ABSTRACT

INTRODUCTION ! FULL LOOKATALL THEDIFFERENTEFFECTSPLUG INS ANDHARDWAREUNITS AVAILABLE WOULD TAKE UP THIS WHOLE BOOK GIVEN THAT EFFECTS DEVELOPERS HAVE AN EVER INCREASINGRANGEOFEFFECTIDEASTOEMPTYOURBANKACCOUNTSON)NSTEAD)WILL FOCUSONJUSTTHEMORECOMMONANDUSEFULONES)NTHISCHAPTERTOCONCLUDE OURLOOKATEFFECTSWECONSIDERDISTORTIONANDAMP SIMULATIONEFFECTSSATURA TIONTYPEEFFECTSANDlLTEREFFECTS

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)N TERMS OF THE DIFFERENT KINDS OF DISTORTION AVAILABLE ) WILL MAKE A SMALL DEPARTURE FROMMY THEMEUPUNTILNOWOFMAINLY SOFTWARE BASEDEFFECTSAND INSTEAD START BY TALKING ABOUT HARDWARE 7ITH DISTORTION EFFECTS ) DElNITELY RECOMMENDYOUATLEASTTAKEALOOKATAFEWCHEAPANDEASILYAVAILABLEGUITAR PEDALS4HEREAREA LARGENUMBERAVAILABLEMOSTLYAT REASONABLEPRICES EVEN WHENNEW ANDTHEYHAVEBEENDEVELOPEDOVERATLEASTFOURDECADESSOTHERE IS AHUGEAMOUNTOF EXPERIENCE IN THEDESIGNS4HEEFFECTS RANGE FROMSUBTLE OVERDRIVES THROUGH HEAVIER DISTORTIONS AND ON TO hMETALv AND hFUZZv EFFECTS /FCOURSETHEYWEREDESIGNEDFORGUITARSBUTTHEYCANDOWONDERSFORBEElNG

UP THE SOUNDS COMING FROMA SYNTH AND LETSNOT FORGET THEIR USE FOR VOCALS AS WELL ! COPY OF A LEAD VOCAL FED THROUGH SOME KIND OF DISTORTION EFFECT AND THEN LAYERED SUBTLY UNDERNEATH THEMAIN CLEAN VOCAL CAN GIVE A LOT OF ATTITUDE AND IF BALANCED RIGHT AN INCREASED SENSEOF CUT AND CLARITY BECAUSE THEDISTORTEDVERSIONBY ITSVERYNATUREWILL CONTAINSIGNIlCANTLYMOREHIGH FREQUENCYCONTENT9OUSIMPLYCANTGET THE SAMEEFFECTBYBOOSTING THEHIGH FREQUENCIES ON AN %1 BECAUSE YOU ARE ONLY BOOSTING WHAT IS ALREADY THERE 7HENYOUDISTORTASOUNDYOUAREcreatingNEWHARMONICINFORMATIONWHICH MEANSYOUHAVEMORETHERETOWORKWITHINTHElRSTPLACE

4HEREISALSOALOTTOBESAIDFORTHEHANDS ONAPPROACHOFUSINGTHESEPEDALS 4HEREAREGENERALLYONLYAFEWCONTROLSAVAILABLEONTHEMSONOTINGDOWNTHE SETTINGSFORFUTURERECALLOFTHETRACKSHOULDNTPROVETOOMUCHOFANARDUOUS TASK/FCOURSE ITSNOT THEIMMEDIATE TOTALRECALLWEGETWITHAPURELY SOFTWARE BASED SYSTEM ) AM ACTUALLY STARTING TO INCORPORATEMORE ANDMORE HARDWAREINTOMYSTUDIOJUSTBECAUSETHEWHOLEEXPERIENCEOFCREATINGMUSIC feels DIFFERENT$ONTWORRY IF THATS REALLYNOT YOUR THINGBECAUSE THERE ARE A LARGENUMBEROFDISTORTIONEFFECTSAVAILABLE INPLUG IN FORM4HEYRANGE FROM GENERICOVERDRIVEANDDISTORTIONEFFECTSTOONESMODELEDONSPECIlCCLASSICGUI TARPEDALS!NDTHERANGEOF TONESAVAILABLE FROMTHEPLUG INEFFECTS IS JUSTAS WIDEASTHOSEAVAILABLEINTHEHARDWAREONES

