Chrome Tone
Guitar Amp Modeling and Effects
User Manual
McDOWELL SIGNAL PROCESSING, LLC
McDSP Chrome Tone Plug-In Manual
McDSP
McDowell Signal Processing, LLC
1300 Crittenden Lane #401
Mountain View, CA 94043
Support
Email: info@mcdsp.com
Technical Support: help@mcdsp.com
World Wide Web: www.mcdsp.com
Page ii
McDSP Chrome Tone
Special Thanks to:
• Jake Thorne, guitar nut and gear hound,
• Stan Cotey and Scott Fafrak for all the gear
• Lyle Workman, Jake Schaefer, and Gil Gowing for all the tracks and feedback,
• Our beta sites, and
• Rob Barrett, Jr. our #1 customer
from the entire McDSP development team.
Copyright Notice:
Copyright 1998-2008 McDowell Signal Processing, Limited Liability Company
All Rights Reserved. The McDowell Signal Processing, Limited Liability Company’s Chrome Tone Plug-In
and corresponding User’s Manual is copyrighted and all rights are reserved. Information in this document
is subject to change without notice and does not represent a commitment on the part of McDowell Signal
Processing, Limited Liability Company. This document may not, in whole or part, be copied, photocopied,
reproduced, translated, or reduced to any electronic medium or machine-readable form for the purpose of
resale without prior consent, in writing, from McDowell Signal Processing, Limited Liability Company.
Trademarks:
McDowell Signal Processing, Limited Liability Company is a trademark of McDowell Signal Processing,
Limited Liability Company. Other brands and their products are trademarks of their respective holders and
should be noted as such.
Digidesign™ and Pro Tools™ are registered trademarks of Digidesign, Inc.
mcdsp.com
Page iii
Table of Contents
McDSP Chrome Tone Plug-In Manual
McDSP License Agreement
Getting Started with Chrome Tone
System Requirements
Installing the Chrome Tone Plug-In
Installation on Mac OS X
Installation on Windows XP and Vista
Installation on VENUE D-SHOW systems
Authorizing your McDSP Plug-Ins
Authorizing with a pre-programmed iLok Smart Key
Authorizing with an iLok License Card
Authorizing with iLok.com
Registering your McDSP Plug-In
Using your McDSP Plug-Ins
McDSP Chrome Tone
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1
Digidesign™ and ProTools™ are registered trademarks of Digidesign, Inc. All
other trademarks are property of their respective owners.
2
Quick Start Tour: Chrome Tone
Chrome Tone Amp Overview
The Controls for Chrome Tone Amp
Pre
Noise Gate
Distortion
Compression
Equalizer
Output
A Look at the Chrome Tone Modulation
A Closer Look at the Chrome Tone Wah
A Closer Look at the Chrome Tone Tremolo
Tremolo Section
A Closer Look at the Chrome Tone Chorus
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2
3
4
4
4
5
5
6
6
8
11
12
12
13
McDSP Chrome Tone
Chorus Section
13
Flange, Chorus, and Vibrato Effects
13
Chorus Modulation from Dynamic Section
14
Tips for using the Modulation
15
A Closer Look at the Chrome Tone Stack
16
Chrome Tone About Box
16
Chrome Tone Plug-In Reference Guide
17
Chrome Tone Amp Specifications
17
Chrome Tone Specifications, Modulation on Chrous, Tremolo and Wah Pages
19
Chrome Tone Specifications Chorus
21
Chrome Tone Specifications Tremolo
22
Chrome Tone Specifications Wah
23
DSP Delay
24
DSP Usage
24
HD, and HD Accel DSP hardware
24
Maximum Instantiation Counts at 48 kHz 24
Maximum Instantiation Counts at 48 kHz
24
Maximum Instantiation Counts at 48 kHz
25
ProTools|24, Nubus, and MIX DSP hardware
25
mcdsp.com
Page v
McDSP License Agreement
The software described in this manual is furnished under a license agreement and may be used only in
accordance with the terms of the agreement.
McDowell Signal Processing, Limited Liability Company License and
Warranty:
The software which accompanies this license (the “Software”) is the property of McDowell Signal
Processing, Limited Liability Company or its licensers and is protected by copyright law. While McDowell
Signal Processing, Limited Liability Company continues to own the Software, you will have certain rights to
use the Software after your acceptance of this license. Except as may be modified by a license addendum
which accompanies this license, your rights and obligations with respect to the use of this Software are as
follows:
You May:
• authorize 1 (one) copy of the Software on 1 (one) PACE Anti-Piracy iLok USB Smart Key, for use with no
more than 1 (one) computer at any given time;
• make copies of the Software for archival purposes, or copy the software onto the hard disk of your
computer and retrain the original for archival purposes;
• after written notice to McDowell Signal Processing, Limited Liability Company, transfer the Software on
a permanent basis to another person or entity, provided that you retain no copies of the Software and
the transferee agrees to the terms of this agreement
You may not:
• copy, duplicate, or reproduce the documentation which accompanies the Software for the purpose of
resale;
• sublicense, rent or lease any portion of the Software to a third party without expressed written
permission from McDowell Signal Processing, LLC;
• reverse engineer, de-compile, disassemble, modify, translate, make any attempt to discover the source
code of the Software, or create derivative works from the Software;
• make any attempt to circumvent any copy protection software;
• use a previous version or copy of the Software after you have received a replacement set or an upgraded
version as a replacement of the prior version, unless you donate a previous version of an upgraded
version to a charity of your choice, and such charity agrees in writing that it will be the sole end user
of the product , and that it will abide by the terms of this agreement. Unless you so donate a previous
version of an upgraded version, upon upgrading the Software, all copies of the prior version must be
destroyed.
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McDSP
Limited Warranty:
McDowell Signal Processing, Limited Liability Company warrants that the media on which the Software
is distributed will be free from defects. Your sole remedy in the event of a breach of this warranty will be
that McDowell Signal Processing, Limited Liability Company will, at its option, replace any defective media.
McDowell Signal Processing, Limited Liability Company does not warrant that the Software will meet your
requirements or that the operation of the Software will be uninterrupted or that the Software will be
error-free. THE ABOVE WARRANTY IS EXCLUSIVE AND IN LIEU OF ALL OTHER WARRANTIES, WHETHER
EXPRESSED OR IMPLIED, INCLUDING THE IMPLIED WARRANTIES OF MERCHANTABILITY, FITNESS FOR A
PARTICULAR PURPOSE AND NON INFRINGEMENT. THIS WARRANTY GIVES YOU SPECIFIC LEGAL RIGHTS.
YOU MAY HAVE OTHER RIGHTS, WHICH VARY FROM STATE TO STATE.
Disclaimer of Damages:
REGARDLESS OF WHETHER ANY REMEDY SET FORTH HEREIN FAILS OF ITS ESSENTIAL PURPOSE, IN NO
EVENT WILL McDowell Signal Processing, Limited Liability Company BE LIABLE TO YOU FOR ANY SPECIAL,
CONSEQUENTIAL, INDIRECT OR SIMILAR DAMAGES, INCLUDING ANY LOST PROFITS OR LOST DATA ARISING
OUT OF THE USE OR INABILITY TO USE THE SOFTWARE EVEN IF McDowell Signal Processing, Limited Liability
Company HAS BEEN ADVISED OF THE POSSIBILITY OF SUCH DAMAGES. SOME STATES DO NOT ALLOW THE
LIMITATION OR EXCLUSION OF LIABILITY FOR INCIDENTAL OR CONSEQUENTIAL DAMAGES SO THE ABOVE
LIMITATION OR EXCLUSION MAY NOT APPLY TO YOU. IN NO CASE SHALL McDowell Signal Processing,
Limited Liability Company’s LIABILITY EXCEED THE PURCHASE PRICE FOR THE SOFTWARE. The disclaimers and
limitations set forth above will apply regardless of whether you accept the Software.
U.S. Government Restricted Rights:
RESTRICTED RIGHTS LEGEND: Use, duplication, or disclosure by the Government is subject to restrictions as
set forth in subparagraph (c) (1)(ii) of the Rights in Technical Data and Computer Software clause at DFARS
252.227-7013 or subparagraphs (c)(1) and (2) of the Commercial Software Restricted Rights clause at 48 CFR
52.227-19, as applicable, McDowell Signal Processing, Limited Liability Company, Mountain View, CA 94043
(info@mcdsp.com).
