Effect tricks anyone???

popcorn · Post by **popcorn** » Sun Jul 20, 2003 11:40 am

Hi, Raj!

I could send a SNG file with the effects I used to record my voice in our Easy Feeling song.All you need is to connect a mike in Audio input and to connect audio input 1 to FX1,but I don't know how to post it!

Maybe Sharp will help with the link.I could send a file to him!

Regards!

Donny

jazlover · Post by **jazlover** » Sun Jul 20, 2003 6:30 pm

I second the motion to add to the classic section.

S0C9 · Post by **S0C9** » Mon Jul 21, 2003 4:54 am

Chris,
Stereo Biphase Modulation - shouldn't it [by definition] cancel itself out ??

LOL....

Regards,
Steve

RINGO · Post by **RINGO** » Tue Jul 22, 2003 3:19 pm

If I give you guys any of my cool FX tricks, you'll have my signature sound.

That won't be good for business.

Peace.

Ringo

Timo · Post by **Timo** » Sat Aug 02, 2003 6:13 pm

Hehe. Ringo dood, I thought it was share and share alike. The few tips I outlined were from a selection of production-techniques I have found, learnt, and collected myself over a long time, and so I thought a few of them might be useful to others. Several of them are the tricks of my own programming and 'signature sound' too, but I'd still rather share them with the decent people here at IA, than other more busy and anonymous boards. Given the smaller, but friendly, regular userbase of the IA forums, I doubt sharing a few tips and tricks would be bad for 'business'.

Regards,

Timo

londonlad · Post by **londonlad** » Sat Aug 02, 2003 11:49 pm

I have something to add, not much

Just some stuff for beats when using a Triton.

Firstly, if you are looking for a 'live' sound, the rotary speaker effect chained to the stereo compressor is great. If you put the rotary effect on say the 'Jazz kit', at first it wont sound great, but if you then lower the wet / dry to about 40 / 60, then give it a bit of a boost with the compressor it sounds pretty good.

Another effect thats great (and in my opinion essential) for beats is the graphic effects IFX 008 St.Graphic 7EQ is fantastic for giving the kits a boost of power and aggression. If used with subtle panning (IFX 034 St.auto pan, about 20 / 80 wet / dry) use the mid range parameters ( 500hz. 1kHz, 2.5 kHz)

and lastly, try and separate the sounds as much as possible. give yourself as much control over the different elements of the beat as possible. Don't have your Kick, Snare and hi hats all on one track, have them on at least 3 separate tracks so that you can tweak the levels and get them right, and effect them differently. It might be that you have the kick spot on, but need more on the snare, or less on the hi hats, you need to have total control for both volume and effects for each. My last tune (shamless plug: southwesttwo, in the promotion section

) I used 8 tracks for percussion alone

laughing_bear · Post by **laughing_bear** » Sun Aug 03, 2003 7:11 am

Timo wrote:Hehe. Ringo dood, I thought it was share and share alike. The few tips I outlined were from a selection of production-techniques I have found, learnt, and collected myself over a long time, and so I thought a few of them might be useful to others. Several of them are the tricks of my own programming and 'signature sound' too, but I'd still rather share them with the decent people here at IA, than other more busy and anonymous boards. Given the smaller, but friendly, regular userbase of the IA forums, I doubt sharing a few tips and tricks would be bad for 'business'.

...and it is exactly THIS ATTITUDE that makes this IA Board stand out from other boards!

and sure is much appreciated Timo!! By reading your post, I was very aware that this is the result of many days and nights learning and hard work!

Thank you in deed!

chris · Post by **chris** » Sun Aug 03, 2003 9:17 am

S0C9 wrote:Chris,
Stereo Biphase Modulation - shouldn't it [by definition] cancel itself out ??
LOL....

Regards,
Steve

Hello Steve,

Sorry for the delay coming back to you... I took some (pretty long holidays) and it's a pleasure to come back again to IA and see all the good stuff that's here.

As for your question, I'm not sure to understand it the right way.