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/N THE OTHER HAND YOU MIGHT BE LOOKING FOR SOMETHING WITH exactly THAT WARMTHDEPTHANDSMOOTHNESS4HATSWHEREAMPMODELINGCOMESIN4HERE HAVEBEENGREATADVANCESINAMPMODELINGTECHNOLOGYINRECENTYEARSBRING INGITTOTHEPOINTWHERETHEBETTERAMPMODELINGEFFECTSPROVIDEASOUNDTHAT ISPRETTYINDISTINGUISHABLEFROMTHEREALTHING3OMEWILLARGUETHATTHEEXPERI ENCE OF PLAYING A GUITAR THROUGH AN AMPMODELING PLUG IN OR HARDWARE BOX DOESNTGIVETHERESPONSEOFAREALAMPANDTHEREMAYBESOMETRUTHINTHAT "UTYOUREALLYDONEEDTOBEAPRETTYGOODPLAYERTOBEABLETOAPPRECIATEAND MAKEUSEOFTHOSEKINDOFSUBTLETIES)FTHISBOOKWEREWRITTENFORGIGGINGAND RECORDINGGUITARISTS)MIGHTLOOKATTHESEPLUG INSINADIFFERENTLIGHT(OWEVER IT ISWRITTEN FOR THE REMIXERWHO IS )WOULD IMAGINE LESS LIKELY TOBEAVERY

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4HEPROCESSOFMODELINGAGUITARAMPSUCCESSFULLYISVERYCOMPLEX4HESIGNAL GOESTHROUGHVARIOUSSTAGESINTHEAMPLIlERPREAMPSTAGETONECONTROLSAND POWERAMPSTAGE THEN THERES THEEFFECTOF THE SPEAKER CABINET THEEFFECTOF THESOUNDOF THE ROOMONTHEOVERALL SOUNDANDlNALLY THECONTRIBUTIONOF ANYMICROPHONESUSEDTORECORDTHATSOUND%ACHOFTHESEASPECTSISANELABO RATEPROCESSWHICHIFDONEPROPERLYINVOLVESMODELINGOFSOMECOMPLICATED nonlinearities WHERE THE AMOUNT OR EVEN TYPE OF CHANGE TO THE SOUND VARIES DEPENDING ON THE LEVEL OF THE INPUT SIGNAL AS WELL AS DEALING WITH PHYSICS ANDACOUSTICS)T ISNOSURPRISETHATTOP QUALITYAMPMODELINGHASONLYREALLY BECOMEAPOSSIBILITYINRECENTYEARS%ARLYATTEMPTSSOUNDEDPRETTYGOODCON SIDERINGTHETECHNOLOGYAVAILABLEATTHETIMEBUTTHEYLACKEDTHESENONLINEARI TIESANDASARESULTSEEMEDTOSOUNDhmATvINCOMPARISONTOAREALGUITARAMP THAT FELT ALIVE AND RESPONSIVE 4HEKNOWLEDGEOFHOW TOMODEL THESEUNIQUE PROPERTIES PROBABLY CAME ALONG AT LEAST A LITTLE WHILE BEFORE THE TECHNOLOGY WASREADILYAVAILABLE TODOITAT LEAST INAREAL TIMEWAY&ORTUNATELYWEHAVE REACHEDTHATPOINTANDNOWWEHAVESOMEFANTASTICSOFTWAREAVAILABLE TOUS WHICHGIVESTHEMODERNPRODUCERTHEABILITYTOTRYOUTMANYDIFFERENTAMPAND SPEAKERCOMBINATIONSANDEVENUSEDIFFERENTvirtualMICROPHONES

