Mixing: Time Domain and Modulation Effects

INTRODUCTION )F %1 AND COMPRESSION ARE THE FOUNDATIONS UPON WHICH A GOOD MIX IS BASED THEN TIMEDOMAIN ANDMODULATION EFFECTS ARE DElNITELY THE FAIRY DUST SPRINKLED OVER A MIX 4IME DOMAIN EFFECTS CAN TAKE AN OTHERWISE mAT AND UNINTERESTINGCOLLECTIONOFSOUNDSANDPUTTHEMINTOWHATSEEMSLIKEATHREE DIMENSIONAL PLACE AND THAT HAS THE EFFECT OF BRINGING EVERYTHING TO LIFE )TS LIKE THE DIFFERENCE BETWEEN LOOKING AT A PHOTOGRAPH IN A HOLIDAY BROCHURE ANDACTUALLYBEINGTHERE4HESAMETHINGAPPLIESTOSOUNDSINAMIXTHATHAVE SOMEKINDOFTIMEDOMAINEFFECTSAPPLIEDTOTHEM4HECOMBINATIONOFREVERB EFFECTS EVEN IF THEYAREVERY SUBTLE ANDDELAYEFFECTSPROVIDESUSWITHDEPTH ANDEVENHEIGHT INSOMEINSTANCES TOCOMPLEMENT THEWIDTHTHATWEHOPE FULLY ALREADYHAVEINOURMIX4HESEEXTRADIMENSIONSMAKEEVERYTHINGSOUND MORENATURAL

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TIME DOMAIN: REVERB 2EVERBISALMOSTCERTAINLYONEOFTHEMOSTIMPRESSIVEANDUSEFULEFFECTSWECAN HAVEATOURDISPOSALBUTISALSOONEOFTHEMOSTMISUNDERSTOODMISUSEDAND GENERALLY OVERUSED EFFECTS 2EVERB IN ONE FORMOR ANOTHER IS ESSENTIAL TO ANY TRACKWEAREWORKINGON%VENSONGSTHATSOUNDLIKETHEYDONTHAVEANYREVERB ONTHEMPROBABLYDOEVENIFITISEXTREMELYSUBTLEANDONLYUSEDONAFEWOF THE PARTS IN THEMIX 4HE BIGGEST PROBLEMWITH REVERB IS THAT IT IS EXTREMELY EASYTOGETCARRIEDAWAYANDENDUPUSINGFARTOOMUCHOFIT!NOTHERPROBLEM INMYOPINION ISUSINGTHEwrong REVERBONCERTAINSOUNDS4HATMIGHTSEEM STRANGE CONSIDERING THAT REVERB IS JUST A COLLECTION OF ECHOESMADE BY A PAR TICULARSOUNDAGAINSTTHEWALLSANDSURFACESOFAPARTICULARSPACE(OWCANONE REVERBBErightANDANOTHERwrong

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ROTARY SPEAKER/LESLIE SIMULATIONS !ROTARYSPEAKEREFFECTISANEMULATIONOFAREAL WORLDELECTRO MECHANICALEFFECT THAT HAS SOME COMPLEX PROPERTIES )T ISMUCHMORE THAN SIMPLY APPLYING A SHORTDELAYTOANINPUTSIGNAL!CONVINCINGEMULATIONOFAROTARYSPEAKERALSO KNOWNASAh,ESLIEvAFTERITSINVENTOR$ONALD,ESLIE HASBEENSOUGHTAFTERFOR QUITE SOME TIME PARTLY BECAUSE A REAL ,ESLIE SPEAKER ISNT THEMOST PORTABLE THINGINTHEWORLD4HE,ESLIEISLARGEHEAVYANDCUMBERSOMEBUTFORMANY

