Signal Processors

Creating your own shimmer reverb effects is easy, and gives you plenty of creative control.

Have IK managed to bottle the sound of the famous Hollywood studio?

Ever wondered how a Leslie cabinet with four different speakers would sound?

This studio VCA compressor in a pedal employs THAT VCA chips like those found in, for example, modern iterations of the SSL bus compressor.

McDSP's software-configured analogue processing system now has new hardware and software options — and support for more DAWs.

Just over a year ago I reviewed the Tiptop Audio Z‑DSP NS. It's a large, flagship, modular effects processor...

How close do these modelling plug‑ins sound to the real thing?

Two channels of Pultec-style EQ in a 500‑series module would be enough for most manufacturers. But not for Wes...

Mike Senior explores the subject of Haas delays at mixdown, explaining how they work, how to get the best out of them, and how to avoid the most common traps associated with them.

MorphVerb's stylish interface is dominated by a large dial, which lets you blend between two reverb algorithms...

Remnant comprises two delay lines, from which a granular engine takes segments and processes them.

What more can this plug‑in offer than the hardware that inspired it?

These audio examples accompany the review of Black Lion Audio’s Bluey FET compressor in SOS June 2020

If you like looking to effects for musical ideas, this plug‑in's worth checking out.

It's not every day you find a channel-strip plug‑in that offers out-there features such as pitch and formant shifting!

Manley's well-liked optical compressor gets a makeover in time for its 30th birthday!

Cirrus combines delay, reverb, dynamic modulation, dynamic filtering, sample & hold modulation and octave shimmer in a single digital pedal.

I've got a Zoom MS-70CDR [multi-effects] pedal, and a few people are saying not to use it via an aux send and return, owing to a comb-filtering issue. Have you noticed this issue with digital pedals on aux returns?

I've always advised my students to set their high-pass filter slope at a steep setting of 48dB per octave to reduce boominess. Is this the best advice to give my students, who are very much at the beginner stage?

Plug‑in models of classic hardware can sound great if you feed them the right level. But what level is right?