[SCM] calf/master: New layout, filter, equalizer
js at users.alioth.debian.org
js at users.alioth.debian.org
Tue May 7 15:39:54 UTC 2013
The following commit has been merged in the master branch:
commit 35771a8c4c1cc366ba4685ae7d0d4ab09219c7da
Author: Markus Schmidt <schmidt at boomshop.net>
Date: Sun Dec 13 14:22:04 2009 +0100
New layout, filter, equalizer
diff --git a/doc/manuals/Calf.html b/doc/manuals/Calf.html
index 81256ad..cb81921 100644
--- a/doc/manuals/Calf.html
+++ b/doc/manuals/Calf.html
@@ -12,20 +12,15 @@
<a href="images/Calf.png" title="Calf - Rack" class="thickbox"><img class="thumbnail" src="images/Calf.png" /></a>
<h2>Functionality</h2>
<p>
- The Rack is the heart of Calf. Here you can load synthesizers and effect plugins to
- wire them trough Jack.<br /><br />
- To add a plugin click on "Add plugin" in the menu and choose one from the list.<br /><br />
- Every plugin added will be represented as a rack gear which provides some basic
- information like in and out levels and MIDI traffic.<br /><br />
- The "Edit" button will raise the GUI of the plugin. Once open the same button
- closes the plugin window again. If you close the window of a plugin with the
- window buttons it isn't removed from the rack.<br /><br />
- To remove a plugin from the rack simply click on the "Remove" button.
+ The Rack is the heart of Calf. Here you can load synthesizers and effect plugins to wire them trough Jack.<br /><br /> To add a plugin click on "Add plugin" in the menu and choose one from the list.<br /><br /> Every plugin added will be represented as a rack gear which provides some basic information like in and out levels and MIDI traffic.<br /><br /> The "Edit" button will raise the GUI of the plugin. Once open the same button closes the plugin window again. If you close the window of a plugin with the window buttons it isn't removed from the rack.<br /><br /> To remove a plugin from the rack simply click on the "Remove" button.
+ </p>
+ <h2>Presets</h2>
+ <p>
+ If you use the Calf Rack to launch your plugins you can load and create presets inside every effect or synthesizer. To do so click on the "<strong>Presets</strong>" entry in the menu on top of the plugin. To load a preset choose one from the list. To create a new one or to overwrite an existing preset select "save" from the menu.
</p>
<h2>Other hosts</h2>
<p>
- If you use Calf studiogear as plugins in another host like Ardour you don't have
- to deal with the rack at all.
+ If you use Calf studiogear as plugins in another host like Ardour you don't have to deal with the rack at all. Presets aren't accessible under other host from within the plugins.
</p>
</div>
</body>
diff --git a/doc/manuals/Compressor.html b/doc/manuals/Compressor.html
index 93eee25..cbada4c 100644
--- a/doc/manuals/Compressor.html
+++ b/doc/manuals/Compressor.html
@@ -12,87 +12,55 @@
<a href="images/Calf - Compressor.png" title="Calf - Compressor" class="thickbox"><img class="thumbnail" src="images/Calf - Compressor.png" /></a>
<h2>Functionality</h2>
<p>
- A compressor is mainly used to reduce the dynamic of a signal. Especially modern music is mostly
- compressed at a high ratio to improve the overall loudness. It's done to get the highest
- attention of a listener, "fatten" the sound and bring more "power" to the track. If a signal is
- compressed too much it may sound dull or "dead" afterwards or it may start to "pump" (which
- could be a powerful effect but can also destroy a track completely). The right compression
- is the key to reach a professional sound and is the high art of mixing and mastering. Because of
- it's complex settings it may take a long time to get the right feeling for this kind of effect.
+ A compressor is mainly used to <strong>reduce the dynamic of a signal</strong>. Especially modern music is mostly compressed at a high ratio to improve the overall loudness. It's done to get the highest attention of a listener, "fatten" the sound and bring more "power" to the track. If a signal is compressed too much it may sound dull or "dead" afterwards or it may start to "pump" (which could be a powerful effect but can also destroy a track completely). <strong>The right compression is the key to reach a professional sound</strong> and is the high art of mixing and mastering. Because of it's complex settings it may take a long time to get the right feeling for this kind of effect.
</p>
<h2>Basics and controls</h2>
<p>
- Compression is done by detecting the volume above
- a chosen level ("Threshold") and divide it by the factor set with "Ratio". So if you set the threshold to
- -12dB and your signal reaches -6dB a ratio of 2:1 will result in a signal at -9dB. Because an exact
- manipulation of the signal would cause distrotion of the waveform the reduction can be levelled over
- the time. This is done by setting "Attack" and "Release".
- <br /><br />
- "Attack" determines how long the signal has
- to rise above the threshold before any reduction will occur and "Release" sets the time the signal has to
- fall below the threshold to reduce the reduction again. Shorter signals than the chosen attack time
- will be left untouched.
- <br /><br />
- The overall reduction of the signal can be made up afterwards with the "Makeup" setting. So compressing
- the peaks of a signal about 6dB and rising the makeup to this level results in a signal two times louder
- than the source.
- <br /><br />
- To gain a softer entry in the compression the "Knee" flattens the hard edge at the threshold in the
- range of the chosen decibels.
+ Compression is done by detecting the volume above a chosen level ("<strong>Threshold</strong>") and divide it by the factor set with "<strong>Ratio</strong>". So if you set the threshold to -12dB and your signal reaches -6dB a ratio of 2:1 will result in a signal at -9dB. Because an exact manipulation of the signal would cause distrotion of the waveform the reduction can be levelled over the time. This is done by setting "Attack" and "Release".
+ <br /><br />
+ "<strong>Attack</strong>" determines how long the signal has to rise above the threshold before any reduction will occur and "<strong>Release</strong>" sets the time the signal has to fall below the threshold to reduce the reduction again. Shorter signals than the chosen attack time will be left untouched.
+ <br /><br />
+ The overall reduction of the signal can be made up afterwards with the "<strong>Makeup</strong>" setting. So compressing the peaks of a signal about 6dB and rising the makeup to this level results in a signal two times louder than the source.
+ <br /><br />
+ To gain a softer entry in the compression the "<strong>Knee</strong>" flattens the hard edge at the threshold in the range of the chosen decibels.
</p>
<h2>Line graph</h2>
<p>
- The line graph shows exactly what your compressor is doing at the moment. The x-axis shows the input level
- and the y-axis displays the output. The dot represents the actual level of the detected signal. Here you
- can see exactly how much your audio is reduced.
+ The line graph shows exactly what your compressor is doing at the moment. <strong>The x-axis shows the input level and the y-axis</strong> displays the output. <strong>The dot</strong> represents the actual level of the detected signal. Here you can see exactly how much your audio is reduced.
</p>
<h2>Examples and Tipps</h2>
<p>
- Nearly every signal in modern music can benefit from some kind of compression. Even if you have a signal
- at a constant level (ex. a bassdrum from a sampler) the right compression could raise the sustain
- of it (shorter attack and release) or add a harder attack (vice versa) for example.
- Mainly a compressor is used to reduce the dynamics of natural
- sound sources like vocals, piano, guitars, drums and so on to fit the loudness levels widely used today.
+ Nearly every signal in modern music can benefit from some kind of compression. Even if you have a signal at a constant level (ex. a bassdrum from a sampler) the right compression could raise the sustain of it (shorter attack and release) or add a harder attack (vice versa) for example. <strong>Mainly a compressor is used to reduce the dynamics of natural sound sources</strong> like vocals, piano, guitars, drums and so on to fit the loudness levels widely used today.
</p><p>
- The attack and release times are essential for the sound the compressor produces on different sources. That's
- the reason why presets are mostly senseless due to the great differences between the dynamics and the waveforms
- of different signals. Deeper sounds like bass guitars and bassdrums need higher attack and release times (above
- 50 or 100ms) while mid sounds are compressed with shorter values (about 25 to 50ms). High sounds can be reduced
- with attack times below 20ms. The release time depends mainly on the sustain of the sound and is mostly
- two or three times the attack time.
+ The <strong>attack and release times</strong> are essential for the sound the compressor produces on different sources. That's the reason why presets are mostly senseless due to the great differences between the dynamics and the waveforms of different signals. Deeper sounds like bass guitars and bassdrums need higher attack and release times (above 50 or 100ms) while mid sounds are compressed with shorter values (about 25 to 50ms). High sounds can be reduced with attack times below 20ms. The release time depends mainly on the sustain of the sound and is mostly two or three times the attack time.
</p><p>
- If you hear your signal starting to "pump" increase the release time until
- it stops. This will reduce the overall loudness of the signal so perhaps decreasing the release time could
- be the better choice if no audible distortion appears or it doesn't matter.
+ If you hear your <strong>signal starting to "pump"</strong> increase the release time until it stops. This will reduce the overall loudness of the signal so perhaps decreasing the release time could be the better choice if no audible distortion appears or it doesn't matter.
</p><p>
- If your source contains a complex waveform (a piano or a complete mix for example) wideband compression
- could be the wrong tool to raise the loudness without "flattening" or "killing" your sound. Signals with
- a wide range of different frequencies are more likely compressed with a multiband compressor to keep
- the loudness of frequencies that doesn't raise above the threshold.
+ If your source contains a <strong>complex waveform</strong> (a piano or a complete mix for example) wideband compression could be the wrong tool to raise the loudness without "flattening" or "killing" your sound. Signals with a wide range of different frequencies are more likely compressed with a <strong><a href="Multiband Compressor.html" title="Multiband Compressor">multiband compressor</a></strong> to keep the loudness of frequencies that doesn't raise above the threshold.