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SOUNDALSOAPPEARSTOBEMOVINGFRONTTOBACK4HESAMEPRINCIPLEAPPLIESIN THAT THE CIRCULAR ROTATIONOF THE SPEAKERWOULDNEEDA SINEWAVEMODULATION TO CONVERT THAT TO A ONE DIMENSIONALMOVEMENT IN THIS INSTANCE FRONTBACK RATHER THAN LEFTRIGHT BUT THATMODULATIONWOULDHAVE TO ADJUST THE AMPLI TUDEOFTHESOUNDINSTEADOFTHEPANNINGPOSITION)TDOESNTREQUIREIN DEPTH KNOWLEDGEOFPHYSICSTOWORKOUTTHATSOUNDSGETQUIETERTHEFURTHERAWAYYOU GET 4HEREFORE WE NEED TO APPLY SOMEMODULATION TO THE AMPLITUDE OF THE SOUNDMAKING ITQUIETERWHENTHEhVIRTUALvSPEAKER ISAT THEBACKOF THECIR CLEFARTHESTFROMUSANDLOUDERWHENITISATTHEFRONTOFTHECIRCLE4HEACTUAL mUCTUATIONS IN AMPLITUDE CAUSED BY THIS EFFECT ALONE WOULD BEMINIMAL SO WENEED TO FACTOR IN THEDIRECTIONOF THESOUNDAT THEDIFFERENTPOINTS!GAIN CALLINGONEXPERIENCELETSCONSIDERAPERSONWHOISASHORTDISTANCEFROMUS FACING AWAY FROMUS AND IS SHOUTING INTO AMEGAPHONE )FWHILEHE CONTIN UED SHOUTING INTO THEMEGAPHONE THEN TURNED TO FACE US THE SOUNDWOULD GETLOUDEREVENTHOUGHTHEDISTANCEHADNTCHANGED4HISISALSOAFACTORTHAT ONLYSERVESTOINCREASETHECHANGESINAMPLITUDETHROUGHOUTTHEROTATIONOFTHE SPEAKER4HATSTHEAMPLITUDEMODULATIONORTREMOLO TAKENCAREOF .EXTWECONSIDERTHESPEEDOFTHESOUNDITSELF"ECAUSEOFSOMETHINGCALLEDTHE Doppler effectWHENANOBJECTEMITTINGSOUNDISMOVINGTOWARDUSTHEAPPAR ENTPITCHOFTHESOUNDINCREASESWHENITTRAVELSAWAYFROMUSTHEPITCHOFTHE SOUNDSEEMS TODECREASE!GAINWEDONT REALLYNEED TO LOOKDEEPLY INTO THE SCIENCEBEHINDITASWEHAVEALLHEARDTHISEFFECTWHENACARORMOTORBIKETRAV ELINGQUITE FAST PASSESUS AND THEPITCHOF THE SOUNDOF THE ENGINE SEEMS TO DROPASITPASSES4HISALSOHAPPENSWITHA,ESLIESPEAKER!STHESPEAKERROTATES IT ISALTERNATELYACCELERATINGTOWARDUSRAISINGTHEPITCH TRAVELINGACROSSOUR STEREOlELDPITCHSTATIC TRAVELINGAWAYFROMUSPITCHDESCENDING ANDTHEN TRAVELING ACROSS AGAIN PITCH STATIC /F COURSE THERE IS A SMOOTH TRANSITION BETWEENTHESEFOURSTATESASTHEMOTIONISCIRCULARRATHERTHANSQUAREBUTTHE ENDRESULTISACYCLICRISEANDFALLINPITCHWHICHISYOUGUESSEDITVIBRATO!ND ONCEAGAINWEWOULDUSEASINEWAVETOREPLICATETHETWO DIMENSIONALMOTION INTOAONE DIMENSIONALMODULATIONVALUE 4HEONEGOODTHINGHERE IS THATBECAUSEALL THREEOF THEATTRIBUTESSTEMFROM THESAMESOURCETHEROTATION THEYAREALLBEINGMODULATEDATEXACTLYTHESAME RATEONLYTHEPHASERELATIONSHIPISDIFFERENT7HENTHELEFTTORIGHTMOVEMENT ISMOMENTARILYSTATIONARYONTHELEFTSIDEOFTHECIRCLETHEFRONTTOBACKMOVE MENTWILLBEATITSGREATESTRATEANDTHEPITCHWILLBEDROPPINGATITSGREATESTRATE )NCONTRASTWHENTHEFRONTTOBACKMOVEMENTHASMOMENTARILYSTOPPEDATTHE BACKOFTHECIRCLETHEPITCHWILLALSOBESTATICBUTTHELEFTTORIGHTMOVEMENTWILL BEAT ITSHIGHEST RATE!SA RESULT THE FRONTBACKMODULATIONANDPITCHMODU LATIONWILL BE INPHASEWITH EACHOTHER HIGHEST AMPLITUDE ANDHIGHEST PITCH OCCURRINGATTHESAMETIME BUTTHELEFTRIGHTPANNINGISEXACTLYDEGREESOUT OFPHASEWITHTHAT)TCOMPLICATESMATTERSALITTLEBUTNOTTOOMUCH 4HESE THREE FACTORS TOGETHER CONTRIBUTE MUCH OF THE CHARACTER OF THE ,ESLIE SOUNDBUTTHEREARETWOSEPARATESPEAKERSTOCONSIDER%ACHSPEAKERROTATESIN THEOPPOSITEDIRECTIONONECLOCKWISEANDONEANTICLOCKWISE ANDATDIFFERENT

