Effects

Eventide's new entry-level unit brings their high-end algorithms within reach of the serious home studio owner.

Modern digital effects units always include emulations of analogue effects such as tape delay and flanging — but none of them ever seem quite like the real thing. Paul White explains how these vintage effects worked, and offers insight into how our modern attempts could be made more accurate.

In the final part of his short series on pushing back the boundaries of effects processing, Paul White explores many different applications of audio filters, as well as exploring the possibilities of granular synthesis.

Most people are familiar with basic reverb, delay and modulation effects, but what lies beyond? In the first part of a new series, Paul White explores the twilight zone of effects processing.

Line 6 have released two DSP-based effects pedals that use physical modelling to recreate the echo, delay and modulation treatments of a bygone age. Paul White — who was there first time around — finds out how they measure up to the real thing.

Lexicon's new mid-priced unit strikes a balance between the ease of use of their budget gear and the flexibility and sonic class of their high-end products. Paul White gets an exclusive first look...

Can these new digital interpretations of classic analogue filters and vocoders really offer something new?

Mike Collins provides some early reflections on TC Electronic's latest reverb unit and effects processor.

Though marketed as a guitar effects unit, the G Force might be more accurately described as a full-function studio effects processor with some neat guitar-related functions added.

We try out what must be the most cost-effective programmable 24-bit effects unit on the market. But can quality really come at such a low price?

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.

Can this intriguing little box really emulate the recorded sound of many of the world's greatest guitar amplifiers?

If you've £250 to spare and a reverb-shaped hole in your studio, Lexicon would like you to fill it with their latest budget processor, which offers 20-bit converters, a digital output as standard, and the famous Lexicon Ambience effect.

ART have been championing the cause of musicians on a budget for years with their great value multi-effects units. We check out their latest effort, offering true 4-in, 4-out capabilities for under £300.

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.

There have been Leslie simulators before, but none to exploit the sympathetic warmth of valves.