Effects

In Part 1, we saw how manufacturers realised that putting DSP effects on synths made for great sales. Subsequently, they twigged that it was also a good idea to let us take them off again (selectively), and route and adjust them ourselves.

Chorus, phasing and flanging are very common processes, but they don't always achieve the effect you hoped for. Paul White offers a few tips.

Paul White concludes his series with an exhortation to unleash your creativity...

Paul White looks at how MIDI can be used to turn static effects into dynamic ones.

Having looked at the various types of effects available, Paul White explains the importance of the order in which these effects are applied.

Modern multi-effects units provide all sorts of useful processors in addition to the more usual reverb and delay-based effects. Paul White discusses the extras you might find inside your effects box and how best to use them.

To start off this short series on multi-effects programming, Paul White explores the key building blocks found in today's versatile units.

The roles of the various signal processors and effects used in audio production are pretty well understood by most musicians, but it's not always obvious where they should be patched into the signal chain to give the best results.