</p><p>
- To reduce the dynamics of a separated frequency range, affect a range more than another or to limit
- a separated band of frequencies use a sidechain compressor instead.
+ To reduce the dynamics of a <strong>separated frequency range</strong>, affect a range more than another or to limit
+ a separated band of frequencies use a <strong><a href="Sidechain Compressor.html" title="Sidechain Compressor">sidechain compressor</a></strong> instead.
</p><p>
- If you compressed a vocal track don't forget to deess it afterwards because compression on vocals leaves
- the "sssss" and "shhhhhhh" sounds untouched due to their low levels at a high volume.
+ If you compressed a vocal track don't forget to <strong><a href="Deesser.html" title="Deesser">deess</a></strong> it afterwards because compression on vocals leaves the "sssss" and "shhhhhhh" sounds untouched due to their low levels at a high volume.
</p>
<h2>Controls</h2>
<ul>
- <li><strong>Bypass:</strong> Don't process anything, just bypass the signal</li>
- <li><strong>Input (knob):</strong> Raise the volume before the signal is sent in the compression stage. If you have found some great settings but want to raise the overall loudness of the track simply increase this level.</li>
- <li><strong>Input (VU-meter):</strong> The level of the original signal</li>
- <li><strong>Input (LED):</strong> Flashes if the level of the original signal raises above 0dB (it doesn't clip your signal)</li>
- <li><strong>Output (VU-meter):</strong> The level of the compressed and made up signal</li>
- <li><strong>Output (LED):</strong> Flashes if the level of the output signal raises above 0dB (it may clip your signal depending on your host and your systems' bitrate!)</li>
- <li><strong>Reduction:</strong> The level of reduction on the original signal</li>
- <li><strong>Attack:</strong> Amount of milliseconds the signal has to rise above the threshold before gain reduction starts</li>
- <li><strong>Release:</strong> Amount of milliseconds the signal has to fall below the threshold before the reduction is decreased again</li>
- <li><strong>Knee:</strong> Curve the sharp knee around the threshold to enter gain reduction more softly</li>
- <li><strong>Ratio:</strong> Set a ratio about which the signal is reduced. 1:2 means that if the level rises 4dB above the threshold, it will be only 2dB above after the reduction.</li>
- <li><strong>Threshold:</strong> If a signal rises above this level it will affect the gain reduction</li>
- <li><strong>Makeup:</strong> Amplify your signal after processing</li>
- <li><strong>Stereo Link:</strong> Choose if the average level between both channels or the louder channel affects the reduction</li>
- <li><strong>Detection:</strong> Choose if the deesser should take the exact signal for detection or an RMS like one (it's mainly smoother).</li>
+ <li><strong>Bypass:</strong> Don't process anything, just bypass the signal</li>
+ <li><strong>Input (knob):</strong> Raise the volume before the signal is sent in the compression stage. If you have found some great settings but want to raise the overall loudness of the track simply increase this level.</li>
+ <li><strong>Input (VU-meter):</strong> The level of the original signal</li>
+ <li><strong>Input (LED):</strong> Flashes if the level of the original signal raises above 0dB (it doesn't clip your signal)</li>
+ <li><strong>Output (VU-meter):</strong> The level of the compressed and made up signal</li>
+ <li><strong>Output (LED):</strong> Flashes if the level of the output signal raises above 0dB (it may clip your signal depending on your host and your systems' bitrate!)</li>
+ <li><strong>Reduction:</strong> The level of reduction on the original signal</li>
+ <li><strong>Attack:</strong> Amount of milliseconds the signal has to rise above the threshold before gain reduction starts</li>
+ <li><strong>Release:</strong> Amount of milliseconds the signal has to fall below the threshold before the reduction is decreased again</li>
+ <li><strong>Knee:</strong> Curve the sharp knee around the threshold to enter gain reduction more softly</li>
+ <li><strong>Ratio:</strong> Set a ratio about which the signal is reduced. 1:2 means that if the level rises 4dB above the threshold, it will be only 2dB above after the reduction.</li>
+ <li><strong>Threshold:</strong> If a signal rises above this level it will affect the gain reduction</li>
+ <li><strong>Makeup:</strong> Amplify your signal after processing</li>
+ <li><strong>Stereo Link:</strong> Choose if the average level between both channels or the louder channel affects the reduction</li>
+ <li><strong>Detection:</strong> Choose if the deesser should take the exact signal for detection or an RMS like one (it's mainly smoother).</li>
+ </ul>
</div>
</body>
</html>
diff --git a/doc/manuals/Controls.html b/doc/manuals/Controls.html
new file mode 100644
index 0000000..1a9ed09
--- /dev/null
+++ b/doc/manuals/Controls.html
@@ -0,0 +1,66 @@
+<html>
+ <head>
+ <link type="text/css" rel="stylesheet" href="scripts/thickbox.css" />
+ <link type="text/css" rel="stylesheet" href="scripts/style.css" />
+ <script language="javascript" type="text/javascript" src="scripts/jquery.js"></script>
+ <script language="javascript" type="text/javascript" src="scripts/thickbox.js"></script>
+ <script language="javascript" type="text/javascript" src="scripts/manual.js"></script>
+ </head>
+ <body>
+ <div class="wrapper">
+ <h1>Controls</h1>
+ <a href="images/Calf - Controls.png" title="Calf - Controls" class="thickbox"><img class="thumbnail" src="images/Calf - Controls.png" /></a>
+ <h2>Functionality</h2>
+ <p>
+ Calf sudiogear provides a set of useful controls for interaction. Some of them change settings of your plugins, some of them display some useful data to give you a visual feedback.
+ </p>
+ <h2>Knobs (1 - 4)</h2>
+ <p>
+ The knobs are the controls you are dealing most of the time with. They change <strong>numerical values</strong> on drag. A circle of LED's gives a fast visual control of the settting.
+ <br/><br/>
+ To change a value of a knob simply klick on it and keep the mouse button pressed. Start <strong>dragging in vertical direction</strong> to increase or decrease the value. <strong>Dragging the mouse horizontally</strong> changes the sensitivity of the knob. Greater distances lead to more accurate changes.
+ <br/><br/>
+ Holding down the <strong>SHIFT</strong> key while dragging increases the accuracy, too.
+ <br/><br/>
+ The value can also be changed by holding the mouse over a knob and turning the <strong>mouse wheel</strong>.
+ <br/><br/>
+ If you activated a knob by clicking on it the <strong>arrow up and down keys</strong> affect the value, too.
+ </p>
+ <h2>Buttons (5 - 9)</h2>
+ <p>
+ Buttons react on a single mouse click. Calf provides different types of buttons for different tasks:
+ </p>
+ <ul>
+ <li><strong>Toggle buttons</strong> (5, 6): Toggle between two states that are clearly
+ displayed by the luminosity of the frame and the LED</li>
+ <li><strong>Click Buttons</strong> (7): Trigger a single function on click</li>
+ <li><strong>Menu Buttons</strong> (8): Raise a menu to choose an option from</li>
+ <li><strong>Radio buttons</strong> (9): Select one out of multiple options</li>
+ </ul>
+ <h2>Horiz. and vert. faders (10)</h2>
+ <p>
+ Faders are changing a numerical value just like knobs do. You can grab the slider with the mouse and <strong>drag it along the direction</strong> of the fader to change the value.
+ <br/><br/>
+ If you <strong>click somewhere</strong> inbetween the slider and one end of the fader, the value jumps directly to the value equivalent of the position you pointed at.
+ <br/><br/>
+ The value is also affected by the <strong>mouse wheel</strong>.
+ <br/><br/>
+ Once you have activated a fader, hitting the <strong>up and down keys</strong> on the keyboard will also affect it's value.
+ </p>
+ <h2>Graphs (11)</h2>
+ <p>
+ These controls provide some useful information for different effects and instruments. Graphs may display a <strong>frequency response</strong> for equalizers and filters or a <strong>dynamic response</strong> of compressors and gates. They may also draw <strong>LFO curves and phases or waveforms</strong> of synthesizers.
+ <br/><br/>
+ Graphs are the most accurate tool to control your settings on a visual base, they don't take any user action.
+ </p>
+ <h2>VU-meters (12)</h2>
+ <p>
+ These displays give you an oversight over <strong>levels</strong> in Calf (since they don't draw any numerical values by now). They can show in and out levels or gain reduction in dynamic processors.
+ </p>
+ <h2>LED's (13)</h2>
+ <p>
+ These tiny lights can display different kinds of information. Sometimes they act in a simple on/off state, other effects use them to display off/on/over states or they may be used to provide dynamic states like the position of an LFO.
+ </p>
+ </div>
+ </body>
+</html>
diff --git a/doc/manuals/Deesser.html b/doc/manuals/Deesser.html
index 6fea04e..017ed8a 100644
--- a/doc/manuals/Deesser.html
+++ b/doc/manuals/Deesser.html
@@ -12,37 +12,40 @@
<a href="images/Calf - Deesser.png" title="Calf - Deesser" class="thickbox"><img class="thumbnail" src="images/Calf - Deesser.png" /></a>
<h2>Functionality</h2>
<p>
- A Deesser is used to dynamically reduce high frequencies. The standard field of use is the reduction of "sssss" and "shhhh" in vocal tracks, that's where it's name came from. A deesser is mainly based on a compressor that reacts not on the full range signal but on a filtered sidechain signal. The signal is split in two different threads. The sidechain thread is sent through a filter, before it acts as a level for reducing the gain of the main thread. A deesser could also be used to reduce some high transients of a snaredrum or to bring some "air" in a sound without killing your tweeter on attack. So it may act as a creative effect just like a troubleshooter. But never compress a vocal track without adding a deesser afterwards - if you have a heart for your listeners.