SPEEDS4HISWILL REQUIRE THEUSEOF TWODISTINCT SYSTEMS TOEMULATE CORRECTLY BUTBOTHOF THOSE SYSTEMSWOULDBE IDENTICAL FUNCTIONALLY JUSTWITHDIFFERENT ,&/SETTINGSANDDIFFERENTINPUTSIGNALS"OTHOFTHOSESIGNALSTHENNEEDTOBE COMBINEDBACKTOGIVETHElNISHED,ESLIESOUND/NCETHISISDONEYOUHAVE ONA VERY RUDIMENTARY LEVEL COMPLETED YOUR,ESLIE EMULATION 4HE REALITY IS OFCOURSEVERYDIFFERENTBECAUSETHEACTUALSPEAKERSTHEMSELVESWITHTHEIRDIF FERING FREQUENCY RESPONSES WILL TONALLY CHANGE THE INPUT SIGNAL4HE SAME IS TRUEOFTHEAMPLIlERDRIVINGTHESPEAKERSANDITISESPECIALLYTRUEOFTHEACTUAL PHYSICALCABINETTHEWHOLEASSEMBLYISIN4HESIZESHAPEANDMATERIALSUSED ALLHAVE THEIROWN INmUENCEON THE TONAL RESONANCESOF THECABINETAND THIS HASABEARINGONTHElNALSOUND9OUCOULDALSOCONSIDERTHEFACTTHATWITHIN THEPARTIALLYCLOSEDSYSTEMOFTHESPEAKERCABINETTHEREARELOTSOFSOUNDWAVES BOUNCING AROUND AND THEREFORE LOTS OF COMPLICATED PHASING ISSUES TO CON SIDERASWELL4HISISPROBABLYWHYITHASTAKENSOLONGFORDIGITALTECHNOLOGY TOEVENCOMECLOSE TOANAUTHENTIC,ESLIE SIMULATIONANDWHYEVEN THEBEST ,ESLIEEMULATIONSSTILLDONT SEEMTOCAPTURE THE FULLESSENCEOFWHATA,ESLIE CABINETISABOUT$ONTGETMEWRONGTHEYAREGOODTHEYAREdamn goodINFACT BUTTHEREISJUSTSOMETHINGMISSING)HAVEACTUALLYACHIEVEDWHAT)BELIEVEARE MYMOSTREALISTIC,ESLIESIMULATIONSBYTAKINGTHEOUTPUTOFMYROTARYSPEAKER PLUG IN AND FEEDING IT THROUGH A CONVOLUTION REVERB SET ON QUITE A SMALL hROOMvSETTINGJUSTTOPUTTHE,ESLIEEFFECTINTOAspaceRATHERTHANITEXISTINGIN AFULL WIDTHSTEREOIMAGE

"ECAUSEITISEMULATINGAVERYSIMPLEMECHANICALLYSPEAKING PHYSICALDEVICE THECONTROLSONA TYPICAL,ESLIEORROTARYSPEAKEREFFECTGENERALLYMIMICTHOSE ONAREAL,ESLIESPEAKERANDASSUCHARELIMITEDTOSPEEDCONTROLSFOREACHOF THE TWO SPEAKERS SELECTABLEBETWEENOFF SLOWAND FAST AND THENPOSSIBLYA CONTROL THAT AFFECTS THE ACCELERATION AND DETERMINES HOW QUICKLY THE CHANGE HAPPENS BETWEEN EACH OF THESE SPEED CHANGES )N A REAL ,ESLIE THE CHANGES DONTHAPPENINSTANTLYBECAUSEITTAKESTIMEFOREACHOFTHESPEAKERSTOGETUP TO SPEEDOR TO SLOW FROMONE SPEED TO A SLOWERONE 4HEREMAYBEOPTIONAL CONTROLS FOR drive level TO SIMULATE THE SOUND OF REALLY PUSHING THE AMPLIlER ANDSPEAKERHARDANDTOTHEBRINKOFDISTORTIONANDYOUMIGHTEVENlNDCON TROLSFORVIRTUALMICROPHONESWHICHALLOWYOUTOALTERTHEWIDTHOFTHEVIRTUAL STEREOMICROPHONESTOGIVEASTRONGERORAMORESUBTLEEFFECT

