Hi all,
I am loolking for some effect tricks you all employ knowingly on unknowingly, If you like to share please post, anything really. For example I just read about reverse reverb effect, where you reverse the audio and apply the reverb (with some pre-delay) and reverse it back to the original. You may have to apply some trimming to get it right. Thanks for sharing.
Raj
Effect tricks anyone???
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Raj_Sangeet
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Effect tricks anyone???
Easiest way to learn to play piano. Includes ear training, chords, scales etc.
http://www.BollywoodPiano.com
http://www.BollywoodPiano.com
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Timo
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Hiya Raj!
I'll offer a few Korg-specific effect tricks I've found using my Trinity workstation:
* Try using Combi-mode to duplicate musical parts to fill more frequency bandwidth if a particular individual sound fails to create the desired impact - Detune the parts slightly to get a thicker sound, maybe even dropping/lifting parts by an octave or two.
* Drums - Something I've found the other day which has improved my dance-drum creation massively:- Where (even large amounts of) 'compression' fails to add punch to drums, try 'limiting' instead, to really push the drum-hits towards the forefront. Use a low threshold, high ratio, slow attack-time, fast release-time, and make up the gain accordingly. Take the threshold down as low as you can before you start experiencing obvious breathing/pumping effects. Also, try adding 'early reflection' before the limiting stage. Also add subtle amounts of overdrive/distortion to fill out the frequency spectrum.
* Try experimenting using a 'gate' on rhythm tracks - ie. setting the threshold high, so that only the peaks get through - great for adding variation to drums, and can also be used to tidy up overtly complex/busy patterns.
* Try using the 'pitch' effects (pitch-shifter, pitch-shift-mod) with a large wet ratio, to bring out a little more abstractness/rawness in things like drum-patterns.
* To add more effects when recording a single sound at any one time, take the desired part/patch into Sequencer-mode, where you can then add/chain effects up to 'size 8' all on one channel, as opposed to upto just 'size-4' effects in Program-mode.
* Try adding early-reflections, or a short reverb ('room', or other) before compressing/limiting effects. This will add ambience to your musical part, and the compression/limiting will bring the ambience more to the fore-front without it sounding overbearing or muddying the actual raw/dry sound. When pushed hard, it can offer a really nice (subjectively speaking, of course ) 'breathing' effect which is ideal for dance stuff.
* Add a (very) slow vibrato before delay/echo effects - I've found this generates a little movement and an ever-so subtle modulation to a sound, rather than sounding overtly clinical.
* Very good/useful tip:- To get your sounds to 'sit' better in the mix, alter the patches themselves by drastically reducing the 'width' (stereo width), found on the Insert-Effects page, to become 'mono', instead of stereo. Then you can simpy 'place' the patch anywhere on the stereo field, as desired, on the Sequencing page using the 'pan' control. Your mix will sound less cluttered/muddy.
* Effect bass sounds in mono. And always leave bass in the middle (centre) of the stereo-field (so the bass is using both speakers at the same time, hence getting double the power).
* Add subtle (or almost virtually undetectable) overdrive or distortion to any sound, to add a little 'bite' and warmth.
* Where possible, filter out the low-frequencies from non-bass sounds. This will clean and tighten up the low end, leaving adequate room for the actual bass sounds to shake their stuff on their own, without sounding muddy/confusing with the rest of the instruments in the song.
* The more abstract 'panning' effects (dynamic-pan, envelope-pan) offer a great way to liven up single static sounds.
* Use 'stereo-enhancer' sparingly on one channel at a time, to bring a main part forward in the mix when desired.
That's all I can think of for now.
Timo
I'll offer a few Korg-specific effect tricks I've found using my Trinity workstation:
* Try using Combi-mode to duplicate musical parts to fill more frequency bandwidth if a particular individual sound fails to create the desired impact - Detune the parts slightly to get a thicker sound, maybe even dropping/lifting parts by an octave or two.
* Drums - Something I've found the other day which has improved my dance-drum creation massively:- Where (even large amounts of) 'compression' fails to add punch to drums, try 'limiting' instead, to really push the drum-hits towards the forefront. Use a low threshold, high ratio, slow attack-time, fast release-time, and make up the gain accordingly. Take the threshold down as low as you can before you start experiencing obvious breathing/pumping effects. Also, try adding 'early reflection' before the limiting stage. Also add subtle amounts of overdrive/distortion to fill out the frequency spectrum.
* Try experimenting using a 'gate' on rhythm tracks - ie. setting the threshold high, so that only the peaks get through - great for adding variation to drums, and can also be used to tidy up overtly complex/busy patterns.