+ A Deesser is used to <strong>dynamically reduce high frequencies</strong>. The standard field of use is the reduction of "sssss" and "shhhh" in <strong>vocal tracks</strong>, that's where it's name came from. A deesser is mainly based on a compressor that reacts not on the full range signal but on a filtered sidechain signal. The signal is split in two different threads. The sidechain thread is sent through a filter, before it acts as a level for reducing the gain of the main thread. A deesser could also be used to reduce some high transients of a snaredrum or to bring some "air" in a sound without killing your tweeter on attack. So it may act as a <strong>creative effect</strong> just like a <strong>troubleshooter</strong>. But never compress a vocal track without adding a deesser afterwards - if you have a heart for your listeners.
</p>
<h2>Split mode</h2>
<p>
- Calf Deesser is able to be driven in split mode. It means that not the full range signal will be affected by the gain reduction but only frequencies above the split frequency are manipulated in gain. Normally a wideband deesser sounds much cleaner on a single vocal track. But multitimbral vocals recordings could benefit a lot from this functionality. It also gives a great advantage for processing instrument tracks like strings for example. If you haven't understand it by now, think of a sidechain deesser like of a dynamically processing highshelf equalizer.
+ Calf Deesser is able to be driven in <strong>split mode</strong>. It means that not the full range signal will be affected by the gain reduction but only frequencies above the split frequency are manipulated in gain. Normally a wideband deesser sounds much cleaner on a single vocal track. But <strong>multitimbral vocal recordings</strong> could benefit a lot from this functionality. It also gives a great advantage for processing instrument tracks like strings for example. If you haven't understand it by now, think of a sidechain deesser like of a <strong>dynamically processing highshelf equalizer</strong>.
</p>
<h2>Tipps</h2>
<p>
- A neat special in the sidechain is the additional peak. Normally "sssss" and "shhhh" are dynamically far apart. With this bell filter you can accentuate or reduce significant frequencies to get the most precise control over your highs before they will reduce your main signal. The peak affects the sidechain signal but isn't added to the main signal's high band in split mode.
+ A neat special in the sidechain is the <strong>additional peak</strong>. Normally "sssss" and "shhhh" are dynamically far apart. With this bell filter you can <strong>accentuate or reduce significant frequencies</strong> to get the most precise control over your highs before they will reduce your main signal. The peak affects the sidechain signal but <strong>isn't added to the main signal's high band in split mode</strong>.
</p><p>
- Main information about dynamic processing is located in the compressor section. Additional information about sidechaining can be found in the sidechain compressor's section.
+ Male's "shhhh" typically is located around 3500-4000Hz, female's around 4000-4500Hz. Male's "ssss" is found around 4500-5000Hz, female's around 5000-5500Hz.
+ </p><p>
+ <strong>Main information about dynamic processing is located in the <a href="Compressor.html" title="Compressor">compressor</a> section. Additional information about sidechaining can be found in the <a href="Sidechain Compressor.html" title="Sidechain Compressor">sidechain compressor</a>'s section</strong>.
</p>
<h2>Controls</h2>
<ul>
- <li><strong>Bypass:</strong> Don't process anything, just bypass the signal</li>
- <li><strong>Detected:</strong> This meter shows the level of the (filtered) signal which is used for detection</li>
- <li><strong>Gain Reduction:</strong> The level of reduction on the original signal</li>
- <li><strong>0dB:</strong> Flashes, if the signal rises about 0dB in the output stage</li>
- <li><strong>Active:</strong> Flashes, if the deesser detects a noticeable signal</li>
- <li><strong>S/C listen:</strong> Sends the sidechain (filtered) signal to the output for acoustical control</li>
- <li><strong>Detection:</strong> Choose if the deesser should take the exact signal for detection or an RMS like one (it's mainly smoother)</li>
- <li><strong>Mode:</strong> Select your operation mode between wideband or split</li>
- <li><strong>Threshold:</strong> If a signal rises above this level it will affect the gain reduction</li>
- <li><strong>Ratio:</strong> Set a ratio about which the signal is reduced. 1:2 means that if the level rises 4dB above the threshold, it will be only 2dB above after the reduction.</li>
- <li><strong>Laxity:</strong> The reaction of the deesser. Higher values won't affect really short peaks.</li>
- <li><strong>Makeup:</strong> Amplify your signal after processing. In split mode only the high band will be made up.</li>
- <li><strong>Split:</strong> The split frequency. All signals above this frequency will affect the gain reduction (and are affected in split mode, too)</li>
- <li><strong>Gain:</strong> It shifts the volume of the higher band. In wideband mode it affects the sidechain, in split mode it also affects the processed high frequencies.</li>
- <li><strong>Peak:</strong> Make a more precise selection of the sidechain signal with this bell</li>
- <li><strong>Level:</strong> Increase or decrease the chosen frequency</li>
- <li><strong>Peak Q:</strong> Set the quality of the bell. Higher values will affect a narrower, higher ones a wider band</li>
+ <li><strong>Bypass:</strong> Don't process anything, just bypass the signal</li>
+ <li><strong>Detected:</strong> This meter shows the level of the (filtered) signal which is used for detection</li>
+ <li><strong>Gain Reduction:</strong> The level of reduction on the original signal</li>
+ <li><strong>0dB:</strong> Flashes, if the signal rises about 0dB in the output stage</li>
+ <li><strong>Active:</strong> Flashes, if the deesser detects a noticeable signal</li>
+ <li><strong>S/C listen:</strong> Sends the sidechain (filtered) signal to the output for acoustical control</li>
+ <li><strong>Detection:</strong> Choose if the deesser should take the exact signal for detection or an RMS like one (it's mainly smoother)</li>
+ <li><strong>Mode:</strong> Select your operation mode between wideband or split</li>
+ <li><strong>Threshold:</strong> If a signal rises above this level it will affect the gain reduction</li>
+ <li><strong>Ratio:</strong> Set a ratio about which the signal is reduced. 1:2 means that if the level rises 4dB above the threshold, it will be only 2dB above after the reduction.</li>
+ <li><strong>Laxity:</strong> The reaction of the deesser. Higher values won't affect really short peaks.</li>
+ <li><strong>Makeup:</strong> Amplify your signal after processing. In split mode only the high band will be made up.</li>
+ <li><strong>Split:</strong> The split frequency. All signals above this frequency will affect the gain reduction (and are affected in split mode, too)</li>
+ <li><strong>Gain:</strong> It shifts the volume of the higher band. In wideband mode it affects the sidechain, in split mode it also affects the processed high frequencies.</li>
+ <li><strong>Peak:</strong> Make a more precise selection of the sidechain signal with this bell</li>
+ <li><strong>Level:</strong> Increase or decrease the chosen frequency</li>
+ <li><strong>Peak Q:</strong> Set the quality of the bell. Higher values will affect a narrower, higher ones a wider band</li>
+ </ul>
</div>
</body>
</html>
diff --git a/doc/manuals/Equalizer12band.html b/doc/manuals/Equalizer12band.html
new file mode 100644
index 0000000..6250d1f
--- /dev/null
+++ b/doc/manuals/Equalizer12band.html
@@ -0,0 +1,81 @@
+<html>
+ <head>
+ <link type="text/css" rel="stylesheet" href="scripts/thickbox.css" />
+ <link type="text/css" rel="stylesheet" href="scripts/style.css" />
+ <script language="javascript" type="text/javascript" src="scripts/jquery.js"></script>
+ <script language="javascript" type="text/javascript" src="scripts/thickbox.js"></script>
+ <script language="javascript" type="text/javascript" src="scripts/manual.js"></script>
+ </head>
+ <body>
+ <div class="wrapper">
+ <h1>Equalizer 12 Band</h1>
+ <a href="images/Calf - Equalizer 12 Band.png" title="Calf - Equalizer 12 Band" class="thickbox"><img class="thumbnail" src="images/Calf - Equalizer 12 Band.png" /></a>
+ <h2>Functionality</h2>
+ <p>
+ Equalizers are possibly the most used signal processors in a studio environment. With an equalizer you can <strong>alter the frequency spectrum of an instrument</strong> with different types of filters. Equalizers are used to <strong>increase or decrease the volume of different frequency ranges</strong>. You may add some presence to your track, cut unneccessary sub frequencies, make "room" for mixing a signal with others without producing indifferent mud, brighten dull recordings or "fix" an unsatisfying but not reproducable recording - Equalizers are the <strong>swiss army knife</strong> in audio production.
+ <br/><br/>
+ <strong>The 12 band equalizer</strong> is typically used for <strong>mastering purposes</strong> and to process the most <strong>outstanding signals</strong> with the need of a lot of corrections in a mix. Eight peak filters and fullsize bass/treble sections provide a lot of ways of manipulation.
+ </p>
+ <h2>Filters</h2>
+ <p>
+ <strong>The Calf Equalizer 12 Band consists of three different types of filters:</strong>
+ </p>
+ <ul>
+ <li><strong>Hipass/Lowpass</strong>: These filters cut the signal above or below the center frequency. Highpass filters will cut all lower frequencies away while Lowpass filters do the opposite.</li>
+ <li><strong>Shelving filters</strong>: This type of filter got it's name from it's characteristics - it looks like the shelv of a cow. A highshelf filter increases or decreases all frequencies above the center frequency equally, the lowpass does vice versa.</li>
+ <li><strong>Peak filters</strong>: Peak or bell filters increase or decrease the frequencies around the center frequency. A high quality setting of this filter results in a needle while lower quality settings produce a wider bell.</li>
+ </ul>
+ <p>
+ Calf Equalizers are designed to give you the most control over your frequency response. The peak filters can add or subtract <strong>up to 36dB at a really high Q</strong> to your signal. This can result in a self resonating tone in comparison to a nearly complete removal of a single narrow band.