General:
This Agreement will be governed by the laws of the State of California. This Agreement may only be modified
by a license addendum which accompanies this license or by a written document which has been signed both
by you and McDowell Signal Processing, Limited Liability Company. Should you have any questions concerning
this Agreement, or if you desire to contact McDowell Signal Processing, Limited Liability Company for any
reason, please email: legal@mcdsp.com. By downloading, using, or copying this Binary Software, Licensee
agrees to abide by the intellectual property laws, and all other applicable laws of the U.S., and the terms of
this License. Ownership of the software shall remain solely in McDowell Signal Processing, Limited Liability
Company.
mcdsp.com
Page vii
Getting Started with Chrome Tone
Each McDSP plug-in is delivered inside an installer application, and uses the Interlok
copy protection software to authorize each plug-in. This section describes how
to install and authorize a McDSP plug-in. General system requirements are also
described.
System Requirements
McDSP HD, Native, and LE plug-ins are compatible with Pro Tools™ HD, HD
Accel TDM systems, as well as Pro Tools™ LE and Pro Tools™ M-Powered host
based systems. McDSP plug-ins support Mac OS 10.4.x (Tiger), 10.5.x (Leopard),
Windows XP and Windows and require Pro Tools 7.x, 8.x or greater. McDSP
plug-ins require an iLok USB Smart Key.
Configurations
McDSP plug-ins are available in TDM, RTAS, and AudioSuite configurations. See
individual products for specific available configuration sets.
Applications
Pro Tools™ 7.x, 8.x or higher is required for TDM, LE, and M-Powered systems.
Additionally, a third party software application that supports the Digidesign
TDM, RTAS, or AudioSuite plug-in standard may be supported. See http://www.
digidesign.com/developers/plugin_info/ for more information.
McDSP plug-ins are compatible with the entire Pro Tools™ 7 and 8 product line.
Hardware
McDSP plug-ins support any Digidesign or approved third party hardware
supported in Pro Tools™ 7.x and 8.x. This includes HD, HD Accel, 003, and Mbox
host based systems. All McDSP HD plug-ins, except Synthesizer One, also support
the Digidesign VENUE D-SHOW systems. See http://www.digidesign.com/
compato/ for more specific information.
The McDSP Mac versions are compatible with both Intel and PowerPC based
computers. The McDSP Windows versions require an Intel Pentium 4 or greater
processor.*
Page viii
Getting Started
* McDSP Windows test machines are chosen to follow the Digidesign recommended systems guide,
which currently is the Dell Precision™ Workstation 670 with 2.79 GHz Xeon processor. All products are
guaranteed to run on that system. Older Intel processors (i.e. Pentium III and predecessors) and AMD
processors are not officially supported, although some users have had limited success with newer AMD
processors (i.e. Dual Opteron 1.79 GHZ, Athlon 64 2.20 GHz, and Athlon 64 XP 3700). None of McDSP
Windows product line will work with Pro Tools™ 5.x. Also note the McDSP Windows product line does
not support MIX, although RTAS versions will work if they exist and the rest of your system (i.e. Pro Tools™
version and processor) is compatible.
Please visit mcdsp.com for the latest information about compatibility.
mcdsp.com
Page ix
Installing the Chrome Tone Plug-In
Installation on Mac OS X
The Chrome Tone plug-in Package includes this manual, ReadMe and Release
Notes, a folder of presets for the Chrome Tone plug-in, and the Chrome Tone
plug-in. Two copies of the Chrome Tone Licensing Agreement are included - one
in this pdf manual and a second as a separate text file. The Chrome Tone plug-in
manual requires that Adobe Acrobat reader (or similar .pdf reader) is installed.
Both online and boxed version will come with a Chrome Tone installer that will
automatically install the Chrome Tone plug-in and its presets on your system.
The authorization of the Chrome Tone plug-in is still required after running the
installer, and those steps are detailed in the following sections.
Installing the Chrome Tone plug-in and presets with the Installer:
The online version of the package has been prepared for Internet delivery, and
is transmitted as a compressed file in zip format (.zip). In Mac OS X 10.4.x or
10.5.x, simply double click the *.zip file to unpack the installer. The boxed plugin package purchased at your local dealer will be on CDROM. As with the online
version, these ‘physical’ versions of the Chrome Tone plug-in package should be
copied into a local folder on your system.
• Insert the McDSP ‘HD Disk,’ ‘Native Disk,’ or ‘LE Disk’ CDROM onto an
available CDROM drive.
• Navigate to the Chrome Tone plug-in folder on the CDROM - the installer
application is contained therein.
• Run the Chrome Tone plug-in Installer application to install (copy) the
Chrome Tone plug-in, presets, and documentation to a local folder on your
system. The plug-in will be placed in the ‘Plug-Ins’ folder, and the presets will
be placed in the ‘Plug-Ins Settings’ folder.
• If a previous version of the Chrome Tone plug-in (or other HD, Native, or LE
version) was already in the plug-ins folder, it will automatically be updated
(or replaced) by the installer.
Page x
Getting Started
Re-installing the Chrome Tone plug-in presets manually:
In you wish to restore the factory default presets, it may be useful to know how
to manually re-install only the presets.
• Go to the ‘Plug-in Settings’ folder:
• Root->Library->Application Support->Digidesign->Plug-in Settings
• If Pro Tools™ has not already done so for you, create a folder called ‘Chrome
Tone’.
• Place a copy of the folder from the Chrome Tone plug-in package called
‘Presets’ into the ‘Chrome Tone’ folder. The presets are now viewable (after
restarting Pro Tools™) from the settings popup menu from the Chrome Tone
plug-in.
Note it may be necessary to re-start Pro Tools™ in order for the newly added
‘Presets’ folder to be viewable from the Settings popup inside the
Chrome Tone plug-in window toolbar.
mcdsp.com
Page xi
Installation on Windows XP and Vista
The Chrome Tone plug-in Package includes this manual, ReadMe and Release
Notes, a folder of presets for the Chrome Tone plug-in, and the Chrome Tone
plug-in. Two copies of the Chrome Tone Licensing Agreement are included - one
in this pdf manual and a second as a separate text file. The Chrome Tone manual
requires that Adobe Acrobat reader (or similar .pdf reader) is installed.
Both online and boxed version will come with a Chrome Tone installer that will
automatically install the Chrome Tone plug-in and its presets on your system.
The authorization of the Chrome Tone plug-in is still required after running the
installer, and those steps are detailed in the following sections.
Installing the Chrome Tone plug-in and presets with the Installer:
The Chrome Tone plug-in package purchased at your local dealer will be on
CDROM and contain a Windows self extracting executable (.exe) similar to
the online Chrome Tone plug-in package prepared for Internet delivery. Both
the boxed and online versions the Chrome Tone plug-in executable file will
automatically install the plug-in and its presets on your system. Double click
the file to launch the installer which will install the Chrome Tone plug-in,
presets, and documentation. At any time after installation, you may access the
documentation from the Windows ‘Start Menu’ under the ‘McDSP’ group.
Authorization of the Chrome Tone plug-in is still required after running the
installer, and those steps are detailed in the following sections. Note that after
installing new versions of the PACE iLok drivers with the Chrome Tone plug-in
installer, you will be prompted by the Chrome Tone plug-in installer to reboot
your system. If you are not prompted by the installer, there is no need to
reboot.
• Insert the McDSP ‘HD Disk,’ ‘Native Disk,’ or ‘LE Disk’ CDROM onto an
available CDROM drive.
• Navigate to the Chrome Tone plug-in folder on the CDROM - the installer
application is contained therein.
• Run the Chrome Tone plug-in Installer application to install the Chrome Tone
plug-in, presets, and documentation to a local folder on your system. The
plug-in will be placed in the ‘Plug-Ins’ folder, and the presets will be placed in
the ‘Plug-Ins Settings’ folder.
• If a previous version of the Chrome Tone plug-in (or other HD, Native, or LE
version) was already in the plug-ins folder, it will automatically be updated
(or replaced) by the installer.
