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Signal Processors

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    Using Your Plug-in Delay Effects

    Sequencer Delay Masterclass

    Although delay can be one of the most simple studio effects, software delay plug-ins often provide a bewildering array of options. So we take a look at what all the sliders and switches do, and provide advice on how best to use them.

    Techniques Jul 2003
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    Using Your Sequencer's Reverb Processors

    Masterclass

    Reverb is vital for most types of modern music production, so it's no surprise to find that many sequencers provide a variety of reverb plug-ins. But what do all those different parameters do?

    Techniques Jun 2003
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    Q & A

    Your Questions Answered

    What advantages are there to variable input impedance? • How can I extract loops from audio sample CDs? • Can I use the True Tape option in Cubase to prevent clipping? • Should I use S/PDIF or AES for long cable runs? • Can you have too much low-frequency absorption? • What's the best way to use the multiple filters on my soft synth?

    Sound Advice Jun 2003
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    Using Your Sequencer's Equalisers

    EQ Masterclass

    There are many choices to make when equalising within your sequencer. Which type of EQ is best? How should you set up the different bands? Which controls do you need? We provide some answers...

    Techniques May 2003
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    Using Your DAW's Gates & Expanders

    Software Gating Masterclass

    Following on from our discussion of compression and limiting last month, let's look at how you can use the related processes of gating and expansion within your DAW.

    Techniques Apr 2003
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    Using Your DAW's Compressors & Limiters

    Software Dynamics Masterclass

    All of the main MIDI + Audio sequencers now have a bewildering array of compression and limiting plug-ins built in, but many home musicians are unclear about what all those controls and options do. And with so many varieties of each plug-in available, which one should you choose for the job in hand?

    Techniques Mar 2003
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    Advanced Reverberation: Part 2

    Effective Treatments For Your Mixes

    Used correctly, reverb is of the most powerful tools of modern music production. This month, we explore the most effective treatments for some of the individual components of a mix.

    Techniques Nov 2001
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    Advanced Reverberation: Part 1

    Simulating Real-world Spaces

    Paul White looks at how real reverberant spaces affect the perception of sounds within them, and shows you how your digital reverberation unit can simulate this process.

    Techniques Oct 2001
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    What Is An Equaliser?

    Theory & Applications

    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.

    Techniques Jul 2001
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    Fred Speckeen Of TC-Helicon

    The Science Of Voice Modelling

    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.

    People Apr 2001
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    Understanding & Emulating Vintage Effects

    Sound Techniques

    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.

    Techniques Jan 2001
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    Advanced Compression Techniques, Part 2

    Tips & Tricks

    Paul White further explores the secrets of successful compression, and explains how to use advanced techniques for mastering your mixes.

    Techniques Jan 2001
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    Boss SE-50 on Vocoder patch

    Power Vocoding

    Using The Boss SE-50 & SE-70's Vocoder Patches

    There's more to vocoders than 'Mister Blue Sky' — and with the vocoders available on some current multi-effects processors, creative vocoding is now available to almost anyone.

    Techniques . Jan 1994

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