+ </p>
+ <h2>Tipps</h2>
+ <p>
+ <b>Please note:</b><br/>
+ <strong>All values stated here are not the wisdom of mankind</strong>. They should only act as an indicator to have a look at or to give you some inspiration for your own experiments.
+ <br/><strong>Only trust your ears!</strong>
+ </p>
+ <p>
+ A typical <strong>vocal recording</strong> is normally EQ'ed with a highpass to filter out <strong>sub frequencies or reduce a possible (nahbesprechungseffekt)</strong>. It is typically set between <strong>70 and 100Hz</strong>. Some studio microphones need some more <strong>brilliance</strong> which is achieved through a highshelf between <strong>4 and 8kHz</strong>. If you have to add more than 10 or 12dB something went wrong with your recording. If your artist sounds <strong>a bit dull</strong> or can't stand with some screaming metal guitars you may want to add a wider bell around <strong>3-4kHz</strong>. To remove a <strong>muddy sound</strong> lower everything below <strong>250-500Hz</strong> with a lowshelf a bit. Some <strong>"woody" frequencies</strong> which are adding up with acoustic guitars or pianos can be found around <strong>500-1000Hz</strong> and can be decreased with a default peak up to -6 or -8 dB. But the hardest part is to remove unneccessary formants from your signal.
+ </p>
+ <p>
+ The needles produced by Calf Equalizers are the perfect solution to <strong>remove so called formants or resonances</strong> from your signal. <strong>Formants</strong> are essential for the "timbre" or the sound of an acoustic source and are oscillating at fixed frequencies. They give colour to an instrument or a voice but can easily screw the listener's ears especially in highly compressed and limited masters. They come from fixed sizes, lengths or volumes of a natural sound source. <strong>Resonances</strong> appear if oscillating air or material brings other material into resonance so both oscillations will add up to a noticeable sound.
+ <br/><br/>
+ Typical <strong>annoying formants</strong> in vocals can be found around <strong>2500-3500Hz</strong> and between <strong>400-800Hz</strong>. To find them it's neccessary to hear them, removing some needles only "to do something" isn't a good idea at all. You can search for formants or resonants with a narrow peak (above 50) and a high gain (18-24dB) walking through the frequency range. If you hit one of them your signal will answer with a loud whistling tone at the frequency. If you don't remove the exact frequency <strong>you may make your problem worse</strong>.
+ <br/><br/>
+ Normally formants and resonances will appear even on higher loudness levels when adding some mastering to your mix.
+ <br/><br/>
+ If you notice some annoying frequencies in your <strong>final mix</strong> they may appear due to interfering signals sharing the same frequency spectrum. Removing those noises with the mastering EQ could affect too many different signals so it could be better to <strong>clearly identify the interfering channels</strong> to decrease the level of the frequency in all or better only one of them.
+ </p>
+ <p>
+ To create some <strong>oldscool sounds</strong> like radio, telephone, grammophone or megaphone first of all <strong>cut away lower frequencies and the heights</strong> with the high/lowpasses. Narrower settings will resuld in "older" or thinner sounds. High- and lowpass should be around 800-2000Hz. Old telephones transmitted at about 1000Hz, grammophones are slightly "sharper" (higher) - test around a bit. To add the <strong>final character</strong> of your sound source add a <strong>peak filter at 6-12dB</strong> to accentuate the desired frequencies. Old radios or grammophones may need some additional sharpness at 2-3kHz while megaphones would stay below 1kHz.
+ <br/><br/>
+ A second peak filter may refine your sound, a megaphone for example could benefit from another peak above 2kHz.
+ </br></br>
+ The higher the rolloff and peak the more oldscool your signal will sound. For more realistic sounddesign you should add a <strong>saturator</strong> right before the equalizer to slighly (or heavily) distort your signal.
+ </p>
+ <p>
+ If you add some brilliance to your signal for example but the attack of the sound (or the consonants from a vocal track) are rising to annoying levels you may want to add a <strong><a href="Deesser.html" title="Deesser">deesser</a> or a <a href="Sidechain Compressor.html" title="Sidechain Compressor">sidechain compressor</a> in split mode afterwards</strong> to reduce the peaks in this frequency range.
+ <br/><br/>
+ With this trick it's possible to fix some problems with "untight" recordings. Imagine you have recorded a heavy-metal drummer who doesn't hit the bassdrum with a steady pressure so a lot of the kicks doesn't stick out the rest of the mix. Add such a lot of kick (somewhere between 5-9kHz) to the bassdrum until the softer beats are present. Then add a split-deesser after the equalizer to massively limit the high frequency range again. <small>And have a beer and some small-talk with the guy..</small>
+ </p>
+ <h2>Controls</h2>
+ <ul>
+ <li><strong>Input L/R:</strong> The level after the input knob. The LED's flash on levels above 0dB</li>
+ <li><strong>Bypass:</strong> Don't process anything, just bypass the signal</li>
+ <li><strong>Input knob:</strong> Control the input level before the signal is processed</li>
+ <li><strong>Output L/R:</strong> The level after processing and after the output knob. The LED's flash on levels above 0dB</li>
+ <li><strong>Output knob:</strong> Control the output of the plugin - clipping could destroy your signal</li>
+ <li><strong>Low/Highpass Active:</strong> Power on this filter. Inactive Filters don't use any CPU</li>
+ <li><strong>Low/Highpass Frequency:</strong> The center frequency of the filter</li>
+ <li><strong>Low/Highpass Rolloff:</strong> The level of reduction below or above the center frequency. The value determines how many dB's per ocatve the signal rolls off</li>
+ <li><strong>Low/Highshelf Frequency:</strong> The center frequency of the filter</li>
+ <li><strong>Low/Highshelf Level:</strong> The amount in dB's the center frequency is increased or decreased</li>
+ <li><strong>Low/Highshelf Active:</strong> Power on this filter. Inactive Filters don't use any CPU</li>
+ <li><strong>Peak Frequency:</strong> The center frequency of the filter</li>
+ <li><strong>Peak Level:</strong> The amount in dB's the center frequency is increased or decreased</li>
+ <li><strong>Peak Q:</strong> The quality of the filter. Higher values create needles, lower ones bell filters</li>
+ <li><strong>Peak Active:</strong> Power on this filter. Inactive Filters don't use any CPU</li>
+ </ul>
+ </div>
+ </body>
+</html>
diff --git a/doc/manuals/Equalizer5band.html b/doc/manuals/Equalizer5band.html
new file mode 100644
index 0000000..4097593
--- /dev/null
+++ b/doc/manuals/Equalizer5band.html
@@ -0,0 +1,51 @@
+<html>
+ <head>
+ <link type="text/css" rel="stylesheet" href="scripts/thickbox.css" />
+ <link type="text/css" rel="stylesheet" href="scripts/style.css" />
+ <script language="javascript" type="text/javascript" src="scripts/jquery.js"></script>
+ <script language="javascript" type="text/javascript" src="scripts/thickbox.js"></script>
+ <script language="javascript" type="text/javascript" src="scripts/manual.js"></script>
+ </head>
+ <body>
+ <div class="wrapper">
+ <h1>Equalizer 5 Band</h1>
+ <a href="images/Calf - Equalizer 5 Band.png" title="Calf - Equalizer 5 Band" class="thickbox"><img class="thumbnail" src="images/Calf - Equalizer 5 Band.png" /></a>
+ <h2>Functionality</h2>
+ <p>
+ Equalizers are possibly the most used signal processors in a studio environment. With an equalizer you can <strong>alter the frequency spectrum of an instrument</strong> with different types of filters. Equalizers are used to <strong>increase or decrease the volume of different frequency ranges</strong>. You may add some presence to your track, cut unneccessary sub frequencies, make "room" for mixing a signal with others without producing indifferent mud, brighten dull recordings or "fix" an unsatisfying but not reproducable recording - Equalizers are the <strong>swiss army knife</strong> in audio production.
+ <br/><br/>
+ <strong>The 5 band equalizer</strong> is the perfect channel strip solution. A high- and lowshelf and three parametric peak filters give you enough flexibility for standard manipulations.
+ </p>
+ <h2>Filters</h2>
+ <p>
+ <strong>The Calf Equalizer 5 Band consists of two different types of filters:</strong>
+ </p>
+ <ul>
+ <li><strong>Shelving filters</strong>: This type of filter got it's name from it's characteristics - it looks like the shelv of a cow. A highshelf filter increases or decreases all frequencies above the center frequency equally, the lowpass does vice versa.</li>
+ <li><strong>Peak filters</strong>: Peak or bell filters increase or decrease the frequencies around the center frequency. A high quality setting of this filter results in a needle while lower quality settings produce a wider bell.</li>
+ </ul>
+ <p>
+ Calf Equalizers are designed to give you the most control over your frequency response. The peak filters can add or subtract <strong>up to 36dB at a really high Q</strong> to your signal. This can result in a self resonating tone in comparison to a nearly complete removal of a single narrow band.
