that like, for example, if I wanted to choose some modules that are available
on channel 17 just touch 17. And then here’s your module screen with all of the selections. Let’s go
back home. Another way to do it is hit Select and hit Select on whatever channel you would
like to access as far as the module processors go. I’m choosing 17 again and there is 17.
Let’s start with EQ. So Sonicview – it’s already on by the way, if it’s off, you
just turn it on – Sonicview actually has a very powerful four-band fully parametric EQ
and the easiest way probably to get going or started with the EQ is to touch Library.
And if I touch Library, there are presets. I touched Preset here. Notice the blue illuminator here and
the blue color on the dial, and I can scroll through some of the presets that are on the EQ.
Here I’m going to choose Acoustic Guitar, and we want to recall that. I touch Recall and yes it’s
in it’s got a nice little slope, slight slope around 350 Hertz or so on the Q. It’s made for,
mainly for an acoustic guitar type situation. Of course you could use it for other things as well.
So it’s a good starting point. Now let’s say you want to do some of your own editing or
tweaking with the EQ. I recommend personally that you start off with the lower block.
The lower block here are the core fundamentals of the EQ, meaning the frequency and the gain.
Frequency, gain for all four of the bands. So, for example notice the color coding. This one is yellow here,
the one that’s got a little bit of drop on that mid frequency. You could turn that, it’s in
fine mode, or coarse mode by pushing in the knob, and instantly adjust that a little more to maybe
what you need for the speakers that you’re using. Or you can actually take the frequency selection
and move that back and forth. So all four bands are color coded. This is the low, the red.
Again, same situation: choose the frequency you would like to affect, gain down, coarse if you push
it in, gain up, so on and so forth. One other very cool thing with the Sonicview parametric EQ is
that: Let’s go to the high frequency, which is green, and I’m going to choose a high frequency, you know
up around six or seven k. You’ll notice that every band in Sonicview can overlap with the other ones.
So I’m taking the high frequency using the coarse mode by pushing the button in,
literally choosing it anywhere I want, so you can have all these intermingled EQs
going on simultaneously. Next I started with the low block, let’s go to the block above it.
Those are the Q factors and the type of slopes that you use for every band. So for example: red, Q,
red, change that. You’ll see I can make it a really, really distinct notch filter or really widen it up.
I’m pushing in the knob again for coarse and get a really very wide selector there for the EQ and
that’s possible for several of the bands. Let’s go to the green here and change the key on that
and the mids. So there we go. Okay. Also what’s available on the EQ is, in the screen, is the RTA,
the real-time analyzer. It’s great, you can see how your EQ corresponds to whatever’s coming in
on channel 17. Here I have the internal SD card player playing real time. It’s source
material because Sonicview has a stereo recorder/player built in as an addition to the 24-track
multi-track recorder, and there you can see that it’s very handy. So RTA on, or RTA off.
Also very handy is you can turn a band on or off at will. So I just turned the
high frequencies off while I’m listening to the music, and I can also see the RTA
and so the low mid, the high mid, all have on/off selectors. There’s a high-pass filter.
I turn on the high-pass filter and you instantly see the contour of which frequencies are going
to pass and which low frequencies are going to be held back. And if you’d like to change
the frequency point on that, you touch that, turn that, and the screen reflects that very nicely.
So that’s the high-pass filter. Let’s turn that off. At any time – and the RTA off as well –
and anytime if you feel that you kind of went a little bit too far, you kind of got lost,
you kind of lost something that you had and you want to start again, you can hit FLAT and flatten out
the EQ, and it just goes back to flat and you can start again. Let’s look at the compressor.
Turn on the compressor. Let me turn off the player, so I don’t have the input going on and upper left
takes me back one page. The compressor has all of the goodies, all the parameters that you need to
do professional compression. Right now it is on, everything is color-coded, as far as the, you know,
the parameters go. You could start with the library again. You could start with a kick drum for example,
and choose that. Hit Recall, yes I’d like to recall that, and Tascam has a preset in there which we
feel is a good preset or a good starting point for a kick drum compressor. Of course, you can change
anything that you’d like along the way. The gain, can be changed, the release, you know,
you can change the attack, the mid, the ratio. You can also use the pen or your finger to change those
things as well, and the threshold. So that’s all alterable with either a pen or your finger.
