Waves Network Card MV360 User Manual

MV360˚  
User Manual  
MV360˚ User Manual  
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Chapter 1 – Introduction  
1.1 Welcome  
Thank you for choosing Waves! In order to get the most out of your Waves processor,  
please take the time to read through this manual.  
In conjunction, we also suggest that you become familiar with www.wavesupport.net.  
There you will find an extensive Answer Base, the latest Tech Specs, detailed  
Installation guides, new Software Updates, and current information on Authorization  
and Registration.  
By signing up at www.wavesupport.net, you will receive personalized information on  
your registered products, reminders when updates are available, and information on  
your authorization status.  
1.2 Product Overview  
MV360 is a dual function dynamics processor for 5.0 and 5.1 Surround sound  
applications. It provides six discrete channels of low level and high level compression.  
1.3 Concepts and Terminology  
Low Level Compressor  
Low Level Compression can be explained in simple terms as the opposite of  
standard or high level compression. In a standard compression setting, any signal  
above the set threshold gets compressed and attenuated.  
With the MV360˚ Low Level Compression function, any signal below the set  
threshold gets compressed upward, resulting in increased gain. The dynamic range  
is thus compressed, pushing low levels up while leaving high levels as they were.  
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High Level Compressor  
The MV360˚ High Level Compression function is comprised of compression with  
automatic makeup gain and output level control.  
The Compressor function is similar to that of Waves Renaissance Vox. The compressor  
is controlled by the Threshold fader, which sets the amount of desired dynamic range  
compression. An automatic gain makeup function compensates for gain reduction  
resulting from the applied compression.  
Link Modes  
MV360° offers 5 Link Modes which let you use up to 3 separate sidechains that address  
the most commonly used sound stage disciplines.  
All Linked  
In this mode, all channels are linked, maintaining the balance between the 5  
main channels and the LFE channel.  
5 Linked | Sub  
This mode fully preserves the surround image, but does not attenuate/boost the  
directional channels in conjunction with peaks in the LFE channel.  
Front | Rear | Sub  
This mode is useful in situations when rear channel ambience and effects don’t  
require attenuation/boost in conjunction with front channel music or dialog.  
Center | Quad | Sub  
This mode offers independent dynamic control over dialog, overall surround  
image, and LFE channel.  
Center | Front LR | Rear (LFE Is Bypassed)  
This mode offers the most control over the surround image, and its functionality  
is similar to that of three independent dynamics processors.  
Dither  
MV360˚ automatically applies dither, which compensates for digital quantization  
errors.  
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1.4 Components  
WaveShell technology enables us to split Waves processors into smaller plug-ins, which  
we call components. Having a choice of components for a particular processor gives  
you the flexibility to choose the configuration best suited to your material.  
o MV360 5.0 to 5.0  
o MV360 5.1 to 5.1  
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Chapter 2 – Quickstart Guide  
ƒ Set link to Front/Rear/LFE  
ƒ Start on the Left side (Threshold):  
- Use the bottom (single arrow) Low Level Master Fader to set the global  
Low Level Threshold  
- Use top (single arrow) High Level Master Fader to set the global  
High Level Threshold  
- Use the middle cut/boost meters to monitor the amount of gain cut and boost  
applied per link group  
ƒ On the Right side (Volume)  
- Use the top volume faders per link color to trim the High Level  
Compression makeup gain  
- Use bottom volume faders per link color to trim the Low Level  
Compression makeup gain  
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Chapter 3 – Interface and Controls  
3.1 Interface  
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3.2 Controls  
Low Threshold  
Sets the low level compression threshold. Compression is applied to signals below this  
threshold.  
Range:  
-72 to -36 dBFS  
High Threshold  
Sets the high level compression threshold. Compression is applied to signals above this  
threshold.  
Range:  
0 to -30 dBFS  
Low Volume  
Controls the amount of makeup gain applied to the compressed low level signal.  
Range:  
0 to +30 dB  
High Volume  
Trims the amount of automatic gain compensation applied to the compressed high level  
signal.  
Range:  
0 to -30 dBFS  
High Level Compression On/Off  
Low Level Compression On/Off  
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Master Fader Controls  
High Level Compression Master  
Moves all High Level faders (Threshold and Volume) by the same value, relative to each  
of their current positions.  
Range:  
0 to ±30 dB  
Low Level Compression Master  
Moves all Low Level faders (Threshold and Volume) by the same value, relative to each  
of their current positions.  
Range:  
0 to ±30 dB  
High Level Volume Master  
Moves all High Level Volume faders by the same value, relative to each of their current  
positions.  
Range:  
0 to ±30 dB  
Low Level Volume Master  
Moves all Low Level Volume faders by the same value, relative to each of their current  
positions.  
Range:  
0 to ±30 dB  
High Level Threshold Master  
Moves all High Level Threshold faders by the same value, relative to each of their  
current positions.  