+ </p>
+ <h2>Tipps</h2>
+ <p>
+ <strong>Please refer to the <a href="Equalizer12band.html" title="Equalizer 12 Band">Equalizer 12 Band manual</a> for more information on equalization.</strong>
+ </p>
+ <h2>Controls</h2>
+ <ul>
+ <li><strong>Input L/R:</strong> The level after the input knob. The LED's flash on levels above 0dB</li>
+ <li><strong>Bypass:</strong> Don't process anything, just bypass the signal</li>
+ <li><strong>Input knob:</strong> Control the input level before the signal is processed</li>
+ <li><strong>Output L/R:</strong> The level after processing and after the output knob. The LED's flash on levels above 0dB</li>
+ <li><strong>Output knob:</strong> Control the output of the plugin - clipping could destroy your signal</li>
+ <li><strong>Low/Highshelf Frequency:</strong> The center frequency of the filter</li>
+ <li><strong>Low/Highshelf Level:</strong> The amount in dB's the center frequency is increased or decreased</li>
+ <li><strong>Low/Highshelf Active:</strong> Power on this filter. Inactive Filters don't use any CPU</li>
+ <li><strong>Peak Frequency:</strong> The center frequency of the filter</li>
+ <li><strong>Peak Level:</strong> The amount in dB's the center frequency is increased or decreased</li>
+ <li><strong>Peak Q:</strong> The quality of the filter. Higher values create needles, lower ones bell filters</li>
+ <li><strong>Peak Active:</strong> Power on this filter. Inactive Filters don't use any CPU</li>
+ </ul>
+ </div>
+ </body>
+</html>
diff --git a/doc/manuals/Equalizer8band.html b/doc/manuals/Equalizer8band.html
new file mode 100644
index 0000000..0058a00
--- /dev/null
+++ b/doc/manuals/Equalizer8band.html
@@ -0,0 +1,33 @@
+<html>
+ <head>
+ <link type="text/css" rel="stylesheet" href="scripts/thickbox.css" />
+ <link type="text/css" rel="stylesheet" href="scripts/style.css" />
+ <script language="javascript" type="text/javascript" src="scripts/jquery.js"></script>
+ <script language="javascript" type="text/javascript" src="scripts/thickbox.js"></script>
+ <script language="javascript" type="text/javascript" src="scripts/manual.js"></script>
+ </head>
+ <body>
+ <div class="wrapper">
+ <h1>Equalizer 8 Band</h1>
+ <a href="images/Calf - Equalizer 8 Band.png" title="Calf - Equalizer 8 Band" class="thickbox"><img class="thumbnail" src="images/Calf - Equalizer 8 Band.png" /></a>
+ <h2>Functionality</h2>
+ <p>
+ Equalizers are possibly the most used signal processors in a studio environment. With an equalizer you can <strong>alter the frequency spectrum of an instrument</strong> with different types of filters. Equalizers are used to <strong>increase or decrease the volume of different frequency ranges</strong>. You may add some presence to your track, cut unneccessary sub frequencies, make "room" for mixing a signal with others without producing indifferent mud, brighten dull recordings or "fix" an unsatisfying but not reproducable recording - Equalizers are the <strong>swiss army knife</strong> in audio production.
+ <br/><br/>
+ <strong>The 8 band equalizer</strong> is a great compromise between flexibility and overload. Four peak filters and fullsize bass/treble sections provide enough bands to fit the everydays needs.
+ </p>
+ <h2>Filters</h2>
+ <p>
+ <strong>Please refer to the <a href="Equalizer12band.html" title="Equalizer 12 Band">Equalizer 12 Band manual</a> for a description of the filters.</strong>
+ </p>
+ <h2>Tipps</h2>
+ <p>
+ <strong>Please refer to the <a href="Equalizer12band.html" title="Equalizer 12 Band">Equalizer 12 Band manual</a> for more information on equalization.</strong>
+ </p>
+ <h2>Controls</h2>
+ <p>
+ <strong>Please refer to the <a href="Equalizer12band.html" title="Equalizer 12 Band">Equalizer 12 Band manual</a> for the description of all controls.</strong>
+ </p>
+ </div>
+ </body>
+</html>
diff --git a/doc/manuals/Filter.html b/doc/manuals/Filter.html
new file mode 100644
index 0000000..09bcdc6
--- /dev/null
+++ b/doc/manuals/Filter.html
@@ -0,0 +1,49 @@
+<html>
+ <head>
+ <link type="text/css" rel="stylesheet" href="scripts/thickbox.css" />
+ <link type="text/css" rel="stylesheet" href="scripts/style.css" />
+ <script language="javascript" type="text/javascript" src="scripts/jquery.js"></script>
+ <script language="javascript" type="text/javascript" src="scripts/thickbox.js"></script>
+ <script language="javascript" type="text/javascript" src="scripts/manual.js"></script>
+ </head>
+ <body>
+ <div class="wrapper">
+ <h1>Filter</h1>
+ <a href="images/Calf - Filter.png" title="Calf - Filter" class="thickbox"><img class="thumbnail" src="images/Calf - Filter.png" /></a>
+ <h2>Functionality</h2>
+ <p>
+ A filter is used to <strong>remove defined parts of a frequency spectrum</strong>. It can cut away everything above or below a defined frequency or remove anything around it for example. A filter is used to fix noisy tracks, remove rumbling from vocal recordings, drums from cymbal microphones and so on or to create special effects like old radios or telephones. It sounds great on electro/techno/dance synthesizers if automated. An inertia function smoothes the animations.
+ </p>
+ <p>
+ <strong>The quality of the filter</strong> can be chosen in three levels. Every level a filter stage is added. The higher the amount of filter stages the steeper the rolloff of the filter is.
+ </p>
+ <h2>Tipps</h2>
+ <p>
+ <b>Please note:</b><br/>
+ <strong>All values stated here are not the wisdom of mankind</strong>. They should only act as an indicator to have a look at or to give you some inspiration for your own experiments.
+ <br/><strong>Only trust your ears!</strong>
+ </p>
+ <p>
+ To produce one of those <strong>rising filter sounds</strong> often used on synths, drumloops or complete mixes in electronic music use a <strong>lowpass filter with a higher resonance</strong>. Set the frequency below 100Hz and automate it over some bars to go above 10kHz. Use the inertia if you hear uneven changes in the frequency.
+ </p>
+ <p>
+ Use a <strong>highpass below 80-100Hz</strong> to cut off impact noise from a <strong>vocal recording</strong>.
+ </p>
+ <p>
+ If you need an acoustic recorded <strong>drumset in modern dry productions</strong> cut away rumbling and booming sounds from the overheads. The lower end of the snaredrum can also be removed from the hihat track. Achieve this with a <strong>highpass somewhere between 300 and 800Hz</strong> (depending on "dryness" level).
+ </p>
+ <p>
+ If you have some <strong>noise on your e-bass</strong> line (not metal or hardcore - it doesn't really matter there anway) you can cut away everything <strong>above 3-5 kHz</strong>.
+ </p>
+ <p>
+ To create a <strong>simple oldscool sound</strong> process your signal with a <strong>bandpass around 1000Hz</strong>. More complex sounds could be better done with an equalizer since you have a lot more options to cut away or accentuate the spectrum. Tipps on this point can be found in the <a href="Equalizer12band.html" title="Equalizer 12 Band">Equalizer 12 Band manual</a>.
+ <h2>Controls</h2>
+ <ul>
+ <li><strong>Mode:</strong> Choose the type of the filter</li>
+ <li><strong>Resonance:</strong> Add an accentuation to the center frequency. Used on a bandpass the surrounding frequencies are decreased in level and the band gets more narrow, a bandreject is increased to a thin needle</li>
+ <li><strong>Frequency:</strong> The center frequency of the filter</li>
+ <li><strong>Inertia:</strong> Smooth your automated jumps between frequencies</li>
+ </ul>
+ </div>
+ </body>
+</html>
diff --git a/doc/manuals/Multiband Compressor.html b/doc/manuals/Multiband Compressor.html
index 24c2ff7..a02c628 100644
--- a/doc/manuals/Multiband Compressor.html
+++ b/doc/manuals/Multiband Compressor.html
@@ -12,43 +12,38 @@
<a href="images/Calf - Multiband Compressor.png" title="Calf - Multiband Compressor" class="thickbox"><img class="thumbnail" src="images/Calf - Multiband Compressor.png" /></a>
<h2>Functionality</h2>
<p>
- Multiband compression is the key for a maximum of loudness. Calf Multiband Compressor provides a quad-band
- multiband compressor to provide a great control over the dynamics in a wide frequency range. This kind of
- compressor splits the signal in four different frequency ranges. These ranges are compressed separately
- and mixed together afterwards again. Multiband compressors are mainly used to compress wide range waveforms
- like complete mixdowns, classical recordings or complex instruments like pianos.
+ Multiband compression is the key for a <strong>maximum of loudness</strong>. Calf Multiband Compressor provides a <strong>quad-band multiband compressor</strong> to provide a great control over the dynamics in a wide frequency range. This kind of compressor splits the signal in four different frequency ranges. These ranges are compressed separately and mixed together afterwards again. Multiband compressors are mainly used to <strong>compress wide range waveforms</strong> like complete mixdowns, classical recordings or complex instruments like pianos.
</p>
<h2>Basics</h2>
<p>
- To understand compression and sidechaining please refer to the compressor's and sidechain compressor's
- manuals. There you'll find detailed information about those techniques which build the concept of
- a multiband compressor.
+ To understand compression and sidechaining <strong>please refer to the <a href="Compressor.html" title="Compressor">compressor</a>'s and <a href="Sidechain Compressor.html" title="Sidechain Compressor">sidechain compressor</a>'s manuals</strong>. There you'll find detailed information about those techniques which build the concept of a multiband compressor.