) AMSURE THEREWILLBE SMALL IMPROVEMENTSON THE,ESLIE SIMULATIONS IN THE FUTURE AND ) LOOK FORWARD TO THOSE BECAUSE ) REALLY DO THINK IT IS AN UNDER RATEDEFFECT4HEUSESONELECTRICORGANSAREEXTREMELYWELL DOCUMENTEDANDARE APARTOFMUSICALHISTORY%VENITSUSEONELECTRICPIANOSOTHERLIVEINSTRUMENTS ANDVOCALSISQUITEWELL ESTABLISHED"UTITCANBEUSEDONANYSOUND!DDING A,ESLIEEFFECTTOASYNTHPADANDCHOOSINGTHESLOWSPEEDSETTINGCANGIVEAN INCREDIBLY LUSH SOUND SIMILAR TO CHORUS SIMILAR TO mANGING OR PHASING BUT DIFFERENTSOMEHOW!DDINGA,ESLIETOASYNTHLEADSOUNDWITHTHEHIGHSPEED SETTINGCANREALLYHELPTOSOFTENTHEEDGESUPWHILESTILLRETAININGALOTOFCLAR ITYANDCUTINTHESOUND3OMETIMESLEADSOUNDSCANBEHARDTOMIXBECAUSE ONTHEONEHANDTHEYNEEDTOBEHEARDBUTONTHEOTHERYOUOFTENDONTWANT

THEMTOBEHARSHORABRASIVE"YUSINGA,ESLIEEFFECTYOUCANMAKETHESOUND DIFFERENTENOUGHFROMANYTHINGELSEINTHETRACKTHATITWILLSTANDOUTANYWAY WITHOUTYOUHAVINGTOTURNITINTOACHAINSAWOFASOUND

RING MODULATION )N#HAPTER WE LOOKED AT &- SYNTHESISWHICHUSES A COMBINATIONOF TWO WAVEFORMS TO CREATE VARIOUS sideband FREQUENCIES RELATED TO THE TWO ORIGINAL ONESUSED2INGMODULATIONUSESASIMILAR TECHNIQUEBUT THIS TIMEMODULAT ING THE AMPLITUDE OF ONE WAVEFORMWITH THE OTHER RATHER THANMODULATING THE FREQUENCY4HE RESULTOF THISMODULATION IS TWO FREQUENCIESONE THE SUM OF THE TWO INPUT FREQUENCIES ANDONE THEDIFFERENCEBETWEEN THE TWO )F FOR EXAMPLEWEHADAWAVEFORMOF(ZBEINGMODULATEDBYONEOF(ZTHE OUTPUTFROMTHERINGMODULATORWOULDBEONEWAVEFORMOF(ZANDONEOF (Z4HISMIGHTSEEMFAMILIARTOTHOSEOFYOUWITHAKEENEYEASBEINGTHE SAMEAS THEh# -vANDh# -vSIDEBAND FREQUENCIESPRODUCEDBY&-SYN THESIS4HEKEYDIFFERENCEISTHATWHILE&-SYNTHESISPRODUCESASERIESOFTHESE SIDEBANDFREQUENCIESRINGMODULATIONONLYPRODUCESTHETWOWEMENTIONED ANDTHEORIGINALTWOFREQUENCIESARENORMALLY NOTPRESENT

!SYOUMIGHTEXPECTTHERESULTSHAVEMUCHINCOMMONWITH&-SYNTHESISIN THAT THE OUTPUT OFTEN HASMETALLIC RINGING OVERTONES AND A GENERALLY INHAR MONICFEELTOIT"UTTHATSNOTTOSAYIThas toSOUNDTHATWAY)FTHETWOFREQUEN CIES ARE CAREFULLY CHOSEN THE RESULTING sum and difference OUTPUT FROM A RING

