Signal Processors

I was wondering if it's possible to use a single mono compressor that can be stereo linked (the Focusrite ISA430, for...

Although convolution is often associated with high-end reverb processing, this technology makes many other new sounds available to you once you understand how it works.

Is there any fundamental difference between filtering and EQ? The filtering I'm particularly interested in is linear-phase...

Is there any way of doing a SysEx dump of the program memories of my Korg Kaoss Pad into Logic on my Mac?

I am recording using a spaced-pair miking setup and I want to apply light compression to the signal. Where in the signal chain should I insert the compressor (pre- or post-fade), and will I have to buy a dedicated stereo compressor to do the job properly?

When using a compressor and an EQ as insert effects on a snare drum, is it better to use compression followed by EQ or EQ first then compression?

I record guitar using a Line 6 Pod Pro going into a Roland VMC7200 mixing desk via S/PDIF. While the guitar is plugged in, every so often a little audio spike comes through the monitors. Can you tell me what this noise could be and how to stop it?

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.

Could you explain (slowly!) the basic principles of how a compressor works, and what each control does, the ratio control in particular?

I have a compressor with inserts to access the side-chain. What is the side-chain and what would you use these inserts for?

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

In my hardware-based setup, with my TC electronics Triple*C compressor, is it possible to do the kind of limiting on a full mix where you end up with a waveform that is levelled off at the top and bottom, 'brick wall'-style?

I've heard various 'talking instrument' effects which some people attribute to a processor called a vocoder, while others describe it as a 'talk box'. Are these the same devices?

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.

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?

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?

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...

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.