</p>
<h2>Controls</h2>
<ul>
- <li><strong>Input (knob):</strong> Raise the volume before the signal is sent in the compression stage. If you have found some great settings but want to raise the overall loudness of the track simply increase this level.</li>
- <li><strong>Input L/R (VU-meter):</strong> The level of the original signal</li>
- <li><strong>0dB (LED):</strong> Flashes if the level of the original signal raises above 0dB (it doesn't clip your signal)</li>
- <li><strong>Output L/R (VU-meter):</strong> The level of the compressed and made up signal</li>
- <li><strong>0dB (LED):</strong> Flashes if the level of the output signal raises above 0dB (it may clip your signal depending on your host and your systems' bitrate!)</li>
- <li><strong>Output (knob):</strong> Raise the overall volume after the compression stage</li>
- <li><strong>Bypass:</strong> Don't process anything, just bypass the signal</li>
-
- <li><strong>Split x:</strong> Frequency to split between these strips</li>
- <li><strong>Sx:</strong> Separate or overlap the frequencies of the neighbour bands</li>
- <li><strong>Qx:</strong> Raise the center frequency</li>
-
- <li><strong>Attack n:</strong> Amount of milliseconds the signal has to rise above the threshold before gain reduction starts</li>
- <li><strong>Release n:</strong> Amount of milliseconds the signal has to fall below the threshold before the reduction is decreased again</li>
- <li><strong>Knee n:</strong> Curve the sharp knee around the threshold to enter gain reduction more softly</li>
- <li><strong>Ratio n:</strong> Set a ratio about which the signal is reduced. 1:2 means that if the level rises 4dB above the threshold, it will be only 2dB above after the reduction.</li>
- <li><strong>Threshold n:</strong> If a signal rises above this level it will affect the gain reduction</li>
- <li><strong>Makeup n:</strong> Amplify this frequency range after processing</li>
- <li><strong>Detection n:</strong> Choose if the strip should take the exact signal for detection or an RMS like one (it's mainly smoother).</li>
- <li><strong>Gain Reduction n:</strong> The level of reduction in this strip</li>
- <li><strong>Output n:</strong> The output level of this strip</li>
- <li><strong>Bypass n:</strong> Don't process anything, just bypass the signal of this strip</li>
- <li><strong>Mute n:</strong> Don't output anything, just mute the signal of this strip</li>
+ <li><strong>Input (knob):</strong> Raise the volume before the signal is sent in the compression stage. If you have found some great settings but want to raise the overall loudness of the track simply increase this level.</li>
+ <li><strong>Input L/R (VU-meter):</strong> The level of the original signal</li>
+ <li><strong>0dB (LED):</strong> Flashes if the level of the original signal raises above 0dB (it doesn't clip your signal)</li>
+ <li><strong>Output L/R (VU-meter):</strong> The level of the compressed and made up signal</li>
+ <li><strong>0dB (LED):</strong> Flashes if the level of the output signal raises above 0dB (it may clip your signal depending on your host and your systems' bitrate!)</li>
+ <li><strong>Output (knob):</strong> Raise the overall volume after the compression stage</li>
+ <li><strong>Bypass:</strong> Don't process anything, just bypass the signal</li>
+
+ <li><strong>Split x:</strong> Frequency to split between these strips</li>
+ <li><strong>Sx:</strong> Separate or overlap the frequencies of the neighbour bands</li>
+ <li><strong>Qx:</strong> Raise the center frequency</li>
+
+ <li><strong>Attack n:</strong> Amount of milliseconds the signal has to rise above the threshold before gain reduction starts</li>
+ <li><strong>Release n:</strong> Amount of milliseconds the signal has to fall below the threshold before the reduction is decreased again</li>
+ <li><strong>Knee n:</strong> Curve the sharp knee around the threshold to enter gain reduction more softly</li>
+ <li><strong>Ratio n:</strong> Set a ratio about which the signal is reduced. 1:2 means that if the level rises 4dB above the threshold, it will be only 2dB above after the reduction.</li>
+ <li><strong>Threshold n:</strong> If a signal rises above this level it will affect the gain reduction</li>
+ <li><strong>Makeup n:</strong> Amplify this frequency range after processing</li>
+ <li><strong>Detection n:</strong> Choose if the strip should take the exact signal for detection or an RMS like one (it's mainly smoother).</li>
+ <li><strong>Gain Reduction n:</strong> The level of reduction in this strip</li>
+ <li><strong>Output n:</strong> The output level of this strip</li>
+ <li><strong>Bypass n:</strong> Don't process anything, just bypass the signal of this strip</li>
+ <li><strong>Mute n:</strong> Don't output anything, just mute the signal of this strip</li>
+ </ul>
</div>
</body>
</html>
diff --git a/doc/manuals/Pulsator.html b/doc/manuals/Pulsator.html
index 424a2e3..cc32e04 100644
--- a/doc/manuals/Pulsator.html
+++ b/doc/manuals/Pulsator.html
@@ -12,21 +12,21 @@
<a href="images/Calf - Pulsator.png" title="Calf - Pulsator" class="thickbox"><img class="thumbnail" src="images/Calf - Pulsator.png" /></a>
<h2>Functionality</h2>
<p>
- Calf Pulsator is something between an autopanner and a tremolo. But it can produce funny stereo effects as well. Pulsator changes the volume of left and right channel based on a LFO (low frequency oscillator) with different waveforms and shifted phases.
+ Calf Pulsator is something between an <strong>autopanner and a tremolo</strong>. But it can produce funny <strong>stereo effects</strong> as well. Pulsator changes the volume of left and right channel based on a LFO (low frequency oscillator) with different waveforms and shifted phases.
</p>
<h2>Offset</h2>
<p>
- The kicker of Pulsator is the ability to define an offset between left and right channel. An offset of 0% means that both LFO shapes match each other. Left and right channel are altered equally - a conventional tremolo. An offset of 50% means that the shape of the right channel is exactly shifted in phase (or moved backwards about half of the frequency) - Pulsator acts as an autopanner. At 100% both curves match again. Every setting inbetween moves the phaseshift gapless between all stages and produces some "bypassing" sounds with sine and triangle waveform. The more you push the fader to the right (starting from the middle) the faster the signal passes from left to right speaker.
+ The kicker of Pulsator is the ability to define an <strong>offset between left and right channel</strong>. An offset of 0% means that both LFO shapes match each other. Left and right channel are altered equally - a conventional <strong>tremolo</strong>. An offset of 50% means that the shape of the right channel is exactly shifted in phase (or moved backwards about half of the frequency) - Pulsator acts as an <strong>autopanner</strong>. At 100% both curves match again. Every setting inbetween moves the phaseshift gapless between all stages and produces some <strong>"bypassing" sounds</strong> with sine and triangle waveform. The more you push the fader to the right (starting from the middle) the faster the signal passes from left to right speaker.
</p>
<h2>Input</h2>
<p>
- A mono switch forces Pulsator to use autopanner input stage, where both left and right channels are merged and redistributed to the amplifier stage again. Otherwise it has to be called "autobalancer" since a panoramic fader needs a mono signal at input. Leaving "Mono-in" switch untouched doesn't affect the input signal at all.
+ A <strong>mono switch</strong> forces Pulsator to use <strong>autopanner input stage</strong>, where both left and right channels are merged and redistributed to the amplifier stage again. Otherwise it has to be called "autobalancer" since a panoramic fader needs a mono signal at input. Leaving "Mono-in" switch untouched doesn't affect the input signal at all.
</p>
<h2>Tipps</h2>
<p>
- Strange effects can be achieved with square or saw waveforms. Try it with a setting matching your bpm on a crushed drum track or on a synth pad with delay. You will get your frequency if you divide your bpm by 60. So 120 bpm will result in 2Hz which matches the quarters. If it should wobble on the eighths, halve the frequency. If you want a triplet feeling, divide the quarter freqency by 4 and multiply it with 3 afterwards.
+ Strange effects can be achieved with <strong>square or saw waveforms</strong>. Try it with a setting matching your bpm on a crushed drum track or on a synth pad with delay. You will get your frequency if you divide your bpm by 60. So 120 bpm will result in 2Hz which matches the quarters. If it should wobble on the eighths, halve the frequency. If you want a triplet feeling, divide the quarter freqency by 4 and multiply it with 3 afterwards.
</p><p>
- If you want to fix Pulsator on a beat you can automate the "Reset" switch in your sequencer to restart the LFO on every bar for example.
+ If you want to fix Pulsator on a beat you can <strong>automate the "Reset" switch</strong> in your sequencer to restart the LFO on every bar for example.
</p>
<h2>Controls</h2>
<ul>
diff --git a/doc/manuals/Sidechain Compressor.html b/doc/manuals/Sidechain Compressor.html
index 20f86ed..813cb7b 100644
--- a/doc/manuals/Sidechain Compressor.html
+++ b/doc/manuals/Sidechain Compressor.html
@@ -12,69 +12,52 @@
<a href="images/Calf - Sidechain Compressor.png" title="Calf - Sidechain Compressor" class="thickbox"><img class="thumbnail" src="images/Calf - Sidechain Compressor.png" /></a>
<h2>Functionality</h2>
<p>
- A sidechain compressor acts like a normal (wideband) compressor but has the ability to filter the detected signal
- before sendig it to the compression stage.
- <br /><br />
- Normally a compressor uses the full range signal to detect a level above the threshold. A sidechain compressor
- provides a filter (or equalizer) for the detection signal to reduce the bandwidth or to remove some frequencies
- from it. For example: If you cut all lower frequencies from your detection signal the compressor will decrease the volume
- of your track only if some loud highs appear. With this technique you are able to reduce the consonants
- of a vocal track, remove "rumbling" of single notes from a bass guitar or level the dynamics between an clean
- and a distorted guitar on a single track.
+ A sidechain compressor acts like a normal (wideband) compressor but has the ability to <strong>filter the detected signal before sendig it to the compression stage</strong>.
+ <br /><br />
+ Normally a compressor uses the full range signal to detect a level above the threshold. A sidechain compressor provides a filter (or equalizer) for the detection signal to reduce the bandwidth or to remove some frequencies from it. For example: If you cut all lower frequencies from your detection signal the compressor will decrease the volume of your track only if some loud highs appear. With this technique you are able to <strong>reduce the consonants</strong> of a vocal track, remove "<strong>rumbling</strong>" of single notes from a bass guitar or <strong>level the dynamics</strong> between an clean and a distorted guitar on a single track.
