46 !!Chapter 3
of these devices is determined by the composer, arranger, and/or music
producer.
The most commonly used processors are called DSPs (digital signal
processors). The same effects that can be programmed into hardware-
based processors are available in digital software processors. The soft-
ware-based virtual processors, which are virtual versions of the same
hardware processors, usually look and work almost exactly the same as
the hardware versions. The parameters are adjustable, and the computer
can store and recall the settings. This saves a substantial amount of time.
If a session required 10 hardware signal processors, all 10 devices would
have to be reset by hand to revise a mix. With computers, the settings can
be stored and recalled.
Most new plug-ins are designed only in software versions. Digital
technology has replaced certain audio hardware that is now obsolete. Not
only is the software easier to program, but it is also less costly. Virtual
signal processors enable users to automate the parameters. If the program-
mer/engineer wants to increase or decrease the amount of reverb in each
measure, the computer automates the changes. Most plug-ins can also be
automated. Some hardware consoles include automated processors,
whereas almost all software sequencer programs contain this feature.
Computer-based sequencers, which contain digital audio as well as
MIDI, include a basic complement of plug-ins. Many third-party manufac-
turers make plug-ins, but not all plug-ins work with all software pro-
grams. Before purchasing third-party plug-ins, ask the manufacturers if
they support your software program. Most sequencer manufacturers
include a list of supported third-party vendors. This information can also
be found on the manufacturers’ websites.
One of the major problems encountered with the use of plug-ins is that
acomputermightrunoutofmemoryandnotsupportthenumberof
devices required; plug-ins are memory intensive. The program might
crash or inform the user that the computer is out of memory. The response
time to each command may become so sluggish that it creates a hindrance
to the flow of an ideal creative environment. There are two basic solutions
to this problem:
- Add additional RAM to the computer, which creates more memory.
- Copy an audio track, including the signal processing, to another
audio track. For example, a vocal might have a delay. The vocal,
along with the delay, can be bounced (combined) onto a new track,
and the delay effect can then be removed from the program, thereby
lessening the memory load on the CPU of the computer. This frees
up memory so that another effect can be used.
It is conceivable that the final mix will have multiple tracks that contain
prerecorded processing; the engineer balances the tracks to achieve a final