Anyway, while LFO adds some modulation (according to a specific wave) to your sounds, the Biphase modulation adds a more subtle modulation that is specific to most of the vintage/analog sounds.

Hope this helps you out.

Cheers,
Chris

Vim · Post by **Vim** » Mon Aug 04, 2003 9:48 pm

hi there,
lotsa great tips.

here's another obvious one - throw the book out the window and use efx where they are not intended.

Also - actually record the reverb of a space or room. eg, if you are singing in a room (for most of us home studio owners - that is a reality) consider putting another mic in the room and recording the acoustics of the room. Great way to add reverb without incurring native processing power on the PC or the TS - and it sounds REAL. Apply the concept to other instruments especially drums and wind instruments.

Raj_Sangeet · Post by **Raj_Sangeet** » Tue Aug 05, 2003 5:57 pm

Hi,
Thank you so much for sharing all the tips, like Laughing_Bear said "This Attitude that makes this IA board stand out". So keep them coming.
Raj

dreamaiden · Post by **dreamaiden** » Thu Aug 07, 2003 2:26 pm

Here are a few tips that I got from articles about DP3 a while back but they will apply everywhere else. I'm quoting these. The actual article can be found at www.sospubs.co.uk/sos/nov01/articles/pe ... es1101.asp

Tricks With Reverb
Putting software reverbs on aux tracks is generally good practice, and by using them in conjunction with other plug-ins on the same track you can do some things not possible with the reverb plug-in alone. For example, you can gain much greater control of reverb pre-delay times (and make them beat-based if necessary) by putting a simple delay in the insert before your reverb (eg. the Echo plug-in with its mix set to 100%). By bringing in a little bit of delay feedback you may even be able to tease out a better, more complex sound from your reverb.

You could also try placing an EQ plug-in after your reverb to alter the reverb characteristics. This is particularly handy to get rid of boominess on a reverb being used to treat an entire drum submix, for example, or to artificially boost high frequencies for a more "airy" sound.

Tricks With Compressors & Preamps
Why not try putting a compressor on an aux track, instead of across an insert, as would be more usual? The theory is that by running a compressed and uncompressed signal in parallel, it's possible to obtain all the advantages of a compressed signal whilst retaining some of the natural dynamic "feel" of the original recording. You could also try putting the Preamp plug-in on an aux track and sending a little bit of your drum tracks (for exa,ple) through it to dirty them up a little. THis would also work well with any plug-ins offering tube amp or tape simulation.

Filling the Hold in the Middle
If you experience a "hole in the middle" of the soundscape on some of your stereo recordings, but don't want to sacrifice any stereo width, you could try sending each channel to its own mono auxiliary track panned just off dead center, and set it so that it is a little quieter than the main stereo recording. This can really fill out a stereo track, and you can even try adding some reverb to the original stereo track (or to the aux busses) for creative effects. Setting the sends to pre-fade means that the aux track levels aren't affected if you change the volume of the original stereo track later.

Cheers,
Sioux

Vim · Post by **Vim** » Thu Aug 07, 2003 9:01 pm

sioux wrote:
Tricks With Compressors & Preamps
Why not try putting a compressor on an aux track, instead of across an insert, as would be more usual? The theory is that by running a compressed and uncompressed signal in parallel, it's possible to obtain all the advantages of a compressed signal whilst retaining some of the natural dynamic "feel" of the original recording. You could also try putting the Preamp plug-in on an aux track and sending a little bit of your drum tracks (for exa,ple) through it to dirty them up a little. THis would also work well with any plug-ins offering tube amp or tape simulation.

this is a good one but please be careful how you apply this - there might be some phasing between the 2 tracks and you should consider lowering the vol of either the processed track or the dry track. Also make sure that you don't compensate too much for compression by using the gain of the compressor - this often colours the sound in an undesirable way.

good one sioux

dreamaiden · Post by **dreamaiden** » Thu Aug 07, 2003 9:59 pm

Thanks Vim.