</p>
<h2>Sidechain</h2>
<p>
- Calf Sidechain Compressor provides two independent filters to give complete control over the sidechain signal.
- You can listen to the filtered signal through the "S/C Listen" button to set the filters values exactly.
- The filters' LED's display the status of them. A blue light shows a bell or shelving filter, red light indicates
- a high-, low- or bandpass.
+ Calf Sidechain Compressor provides <strong>two independent filters</strong> to give complete control over the sidechain signal. You can listen to the filtered signal through the "<strong>S/C Listen</strong>" button to set the filters values exactly. The filters' <strong>LED's display the status</strong> of them. A blue light shows a bell or shelving filter, red light indicates a high-, low- or bandpass.
</p>
<h2>Split</h2>
<p>
- For deessing or derumbling you can choose a "split" mode from the list, too. While in this mode only one filter is
- set to active. Choose a split frequency with this one. The other filter is used internally to split the signal
- to be compressed at the same frequency as the sidechain filter. After compressing the chosen frequency range
- through the (also filtered) sidechain it is added to the untouched frequency range again. Split mode gives
- you the ability to reduce a defined frequency range without affecting other frequencies. It can be useful for
- example to reduce an outstanding crash cymbal on a bassdrum in a mixdown without affecting the pressure of the
- kick. Or perhaps to level sharp consonants on a recording of a choir. It also may add some missing "air"
- in a vocal recording, a stings track or what ever without raising attacks or loud enough heights.
+ For deessing or derumbling you can choose a "<strong>split</strong>" mode from the list, too. While in this mode only one filter is set to active. Choose a split frequency with this one. The other filter is used internally to split the signal to be compressed at the same frequency as the sidechain filter. After compressing the chosen frequency range through the (also filtered) sidechain it is added to the untouched frequency range again. Split mode gives you the ability to <strong>reduce a defined frequency range without affecting other frequencies</strong>. It can be useful for example to reduce an outstanding crash cymbal on a bassdrum in a mixdown without affecting the pressure of the kick. Or perhaps to level sharp consonants on a recording of a choir. It also may add some missing "air" in a vocal recording, a stings track or what ever without raising attacks or loud enough heights.
</p>
<h2>More</h2>
<p>
- A specialized version of the sidechain compressor is the deesser. It works mostly like a sidechain compressor
- but with specialized settings to be more effective on vocal tracks or high frequency compression.
- <br /><br />
- If you have a signal containing complex or wideband frequency ranges and have problems in different ranges
- then a multiband compressor could be the right choice.
- <br /><br />
- For more information about compression and the essential values please refer to the compressor's manual.
+ A specialized version of the sidechain compressor is the <strong><a href="Deesser.html" title="Deesser">deesser</a></strong>. It works mostly like a sidechain compressor but with specialized settings to be more effective on vocal tracks or <strong>high frequency compression</strong>.
+ <br /><br />
+ If you have a signal containing <strong>complex or wideband frequency ranges</strong> and have problems in different ranges then a <strong><a href="Multiband Compressor.html" title="Multiband Compressor">multiband compressor</a></strong> could be the right choice.
+ <br /><br />
+ <strong>For more information about compression and the essential values please refer to the <a href="Compressor.html" title="Compressor">compressor</a>'s manual</strong>.
</p>
<h2>Controls</h2>
<ul>
- <li><strong>Bypass:</strong> Don't process anything, just bypass the signal</li>
- <li><strong>Input (knob):</strong> Raise the volume before the signal is sent in the compression stage. If you have found some great settings but want to raise the overall loudness of the track simply increase this level.</li>
- <li><strong>Input (VU-meter):</strong> The level of the original signal</li>
- <li><strong>Input (LED):</strong> Flashes if the level of the original signal raises above 0dB (it doesn't clip your signal)</li>
- <li><strong>Output (VU-meter):</strong> The level of the compressed and made up signal</li>
- <li><strong>Output (LED):</strong> Flashes if the level of the output signal raises above 0dB (it may clip your signal depending on your host and your systems' bitrate!)</li>
- <li><strong>Attack:</strong> Amount of milliseconds the signal has to rise above the threshold before gain reduction starts</li>
- <li><strong>Release:</strong> Amount of milliseconds the signal has to fall below the threshold before the reduction is decreased again</li>
- <li><strong>Knee:</strong> Curve the sharp knee around the threshold to enter gain reduction more softly</li>
- <li><strong>Ratio:</strong> Set a ratio about which the signal is reduced. 1:2 means that if the level rises 4dB above the threshold, it will be only 2dB above after the reduction.</li>
- <li><strong>Threshold:</strong> If a signal rises above this level it will affect the gain reduction</li>
- <li><strong>Makeup:</strong> Amplify your signal after processing</li>
- <li><strong>Stereo Link:</strong> Choose if the average level between both channels or the louder channel affects the reduction</li>
- <li><strong>Detection:</strong> Choose if the deesser should take the exact signal for detection or an RMS like one (it's mainly smoother).</li>
- <li><strong>Gain Reduction:</strong> The level of reduction on the original signal</li>
- <li><strong>Sidechain Mode:</strong> The selection of filters to use in the sidechain</li>
- <li><strong>S/C Listen:</strong> Route the filtered sidechain signal to the output for monitoring purposes</li>
- <li><strong>F1 active:</strong> Displays the status of filter #1: Off - off, blue - bell or shelving, red - band-, high- or lowpass</li>
- <li><strong>F1 Freq:</strong> The frequency of filter #1</li>
- <li><strong>F1 Level:</strong> Increase or decrease the chosen frequencies</li>
- <li><strong>F2 active:</strong> Displays the status of filter #2: Off - off, blue - bell or shelving, red - band-, high- or lowpass</li>
- <li><strong>F2 Freq:</strong> The frequency of filter #2</li>
- <li><strong>F2 Level:</strong> Increase or decrease the chosen frequencies</li>
+ <li><strong>Bypass:</strong> Don't process anything, just bypass the signal</li>
+ <li><strong>Input (knob):</strong> Raise the volume before the signal is sent in the compression stage. If you have found some great settings but want to raise the overall loudness of the track simply increase this level.</li>
+ <li><strong>Input (VU-meter):</strong> The level of the original signal</li>
+ <li><strong>Input (LED):</strong> Flashes if the level of the original signal raises above 0dB (it doesn't clip your signal)</li>
+ <li><strong>Output (VU-meter):</strong> The level of the compressed and made up signal</li>
+ <li><strong>Output (LED):</strong> Flashes if the level of the output signal raises above 0dB (it may clip your signal depending on your host and your systems' bitrate!)</li>
+ <li><strong>Attack:</strong> Amount of milliseconds the signal has to rise above the threshold before gain reduction starts</li>
+ <li><strong>Release:</strong> Amount of milliseconds the signal has to fall below the threshold before the reduction is decreased again</li>
+ <li><strong>Knee:</strong> Curve the sharp knee around the threshold to enter gain reduction more softly</li>
+ <li><strong>Ratio:</strong> Set a ratio about which the signal is reduced. 1:2 means that if the level rises 4dB above the threshold, it will be only 2dB above after the reduction.</li>
+ <li><strong>Threshold:</strong> If a signal rises above this level it will affect the gain reduction</li>
+ <li><strong>Makeup:</strong> Amplify your signal after processing</li>
+ <li><strong>Stereo Link:</strong> Choose if the average level between both channels or the louder channel affects the reduction</li>
+ <li><strong>Detection:</strong> Choose if the deesser should take the exact signal for detection or an RMS like one (it's mainly smoother).</li>
+ <li><strong>Gain Reduction:</strong> The level of reduction on the original signal</li>
+ <li><strong>Sidechain Mode:</strong> The selection of filters to use in the sidechain</li>
+ <li><strong>S/C Listen:</strong> Route the filtered sidechain signal to the output for monitoring purposes</li>
+ <li><strong>F1 active:</strong> Displays the status of filter #1: Off - off, blue - bell or shelving, red - band-, high- or lowpass</li>
+ <li><strong>F1 Freq:</strong> The frequency of filter #1</li>
+ <li><strong>F1 Level:</strong> Increase or decrease the chosen frequencies</li>
+ <li><strong>F2 active:</strong> Displays the status of filter #2: Off - off, blue - bell or shelving, red - band-, high- or lowpass</li>
+ <li><strong>F2 Freq:</strong> The frequency of filter #2</li>
+ <li><strong>F2 Level:</strong> Increase or decrease the chosen frequencies</li>
+ </ul>
</div>
</body>
</html>
diff --git a/doc/manuals/_blank.html b/doc/manuals/_blank.html
index baaf66e..d5f9bec 100644
--- a/doc/manuals/_blank.html
+++ b/doc/manuals/_blank.html
@@ -12,12 +12,22 @@
<a href="images/Calf - Compressor.png" title="Calf - Compressor" class="thickbox"><img class="thumbnail" src="images/Calf - Compressor.png" /></a>
<h2>Functionality</h2>
<p>
- Text here.
