Effects

Take Sonar back to the ’60s with this vintage-style tape-flanging effect!

Whether you're a beginner or a seasoned pro, there's always something to learn about adding colour to your mix.

I have several phasing and flanging plug-ins, and the same effects on my Korg Triton. While not identical, the two effects...

I have just bought an old spring reverb unit called the Great British Spring off eBay. It sounds great but if I feed any drums through it, it makes a weird 'ping' sound...

How much difference is there between the quality of a VST reverb plug-in and a hardware reverb processor such as the...

I am trying to recreate the famous gated reverb effect on Phil Collins's records. Can you tell me how the original effect was created?

Get the most from your computer's CPU by learning how to put your effects plug-ins where they really count. Plus, find out how to increase your mixing power by incorporating hardware effects units into your software mixdown.

Do you use a software studio with plug-in effects but crave the effects quality that your favourite hardware processor used to provide? Well, you can have the best of both worlds... as this article explains.

Can you please tell me how to set up the Korg Kaoss Pad KP2 as an ordinary pitch-bender?

I'm looking for a decent stand-alone Leslie-style rotary speaker effect, mainly for use with keyboards, but also for guitars. Can you offer any suggestions?

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.

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.