Range:  
0 to ±30 dB  
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Low Level Threshold Master  
Moves all Low Level Threshold faders by the same value, relative to each of their current  
positions.  
Range:  
0 to ±30 dB  
Link Mode Selector  
The Link Mode Selector allows the selection of one of five link modes. Each Link Mode  
determines which channels are linked, both in the interface controls and with regard to  
the dynamic detector sidechain and compression.  
Link Mode selection affects the colors of both low and high level compression threshold  
and gain controls, which provides per channel indication of link status.  
All Linked  
5 Linked | Sub  
Front | Rear | Sub  
Center | Quad | Sub  
Center | Front LR | Rear (LFE Is Bypassed)  
Cut (Attenuation) / Boost Meters  
Display the amount of gain cut and/or boost for each of the 3 possible Link groups.  
ƒ
ƒ
Attenuation is displayed from the top down.  
Boost is displayed from the bottom up.  
Each of the 3 meters (yellow, red, blue) corresponds to a Link Group, which are  
indicated in the text box located below the meters.  
Numeric indicators which display the maximum attenuation are located above the  
meters; maximum gain is displayed below the meters. Reset these values by clicking  
anywhere on the meter.  
The meters display up to -30dB of attenuation, and +30 dB of gain boost.  
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Chapter 4 – The WaveSystem  
4.1 The WaveSystem Toolbar  
All Waves processors feature the WaveSystem toolbar which takes care of most  
administrative functions you will encounter while working with your Waves software. The  
features of the WaveSystem toolbar are the same on practically all Waves processors,  
so familiarity with its features will be helpful whichever processor you are using.  
Toolbar Functions  
Undo  
Undoes the last 32 actions.  
Redo  
Setup A/B  
Redoes the last 32 undone actions.  
Toggles between two presets for comparison of different parameter  
settings.  
Copy A->B Copies the current settings to the second preset register.  
Load  
Save  
?
Recalls presets from file.  
Saves presets in the Waves file formats.  
Opens the manual for the processor you are using.  
4.2 Preset Handling  
Preset Types  
Factory Presets are permanent presets in the Load menu. Factory presets cannot be  
over-written or deleted. When applicable, different component plug-ins may have  
different factory presets.  
User Presets are your favorite settings of the plug-in saved as a preset in the Load  
menu, under ‘User Presets’. User Presets can be over-written and deleted.  
Setup Files may contain more than one preset. For example, a single file can contain all  
the presets for a session. When you open a Setup File, all its setups become part of  
your Load pop-up menu for fast access. This can be particularly useful with multiple  
instances of a plug-in in a single session. By saving all the settings you create into a  
single Setup File, they can all be quickly available for every instance of that plug-in.  
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Loading Presets and Setups  
Click-and-hold on the Load button to see the Load pop-up menu. The menu is divided  
into four sections. If a section is not currently available it will not appear in the Load pop-  
up menu.  
Open Preset File… Select to open any setup or preset file, whether from the Library or  
your own creations.  
‘Filename.xps’:  
Factory Presets:  
User Presets:  
Displays any currently loaded Setup File and its presets.  
Displays the default Factory Presets.  
Displays any loaded User Presets.  
Saving Presets and Setups  
Click-and-hold on the Save button to see the Save pop-up menu. Four options are  
available. If an option is not currently available it will be grayed out and inaccessible.  
Save to New File…  
Select this to start a new Setup file. There are two  
prompts - first for the setup filename, then for the  
preset name. You must provide a name for both the  
setup file and the preset. Click OK (ENTER) to  
complete the save. It is a good idea to create a  
folder in which to save several setup files for a  
project.  
Save ‘File Name’ – “Preset Name” Overwrites the settings of the loaded preset  
(whether a User Preset or a preset from a Setup  
File) with the current settings. If a Setup File is  
currently loaded, the name of the Setup File is  
displayed followed by the name of the preset itself.  
If a User Preset is loaded, its name is displayed.  
Save to ‘File Name’ As…  
Put into Preset Menu As…  
Saves the current settings as a new preset into the  
Setup file that is open (if one is not open, the option  
is grayed out). You will be prompted to give the  
preset a name.  
Save the current settings into a User Preset that  
will always be in your Load menu (until deleted).  
You will be prompted to give this preset a name.  
User Presets are stored in the plug-in’s preference  
file.  
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Deleting Presets  
You may delete User Presets and presets within a Setup File. Factory Presets and  
Setup Library files cannot be deleted or overwritten.  
1. Hold the Command (Mac)/Control (PC) key down.  
2. Click-and-hold the Load button to see the pop-up menu.  
3. While still holding the Command/Control key, select the preset or setup to delete.  
4. A confirmation box will appear, allowing you to cancel or ‘OK’ the deletion.  
A/B Comparison and Copying  
The Setup A/Setup B button may be clicked to compare two settings. If you load a preset  
in the Setup B position, this will not affect the preset loaded into the Setup A position,  
and vice-versa.  