Page xii
Getting Started
Re-installing the Chrome Tone plug-in presets manually:
In you wish to restore the factory default presets, it may be useful to know how
to manually re-install only the presets.
• Go to the Plug-In Settings folder:
• C:\Program Files\Common Files\Digidesign\DAE\Plug-In Settings\
• If Pro Tools™ has not already done so for you, create a folder called ‘Chrome
Tone’.
• Place a copy of the folder from the Chrome Tone plug-in package called
‘Presets’ into the ‘Chrome Tone’ folder. The presets are now viewable (after
restarting Pro Tools™) from the settings popup menu from the Chrome Tone
plug-in.
Note it may be necessary to re-start Pro Tools™ in order for the newly added
‘Presets’ folder to be viewable from the Settings popup inside the
Chrome Tone plug-in window toolbar.
mcdsp.com
Page xiii
Installation on VENUE D-SHOW systems
The Chrome Tone plug-in Package for VENUE D-SHOW systems includes presets
for the Chrome Tone plug-in and the Chrome Tone plug-in. The Chrome Tone
Licensing Agreement is displayed when installing the product on D-SHOW.
The pdf manual can be obtained by running the Mac OS X or Windows XP/
Vista version of the Chrome Tone Pro Tools plug-in installer on any available
computer.
Both online and boxed versions will come with a VENUE compatible installer
that will automatically install the Chrome Tone plug-in and its presets on your
system. The authorization of the Chrome Tone plug-in is still required after
running the installer, and those steps are detailed in the following sections.
Note that all McDSP HD plug-ins, except Synthesizer One support the Digidesign
VENUE D-SHOW system.
Installing the Chrome Tone plug-in and presets on VENUE with the ‘HD
Disk’:
The boxed Chrome Tone plug-in package purchased at your local dealer will
contain a CDROM titled ‘HD Disk’ that is specially formatted to work with your
VENUE console. The VENUE installers are also available online as a compressed
zip file download, however you will have to take additional steps to create your
own VENUE installer CD-R, see additional instructions below before proceeding
with these instructions. Both the boxed and online versions of the Chrome Tone
installer are the same and will install both the plug-in and its presets on your
system.
Note that after installing new versions of the PACE iLok drivers with the Chrome
Tone plug-in installer, you will need to reboot your system. You will not be
prompted to reboot, and if you don’t you may see an error message saying
“TPkd driver required, and a reboot. Please reboot or reinstall the software.’ If
you see this message, simply reboot the console and try again.
• Insert the McDSP ‘HD Disk’ CDROM onto the CD drive. Note that neither the
McDSP ‘Native Disk’ nor the ‘LE Disk’ contains VENUE compatible installers.
• Ensure your system is in ‘CONFIG’ mode, you cannot install plug-ins in ‘SHOW’
mode.
• Navigate to the ‘OPTIONS’ page and then select the ‘PLUG-INS’ tab.
• You should now see the Chrome Tone plug-in available on the left hand side.
• Select the Chrome Tone plug-in and select ‘INSTALL.’
Page xiv
Getting Started
• If a previous version of the Chrome Tone plug-in was already installed, it will
be updated by the installer.
Important note for FilterBank HD and CompressorBank HD on VENUE
D-SHOW consoles: The first time you instantiate either of these plugins, a dialog box will appear asking you to choose a user interface
preference. Choose the Knobs interfaces, as some of the Slider
interfaces are too large for the VENUE display.
Creating a VENUE D-SHOW Installer CD-R from the online zip file:
If you do not have a boxed copy of Chrome Tone with the included ‘HD Disk’
CDROM, you can still obtain a copy of the VENUE compatible installers from
the www.mcdsp.com website. Once you have located and downloaded the
latest VENUE compatible installers from the McDSP website, you will have to
take several additional steps to create a VENUE compatible Installer CD-R. For
your convenience, all VENUE compatible products are located in the same
downloadable zip file, so you will only have to create one CD-R to install all
compatible McDSP products.
• Unzip the downloaded file and locate the folder named “TDM Plug-Ins”
inside the unpacked folder.
• Using any CD-R burning application, burn this folder and its contents to an
ISO format CD-R. It is recommended that you use a brand new CD-R for this,
and do not rewrite an older CD-R.
• Once you have burned this folder to a CD-R, you should see it at the root
level of the disk (i.e. “D:\TDM Plug-Ins”). Important: If the “TDM Plug-Ins”
folder is not located at the root level of the CD-R or has been renamed, the
VENUE console may not properly recognize the installer disk.
• At this point, you can follow the ‘HD Disk’ installation instructions above to
complete the installation.
mcdsp.com
Page xv
Authorizing your McDSP Plug-Ins
Authorizing with a pre-programmed iLok Smart Key
McDSP bundles such as the Emerald Pack
come with a pre-programmed iLok Smart
Key. Simply insert the iLok into any available
USB port on your computer. The iLok’s
indicator light will illuminate when the
iLok has a proper connection. The Plug-Ins
included in the bundle require no further
authorization steps. As with any iLok on your system it is recommended that
your iLok be registered and synchronized with iLok.com
Authorizing with an iLok License Card
All McDSP Plug-Ins require that a valid
authorization is present on your iLok
USB Smart Key. McDSP Plug-ins that
are purchased individually provide this
authorization on a plastic License Card
(about the size of a credit card), with a
small punch-out iLok License Chip. After
being separated from the License Card,
this iLok License Chip is to be inserted into the ‘key slot’ of the iLok USB Smart
Key in order to transfer the authorization from the License Card to the iLok USB
Smart Key. Note that each License Card holds ONE Plug-In authorization. The
following instructions detail this process
Important Note: The Authorization Wizard will prompt the user to register
their iLok USB Smart Key at iLok.com. iLok.com is a service offered by PACE
Anti-Piracy, Inc. and this step is recommended but NOT REQUIRED by McDSP to
complete the authorization of the Plug-In. If you choose to register your iLok
USB Smart Key at iLok.com, care must be taken to record your ilok.com account
information (i.e. write down your User ID and Password in a safe place). If your
iLok.com account information is lost, the iLok cannot be registered to another
account and unfortunately there is nothing McDSP can do to help you. See iLok.
com for more details about the benefits of using PACE’s iLok.com service.
Note: Images in this section are for illustration only, the actual product and
screens will be the name of the product you are authorizing.
Page xvi
Authorizing Your McDSP Plug-Ins
Authorizing a McDSP Plug-In from a License Card with the Authorization
Wizard:
The Authorization Wizard is used to install an authorization from a License Card
to the iLok USB Smart Key. To use the Authorization Wizard for the Plug-In you
purchase, perform the following steps:
• Insert your iLok USB Smart Key into an available USB port.
• On a Mac :Locate and launch the ‘Authorizer’ application found in the
‘Authorize’ folder in the Plug-In package for the McDSP Plug-In you
purchased on the CD-ROM.
• On Windows XP or Vista, just launch Pro Tools™ to authorize the individual
McDSP Plug-In you purchased.
Note: When authorizing the Plug-In on Windows XP or Vista with a new iLok
USB Smart Key, you must insert the iLok USB Smart Key and complete
the Windows ‘Found New Hardware Wizard’ before attempting to
authorize the Plug-In.
• Select the ‘Authorize’ button to be guided through
the Authorization Wizard.
Note: Selecting the ‘Quit’ button at any time will not
authorize the Plug-In or allow it to be used for
a trial period. If ‘Quit’ is selected, the Plug-In
will not be available in the Pro Tools™ insert
menu.
• McDSP Plug-Ins require that the user
personalize their copy of the Plug-In.
A dialog is displayed soliciting this
information.
Note that the product registration
card enclosed with the Plug-In
MUST ALSO be filled out as
well and returned to McDSP
via mail (or fax to 707-2200994). This additional mail-in
registration will entitle the
user to future upgrades and
advance information from McDSP.
mcdsp.com
Page xvii
• Once the Plug-In is personalized, click the ‘Next’ button to continue.
• Check the ‘Use License Card’ box and
press the ‘Next’ button (figure 2.3).
Note: Although the Authorization
Wizard may appear to allow
authorization by challenge/
response, that method is currently
NOT SUPPORTED McDSP Plug-Ins.