* Try using the 'pitch' effects (pitch-shifter, pitch-shift-mod) with a large wet ratio, to bring out a little more abstractness/rawness in things like drum-patterns.
* To add more effects when recording a single sound at any one time, take the desired part/patch into Sequencer-mode, where you can then add/chain effects up to 'size 8' all on one channel, as opposed to upto just 'size-4' effects in Program-mode.
* Try adding early-reflections, or a short reverb ('room', or other) before compressing/limiting effects. This will add ambience to your musical part, and the compression/limiting will bring the ambience more to the fore-front without it sounding overbearing or muddying the actual raw/dry sound. When pushed hard, it can offer a really nice (subjectively speaking, of course
) 'breathing' effect which is ideal for dance stuff.* Add a (very) slow vibrato before delay/echo effects - I've found this generates a little movement and an ever-so subtle modulation to a sound, rather than sounding overtly clinical.
* Very good/useful tip:- To get your sounds to 'sit' better in the mix, alter the patches themselves by drastically reducing the 'width' (stereo width), found on the Insert-Effects page, to become 'mono', instead of stereo. Then you can simpy 'place' the patch anywhere on the stereo field, as desired, on the Sequencing page using the 'pan' control. Your mix will sound less cluttered/muddy.
* Effect bass sounds in mono. And always leave bass in the middle (centre) of the stereo-field (so the bass is using both speakers at the same time, hence getting double the power).
* Add subtle (or almost virtually undetectable) overdrive or distortion to any sound, to add a little 'bite' and warmth.
* Where possible, filter out the low-frequencies from non-bass sounds. This will clean and tighten up the low end, leaving adequate room for the actual bass sounds to shake their stuff on their own, without sounding muddy/confusing with the rest of the instruments in the song.
* The more abstract 'panning' effects (dynamic-pan, envelope-pan) offer a great way to liven up single static sounds.
* Use 'stereo-enhancer' sparingly on one channel at a time, to bring a main part forward in the mix when desired.
That's all I can think of for now.
Timo
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dreamaiden
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laughing_bear
- Platinum Member
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- Joined: Wed Jan 30, 2002 5:56 pm
- Location: atlantic coast - northwest ireland
long pre-delays in reverbs= to bring the sound source close to you
short pre-delays=put the sound source away from you
I do not have such excellent things to offer like Timo did! Just a few thoughts, a Reverb is an excellent tool to apply sorta density and depth on a sound. It is worth a thought to apply very subtly and different reverbs onto each and every single sound source. You might find that the result is astonishing, try to A/B the total dry sound and the mix where you very carefully appllied little reverbs onto ech track. Change your A/B audition from Monitors to headphones. Assuming you dont have the $50.000 Bowers&Wilkens in a perfect designed mastering room, your listening experience will be colored by the reflections of the room you are in, and the result may not be that obvious, however, the result on your monitors should be somewhat like :" What exactly is missing here?" when you audit without the subtle reverbs and A/B it.
On the headphones however, the result will be much more obvious.
short pre-delays=put the sound source away from you
I do not have such excellent things to offer like Timo did! Just a few thoughts, a Reverb is an excellent tool to apply sorta density and depth on a sound. It is worth a thought to apply very subtly and different reverbs onto each and every single sound source. You might find that the result is astonishing, try to A/B the total dry sound and the mix where you very carefully appllied little reverbs onto ech track. Change your A/B audition from Monitors to headphones. Assuming you dont have the $50.000 Bowers&Wilkens in a perfect designed mastering room, your listening experience will be colored by the reflections of the room you are in, and the result may not be that obvious, however, the result on your monitors should be somewhat like :" What exactly is missing here?" when you audit without the subtle reverbs and A/B it.
On the headphones however, the result will be much more obvious.
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dreamaiden
Effect "tricks":
Gate with extreme settings (slicing effect) followed by delay(not bpm) & reverb into percussion/drum track.
Bass distortion with an EQ effect. Just adjust all to frequencies to max. Then use input/output levels to get desired level. Warmer sound than using overdrive/distortion effects. (don't know if this can be done within Triton - I use a valve EQ in cubase)
-Sam
Gate with extreme settings (slicing effect) followed by delay(not bpm) & reverb into percussion/drum track.
Bass distortion with an EQ effect. Just adjust all to frequencies to max. Then use input/output levels to get desired level. Warmer sound than using overdrive/distortion effects. (don't know if this can be done within Triton - I use a valve EQ in cubase)
-Sam
Hi everyone.
Sioux is after blackmailing me into posting in this thread. That girl sure knows how to charm the socks of me LOL…
.
Anyway…. All my effects tricks are going to take you a while to pull off and they will also get you using wide range of features on your Triton. Anyone not using a Triton Studio will need either use a PC to do this or a Sampler because it involves re-sampling, as do most tricks.