MODULATOR CANBEMORE hMUSICALv AND LESSHARSHBUT IT CERTAINLY ISNT SOME THING THAT IS EASILY CONTROLLABLE 3PEAKING OF THE CONTROLS THERE REALLY IS VERY LITTLE TO CONTROL )F THE RINGMODULATORHASAN INTERNALOSCILLATOR TOUSEAS THE MODULATION SOURCEYOUWILLHAVEA CONTROL TO SET THE FREQUENCYOF THATOSCIL LATORANDPERHAPSTHEPHASEOFIT ANDTHATSREALLYALLTHEREISTOIT4HEOTHER OPTIONISTOHAVEAMODULATIONSOURCEINPUTWHICHWOULDUSEADIFFERENTSIGNAL ASTHEMODULATIONSOURCE-OREOFTENTHANNOTTHESEDAYSTHATWOULDTAKETHE FORMOFASIDECHAIN INPUT IN THEPLUG IN4HEREAREOTHEROPTIONSTHAT INVOLVE HAVINGONECHANNELOFA STEREO INPUTAS THE carrierWAVEAND THEOTHERAS THE modulatorWAVE)THINKTHATTHESIDECHAININPUTISFARBETTERITALLOWSSTEREOSIG NALSTOBERINGMODULATEDANDISFAREASIERTOSETUP

2INGMODULATIONISAGREATEFFECT FORTHEMOREEXPERIMENTALPROGRAMMERBUT IT CERTAINLY ISNT SOMETHING ) OFTEN THINKOFUSING 4HERE IS PERHAPS ABETTER IMPLEMENTATIONOFRINGMODULATIONTOBEFOUND/NEOFTHEPROBLEMS)HAVE WITH IT IS THAT YOU CAN lND A REALLY GREAT SOUND BY ADJUSTING THEMODULATOR FREQUENCY WHILE HOLDING DOWN A CERTAIN NOTE BUT WHEN THAT NOTE CHANGES THERELATIONSHIPBETWEENTHECARRIERANDTHEMODULATORFREQUENCYCHANGESSO WHATEVERHARMONICSWEREBEING GENERATEDHAVENOW CHANGED )F THEPITCHOF THEMODULATORINSIDETHEPLUG INCOULDTRACK-)$)NOTESSOTHATONCEYOUHAD FOUNDAGOODPOSITIONFORITRELATIVETOANINPUTNOTETHElNALFREQUENCYOFTHE MODULATORCOULDTHENBEhPLAYEDvBYA-)$)SEQUENCETHATFORMEWOULDBE FARMOREUSEFUL ANDWOULDEXTEND THE SOUNDPALETTE FROMBEINGMOREABOUT METALLICANDCLANGINGSOUNDEFFECTSTOMOREOFASOUNDDESIGNTOOL

FREQUENCY SHIFTER !FREQUENCYSHIFTERDOESEXACTLYWHATITSNAMESUGGESTSITSHIFTSFREQUENCIES4HE UNIQUENESSOFTHESOUNDOFAFREQUENCYSHIFTERCOMESFROMTHEFACTTHATITSHIFTS ALLOFTHEDIFFERENTHARMONICSINASOUNDBYTHESAMENUMERICALAMOUNTRATHER THANBY THE SAME RATIO!S YOUPROBABLY REMEMBERHARMONIC FREQUENCIES ARE

WORKED OUT ASMULTIPLES OF A ROOT OR FUNDAMENTAL FREQUENCY ! FUNDAMENTAL FREQUENCYOF(ZWOULDHAVEHARMONICSAT(Z(Z(Z(Z AND SOON AND IFWEWERE TO INCREASE THAT FUNDAMENTAL FREQUENCY TO(Z THEHARMONICSERIESWOULDTHENCHANGETO(Z(Z(Z(ZAND SOON"UTIFWETOOKOURlRSTSEQUENCEANDRANTHATTHROUGHAFREQUENCYSHIFTER WITHASHIFTVALUEOF(ZTHERESULTINGSERIESWOULDENDUPAS(Z(Z (Z (Z (Z AND SO ON /N ITS OWN THIS WOULD PRODUCE A VERY INHARMONICSOUNDWHICHCOULDPOSSIBLYBEWHATYOUARE LOOKINGFOR/NTHE OTHERHANDTHEREAREVARIOUSWAYSINWHICHWECANUSETHISGENERATEDSOUND

