MODULATION — PRACTICE RECORD Videomontazher / Fairlight / SPACE / FX · 09 Reference review: 8 October 2026 TASK Choose a purposeful movement, set the shared modulator and compare one section with two combined. Evaluate Phase, Ring and overall source balance separately. Work in a duplicate timeline and record the same passage. 1. PREPARE THE SOURCE AND PROCESSING SCOPE Resolve version and edition: ____________________________________________ Project / duplicate timeline: ___________________________________________ Source with several seconds of sustained sound: _________________________ Range, in / out: _______________________________________________________ Role — pulse, timbre, filtering or position: _____________________________ Where the movement should begin and end: ________________________________ For one source, add Modulation to its clip from Audio FX in the Effects Library. For a track or bus, use the Mixer channel's Effects section. Confirm the object name, channel format and other active inserts. Clip / track / bus and name: ____________________________________________ Channel format: ________________________________________________________ Insert order: __________________________________________________________ Parallel path, if used: _________________________________________________ Dry path and fully processed return checked: ____________________________ Rotation is available on a multichannel track. If absent in mono, start with a format check. Native Frequency, Amplitude, Filter and Rotation can operate together. Choosing one for the first comparison makes the result easier to judge; it does not impose an interface restriction. 2. COMPARE SHAPE AND RATE The manual names six shapes: Sine, Triangle, Saw1, Saw2, Square and Random. Compare two at the same rate. Keep the preferred shape, then change Rate alone. For example, 1 and 2 Hz make a clear speed comparison; these are teaching points, not a recommended finished preset. Shape A __________________; Shape B __________________ Shared comparison Rate ______ Hz Character difference on the same source: ________________________________ _______________________________________________________________________ Chosen Shape __________________ Rate A ______ Hz; Rate B ______ Hz; chosen ______ Hz Speed and timbral difference: ___________________________________________ _______________________________________________________________________ The manual panel shows Rate from 0.05 Hz to 2 kHz. The upper region can produce a pronounced timbral change whose character depends on Shape. The unit is Hz; do not record it as BPM or a note division without a separate calculation. 3. BUILD ONE DOMAIN, THEN A COMBINATION Choose the domain that serves the task. Amplitude is a useful first choice for a pulse. Keep other domains neutral for the comparison; then add a second section and alter Phase in only one of them. First section: _________________________________________________________ Its Level / amount A ______; B ______; chosen ______ Its Phase: _____________________________________________________________ First section's result: _________________________________________________ Second section: ________________________________________________________ Its Level / amount: __________________; Phase: __________________________ Second section alone first: ____________________________________________ Then both together: ____________________________________________________ Changed Phase of __________ from __________ to __________ Change in the interaction of movements: _________________________________ _______________________________________________________________________ Panel scales: Frequency Level and Amplitude Level 0–100%; Filter 0–100%; Tone 200 Hz–10 kHz; Rotate 0–180°; Offset L↔R. Phase knobs have marks at 0/90/180/270°. The last mark does not establish the full numerical limit. The upper Filter frequency display reads 10 Hz–16 kHz; do not substitute it for Tone's range. The manual text assigns no separate parameter name to the vertical −1/0/+1 scales beside FM/AM. Additional Ring Modulation Mode comparison: enabled / disabled Result on the same material: ____________________________________________ _______________________________________________________________________ Ring multiplies the signal by the modulator, and Amplitude Level is unavailable. Check the mode before treating the inactive knob as a fault. 4. EXAMINE DEPENDENCIES IN THE TEACHING INTERACTIVE The diagram calculates LFO, AM, FM and Ring together. AM/FM/Ring buttons highlight a curve; they do not imitate an exclusive native dropdown. The shared teaching depth affects AM/FM; Ring is independent of that depth. Starting Shape ______; Rate ______ Hz; depth ______ % Phase ______ °; Dry/Wet ______ % Changed Rate alone — visible difference: _________________________________ Changed depth alone — AM/FM: ____________________________________________ Ring during that same depth change: _____________________________________ Changed Phase — what shifted: ___________________________________________ Changed Dry/Wet — original contribution: ________________________________ Bypass and return to retained inputs: ___________________________________ The model uses a 10 Hz example carrier and a 1.25-second window. Rate is limited to 0.2–8 Hz here; shared Phase spans 0–360°. The six shapes are authored teaching forms, and Random uses a fixed sequence. This does not replace the native sections' separate Phase controls. Filter, Rotation, recorded audio and Resolve's own algorithm are not modelled. Idea to verify in Resolve: ______________________________________________ 5. COMPARE IN CONTEXT, SAVE AND REPEAT Compare the result with Modulation's own Bypass at similar perceived loudness. Dry/Wet sets overall balance and Output Level sets output; the illustration shows −24 to +24 dB for Output. Do not confuse overall Dry/Wet with an individual section's Level. Check several cycles with picture, attacks and quiet source detail. Check mono for spatial movement. Dry/Wet ______ %; Output Level ______ dB Attacks and quiet detail: _______________________________________________ Relationship to picture movement: _______________________________________ Does the effect distract from dialogue or musical rhythm: ________________ Stereo / mono: _________________________________________________________ Relationship over several cycles: _______________________________________ If Echo is in the chain, compare Modulation before and after it when useful. Change only the order, judge the same passage and choose from the result. Before Echo: ____________________________________________________________ After Echo: _____________________________________________________________ Chosen order and reason: ________________________________________________ Automation and its interval, if needed: _________________________________ Preset / project / documented routing: __________________________________ After reopening — matches / differs: ____________________________________ Reference file and effect boundaries: ___________________________________ File observation: ______________________________________________________ What improved: _________________________________________________________ What still distracts and the next change needed: _________________________ _______________________________________________________________________ REFERENCES AND SCOPE DaVinci Resolve 21 Reference Manual: chapter 181, Modulation, pp. 4118–4120; common Fairlight FX controls on p. 4090; insert scope and order in chapter 180, pp. 4083–4087. https://documents.blackmagicdesign.com/UserManuals/DaVinci_Resolve_21_Reference_Manual.pdf https://www.blackmagicdesign.com/products/davinciresolve/fairlight This record stores your settings and observations. It is not a native preset and contains no pre-approved listening result.