So enough of all that. Here we go….
Right… as you know… effects pretty much just process the input signal, and then apply their effect to that signal before passing it to the outputs. So as you can see from that, it’s a rather simple process that’s pretty much automated. Well… it’s not going to be when we are finished with it. It’s going to have access to filters, ribbons, and knobs.
So basically this is what we need to do.
1: Recorded a Sequence into Track 1 on the Triton.
2: Apply all the effects you like to that sequence.
3: Adjusted the settings on the effects so you only hear the effects, and not the input signal. ( set them to “wet” ).
4: We then sample those effects while the sequencer is running.
5: We then convert that sample data into a program.
6: Now we go back to SEQ mode and remove all the effect from the Track 1.
7: Now assign that new program we made to the next track in the Sequecner and enter in a single note at will get that Program playing in perfect sync with the sequence for as long as it runs.
So what we have at this point is 2 tracks with no effects assigned.
Track 1 is the original raw sequence.
Track 2 is a recording of the effects we originally had on Track 1.
Now using the volume faders on the screen, get a nice balance of volume between Track 1 and 2 to get the illusion that you actually have effects assigned to Track 1 correctly.
Now… that’s all the work done. Now it’s time to play and have loads of fun.
Where else would you get it. You now have direct access to use the Triton’s filters on the pre-recorded effects you have in Track 2 of your sequence. So just picture your playing a big Trance rift, and with the twist of a knob you start to adjust the LPF Cut Off or the Resonance HPF filters on Track 2. Your now producing a sound that the effects unit cannot do, and the cool part of all this is you can have your effects on track 2 doing one thing while the actual sequence on track 1 is doing a completely different thing.
The sky’s the limit. You can apply the rules of all this across the board, so if you decide to actually add effects to Track 2, make sure you use the CC# to control the amount of effects you apply.
For example…. imagine you have ribbon and knobs doing one thing on your main sequence, and the ribbon and knobs doing a completely different thing on the pre-recorded effects (track 2) and then you add a phaser effect to the main sequence on Track 1. So your main sequence now has a phaser effect applied, but the pre-recorded effects on track 2 don’t.
Basically all this allows you to break the rules and create something new and orignal.,
Regards.
Sharp.
Sioux is after blackmailing me into posting in this thread. That girl sure knows how to charm the socks of me LOL…
. Anyway…. All my effects tricks are going to take you a while to pull off and they will also get you using wide range of features on your Triton. Anyone not using a Triton Studio will need either use a PC to do this or a Sampler because it involves re-sampling, as do most tricks.
So enough of all that. Here we go….
Right… as you know… effects pretty much just process the input signal, and then apply their effect to that signal before passing it to the outputs. So as you can see from that, it’s a rather simple process that’s pretty much automated. Well… it’s not going to be when we are finished with it. It’s going to have access to filters, ribbons, and knobs
. So basically this is what we need to do.
1: Recorded a Sequence into Track 1 on the Triton.
2: Apply all the effects you like to that sequence.
3: Adjusted the settings on the effects so you only hear the effects, and not the input signal. ( set them to “wet” ).
4: We then sample those effects while the sequencer is running.
5: We then convert that sample data into a program.
6: Now we go back to SEQ mode and remove all the effect from the Track 1.
7: Now assign that new program we made to the next track in the Sequecner and enter in a single note at will get that Program playing in perfect sync with the sequence for as long as it runs.
So what we have at this point is 2 tracks with no effects assigned.
Track 1 is the original raw sequence.
Track 2 is a recording of the effects we originally had on Track 1.
Now using the volume faders on the screen, get a nice balance of volume between Track 1 and 2 to get the illusion that you actually have effects assigned to Track 1 correctly.
Now… that’s all the work done. Now it’s time to play and have loads of fun.
Where else would you get it
. You now have direct access to use the Triton’s filters on the pre-recorded effects you have in Track 2 of your sequence. So just picture your playing a big Trance rift, and with the twist of a knob you start to adjust the LPF Cut Off or the Resonance HPF filters on Track 2. Your now producing a sound that the effects unit cannot do, and the cool part of all this is you can have your effects on track 2 doing one thing while the actual sequence on track 1 is doing a completely different thing.The sky’s the limit. You can apply the rules of all this across the board, so if you decide to actually add effects to Track 2, make sure you use the CC# to control the amount of effects you apply.
For example…. imagine you have ribbon and knobs doing one thing on your main sequence, and the ribbon and knobs doing a completely different thing on the pre-recorded effects (track 2) and then you add a phaser effect to the main sequence on Track 1. So your main sequence now has a phaser effect applied, but the pre-recorded effects on track 2 don’t.