)FYOU LOOKBACK TOWHATWESAIDABOUTPHASERSYOUMIGHT REMEMBER THATA PHASERWORKSUSINGCOMBlLTERINGANDASERIESOFEVENLYSPACEDNUMERICALLY SPEAKING NOTCHESINTHEFREQUENCYSPECTRUM7HATWEDESCRIBEDASAPOSSIBLE OUTPUTFROMAFREQUENCYSHIFTERISASERIESOFEVENLYSPACEDNUMERICALLYSPEAK ING hSPIKESvWECOULDUSEIFWESUBTRACTEDTHEMFROMTHEORIGINALSOUNDTO CREATEASIMILAREFFECT TOCOMBlLTERING0ERHAPSNOTUNEXPECTEDLY THEOUTPUT FROMAFREQUENCYSHIFTERcanSOUNDVERYMUCHLIKETHATFROMAPHASER)NMANY WAYS THOUGH FREQUENCYSHIFTERSARE LIKERINGMODULATIONESPECIALLYADEPTAT CREATINGMETALLICRESONATINGANDINHARMONICSOUNDSANDEFFECTS

SUMMARY !S ) STATED AT THE BEGINNING OF THIS CHAPTER TIME DOMAIN AND MODULATION EFFECTSAREMUCHMORELIKEFAIRYDUSTWESPRINKLEOVERTHESOUNDSINOURMIX (OPEFULLYAFTERREADINGTHISCHAPTERYOUHAVEAGOODIDEAOFWHATTHEYALLDO ANDWHYWEMIGHTWANTTOUSETHEM-OREIMPORTANTLY)HOPETHATYOUHAVE ANAPPRECIATIONOFWHYTHEYSHOULDBEUSEDINMODERATION)NGENERAL)LIKETO USEREVERBEFFECTSTOHELPGIVEASENSEOFFRONT TO BACKDEPTHINAMIXASWELLAS PROVIDINGSPECIlCMOREDRAMATICEFFECTSONCERTAINSOUNDS)USEDELAYEFFECTS MOSTLY TO PROVIDE ADDITIONAL RHYTHMIC INTEREST AND OCCASIONALLY AS resonators FORSPECIALEFFECTS

7HEN)USEMODULATIONEFFECTS)TRYTOMAKESURE)USETHEMSUBTLYANDDONT USE THEMOREDRAMATIC EFFECTSON TOOMANYDIFFERENT SOUNDSATONCE )F )DO THEYACTUALLYTENDTOLOSETHEIREFFECTASTHEYBECOMELOSTINASWOOSHINGAND SWIRLINGFOG#HORUSANDENSEMBLEEFFECTSARETHELEASTOBTRUSIVEINTHISRESPECT ANDmANGERANDPHASEREFFECTSARE THEMOSTOBTRUSIVE )HAVENOOBJECTION TO ANYOFTHEMANDINFACT)REALLYLIKETHEEFFECTAWELL PLACEDmANGERORPHASER CAN HAVE ) OFTEN USE mANGER OR PHASER EFFECTS ON THEWHOLEMIX OR AT LEAST SUBSTANTIALPARTSOF IT ASAMEANSOFBUILDING TENSIONCOMINGOUTOFADROP ANDTHEYCANBEREALLYEFFECTIVEASAlNALMEANSOFADDINGTHATlNALLIFT,IKESO MANYTHINGSHOWEVERIFYOUUSETHEMTOOMUCHORTOOOFTENTHEYSTARTTOLOSE ALITTLEBITOFTHATMAGIC

!SURPRISINGTHINGABOUTTHESEEFFECTSISTHEDIFFERENCEWHENYOUREMOVETHEM ALL !S AN EXPERIMENTWHEN YOU HAVE COMPLETED AMIX TRY BYPASSING ALL OF THEREVERBDELAYANDMODULATIONEFFECTSANDTHENLISTENTOHOWMUCHSMALLER

NARROWERANDSHALLOWERFRONTTOBACK THEMIXSOUNDS%VENINSOMEOFTHE CURRENT QUITE DRY SOUNDING PRODUCTION STYLES THERE IS STILL A LOT YOU CAN DO WITHSUBTLEREVERBANDDELAYEFFECTS THATGIVEDEPTHANDSEPARATIONWHILESTILL MAINTAININGAVERYUPFRONTANDDRYSOUND

)NTHENEXTCHAPTERWELOOKATSOMEMORECOMMONEFFECTSYOUMIGHTNEEDOR WANTTOUSEINYOURREMIXESBEFOREMOVINGONTOTHELASTCHAPTERINTHISSEC TIONWHEREWELOOKATTHEMASTERINGPROCESS