FAIRLIGHT · DISTORTION · PRACTICE
9 October 2026 / Resolve 21

Wave shape. Harmonics. Level control.

Give a sound density, roughness or the character of overdriven equipment. Control its waveform, separate distortion amount from output level and preserve the details that matter in the mix.

This is a listening worksheet, not a Resolve preset or an audio-processing tool.

1. Define the task and keep the source
Choose quiet and loud parts of one passage. Record the intended character and the detail that must survive.
Result: __________________________________________

2. Compare the two native modes
In Resolve, audition Distortion and Destroy separately on the same input. Change central Level and Ceiling one at a time and note the response.
Result: __________________________________________

3. Set bandwidth and blend
Compare High Cut/Low Cut, then Dry/Wet. Check consonants, attack and the dry route’s role.
Result: __________________________________________

4. Match comparison loudness
Use Auto Level to help and finish the comparison manually with output Level. Check final output and the scene context.
Result: __________________________________________

5. Record the result
Note mode, settings, input level, Auto Level, chain order and automation boundaries. Repeat the check after reopening and in a render.
Result: __________________________________________

CONTROL RECORD
Source: __________________________________________
Scope (clip, track or bus): _______________________
Input reference level: ___________________________
Native mode (Distortion / Destroy): ______________
High Cut (1…20 kHz): ______
Low Cut (20 Hz…1 kHz): ______
Distortion Level (0…100%): ______
Ceiling (−24…0 dB): ______
Dry/Wet (0…100%): ______
Output Level (−24…+24 dB): ______
A / Auto Level (on/off): ______
Chain order: _____________________________________
Automation interval: _____________________________
 
Ceiling is the input clipping threshold, not a final true-peak target. Auto Level is gain compensation, not programme LUFS normalisation. The lab tanh/cubic curves and RMS matching are authored examples, not native algorithms.

LISTENING CHECK
[ ] Same reference passage and matched listening level
[ ] Attacks / consonants / quiet detail checked
[ ] Checked in context; mono checked for parallel/stereo treatment
[ ] Reopened project and short render reviewed

Benefit: ___________________________________________
Remaining question: ________________________________

PRIMARY SOURCES
https://documents.blackmagicdesign.com/UserManuals/DaVinci_Resolve_21_Reference_Manual.pdf#page=4105
https://www.blackmagicdesign.com/products/davinciresolve/fairlight