+
+ </p>
+ <h2>Tipps</h2>
+ <p>
+
</p>
<h2>Controls</h2>
<ul>
- <li><strong>Bypass:</strong> Don't process anything, just bypass the signal</li>
- <li><strong>0dB:</strong> Flashes, if the signal rises about 0dB in the output stage</li>
+ <li><strong>Bypass:</strong> Don't process anything, just bypass the signal</li>
+ <li><strong>Input:</strong> Control the input level before the signal is processed</li>
+ <li><strong>In L/In R:</strong> The level after the input knob</li>
+ <li><strong>0dB:</strong> Flashes if input level rises above 0dB</li>
+ <li><strong>Output:</strong> Control the output of the plugin - clipping could destroy your signal</li>
+ <li><strong>Out L/Out R:</strong> The level after processing and after the output knob</li>
+ <li><strong>0dB:</strong> Flashes, if the signal rises about 0dB in the output stage</li>
+ </ul>
</div>
</body>
</html>
diff --git a/doc/manuals/images/Calf - Controls.png b/doc/manuals/images/Calf - Controls.png
new file mode 100644
index 0000000..0ee703b
Binary files /dev/null and b/doc/manuals/images/Calf - Controls.png differ
diff --git a/doc/manuals/images/Calf - Filter.png b/doc/manuals/images/Calf - Filter.png
new file mode 100644
index 0000000..c053d91
Binary files /dev/null and b/doc/manuals/images/Calf - Filter.png differ
diff --git a/doc/manuals/index.html b/doc/manuals/index.html
index ddf4116..0433d41 100644
--- a/doc/manuals/index.html
+++ b/doc/manuals/index.html
@@ -10,10 +10,7 @@
<div class="wrapper">
<h1>Calf Manuals</h1>
<p>
- The Manuals provide a lot of information around Calf Studiogear. Every Plugin
- is described exactly and all controls of the GUI are explained. Additionally
- there is a lot of information about using the plugins in everydays work next to
- some start-from-here-settings.
+ The Manuals provide a lot of information around <strong>Calf Studiogear</strong>. Every Plugin is described exactly and all controls of the GUI are explained. Additionally there is a lot of information about using the plugins in everydays work next to some start-from-here-settings.
</p>
<p class="index"> </p>
</div>
diff --git a/doc/manuals/scripts/manual.js b/doc/manuals/scripts/manual.js
index bf47f22..ddeabb0 100644
--- a/doc/manuals/scripts/manual.js
+++ b/doc/manuals/scripts/manual.js
@@ -1,27 +1,76 @@
$(document).ready(function () {
var items = [
- ["Index", "index.html", false],
- ["Calf", "Calf.html", "images/Calf.png"],
- ["Compressor", "Compressor.html", "images/Calf - Compressor.png"],
- ["Sidechain Compressor", "Sidechain Compressor.html", "images/Calf - Sidechain Compressor.png"],
- ["Multiband Compressor", "Multiband Compressor.html", "images/Calf - Multiband Compressor.png"],
- ["Deesser", "Deesser.html", "images/Calf - Deesser.png"],
- ["Pulsator", "Pulsator.html", "images/Calf - Pulsator.png"],
+ [
+ "Basics",
+ [
+ ["Index", "index.html", false],
+ ["Controls", "Controls.html", "images/Calf - Controls.png"],
+ ["Calf Rack", "Calf.html", "images/Calf.png"]
+ ]
+ ],
+ [
+ "Synthesizer",
+ [
+
+ ]
+ ],
+ [
+ "Delay FX",
+ [
+ ["(Vintage Delay)", "Vintage Delay.html", "images/Calf - Vintage Delay.png"],
+ ["(Reverb)", "Reverb.html", "images/Calf - Reverb.png"],
+ ["(Multichorus)", "Multichorus.html", "images/Calf - Multichorus.png"],
+ ["(Flanger)", "Flanger.html", "images/Calf - Flanger.png"],
+ ["(Phaser)", "Phaser.html", "images/Calf - Phaser.png"]
+ ]
+ ],
+ [
+ "Dynamics",
+ [
+ ["Compressor", "Compressor.html", "images/Calf - Compressor.png"],
+ ["Sidechain Compressor", "Sidechain Compressor.html", "images/Calf - Sidechain Compressor.png"],
+ ["Multiband Compressor", "Multiband Compressor.html", "images/Calf - Multiband Compressor.png"],
+ ["Deesser", "Deesser.html", "images/Calf - Deesser.png"]
+ ]
+ ],
+ [
+ "Filter",
+ [
+ ["Filter", "Filter.html", "images/Calf - Filter.png"],
+ ["Equalizer 5 Band", "Equalizer5band.html", "images/Calf - Equalizer 5 Band.png"],
+ ["Equalizer 8 Band", "Equalizer8band.html", "images/Calf - Equalizer 8 Band.png"],
+ ["Equalizer 12 Band", "Equalizer12band.html", "images/Calf - Equalizer 12 Band.png"],
+ ]
+ ],
+ [
+ "Other",
+ [
+ ["Pulsator", "Pulsator.html", "images/Calf - Pulsator.png"],
+ ["(Saturator)", "Saturator.html", "images/Calf - Saturator.png"],
+ ["(Exciter)", "Exciter.html", "images/Calf - Exciter.png"],
+ ["(Bass Enhancer)", "Bass Enhancer.html", "images/Calf - Bass Enhancer.png"]
+ ]
+ ]
];
- var menu = '<div class="header"><img src="images/style_logo.png" align="middle" />';
- menu += '<a href="index.html" title="Index">Index</a>';
- var links = "";
- for(var i = 1; i < items.length; i++) {
- links += "<a href=\"" + items[i][1] + "\" title=\"" + items[i][0] + "\">";
- if(items[i][2]) {
- links += "<img src=\"" + items[i][2] + "\" alt=\"" + items[i][0] + "\" class=\"thickbox\">";
+ var header = '<div class="header"><img src="images/style_logo.png" align="middle" />';
+ var menu = "";
+ for(var i = 0; i < items.length; i++) {
+ menu += "<div class='menu'><h3>" + items[i][0] + "</h3><ul>";
+ for(var j = 0; j < items[i][1].length; j++) {
+ menu += "<li>";
+ if(items[i][1][j][2]) {
+// menu += "<a class='thickbox' href='" + items[i][1][j][2] + "' title='" + items[i][1][j][0] + "'>";
+ menu += "<img src=\"" + items[i][1][j][2] + "\" alt=\"" + items[i][1][j][0] + "\">";
+// menu += "</a>";
+ }
+ menu += "<a href=\"" + items[i][1][j][1] + "\" title=\"" + items[i][1][j][0] + "\">" + items[i][1][j][0] + "</a></li>";
}
- links += items[i][0] + "</a>";
+ menu +="</ul><br clear='all'/></div>";
}
- menu += links + "</div>";
- $("body").prepend(menu);
- $(".index").prepend(links);
+ header += menu + "<br clear='all'></div>";
+ $("body").prepend("<div class='headerbg'>" + header + "</div>");
+ $(".index").prepend(menu);
$("h2").append(" «").prepend("» ");
});
diff --git a/doc/manuals/scripts/style.css b/doc/manuals/scripts/style.css
index 22af8c2..67c25a4 100644
--- a/doc/manuals/scripts/style.css
+++ b/doc/manuals/scripts/style.css
@@ -6,22 +6,23 @@ body {
font-size: 0.8em;
}
a {
- color: #D5F16A;
+ color: white;
font-weight: bold;
- text-decoration: none;
+ text-decoration: underline;
}
a:hover {
- color: white;
+ color: #0af;
+ text-decoration: underline;
}
img {
border: none;
}
h1 {
color: #D5F16A;
+/* background: url(../images/style_p.png) transparent;*/
text-align: center;
- padding: 20px;
- border: 1px dotted #fff;
- margin: 0 0 10px 0;
+ margin: 20px;
+ border-bottom: 1px dotted #fff;
}
h2 {
color: #D5F16A;
@@ -31,7 +32,7 @@ h2 {
padding: 5px 0 10px 0;
}
h3 {
-
+/* border-bottom: 1px dotted #fff;*/
}
p, ul {
background: url(../images/style_p.png) transparent;
@@ -58,42 +59,97 @@ strong {
.thumbnail {
width: 400px;
float: right;
- padding: 10px;
+ margin: 10px;
+ border: 2px solid black;
+ border-top: 12px solid black;
}
+.headerbg {
+ background: url(../../../gui/background_black.png);
+ border-bottom: 1px solid #111;
+}
.header {
width: 800px;
margin: auto;
text-align: left;
+ font-size: 9px;
}
.header img {
- margin: 20px;
+ margin: 8px;
float: left;
}
-.header a {
- margin: 1px;
- display: block;
- background: url(../images/style_p.png) transparent;
- border: 1px solid black;
- padding: 3px;
+.header .menu {
float: left;
+}
+.header .menu h3 {
+ margin: 5px;
font-weight: normal;
+ font-size: 13px;
+ border-bottom: 1px dotted #fff;
+}
+.header .menu ul {
+ margin: 5px;
+ padding: 5px;
+ background: none;
+ color: #0af;
+ border: none;
+}
+.header .menu ul li {
+ margin: 0 10px;
+ padding: 2px;
}
-.header a img {
+.header .menu ul li:hover {
+ background:black;
+}
+.header .menu a {
+ font-weight: normal;
+}
+.header img {
+ width: 80px;
+}
+.header .menu img {
display: none;
margin: 0;
}
.index {
- padding-left: 200px;
+ padding: 20px 50px;
+}
+.index h3 {
+ border-bottom: 1px dotted white;
}
.index a {
display: block;
+ text-align: center;
font-weight: normal;
- font-size: 20px;
+ position: absolute;
+ top: 100px;
+ width: 150px;
+}
+.index img {
+ position: absolute;
+ bottom: 55px !important;
+ top: auto;
+ left: 25px;
+ text-align: center;
}
-.index a img {
+.index img {
width: 100px;
- vertical-align: middle;
- padding: 15px;
+}
+.index ul {
+ background: none;
+ color: #0af;
+ border: none;
+}
+.index li {
+ position: relative;
+ display: block;
+ width: 150px;
+ height: 150px;
+ margin: 8px;
+ float: left;
+ text-align: center;
+}
+.index li:hover {
+
}
--
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