EQ is a vital tool in modern music production, and an understanding of how each type of equaliser works is important if you are to choose the most effective one for each situation. Paul White and Mike Senior explain the basic principles of equalisation and the different practical implementations.
TC‑Helicon's revolutionary VoiceCraft card for their VoicePrism processor allows the user to radically reshape the whole character of a vocal sound, adding tonal and inflectional changes that go way beyond the capabilities of current voice processors. Paul White talks technology with designer Fred Speckeen.
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.
Antares Auto-Tune is a powerful pitch-correction tool which is already an industry standard for tightening up vocal performances. As Paul White explains, however, it has the potential to do much more...
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.
All recording setups incorporate effects devices of one sort or another, but it's easy to end up using them only in the same predictable ways. Roger Jackson introduces some more imaginative ways to freshen up your productions.
Delay, originally called echo, is one of the oldest artificial effects, yet it can still be one of the most impressive — if used with care. Paul White explains the potential problems and how to avoid them.