Signal Processors

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.

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?

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.

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.

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.

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

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.

Paul White looks at different gain-control elements and their effect on audio.

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.

I am quite new to home recording and have, so far, been recording my voice through my Boss GX700 guitar effects processor...

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...

The way you use effects and processors can make or break a mix. Paul White offers 20 useful tips to help you get it right first time.

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.

Paul White conjures up a nostalgic tape effect using an MIDI + Audio sequencer.

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.

With so much high-end analogue processing gear using valves these days, it's easy to assume that they invariably equate to a better sound — but that's not always the case. Paul White explains.

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.

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 explains why a great reverb doesn't always make a mix sound better.

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