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)NUSElLTERS CAN ADDA GREATDEALOF VIBE ANDMOVEMENT TOOTHERWISEQUITE STATIC SOUNDS BUT CAN ALSO BE USED IN AMORE STATIC ROLE FOR TONAL SHAPING MUCH LIKE AMORE CHARACTERFUL %1 3OMETHING ) DO QUITE A LOT WITH LAYERED SOUNDS IS TOUSEDIFFERENT%1SORlLTERSONEACH SOUNDBUTWITH SIMILAR SET TINGS 4HATWAY THERE ARE SMALL DIFFERENCES TO THE TONEOF THElLTEROR %1ON EACHSOUNDWHICHFURTHERHIGHLIGHTTHEINDIVIDUALCHARACTERISTICSOFTHESOUND 4HISCANWORKINTWOWAYSBOTHEQUALLYVALID/NEISTOLISTENTOTHETYPEOF SOUNDYOUAREWORKINGONAND IF IT ISQUITEAWARMSOUNDALREADY THENYOU USEAWARMSOUNDING%1ORlLTER IF IT ISAMORE THINANDDIGITALSOUNDYOU USEAMORETHINANDDIGITALSOUNDING%14HEOTHER TECHNIQUEIS TODOCOM PLETELY THE OPPOSITE AND USE THINNER SOUNDING %1S AND lLTERS ON WARMER SOUNDSANDWARMER%1SANDlLTERSONTHINNERSOUNDS4HEREREALLYISNTABET TERWAYITSVERYMUCHAPERSONALCHOICEANDONETHATCANCHANGEFROMTRACKTO TRACK)NMYOPINIONANDEXPERIENCEhFATTERvISNTALWAYSBETTERANDSOMETIMES THEBESTTOOLFORTHEJOBCANBETHECHEAPESTONEASWELL

SUMMARY 7EHAVECOVEREDTHEMAINTYPESOFEFFECTSYOUWILLUSEONADAY TO DAYBASIS "UTANYLOOKATEFFECTSLIKETHISRUNSTHERISKOFBECOMINGOUTDATEDVERYQUICKLY BECAUSE THE TECHNOLOGY AND THE IDEAS OF SOFTWARE DEVELOPERS PROGRESS AT AN ALARMINGRATE4OTALLYNEWCATEGORIESOFEFFECTSDONTCROPUPALLTHATOFTENBUT )AMSURETHATINTHENEARFUTURESOMEBODYWILLDEVELOPAPLUG INEFFECTTHAT DOESNTlTNEATLYINTOANYOFTHECATEGORIESLISTEDINTHISORTHEPRECEDINGCHAP TERS3UCHISPROGRESS%VENTAKINGTHATINTOACCOUNTTHEEFFECTSNOTEDHEREWILL PROBABLYALWAYSFORMTHEMAINPARTOFYOURPRODUCTIONANDMIXINGPROCESSSO ITSAGOODIDEATOGETASOLIDGROUNDINGINTHEhHOWvANDhWHYvOFTHESEMAIN EFFECTSANDTHENLEARNTHENEWIDEASANDTECHNIQUESASTHEYCOMEALONG

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TOHAVEAVERYCLEARVIBETOWORKTOWHICHISCLOSETOHOWTHElNALPRODUCTWILL SOUND)FYOUHAVETHEKICKDRUMANDBASSLINEMIXED%1EDANDEFFECTEDTO PRETTYMUCHTHESTATETHEYWILLBEINATTHEENDOFTHEPROCESSITMAKESITMUCH EASIER TO CHOOSE OTHER SOUNDS AND CREATE OTHER RIFFS AND ARPEGGIOS BASED ON HOWMUCHROOMYOUKNOWTHEREWILLBE)FONTHEOTHERHANDTHETRACKWASNT MIXEDAS YOUWENTALONG YOUMIGHT COMEUPWITHA RIFFOR CHOOSEA SOUND THATDIDNTlTPROPERLYATTHElNALMIXSTAGEBECAUSETHERESIMPLYWASNTROOM FORIT

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7HICHEVER WAY YOU WORK KNOWING A LITTLE ABOUT HOW THE DIFFERENT EFFECTS WORKWHATTHEYDOTOTHESOUNDANDWHATTHEINDIVIDUALPARAMETERSDOTOTHE EFFECTCANCERTAINLYHELPTOMAKETHEMIXINGPARTOFTHEPROCESSALITTLEQUICKER 4HE LESS TRIALANDERRORYOUHAVE THEBETTER RESULTSYOULLGETAND THEQUICKER YOULLGET TO THATPOINTBECAUSEYOUWILLPROBABLYALREADYHAVESOMEIDEAOF THESETTINGSYOUWANTBEFOREYOUEVENOPENTHEPLUG INS

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