Basically all this allows you to break the rules and create something new and orignal.,
Regards.
Sharp.
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Sharp,
thanks for the TS effects tip !!! Neat Stuff.
We used to do that with older anlaog recording - you know before the dawn of time - where we would record the vocals onto three separate tape tracks (what's tape you ask?). One dry, one totally wet and the third slightly de-tuned. The things one could do with those tracks with the mix levels, adding additional effects as necessary, then compress the result. Wow !!!
Here you can take this concept to new boundaries with the TS's controllers... gotta go try this on the TS....
Later,
Steve
thanks for the TS effects tip !!! Neat Stuff.
We used to do that with older anlaog recording - you know before the dawn of time - where we would record the vocals onto three separate tape tracks (what's tape you ask?). One dry, one totally wet and the third slightly de-tuned. The things one could do with those tracks with the mix levels, adding additional effects as necessary, then compress the result. Wow !!!
Here you can take this concept to new boundaries with the TS's controllers... gotta go try this on the TS....
Later,
Steve
I used to be indecisive...... but.... now I'm not so sure !
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LIFECHANGER
Great Stuff. Another approach I like---to be able to change to all kinds of reverbs, delays and far-out sound manipulation (that can be oscillator driven in some cases)... in live, real time performance...
LEXICON LXP-1
A half-width, 1U-high effects processor with a selection of onboard presets, although editing requires an external software package or a Lexicon MRC. The LXP-1 has a few algorithms, but it is best used for reverb, which has the legendary Lexicon quality. MIDI control and modulation is good, although the MIDI architecture is a little bizarre, at least as presented by the MRC. The only obvious drawback is that the unit uses a summed-to-mono input, as did most devices of its era.
LEXICON LXP-5
The LXP-5 is sister-unit to the LXP-1, and complements it nicely. The LXP-5 is much more sophisticated, and provides two algorithms, one of which features a reverb, pitch-shift and three independent delays (two with programmable feedback). The unit's architecture allows it to emulate chorusing, flanging and the like which are generally preset in other effects units. In addition, the delay routing (including one delay before the pitch-shift and one which straddles it) allows some beautifully rich and wild effects.
I have a remote control unit. Soundquest Librarians (luckily supports these cool units) as they do for much of my other gear. Last but not least, another fun "real-time" approach to morphing...
LEXICON VORTEX
"Fractals", "Bleems", and other far out stuff...
All of the presets in Lexicon's Vortex are set up in effect pairs - an "A" version and a "B" version. When you push the A/B button, Vortex switches between the two effects. This starts the Audio Morphing. At this point, Vortex goes through a complete restructuring of the effects - a transformation from one effect into the other.
G-Daddy's lazy approach to real-time tweaking of effects.
Amazingly, these units can still be had...."for peanuts"...and, for fun!!
Of course, what fun we can have with our Behringer 9024's...and lot's of approaches to tweaking the Korg gear thru editing effects within them.
LEXICON LXP-1
A half-width, 1U-high effects processor with a selection of onboard presets, although editing requires an external software package or a Lexicon MRC. The LXP-1 has a few algorithms, but it is best used for reverb, which has the legendary Lexicon quality. MIDI control and modulation is good, although the MIDI architecture is a little bizarre, at least as presented by the MRC. The only obvious drawback is that the unit uses a summed-to-mono input, as did most devices of its era.
LEXICON LXP-5
The LXP-5 is sister-unit to the LXP-1, and complements it nicely. The LXP-5 is much more sophisticated, and provides two algorithms, one of which features a reverb, pitch-shift and three independent delays (two with programmable feedback). The unit's architecture allows it to emulate chorusing, flanging and the like which are generally preset in other effects units. In addition, the delay routing (including one delay before the pitch-shift and one which straddles it) allows some beautifully rich and wild effects.
I have a remote control unit. Soundquest Librarians (luckily supports these cool units) as they do for much of my other gear. Last but not least, another fun "real-time" approach to morphing...
LEXICON VORTEX
"Fractals", "Bleems", and other far out stuff...
All of the presets in Lexicon's Vortex are set up in effect pairs - an "A" version and a "B" version. When you push the A/B button, Vortex switches between the two effects. This starts the Audio Morphing. At this point, Vortex goes through a complete restructuring of the effects - a transformation from one effect into the other.
G-Daddy's lazy approach to real-time tweaking of effects.
Amazingly, these units can still be had...."for peanuts"...and, for fun!!
Of course, what fun we can have with our Behringer 9024's...and lot's of approaches to tweaking the Korg gear thru editing effects within them.
-
dreamaiden