• Separate the small punch-out iLok
License Chip (the removable metal and plastic
tab) from the License Card by pushing the
cutout up and out with your thumb. Do not
force your finger downward.
• The iLok License Chip may now be inserted into
the ‘key slot’ of the iLok USB Smart Key
(figure 2.6). If the iLok USB Smart Key
does not appear to be present on the
system, ensure the iLok USB Smart Key is
connected to a valid USB port and that
the green LED is lit inside the iLok USB
Smart Key. To insert the License Chip into the iLok USB Smart Key, orient
the iLok USB Smart Key’s USB end to the left, and the loop end to the upper
right. Insert the metal chip end of the iLok License Chip (the License Chip
tab should have the metal chip side facing up towards you, not down). You
should be able to visually verify that the License Chip makes contact with the
iLok USB Smart Key metal card reader.
• The green LED in the iLok USB Smart Key will light when it is ready to receive
and transmit data.
• Upon inserting the iLok License
Chip, a message will be displayed
indicating the authorization was
installed successfully. Click ‘Ok’ in
the message dialog.
Page xviii
Authorizing Your McDSP Plug-Ins
• Once the authorization is installed
on the iLok USB Smart Key, a dialog
is displayed prompting the user to
register their iLok USB Smart Key at the
www.ilok.com website. The iLok.com
website was created to allow users to
manage the software authorizations
on their iLok USB Smart Key. THIS STEP
IS NOT REQUIRED TO COMPLETE THE
AUTHORIZATION OF MCDSP SOFTWARE.
The registration of the iLok USB Smart
Key to an iLok.com account can be bypassed by clearing the checkbox. The
user may also choose to not be asked to register again. While iLok.com is
a great resource for the iLok USB Smart Key, your iLok USB Smart Key may
only be linked to one iLok.com account. That is, an individual iLok USB
Smart Key can only be registered to one account at a time--but a single
account can have multiple iLok USB Smart Keys. If the iLok.com account
information is lost, the iLok USB Smart Key cannot be registered to another
account. However, an iLok USB Smart Key may be transferred between
accounts if all the authorizations have been transferred off the iLok USB
Smart Key. Register the iLok USB Smart Key to an iLok.com account only
when you are ready to retain all the needed iLok.com account information
(User ID and Password).
• A ‘Finished’ dialog is displayed showing what authorization method was
used.
• Click ‘Finish’ to exit the Authorization Wizard.
mcdsp.com
Page xix
Authorizing with iLok.com
Required for demo, upgrade, and replacement authorizations only
iLok.com can be accessed from any Macintosh or PC with an Internet connection.
You can do this at home, a friend’s, or at the office as long as there is an internet
connection to access iLok.com--note that you don’t have to use your ProTools
system computer! You simply use this computer to connect to iLok.com and
transfer authorizations to your iLok Smart Key. The iLok Smart Key can then be
moved to your ProTools system to complete authorization of your Plug-In.
You will need:
• A computer with an Internet connection. Either a Macintosh
running OS 9.2 to OS 10.3 or a PC running Windows 98, ME,
2000, XP, or Vista
• An iLok USB Smart Key
• A valid iLok.com account. Visit www.iLok.com and set up a free
account, if you have not already done so.
1) Download and install the required client software from iLok.com.
2) Download the desired McDSP Plug-In Installer from:
http://www.mcdsp.com/support/updating.html
3) To receive an upgrade or replacement authorization, send email your iLok.
com account information to: support@mcdsp.com
To receive a demo authorization, email your iLok.com account information
to: authorize@mcdsp.com
Insert your iLok Smart Key into an
available USB port and ensure that
the indicator light is lit. Once your
demo, upgrade, or replacement
authorization is available for transfer,
your iLok.com account will display
the notice saying “You have licenses”
on the upper left. Begin by selecting
that link.
Page xx
Authorizing Your McDSP Plug-Ins
The next page will display
the pending licenses
available for download.
This page will also display
the name of the Plug-In,
its manufacturer, the type
of authorization (demo,
Not For Resale, or License),
the date the authorization was
deposited, and the date when the
authorization will no longer be
available for download from the
server.
Before any transfer of authorizations
can take place, you must synchonize
your iLok Smart Key with iLok.
com. This may take a moment
to process depending on your
internet connection.
Once you have synchronized
your iLok, you can select the
authorization(s) you wish to
transfer to your iLok.
If you have multiple iLoks
connected to your computer, it
is important to select the correct
iLok you wish the authorizations
to be transferred to. Then click
“Download Licenses” to begin
the process. Again, this may take
a moment depending on your internet
connection.
When the transfer finishes you will be
asked to confirm the completition of the
transaction, thereby letting you know that
the transfer was successful.
mcdsp.com
Page xxi
If you wish to go back into
your account and visually
confirm the transaction
for yourself, select “View
iLoks” Then select the iLok
you had the authorizations
transferred to.
That’s it! Dont forget to
logout and move the iLok
Smart Key to your ProTools
System if you are using
another computer for
Internet access. Also, you
may need to install a different version of the Plug-In if you are upgrading or
replacing.
Transferring Authorizations with iLok.com
You may freely transfer any authorization within your iLok.com account
between any of your registered iLok Smart Keys. If you wish to transfer an
authorization out of your iLok.com account to a different user, it will require
additional support from PACE Anti-Piracy, Inc and may be subject to a service
fee or limited by manufacturer restrictions. Check the www.ilok.com website
for updates and developments regarding iLok USB Smart Keys and the Pace
Interlok Copy Protection system.
Page xxii
Authorizing Your McDSP Plug-Ins
Registering your McDSP Plug-In
To register your McDSP Plug-In, fill out and return the product registration
card enclosed with the boxed Plug-In package by mail or fax 707-220-0994.
Registering your product entitles you to future upgrades and advance
information from McDSP. Each individual product must be registered (even if
you have multiple copies), and the product must be registered to an individual,
not an entity. If you represent a company it is your company’s responsibility
to notify McDSP in writing if the individual who registered the Plug-In is no
longer with the company. The Company must also be able to supply matching
registration information to successfully transfer ownership of the Plug-In.
Using your McDSP Plug-Ins
Starting a McDSP Plug-In:
Follow the installation, authorization, and registration instructions above,
Launch Pro Tools™, and the McDSP Plug-In and its presets are ready for use.
Refer to the Digidesign™ Pro Tools™ Reference Guide for details on general
Plug-In operation such as automation.
Exiting a McDSP Plug-In
A McDSP Plug-In is exited by clicking on the desktop or other window in the DAE
application running the Plug-In, closing the Plug-In window, or de-instantiating
the Plug-In. Pro Tools™ sessions will save instantiated Plug-In configurations and
their settings. Refer to the Digidesign™ Pro Tools™ Reference Guide for details
on general Plug-In operation.
Digidesign™ and Pro Tools™ are registered trademarks of Digidesign, Inc.
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Page xxiii
McDSP Chrome Tone
McDSP Chrome Tone
Congratulations on purchasing Chrome Tone, the plug-In that brings the world
of custom guitar amps, boutique outboard gear and pedal effects inside Pro
Tools.
The Chrome Tone plug-In is a collection of effects that includes distortion,
compression, gating, chorus, flange, EQ, wah, tremolo, spring reverb, and tape
delay. These effects can all be used together in a single stacked configuration,
or as independent effects. All the Chrome Tone effects can share the same dsp.
The Chrome Tone effects can respond dynamically to the incoming audio, side
chain audio, or various MIDI events including MIDI note and velocity, and MIDI
control data. A Dynamic section, standard on the Wah, Tremolo, and Chorus
plug-Ins provides a fully controllable envelope follower to modify the effect
itself (the frequency of the filters in the Wah, the gain in the Tremolo, the delay
length in the Chorus). The Auto section provides periodic modulation via a
low frequency oscillator (LFO). The LFO can be synced to MIDI beat clock in a
variety of tempo derivatives. The LFO rate, shape, and depth can be further
modulated by the state of the Dynamic section. The Stack configuration has
separate Dynamic and Auto sections for each of its Wah, Tremolo, and Chorus/
Delay stages.
