The effects of delay are a lot more prevalent in these examples as sounds are repeated, echoed, and fed back to achieve richer layering to create a rhythmic symphony of psychedelia. More pronounced delay effects like these still resonate throughout music today and give musicians a whole palette of experimental possibilities. Even the simplest arrangement can be filled out using creative delay techniques.
Shorter uses of delay, like slapback or doubling effects, are useful for filling out a performance, especially vocals or guitar. Drawn out delays with multiple taps are useful for creating whole new rhythms and layers in a performance. Multi-tap delays are common in dub and techno to create the swirling synth lines common to the genres.
When a sound occurs, two things happen: A the direct sound hits your ears B a bunch of other sound waves bounce off of surfaces before reaching your ears. Those other sound waves will reach your ears later and with less energy therefore quieter. Reverb is a bunch of echoes all happening at the same time, so you hear them as one single effect: reverb.
The most obvious examples of reverberant spaces are tunnels, cathedrals, halls and caves. In music gear such as pedals and amps , electromechanical analog reverb is created using a metal plate or spring that picks up echoes and vibrations inside the tank and transforms it into signal with an analog circuit. Digital reverbs and reverb plugins calculate the needed delay, level, frequency response and algorithmically generate multiple echoes.
Reverb brings some sustain to a sound and makes it stick around for longer—often referred to as reverb tails. It gives a dreamy, even solemn quality to your signal think a choir in a big cathedral. Reverb makes things sound further away in the mix if you push the wetness and bring down a lot of the original dry signal. It can widen the mix and make it sound bigger and fuller.
It smoothes out little hiccups and adds sustain to your sound. Hot Tip : Use reverb creatively by sampling long reverb tails and using them as a synth pad video. Chorus is an effect obtained when similar sounds with slight variations in tuning and timing overlap and are heard as one. It happens naturally when multiple sources make a similar sound overlap.
Think of a real life choir singing multiple parts at the same time. They all overlap to form a distinct sound. The chorus effect does the same thing! Chorus as an electronic effect works in the following way: the chorus audio processor whether a pedal, effects unit or plugin makes copies of the original audio signal and applies delay and pitch-modulation using LFOs to those copies.
A stereo chorus does the same, with added panning in the delays and offset phase on the LFO. This causes those added copies and modulations to go between your left and right. The effect will sound fuller because of the movement in your stereo field. It creates a fuller, thicker sound that subtly moves. A stereo chorus widens your stereo image. Distortion is an overloading of the audio circuit that causes the signal to clip. Bit-crushing is the lo-fi digital equivalent of the distortion effect.
Distortion changes your original signal by pushing the sound to clip and compress. This adds harmonic content and colors the sound in a pleasant way.
Bit-crushing works by reducing the resolution of a sound—specifically the sampling rate or the bit rate. Distortion comes in many flavours, depending on what kind and how much you apply. Different types of circuits will produce different kinds of distortion. For example: Distortion obtained with tubes is often warmer and adds harmonics that thicken the sound.
Bit-crushing sounds crunchy—think video game music.
Distortion is commonly used with electric guitars and increasingly on synths. It can be achieved with pedals, effects units, rackmounts, VSTs or is sometimes built into amplifiers and pre-amps. Equalization or EQ is the cutting or boosting of a particular frequency or range of frequencies in the frequency spectrum.
Humans can hear audio frequencies roughly between 20 and 20 Hertz Hz. Any sound that human ears perceive sits somewhere in that frequency spectrum. EQing is like sculpting: it shapes the existing frequencies of your sound. By cutting or boosting certain frequencies, EQ shapes the tone and character of your sound.
Effects: All You Need To Know And A Little Bit More
EQing also changes the balance between the frequencies that are already there. EQ changes the character of your sound either very subtly or dramatically. Cutting high end will make your sound darker. Boosting the high end will make it brighter. EQ is a key tool for good mixing. It gives you the power to carve out space in the frequency spectrum for each of your sounds to get them sitting right in the mix. Without EQ, your mix could sound dull or muddy due to certain sounds masking each other. EQ is used to remove undesirable elements from a recording.
EQ is also a way to boost the key elements in your mix.
- Studio/stage vocal effects.
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Read about creative versus corrective EQ approaches. Compression is the reduction of dynamic range—the difference between the loudest and quietest parts of an audio signal. When compression is applied, the quieter parts of the signal are boosted and the louder ones are attenuated.
Effects: All You Need To Know... And A Little Bit More
Compression reduces the dynamic range of a signal. The dynamic range is the difference between the loudest and the quietest parts of a signal. Compressors lower the volume of loud peaks—they even out the notes that stick out in the mix.
This allows you to bring up the gain of the whole signal without clipping. Ideally compression sounds punchier and tighter. Compression also allows you to get more average loudness. The beauty of compressors is that each of them is unique and will add a different color to your sound. So get to know your compressors well. So overall, using compressors right gives you a more polished and punchier sound without clipping.
It allows you to get get more overall average loudness and keep the peaks in check. By reducing the dynamic range of certain sounds it lets you balance levels between instruments in a mix more effortlessly. Read more about compression parameters and how to use them. A two-unit looper function, which uses dedicated footswitches to start and stop phrases, allows you to record and overdub phrases up to 80 seconds long through the effects of your choice.
The G5n can be easily integrated into any live performance or studio rig. With the new Zoom Guitar Lab 3. Guitar Lab 3. For user convenience, the new Clipboard function memorizes up to four effects with custom parameters, so you can copy and paste them onto other patches. Take your recordings to a more professional level. For information on license activation and upgrades, visit our Steinberg Software support page. Download G5n Firmware V2. Create your signature sound Easy editing Editing is simple and intuitive thanks to a unique, large overview display that allows you to quickly add, delete, or change the order of effects—something not easily accomplished with the average pedalboard.
Practice up, play out. The ins and outs The G5n can be easily integrated into any live performance or studio rig. Download and install the new, custom-created patches from Zoom and Zoom Creators Features At A Glance. Media Video Video of G5n: Introduction. Video of G5n Firmware Update. Video of Ozielzinho - Downloadable G5n Patches. Downloads Images. Documents G5n V2. G5n V2. Guitar Lab Reference Guide. Faults and Workaround in Guitar Lab - Windows Compatible Application Software. Guitar Lab. G5n Firmware Version 3. G5n - Additional Patches.
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