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.
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.
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.
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.
The roles of the various signal processors and effects used in audio production are pretty well understood by most musicians, but it's not always obvious where they should be patched into the signal chain to give the best results.