The Chrome Tone Amp has six distortion modes for everything from light grit
to full shred. Distortion Drive, Type, and Frequency controls allow fine tuning
of the distortion tone. The Amp also includes a full featured noise gate,
compression and sustain circuits, low cut filters, shelving and parametric EQ, a
guitar cabinet simulator (great for direct recording), and a reverb.
The Chrome Tone Wah has much more than the standard wah pedal offers.
Three types of band pass (wah) filters are included, plus multiple low pass, high
pass, and phasor filter configurations are available with 12, 24, and 36 dB/oct
slopes. All filter configurations have selectable frequency and Q values.
The Chrome Tone Tremolo allows the mixing of the tremolo’d signal and the
unaffected signal. Tremolo speed-change tremolo affects are possible using the
Dynamic and Auto sections.
The Chrome Tone Chorus section has flange and two chorus modes. In the Stack
configuration, there is also an analog delay line, up to 1 second long.
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Page 1
Feature List:
• Power and Flexibility: Four different effect configurations are available Amp, Wah, Trem, and Chorus, plus an all in one Stack configuration. Many
of the Chrome Tone configurations can share the same dsp chip. There are
mono, mono to stereo, and stereo version of each configuration. See the
Reference section for a complete listing of all Chrome Tone configurations
and their specifications.
• Double-Precision Arithmetic: at all stages of processing.
• Chrome Tone is compatible with ProTools and other DAW applications that
support TDM, RTAS, and Audiosuite plug-In formats. McDSP’s Chrome Tone
plug-In operates on Mac OS X and Windows XP systems.
• Supports Digidesign’s™ ICON, Command 8, ProControl, and Control | 24, and
Mackie’s™ HUI external control surfaces.
Digidesign™ and ProTools™ are registered trademarks of Digidesign, Inc. All other trademarks are property
of their respective owners.
Quick Start Tour: Chrome Tone
Start Protools™ and Instantiate the Chrome Tone Amp configuration
• Launch Protools™ and Open a Protools™ Session.
• Verify the Display-> Mix Window Shows->Inserts View option is checked.
• In one of the inserts of a stereo master fader, select the Chrome Tone Amp
configuration. Note the Chrome Tone plug-In will operate on master or
regular audio tracks in mono or stereo versions. On another insert in the
same track, instanciate a Chrome Tone Wah configuration.
• If the insert selection does not show Chrome Tone plug-Ins, verify that the
Chrome Tone plug-In has been installed correctly.
• For more information on starting ProTools™ and working with plug-ins, see
Digidesign’s™ ProTools™ Reference Guide
Page 2
McDSP Chrome Tone
Chrome Tone Amp Overview
The Chrome Tone Amp has six distortion modes for everything from light grit
to full shred. Distortion Drive, Type, and Frequency controls allow fine tuning
of the distortion tone. The Amp also includes a full featured noise gate,
compression and sustain circuits, low cut filters, shelving and parametric EQ, a
guitar cabinet simulator (great for direct recording), and a reverb.
• Six distortion modes for light to heavy distortion. Distortion Drive types
include various gain staging (Narrow, Wide, and Low), as well as many filter
types for manual wah and other special effects.
• Fully programmable Gate to remove unwanted signal. Very useful for noise
reduction in the signal path, particularly when large amounts of distortion
are selected. The input section includes a full featured “Pre” with more low
end and several selectable “Pre” responses
• Compression and sustain circuits to augment the recorded performance. This
section can also increase the overall signal level in the Distortion section.
• High pass filtering, shelving and parametric EQ.
• Multiple cabinet models and direct modes are available.
• Spring reverb.
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The Controls for Chrome Tone Amp
Pre
The Pre section provides low cut filtering to remove
unwanted DC and similiar noise from the signal path,
while also provided coloring to the track appropriate for
guitar and other applications.
The primary source of noise in most guitar signal paths is
DC and 60 Hz hum. These unwanted signals are automatically removed with the
low cut filter in the Pre section. The low cut frequency range extends down to
75 Hz, and a variety of Pre types are available to color the input signal (subtle
bass boosting, more gentle filter roll offs, vintage pre models).
A common use of products like Chrome Tone is to re-amp the already recorded
guitar track. Using the Pre ‘vintage’ modes, this affect can be achieved on a
directly recorded guitar track.
Noise Gate
The Chrome Tone Noise Gate is designed to
minimize the amount of noise heard at the output
of the Chrome Tone Amp plug-In. Large amounts
of gain common to most guitar amplifiers raise the
noise floor of the input signal considerably. When
the performance from the guitar or other input
stops, this noise floor becomes very audible. The Gate section automatically
reduces input gain to zero when the input signal drops below the selected
threshold. The Attack, Hold, and Release controls allow the Gate to open and
close in a way that does not interfere with the actual performance.
The Noise Gate controls are:
• Threshold - the level at which the gate is engaged (closed). When the input
signal drops below the threshold, the gate closes and no more signal is
outputted.
• Attack - the rate at which the gate opens.
• Hold - the amount of time the gate remains open once signal level rises
above the Threshold.
• Release - the rate at which the gate closes.
Page 4
McDSP Chrome Tone
Distortion
The Chrome Tone Amp Distortion section provides
a wide range of distortion tones from light to
heavy. The Distortion controls are:
• Drive - selected amount of gain (emphasis) of
selected frequencies into the distortion circuit.
• Drive Type (pop-up) - Controls and shapes the
frequencies that feed the distortion circuit with the following shapes:
• Normal parametric bell
• Wide parametric bell
• Low Shelf
• Band Pass Filter
• Resonant peak Low pass filter
• Variable Q Low pass filter
• Resonant peak High pass filter
• Variable Q High pass filter
• Extremely tight Q parametric bell
• Frequency - the frequency where the Drive control gain is focused.
• Amount - the amount of distortion
• Level - the overall output level of the distortion section
• Distortion Type Popup - selects the distortion circuit type, from Light, Light II,
Medium, Heavy, Shread, and Screamer.
A key element to any guitar amplification system is the sound, or ‘tone’ of its
distortion section. For this reason, Chrome Tone offers many distortion modes.
The Drive control articulates the color of the distortion, allowing the selection of
the portion of the frequency spectrum incurring more distortion.
Compression
Provides a compressor and sustainer to further amplify
and compress the incoming signal. The Compression
controls are:
• Threshold - the level in dB at which the
compression starts.
• Response - the rate at which the compressor attacks
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Page 5
the signal once it exceeds the Threshold value, and the rate at which the
compressor releases once the signal level drops below the Threshold value.
The ‘C’ LED indicates when compression is occurring.
• Sustain - the level to which the signal is boosted as its compressed.
• Release - the rate at which the sustain action occurs. The ‘S’ LED indicates
when sustaining is occurring.
• Compression Ratio Popup - the ratio of input to output as determined by the
compressor.
The combination of the compressor and sustainer create a gain-slew affect,
common to many amplifiers when operated at high volume levels. The amplifier
attempts to restrict output levels at a maximum, while boosting lower levels
to the desired gain. Using the compressor and sustainer to further drive the
Distortion section produces heavily distorted sounds.
The compressor and sustainer can also achieve long sustained sounds, while
reducing the transient signal levels (initial string plucks for example). Instrument
solos and many guitar styles benefit from these effects.
Equalizer
Allows further sonic adjustments post
distortion. There are 3 bands of EQ low shelf, parametric, and high shelf.
The EQ controls are:
• Gain - +/- 12 dB in each EQ band
• Frequency - selects the frequency
value for each EQ band
These EQ sections are taken straight from McDSP’s award winning FilterBank
plug-In. While a passive EQ mode may have been an option, the use of the
active EQ in the Chrome Tone Amp gives a wider variety of sounds.
Output
Provides reverb, cabinet, and final output control. The
Output section controls are:
• Phase - the polarity (phase) of the final output.
Page 6
McDSP Chrome Tone
• Reverb - the amount of reverberated signal mixed with the dry signal.
• Output - the overall signal level adjustment.
• Cabinet Type - several types of cabinets, plus two direct modes.
The reverb algorithm in Chrome Tone is a combination of spring and ‘room tone’
reverberations. The cabinet types were created from a collection of amplifiers
measured and tested during the course of Chrome Tone development. For
each cabinet type (1x12, 2x12, 4x10, and 4x12), a varitey of measurement (and
cabinets) were evaluated to bring a group of sounds that are very useful not for
only guitar, but also for other ‘amped sound’ applications.
