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支持系统：Windows 

音源厂商：http://www.davehilldesigns.com/RA.html

独立安装程序 PC

文件大小：3MB

RA 是一款非线性插件，专为对插件性能要求极高的专业音频工程师打造。该插件可以理解为一个过载的放大器（波形压缩），但可以控制过载的部分。打个比方，它就像摄影中的曲线功能。

RA 中的控件分为四组。

第一个也是最有用的控件是 LOW LEVEL 控件；它位于图形的中间。此控件可以增强音频的低电平内容。它也可以理解为细节控件。它的功能类似于一个过载的放大器，但主要作用于信号的低电平部分，而较少作用于高电平部分。此控件会产生三次谐波失真。LOW LEVEL 控件还可以通过增强其他插件的效果，从而对其产生倍增效应。

LOW LEVEL 控件适用于几乎所有类型的信号，有点像没有启动和释放时间的向上压缩。在人声上试用一下，感受一下动态变化。

第二个控制组是峰值 (PEAK) 控制。它们就像一个可调节的软削波器，或者一个放大器，你可以控制其饱和度，但不会改变信号的低电平部分。PEAK 控制产生的失真是三次谐波。PEAK 控制会将波形的峰值修整，并具有一个可更改的硬度值。硬度 (HARDNESS) 控制的软设置 (0) 将峰值限制在约 -3dbfs，硬设置 (100) 将峰值限制在约 -10dbfs。

举个例子：以一个峰值在 -3dbfs 范围内的小军鼓音轨为例。将低电平 (LOW LEVEL)、峰值 (PEAK) 和硬度 (HARDNESS) 控制设置为最大值。查看电平表，你应该会看到峰值读数在 -10dbfs 左右，但使用插件时，它的音量应该比使用旁路时更大。这也有助于防止偶尔的过载。

下一个控制组生成均匀的谐波内容。这些控制旋钮是最难听清和描述的，因为二次谐波是一个八度。测试中，如果只有二次谐波，有些人听不出50%的失真。但它确实会改变声音的感觉，并产生一种厚重的效果。"顶部"旋钮使波形的顶部变得圆润，而"底部"旋钮使波形的底部变得圆润。两者结合使用时，可以消除偶次谐波成分，并保留三次谐波失真。

尝试将其中一个旋钮与原声吉他、贝斯或底鼓上的"低电平"旋钮配合使用。您可能已经注意到，在某些录制的音轨中，波形可能仅在其顶部或底部边缘出现偏移或峰值，这是偶次谐波成分造成的。

最后一组有两个旋钮更像是日常维护。位于信号处理器前面的第一个旋钮是"驱动"旋钮，其范围为正负6 db。由于失真发生器依赖于电平，这将允许过程或多或少地进行激进的操作，并能够更好地将过程与音轨匹配。DRIVE 控制也是从输入到输出的单位增益。但是，如果您有一个 -1dbfs 的信号，并将驱动增益增加到 +6 db，则会发生削波，削波指示灯将变为红色。

插件的最后一个控制是输出电平微调，其范围为正负 6 db，用于匹配增益。使用微调控制对信号进行削波将点亮削波指示灯，但颜色控制无法进行削波。LEVEL TRIM 的主要用途是进行电平匹配，由于曲线弯曲非常非线性，因此不可能获得固定的单位增益。

图形显示信号如何失真，并有助于预测插件将执行的操作。这些控制是交互式的，这意味着每个控制都会影响其前面的过程。想象一下图形程序中的曲线显示。

RA is a Nonlinear plug-in for the professional Audio Engineers that demand the most from their plug-ins. The plug-in can be thought of as an amplifier that is being over driven, (Wave Form Compression), but there is control over what part is being overdriven. An analogy from photography, it is like the curve function.

The controls in RA are divided into 4 groups.

The first and most useful control is the LOW LEVEL control; it is in the middle of the graphic. This control brings up the low level content of the audio. It may also be thought of as a detail control. It functions like an amplifier being over driven, but works more on the low level part of the signal and less on the high level part. This control generates third harmonic distortion. The LOW LEVEL control can also have a multiplying effect on other plug-ins by increasing their effect.

The LOW LEVEL control is useful on most any kind of signal and is a little like upward compression with out attack and release times. Try is on a vocal and listen to the dynamic change.

The second control group is the PEAK controls. They are like an adjustable soft clip, or an amplifier where you have control over how it saturates, but leaves the low level part of the signal alone. The distortion generated by the PEAK controls is third harmonic. The PEAK control rounds off the peaks of the wave shape and has a hardness value that can be changed. The HARDNESS control's soft setting (0) limits the peak to approximately -3dbfs and the hard setting (100) limits peaks to approximately -10dbfs.

An example to try; take a track with a snare drum that peaks in the range of -3dbfs. Set the LOW LEVEL, PEAK and HARDNESS controls to max. Look at the meter, what you should see is a peak reading around -10dbfs but it should be louder with the plug-in engaged as compared to bypass.It is also useful in preventing an occasional over.

The next control group generates even harmonic content. These controls are the most difficult to hear and describe. Being that the second harmonic is an octave. In a test some people did not hear 50% distortion if it is only second harmonic. But it does change the feel of things and can have a thicking effect. The TOP control rounds off the top of the wave shape and the BOTTOM control rounds off the bottom of the wave shape. When used together it is possible to have the even harmonic content cancel and have third harmonic distortion left.

Try one of these in conjunction with the LOW LEVEL control on an acoustic guitar, bass or kick drum. You may have noticed that on some recorded tracks that the waveshape can have a shift or peaks on only it's top or bottom edge, this is a result of even harmonic content

The last group has two controls are more like house keeping. The first control which is in front of the signal processing is a DRIVE control that has a plus and minus 6 db range. Being the distortion generator is level dependent, this will allow for a more or less aggressive operation of the process and the ability to better match the process to the track. The DRIVE control is also unity gain from the input to the output. However if you have a -1dbfs signal and increase the drive gain to +6 db you will clip and the clip light indicator will turn red.

The last control of the plug-in is an output level trim which has a range of plus and minus 6 db for matching gain. Clipping the signal with the trim control will light the clip light indicator, but the coloring controls cannot clip. The main use of the LEVEL TRIM is for level matching, being the curve bending is very non linear it is not possible to have a fixed unity gain.

The graphic display shows how the signal is being distorted and is useful in the prediction of what the plug-in will do. The controls are interactive which means each one will affect the process in front of it. Think of the curve display in a graphics program