And finally there is a professional auto make-up function. So auto make-up, what that will do is that
when you use compression, it tends to squash it. Auto make-up will add the dB gain back, but still
retain the compression automatically. That’s why they call it auto make-up. It literally makes up
the gain loss or drop using a compressor. There’s a Key In Source available for the compressor. You …
Right now it’s assigned to self, which means it has no external Key In, and it’s as easy to choose
a channel or a group of channels. Let’s say an entire mix, mix one in this case, to be the Key In Source
for the compressor. I’ll put it back on Self. Let’s hit the upper left and then there it goes back.
So that’s a very great function as well. Now, you’ll notice in the lower right here it says Comp.
If I touch that, the compressor can be a Ducker. So now we have a Ducker instead of
a compressor, and with all of the corresponding parameters that you can change
change to, you know, affect how much of the ducking you want to be applied to channel 17.
All right, that’s the compressor, let’s go back, and the Ducker. Finally: de-esser. De-esser can
be a gate, an expander or a de-esser. I went to gate, let’s keep it on the gate. So the gate also
has presets that you could use, I’ll hit Library. I could just choose a standard Noise Gate, hit Recall
and there it is. That’s a good starting place or a final place for a gate to be used. And again you
have color-coordinated parameters that you can use depending on how you’d like to, the gate to
function. Decay, Hold and all the good stuff as well let’s choose lower right here. Let’s go to the expander.
An expander does the opposite of what a compressor does, by the way. It expands the audio
rather than compresses it, so it literally does the opposite. That’s why they call it an expander.
And again you have, you know, all the parameters that you can, that you can grab and use depending on
how much expansions that you want or not. And I’ll show you the one last thing, the de-esser.
De-esser removes the sibilance at specific frequencies. There are de-essing libraries here, or presets,
I should say, so one of them is called DE-ESS Vocal-4K. Let’s recall that. Yes. I did that by hitting
Library and then just choosing the preset. And here you can see that there’s a pretty deep notch
at 4k to take out that sibilance. And you could change that by using the different
frequency selector and how much Q that you would like to apply. Really severe de-essing notch there.
All right, finally, there is Input Select. So Sonicview 24, 16 have the ability to assign any
input or inputs to any channel on the input. Right now it’s set so that 17 is the default is going
to channel 17. Dante, which is built into Sonicview is set as a default to go to Channel 17 as is
Slot 1. Slot 1, don’t forget that the Sonicview 24 and 16 both have dual user-expandable
slots on the back, and they come with the IF-MTR32 expansion board with the product [USA only] which is a
32-track multi-track recorder and player. So right now the Slot 1 is already pre-installed, that’s the way
it comes from the factory [USA only]. That’s assigned to 17 as is USB channel 17 is assigned to 17.
If you would like to change that you … let’s hit Analog here, let’s hit Others, let’s go to Analog Input
on the screen top here, and I can choose analog channel 1 to go to 17, or 13 to go to 17.
You can totally use the matrix mixer type situation on the inputs, and you have anything go
to anything on a Sonicview. Other things on the input which are nice: there’s a high-pass filter
here, even though it was already on the parametric EQ, it’s nice just go to the input and audition that
or just turn that on and then touch the frequency, which I already did, and then
choose a high-pass filter there, I’m going to turn that off. The Trim here is available, if you wanted
the phantom power, you can hold that and turn that on. Now, intentionally, we make you hold it in case
you have an expensive ribbon mic in there and you didn’t really mean to do it, so to turn it
off, like the same thing, you have to hold it for about a second, a second and a half and here’s
where you can apply stereo link to different channels, and here’s the analog gain as well.
So there’s a quick overview of the modules’ processors on a Sonicview 24 and a Sonicview 16.