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A Look at the Chrome Tone Modulation
The Chrome Tone Wah is a full featured modulated filter, configured as a Wah
in default mode, and as a variety of other filters as per the 14 selectable types
available. The Wah, like the Tremolo and Chorus configurations, has a Dynamics
and Auto section for triggering modulation of the Wah filter (or Tremolo gain,
or Chorus delay length).
The Dynamic section acts as an envelope follower with adjustable attack and
decay times. A threshold determines the triggering level of the envelope
follower. The amount of effect the envelope follower has on the Wah (or
other selected filter) is determined by the Depth control. The amount of affect
the envelope follower has on the Auto section’s LFO Rate, Shape, or Depth is
determined by the Mod control. Inputs to the Dynamic section are not limited
to audio - side chain audio, MIDI note or velocity, and any of the 128 MIDI
controllers can be used as the modulation source.
The Auto section is a configurable LFO (low frequency oscillator) used to
modulate the Wah (or other selected filter) with a periodic waveform. There
are two waveform shapes that can be mixed in realtime, and the second shape
can be a multiple of the first. MIDI beat clock syncing is available along with a
groove control.
Page 8
McDSP Chrome Tone
Input
Determines the input gain of the Wah configuration.
This control is also available on the Tremolo and Chorus
configurations.
Dynamic
Gives complete control over an envelope
follower used to modulate the Wah (or
other selected filter) frequency. The
Dynamic controls are:
• Threshold - the level at which the
envelope follower is triggered. When
the input signal rises above the
threshold, the envelope ‘opens’ at a rate determined by the Attack control.
When the input signal drops below the threshold, the envelope ‘closes’ at a
rate determined by the Decay control.
• Depth - the amount (positive or negative) the envelope follower affects the
Wah (or other filter) frequency (or Tremolo gain, or Chorus delay length).
• Attack - the rise time of the envelope follower.
• Decay - the fall time of the envelope follower.
• Mod - the amount (positive or negative) the envelope follower affects the
Auto section’s LFO Shape mix, Rate, or Depth amount.
• Split - separates the envelope follower signal into a left and right channel,
each with the reverse polarity of the other. This allows one channel to
increase the Wah filter (or other filter) frequency while the other channel
decreases the frequency.
• S/R/D - enable or disable the modulation of the Auto section’s LFO Shape,
Rate, and Depth.
• Input - selects incoming audio, side chain audio, MIDI note, MIDI velocity,
or MIDI controller (1-128) as the source from which the Dynamic envelope
follower is triggered.
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Auto
Gives complete control over an LFO (low
frequency oscillator) used to modulate the
Wah (or other selected filter) frequency. The
Auto controls are:
• Shape - the mix between two selected
LFO waveforms. The two shapes can be
selected from popup menus on either
side of the Shape control. The second shape can also be a multiple of the
first shape (1x, 2x, 3x, or 4x).
• Rate - the speed of the LFO. There is a rate multiplier control underneath the
Rate control for 0.1x, 1x, and 10x operation.
• Depth - the amount the Auto section affects the Wah (or other filter)
frequency.
• Spread - the phase difference in the LFO for the left and right channel, up to
180 out of phase.
• Sync - enable MIDI beat clock syncing in a variety of beat intervals.
• Groove - move the LFO within the MIDI beat clock timing to allow the peaks
of the LFO waveform to hit (or miss) beat boundaries.
Output
Determines the output gain of the Wah configuration.
This control is also available on the Tremolo and Chorus
configurations.
Page 10
McDSP Chrome Tone
A Closer Look at the Chrome Tone Wah
The Chrome Tone Wah is a full featured modulated filter, configured as a Wah
in default mode, and as a variety of other filters as per the 14 selectable types
available. The Wah, like the Tremolo and Chorus configurations, has a Dynamic
and Auto section for triggering modulation of the Wah filter (or Tremolo gain,
or Chorus delay length).
Wah Section
Controls the filter type,
frequency, and Q (resonance),
and overall modulation range.
The Wah controls are:
• Filter Type - the popup
under the ‘Wah’ text gives
14 filter options: 3 types of
band pass wah including the standard wah filter type found on many Wah
pedals, 3 high pass filters (12, 24, and 36 dB/oct), 3 low pass filters (12, 24,
and 36 dB/oct), 3 phasors (2, 4, and 6 stages), a wah plus low pass filter, a
high pass plus wah filter, and an experimental wah filter.
• Freq - the frequency of the selected filter type. From this value the
modulation of the frequency is initiated.
• Q -the resonance, or peak-emphasis, of the selected filter.
• Range - the overall modulation range from the Dynamic and Auto sections.
Using the Chrome Tone as a Wah, the wah-effect can be created in one of
three ways: 1) move the frequency control itself (manual wah); 2) modulate
the frequency control from a base setting with the Dynamic section (enveloped
wah); or 3) modulate the frequency control from a base setting with the Auto
section (auto wah). These three techniques can be extended to any of the other
filter types in the Wah configuration.
The Q, or resonance, control, provides emphasis at the selected frequency, or
at the currently modulated frequency. This can create filter effects commonly
associated with synthesizers. The selections, bandpass, low pass, and high pass
all come in 1/2/3 modes, corresponding to 12/24/36 dB per octave slopes. The
intensity of the resonance increases with steeper filter slopes.
Other unique filter modes combine the wah effect with low or high pass
filtering in series with it, and experimental filter types.
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A Closer Look at the Chrome Tone Tremolo
The Tremolo effect is the modulation of the volume (gain) of a signal path. This
effect is common in guitar and keyboards, and a variety of other instruments.
The beating, or volume movements can add life to an otherwise dull
performance.
The Chrome Tone Tremolo uses the same Dynamic and Auto sections found in
the Wah configuration to modulate the gain in its tremolo circuit. For a detailed
description of the Dynamic and Auto sections, refer to the ‘Closer Look at the
Chrome Tone Wah’ portion of this manual.
Tremolo Section
The Chrome Tone Tremolo
section has only two controls
to adjust the Tremolo effect.
• Mix - the amount of dry
(unaffected) signal and wet
(tremolo’d) signal.
• Range - the overall
modulation range from both the Dynamic and Auto sections.
While the modulation of simply volume does not seem like much of an
effect at all, Chrome Tone can take the basic tremolo effect to new levels of
sophistication.
Using the Dynamic section, a new signal envelope can be created (sample
accurate by the way), allowing the Tremolo configuration to act as a transient
design effect. Fast drum hits can be slowly ramped up, or echoed away with a
beat synced MIDI input signal.
The Auto section can not only produce periodic volume modulation, but using
the Spread control, new stereophonic effects can be created.
Guitar players are very used to a tremolo with a slewed rate control - one that
slowly increased or decreases speed, usually over a 2x range. Chrome Tone’s
Tremolo configuration can realize such affects using MIDI input data and the
Dynamic section’s Mod control to change the LFO rate value over time. Even
better, the actual audio can be used to change the LFO rate - an example of
Chrome Tone as a ‘performance effect’.
Page 12
McDSP Chrome Tone
A Closer Look at the Chrome Tone Chorus
The Chorus effect is the modulation a set of delay lines to create a more spatial
or sonically rich sound. This effect is common in guitar and keyboards, and a
variety of other instruments.
The Chrome Tone Chorus uses the same Dynamic and Auto sections found in the
Wah configuration to modulate the gain in its tremolo circuit.
Chorus Section
The Chrome Tone Tremolo
section five controls to adjust
the Chorus effect.
• Chorus Type - selects
between Flange, Chorus
1, and Chorus 2 modes. In
the Stack configuration, an
Analog Delay mode is also available for up to 1 second of analog delay.
• Delay - the total delay line lengths used to create the delay modulated effect.
• Feedback - the amount of delayed signal feed back into the input of the
delay line/s.
• Mix - the balance between the dry (un-delayed) and wet (delayed) signals.
• Range - the overall modulation range from both the Dynamic and Auto
sections.