If you want to slightly modify the settings in Setup A, you can copy them to Setup B by  
clicking on the Copy to B button, then alter Setup A and compare with the original Setup  
B.  
The name of the current setup will be shown in the title bar (on platforms which support  
it), and will switch as you change from Setup A to Setup B.  
Note: an asterisk will be added to the preset name when a change is made to the preset.  
4.3 Interface Controls  
Controls can be in one of three states:  
Not Selected where the control is not the target of any user entry  
Selected where the control is the target of mouse control entry only  
Selected and Active where the control is the target for both mouse and  
keyboard entry  
Toggle Buttons  
Toggle buttons display the state of a control, and allow switching between two or more  
states. Single-click to change the control’s state. Some toggle buttons have a text  
display which updates with the current setting, and others (bypass, solo, or monitoring  
toggles) illuminate when the control is active.  
Some processors have link buttons between a pair of toggle buttons, allowing click-  
and-drag adjustment while retaining the offset between the controls.  
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Value Window Buttons  
Value windows display the value of a control and allow click-and-drag adjustment, or  
direct control via the keyboard.  
Using the mouse, click-and-drag on the value window to adjust. Some value  
windows support left/right, some up/down (as you hover over a button, arrows  
will appear to let you know which direction of movement that button supports).  
Using the arrow keys, click once with mouse to select the button, and then use  
up/down – left/right (depending on the direction supported by that button) to  
move in the smallest incremental steps across the button’s range (holding down  
the arrow keys will move faster through the range).  
Using key entry, double click on the button to open the value window, and  
directly enter the value from your keyboard. If you enter an out of range number,  
the button stays selected but remains at the current setting (system beeps? If  
system sounds are on?)  
Some processors have link buttons between a pair of value windows, allowing click-  
and-drag adjustment while retaining the offset between the controls.  
Multiple Selection of Controls  
One of the most powerful features of the WaveSystem is the ability to select and adjust  
many controls at the same time. Using the mouse, simply drag-select the desired group  
of button or graphic controls by clicking and holding at a point outside the controls and  
forming a rectangle to include the controls you wish to adjust. Alternatively, you can hold  
down Shift while clicking the mouse on any control you wish to link. This second method  
is useful when you want to select two (or more) controls that are separated on the GUI  
by other controls you do not wish to select.  
TAB Functions  
TAB moves the ‘selected’ status to the next control, with shift-TAB moving in the reverse  
direction.  
Additionally, the Mac has an option-TAB function for ‘down’ movement and shift-option-  
TAB for ‘up’ movement where applicable.  
If you have several Value Window Buttons selected, TAB functions will take you through  
the selected controls only.  
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Appendix A –Link Modes  
When applying dynamics to a stereo mix, stereo imaging is preserved by applying  
identical gain attenuation/boost to both the left and right channels. This is known as  
linked dynamics processing. The dynamics detector works on an L+R linked sidechain,  
applying the same gain attenuation/boost to both left and right channels, preserving their  
relative levels and intended stereo image.  
In Surround, there are different schools of thought with regard to sound stage imaging.  
MV360° offers 5 Link Modes which let you use up to 3 separate sidechains that address  
the most commonly used sound stage disciplines.  
All Linked  
In this mode, all channels are linked. Uniform attenuation/boost is applied, preserving  
the complete surround image, and maintaining the balance between the 5 main  
channels and the LFE channel.  
5 Linked | Sub  
In this mode, a separate sidechain is dedicated to the LFE (Subwoofer) channel. The  
sound stage is divided into the directional (main) 5-channel sound field, and the non-  
directional LFE channel.  
This mode fully preserves the surround image, but does not attenuate/boost the  
directional channels in conjunction with peaks in the LFE channel.  
Front | Rear | Sub  
This mode uses 3 separate sidechains:  
The first sidechain links Left, Center and Right channels.  
The second sidechain links Rear Left and Rear Right channels.  
The third sidechain is dedicated to the LFE channel.  
This mode is useful in situations when rear channel ambience and effects don’t require  
attenuation/boost in conjunction with front channel music or dialog.  
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Center | Quad | Sub  
This mode uses 3 separate sidechains:  
The first sidechain is dedicated to the Center (dialog) channel.  
The second chain links Left, Right, Left Surround, and Right Surround  
The third sidechain is dedicated to the LFE channel.  
This mode offers independent dynamic control over dialog, overall surround image, and  
LFE channel.  
Center | Front LR | Rear (LFE Is Bypassed)  
This mode uses 3 separate sidechains:  
The first sidechain is dedicated to the Center channel.  
The second sidechain links the Front Left & Right channels.  
The third sidechain links the Rear Left & Right channels.  
The LFE channel is left unprocessed.  
This mode offers the most control over the surround image, and its functionality is similar  
to that of three independent dynamics processors.  
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