Flange, Chorus, and Vibrato Effects
The Chrome Tone Chorus configuration is capable of many types of effects,
including flanging, slapback echo, doubling, vibrato, and chorus. Some of these
effects are detailed below.
• Flange - select the Flange mode, and dial up a Feedback value between 20
and 70. Using a delay length between 5 and 10, a significant flange effect is
heard as the Auto section is enabled, and the Depth control is set to a value
between 25 and 50. Note how using a positive or negative feedback changes
the color of the flange effect (most flange effects only offer one polarity of
feedback - Chrome Tone gives both!).
• Chorus - using the Chorus 1 or 2 modes, along with all the parameters
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Page 13
as described in the ‘Flange’ section above, audition the effect on some
tracks. Note how using the Spread control in a Mono to Stereo or Stereo
configuration increases the overall stereophonic effect of the chorus.
Switching from Chorus 1 and 2 with the remaining settings fixed allows the
user to get acquainted with the types of sounds these modes produce.
• Vibrato - using the same settings as in the ‘Flange’ section above, move the
Mix control to 100 so only the output of the modulated delay line is heard.
Because there is no un-delayed signal in the output mix, the sound appears
to only change in pitch, creating a vibrato effect.
Chorus Modulation from Dynamic Section
Often the best chorus or flange effect is one who’s sound is NOT periodic that is to say the modulation of the delay line and thickening of the sound is
audible, but not a repeating pattern. Using the Dynamic section of the Chorus
configuration can create great flange and chorus effects using the input audio
as the modulation source. Combining this technique with a small amount of
modulation from the Auto section can create very realistic voice doubling and
multi-player effects.
Page 14
McDSP Chrome Tone
Tips for using the Modulation
The Input control of the Dynamic section opens up a new dimension in
possibilities. The use of the input audio is the most common envelope-wah
setup. Chrome Tone Wah also allows a separate audio signal to be used as the
input to the Dynamic section via a side chain mode. MIDI data, including note,
note velocity, and controllers (1-128) can also be selected as the Dynamic section
input.
An innovative way to sync the wah (or other filter) frequency modulation to MIDI
beat clock is to use already synced MIDI data as the Dynamic section input. Not
only is the input signal more diverse than any periodic one from the Auto section, it
can be generated from any of the sophisticated MIDI editors found in digital audio
workstations. Groove and swing information can also be included in the MIDI data
timing itself, for even more realistic syncopated rhythmic effects.
Split mode can create great stereophonic sounds when the frequency control is
setup to roughly 50 (halfway up the signal spectrum). As input is received in the
Dynamic section, the filter frequency is decreased in one channel while being
increased in another. Useful not only in filter modes such as wah, low pass, and
high pass, but also in the various phasor modes available in Chrome Tone Wah.
Modulation of the Auto section LFO is done using the Mod control in the
Dynamic section. The ‘S’, ‘R’, and ‘D’ LEDs enable the modulation of the LFO
Shape, Rate, and Depth, at an amount determined by the Mod control. Positive
values increase the Shape, Rate, and Depth controls in their respective clock
wise positions (shape modulates towards shape 2, rate increases up to 2x faster,
Depth increases). Negative values increase the Shape, Rate, and Depth controls
in their respective counter-clock wise positions (shape modulates towards shape
1, rate decreases up to 2x slower, Depth decreases). Note the modulation of the
LFO rate has no effect if the LFO is synced to MIDI beat clock.
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A Closer Look at the Chrome Tone Stack
The Chrome Tone Stack configuration is a
combination of the Wah, Tremolo, Amp, and
Chorus configurations, grouped into pages of
controls. Each control page is setup exactly as the
individual configurations. Page selector and bypass controls are found in the
upper left hand corner of the user interface. Clicking the Page labels displays
the controls for that page. Clicking the LED under each Page label enables (or
disables) that section of the Stack configuration.
The Chrome Tone Stack’s Wah, Trem, and Chorus sections use the same Dynamic
and Auto sections found in the individual configurations to modulate the gain in
its tremolo circuit. For a detailed description of the Dynamic and Auto sections,
refer to the ‘Closer Look at the Chrome Tone Wah’ portion of this manual.
The Chrome Tone About Box contains information on the Stack and Amp
configuration flow diagrams. The About Box can be accessed by clicking the
version text in the user interface of any Chrome Tone configuration.
Chrome Tone About Box
Note how the Low Cut Filter and Noise
Gate from the Amp section are still
the first effects in the signal chain.
Removal of unwanted noise is critical
before such a long series of effects
is processed. The Wah and Tremolo
sections are placed in front of the
Compressor and Sustainer sections, as
well as the Distortion and EQ sections.
The Chorus and Reverb are last in the
signal chain.
Page 16
McDSP Chrome Tone
Chrome Tone Plug-In Reference Guide
Chrome Tone Amp Specifications
Parameter
Settings
Function
LOW/CUT
75 to 1000 Hz
Selects the point where low frequency
signals are reduced. Filter slopes vary
between -12 dB/Oct and -6 dB/Oct
depending on PRE TYPE.
Pre Type (popup)
Flat, Low Bump, Vintage I,
Vintage II, Vintage III
Selects the coloring of the input signal.
The ‘Flat’ mode is the original mode.
Other modes add coloring appropriate
for guitar and other ‘amped sound’
applications.
THRESH
-80 to 0 dB
Level at which the gate is engaged. When
the input signal level drops below the
THRESH value, the gate closes and no
input signal is passed.
ATTACK
0 to 500 msec
Rate at which the gate opens. Green LED
(on Right) is lit when gate is open.
HOLD
10 to 500 msec
Amount of time the gate remains open
once signal level rises above the THRESH
value.
RELEASE
10 to 1000 msec
Rate at which the gate closes. Yellow LED
(on Left) is lit when gate is closed.
THRESH
-48 to 0 dB
Level at which the compression starts.
When input signal rises above the THRESH
value, it is compressed at ratio selected
by TYPE.
RESPONSE
200 to 2000 msec
Rate at which the compressor attacks the
signal once it exceeds the THRESH value,
and the rate at which the compressor
releases once the signal level drops below
the THRESH value. Yellow ‘C’ LED is lit
when compression is active.
SUSTAIN
0 to 100
Amount of make-up gain applied to the
signal after compression.
RELEASE
25 to 5000 msec
Rate at which the sustainer action occurs.
Yellow ‘S’ LED is lit when sustainer is
active.
TYPE (popup)
2:1, 4:1, 8:1 (ratio)
Ratio of input to output levels for the
compressor.
Pre
Noise Gate
Compression
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Page 17
Parameter
Settings
Function
Equalizer (Low Shelf, Parametric, High Shelf)
GAIN
-12 to +12 dB
Boost or cut to selected frequency region.
FREQ
40 to 400 Hz
0.40 to 4.00 kHz
4 kHz to 15 kHz
Low Shelf
Parametric
High Shelf
DRIVE
0 to 12 dB
Amount of gain (emphasis) of selected
FREQ in distortion circuit.
DRIVE TYPE
Normal, Wide, Low and
various Filters
Controls and shapes the frequencies that
feed the distortion circuit .
FREQ
200 to 2000 Hz
Frequency where the DRIVE control gain
is focused.
AMOUNT
0 to 100
Amount of distortion. Yellow LED lit when
distortion circuit is active.
LEVEL
-48 to 0 dB
Overall output level of the distortion
section.
TYPE
Light, Light II, Medium,
Heavy, Shread, and Screamer
Selects the distortion circuit type, from
light distortion to full shred.
REVERB
0 to 100
Amount of reverberated signal mixed with
the dry signal.
CABINET TYPE
(POPUP)
1x12, 2x12, 4x10, and 4x12,
varied styles, and two direct
modes
Several different cabinet styles with close
and room microphone positions, plus
direct modes with no cabinet modelling.
The settings containing the indication `II’
are derived from closed-back cabinets (the
settings without indication are derived
from open backed cabinets)
Ø (Phase)
ON/OFF
Polarity (phase) of the final output, ON is
180° from original.
OUT
-24 to +24 dB
Overall signal level adjustment. LED Meter
lit to show output level.
Distortion
(POPUP)
(POPUP)
Output
Page 18
McDSP Chrome Tone
Chrome Tone Specifications, Modulation on Chrous,
Tremolo and Wah Pages
Parameter
Settings
Function
-24 to 24 dB
Determines the input gain of the
effect section.
THRESH
-40 to 0 dB
Level at which the envelope
follower is triggered. When
the input signal rises above the
threshold, the envelope ‘opens’
at a rate determined by the
Attack control. When the input
signal drops below the threshold,
the envelope ‘closes’ at a rate
determined by the Decay control.
DEPTH
-100 to 100
Amount (positive or negative)
the envelope follower affects the
Wah (or other filter) frequency
(or Tremolo gain, or Chorus delay
length).
ATTACK
1 to 100 msec
Rise time of the envelope follower
DECAY
100 to 1000 msec
Fall time of the envelope follower
MOD
-100 to 100, routable to Auto
LFO Shape (S), Rate (R), and
Depth (D)
Amount (positive or negative)
the envelope follower affects the
Auto section’s LFO Shape mix,
Rate, or Depth amount.
S R D (LED)
LEDs
Enables or disables the
modulation of the Auto section’s
LFO Shape, Rate, and Depth
SPLIT MODE
LED
Separates the envelope follower
signal into a left and right
channel, each with the reverse
polarity of the other. This allows
one channel to increase the Wah
filter (or other filter) frequency
while the other channel decreases
the frequency
INPUT
Input audio, side chain audio,
MIDI note, MIDI velocity, MIDI
controller
Selects incoming audio, side chain
audio, MIDI note, MIDI velocity,
or MIDI controller (1-128) as the
source from which the Dynamic
envelope follower is triggered
Input
GAIN
Dynamic Section
mcdsp.com
Page 19
Parameter
Settings
Function
SHAPE
-100 to 100
The mix between two selected
LFO waveforms
Shape Types:
Sine, Triangle, Saw Up, Saw
Down, Square
LFO waveforms
Shape multiple:
1x, 2x, 3x, 4x
The second shape can also be a
multiple of the first shape (1x, 2x,
3x, or 4x)
RATE
0.1 to 10
Speed of the LFO
Rate Multiplier:
0.1x, 1x, 10x
Rate control for 0.1x, 1x, and 10x
operation
DEPTH
0 to 100
amount the Auto section
affects the Wah (or other filter)
frequency
SPREAD
0 to 180
Phase difference in the LFO for
the left and right channel, up to
180 out of phase
SYNC
MIDI Beat clock sync enable
Enables MIDI beat clock syncing in
a variety of beat intervals
<GROOVE>
Slider: -180 to +180, 0 being
the un-grooved value
Moves the LFO within the MIDI
beat clock timing to allow the
peaks of the LFO waveform to hit
(or miss) beat boundaries
-24 to +24 dB
Overall signal level adjustment.
LED Meter lit to show output
level.
Auto Section
Output
OUT
Page 20
McDSP Chrome Tone
Chrome Tone Specifications Chorus
The Chorus effect is the
modulation a set of
delay lines to create a
more spatial or sonically
rich sound. This effect
is common in guitar and
keyboards, and a variety
of other instruments.
Parameter
Settings
Function
CHORUS TYPE
Flange, Chorus 1, Chorus
2, Analog Delay (in Stack
configuration only)
Selects between Flange, Chorus 1,
and Chorus 2 modes. In the Stack
configuration, an Analog Delay
mode is also available for up to 1
second of analog delay.
DELAY
0 to 100
The total delay line lengths used
to create the delay modulated
effect
FEEDBACK
-100 to 100
Amount of delayed signal feed
back into the input of the delay
line/s
MIX
0 to 100
Balance between the dry (undelayed) and wet (delayed) signals
RANGE
0 to 100
Overall modulation range from
both the Dynamic and Auto
sections
mcdsp.com
Page 21
Chrome Tone Specifications Tremolo
The Tremolo effect is the
modulation of the volume
(gain) of a signal path.
This effect is common in
guitar and keyboards,
and a variety of other
instruments. The beating,
or volume movements can
add life to an otherwise
dull performance.
Parameter
Settings
Function
MIX
0 to 100
The amount of dry (unaffected)
signal and wet (tremolo’d) signal
RANGE
0 to 100
Overall modulation range from
both the Dynamic and Auto
sections
Page 22
McDSP Chrome Tone
Chrome Tone Specifications Wah
Parameter
Settings
Function
WAH TYPE
3 wahs, 3 low pass, 3 high pass,
3 phasors, wah + low pass,
high pass + wah, experimental,
12/24/36 dB per oct in each set
of filter types
14 filter options: 3 types of band
pass wah including the standard
wah filter type found on many
Wah pedals, 3 high pass filters
(12, 24, and 36 dB/oct), 3 low pass
filters (12, 24, and 36 dB/oct), 3
phasors (2, 4, and 6 stages), a
wah plus low pass filter, a high
pass plus wah filter, and an
experimental wah filter
FREQ
0 to 100
Frequency of the selected
filter type. From this value the
modulation of the frequency is
initiated
Q
0 to 100
Resonance, or peak-emphasis, of
the selected filter
RANGE
0 to 100
Overall modulation range from
the Dynamic and Auto sections
mcdsp.com
Page 23
DSP Delay
The delay incurred by any of the Chrome Tone plug-In configurations is ZERO
samples. On HD systems the delay is 1 (ONE) sample. There is still a two sample
delay from the TDM connection to the Chrome Tone plug-In. This is the absolute
minimum number of delay samples a TDM plug-In can have. The McDSP plug-Ins
are designed in this manner to provide the user with the closest analog mixing
console experience possible (analog inserts such as EQ and compression do not
cause a processing delay when inserted into a track).
DSP Usage
HD, and HD Accel DSP hardware
The TDM versions of the Chrome Tone plug-in configurations use a varying
amount of dsp resources for each Chrome Tone configuration. The table below
is a listing of these dsp usages. The DSP Allocator utility provided by Digidesign
™ (or the DSP Usage display in ProTools ™ for PT version 6.2.3 and later) may be
used to display dsp resource allocation when ProTools ™ is running.
Maximum Instantiation Counts at 48 kHz
Configuration
(Mono)
# Instantiations per DSP on HD
systems
# Instantiations per DSP on
HD Accel systems
Amp
3
6
Wah
9
18
Chorus
7
14
Tremolo
12
24
Stack
1
3
Maximum Instantiation Counts at 48 kHz
Configuration
(Mono to Stereo)
# Instantiations per DSP on
HD systems
# Instantiations per DSP on
HD Accel systems
Amp
3
6
Wah
5
10
Chorus
4
8
Page 24
McDSP Chrome Tone
Configuration
(Mono to Stereo)
# Instantiations per DSP on
HD systems
# Instantiations per DSP on
HD Accel systems
Tremolo
7
14
Stack
1
2
Many of the Chrome Tone plug-In configurations can operate on the same dsp,
depending on the configuration’s dsp requirements. Below the percentages of
each HD or HD Accel dsp used by a single instantiation of a Chrome Tone plug-In
configuration are shown:
Maximum Instantiation Counts at 48 kHz
Configuration
(Stereo)
# Instantiations per DSP on HD
systems
# Instantiations per DSP on
HD Accel systems
Amp
1
2
Wah
5
10
Chorus
4
8
Tremolo
7
14
Stack
1
2
For HD systems, Chrome Tone supports all higher sample rates (96 kHz
only). However due to the dsp usage of some of the larger Chrome Tone
configurations, not all configurations are available at the higher sample rates.
For 96 kHz operation the dsp usage is doubled (x 2).
ProTools|24, Nubus, and MIX DSP hardware
The processing requirements of the Chrome Tone plug-In exceed the capacity
of the ProTools|24 (Classic DSP Farm) and Nubus dsp hardware. While McDSP
recognizes the significant population of ProTools users who operate on these
hardware cards, Chrome Tone is too large an algorithm to be supported on the
ProTools|24 and Nubus hardware.
Digidesign™ and ProTools™ are registered trademarks of Digidesign, Inc.
mcdsp.com
Page 25
www.mcdsp.com
Copyright 2009 by McDowell Signal Processing,LLC.
All trademarks are property of their respective owners.
McDSP is a trademark of McDowell Signal Processing,LLC.