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â– Distortion effect only applies to guitar. Is this correct? The answer is: wrong. Believe it or not, the distortion effect enhances the drum's strength and discouragement. The sound of the drums is strong, but it is fleeting. At this time, a large number of overtone components with obvious characteristics can be added to make the drum sound perform very well.
â– Transfer an auxiliary bus of the mixer to the carrier input of the voice synthesizer. Another auxiliary bus is output to the modulation input of the sound synthesizer. This way any signal from the mixer can be modulated on the other signal, resulting in some unexpected effects - for example, percussive bass, guitar, Keyboard, etc.
â– If you are using a pedal-type distortion effector, be sure to minimize the release time of the synthesized voice because it exaggerates the distortion compression characteristics.
â– If the reverb effect you are using is not very satisfactory. Then you can consider paralleling a different type of effect (such as paralleling the room reverb and the plate reverb). The parameters of the second effect are adjusted as much as possible with the parameters of the first effect - the approximate algorithm rules, the same delay time, and so on. However, since the second effect is a different type of effect after all, the sound processed by it can be complemented by the sound processed by the first effect, thereby obtaining a perfect sound effect.
â– When using a envelope-modulated filter to process a signal (especially a bass signal), be sure to split the signal into two parts: one part is processed by the filter. The other part is sent directly to the tuning. The sound processed by the filter becomes "narrow", but after mixing with the direct sound sent directly to the mixer, the low frequency and high frequency components of the sound can be maintained to make the sound full.
â– Try to use a method that is considered completely wrong, and you may get a good sound effect.
â– It is often the case that when you continually turn the knob of an effector like a crazy scientist or adjust various parameters without aim, you will suddenly get a very wonderful effect. And when you want to record it with a tape recorder, you can't get the initial results. So, a very good habit is to get the recorder ready before you start mixing, so you can start recording at any time.
â– Try different connections to achieve different results. For example, use the volume pedal together with the delay. When the delay is placed at the front and the volume pedal is placed at the back, the volume pedal can simultaneously control the volume of the direct signal and the delayed signal; when the volume is stepped; when the board is placed in front of the delay, the volume pedal Only the volume of the direct signal can be controlled, so that the sound after the delay can be highlighted.
â– If you don't try it yourself, no one will believe that there will be such a "cool" effect. The human voice is processed using a bandpass filter with a center frequency of approximately 3.5 kHz. The resonant frequency of the filter is modulated with a human voice envelope over a very narrow frequency range (eg 3 to 4 kHz). Then, the ratio of the direct sound and the effect sound is finely adjusted - the sound is different after the effect is removed, but the effect cannot be clearly perceived. In this way, the filter automatically modulates the vocal frequency range and makes the vocals meticulous and full of life.
â– Distortion effect only applies to guitar. Is this correct? The answer is: wrong. Believe it or not, the distortion effect enhances the drum's strength and discouragement. The sound of the drums is strong, but it is fleeting. At this time, a large number of overtone components with obvious characteristics can be added to make the drum sound perform very well.
â– Transfer an auxiliary bus of the mixer to the carrier input of the voice synthesizer. Another auxiliary bus is output to the modulation input of the sound synthesizer. This way any signal from the mixer can be modulated on the other signal, resulting in some unexpected effects - for example, percussive bass, guitar, keyboard, etc.
â– If you are using a pedal-type distortion effector, be sure to minimize the release time of the synthesized voice because it exaggerates the distortion compression characteristics.
â– If the reverb effect you are using is not very satisfactory. Then you can consider paralleling a different type of effect (such as paralleling the room reverb and the plate reverb). The parameters of the second effect are adjusted as much as possible with the parameters of the first effect - the approximate algorithm rules, the same delay time, and so on. However, since the second effect is a different type of effect after all, the sound processed by it can be complemented by the sound processed by the first effect, thereby obtaining a perfect sound effect.
â– When using a envelope-modulated filter to process a signal (especially a bass signal), be sure to split the signal into two parts: one part is processed by the filter. The other part is sent directly to the tuning. The sound processed by the filter becomes "narrow", but after mixing with the direct sound sent directly to the mixer, the low frequency and high frequency components of the sound can be maintained to make the sound full.
â– Try to use a method that is considered completely wrong, and you may get a good sound effect.
â– It is often the case that when you continually turn the knob of an effector like a crazy scientist or adjust various parameters without aim, you will suddenly get a very wonderful effect. And when you want to record it with a tape recorder, you can't get the initial results. So, a very good habit is to get the recorder ready before you start mixing, so you can start recording at any time.
â– Try different connections to achieve different results. For example, use the volume pedal together with the delay. When the delay is placed at the front and the volume pedal is placed at the back, the volume pedal can simultaneously control the volume of the direct signal and the delayed signal; when the volume is stepped; when the board is placed in front of the delay, the volume pedal Only the volume of the direct signal can be controlled, so that the sound after the delay can be highlighted.
â– If you don't try it yourself, no one will believe that there will be such a "cool" effect. The human voice is processed using a bandpass filter with a center frequency of approximately 3.5 kHz. The resonant frequency of the filter is modulated with a human voice envelope over a very narrow frequency range (eg 3 to 4 kHz). Then, the ratio of the direct sound and the effect sound is finely adjusted - the sound is different after the effect is removed, but the effect cannot be clearly perceived. In this way, the filter automatically modulates the vocal frequency range and makes the vocals meticulous and full of life.
â– Distortion effect only applies to guitar. Is this correct? The answer is: wrong. Believe it or not, the distortion effect enhances the drum's strength and discouragement. The sound of the drums is strong, but it is fleeting. At this time, a large number of overtone components with obvious characteristics can be added to make the drum sound perform very well.
â– Transfer an auxiliary bus of the mixer to the carrier input of the voice synthesizer. Another auxiliary bus is output to the modulation input of the sound synthesizer. This way any signal from the mixer can be modulated on the other signal, resulting in some unexpected effects - for example, percussive bass, guitar, keyboard, etc.
â– If you are using a pedal-type distortion effector, be sure to minimize the release time of the synthesized voice because it exaggerates the distortion compression characteristics.
â– If the reverb effect you are using is not very satisfactory. Then you can consider paralleling a different type of effect (such as paralleling the room reverb and the plate reverb). The parameters of the second effect are adjusted as much as possible with the parameters of the first effect - the approximate algorithm rules, the same delay time, and so on. However, since the second effect is a different type of effect after all, the sound processed by it can be complemented by the sound processed by the first effect, thereby obtaining a perfect sound effect.
â– When using a envelope-modulated filter to process a signal (especially a bass signal), be sure to split the signal into two parts: one part is processed by the filter. The other part is sent directly to the tuning. The sound processed by the filter becomes "narrow", but after mixing with the direct sound sent directly to the mixer, the low frequency and high frequency components of the sound can be maintained to make the sound full.
â– Try to use a method that is considered completely wrong, and you may get a good sound effect.
â– It is often the case that when you continually turn the knob of an effector like a crazy scientist or adjust various parameters without aim, you will suddenly get a very wonderful effect. And when you want to record it with a tape recorder, you can't get the initial results. So, a very good habit is to get the recorder ready before you start mixing, so you can start recording at any time.
â– Try different connections to achieve different results. For example, use the volume pedal together with the delay. When the delay is placed at the front and the volume pedal is placed at the back, the volume pedal can simultaneously control the volume of the direct signal and the delayed signal; when the volume is stepped; when the board is placed in front of the delay, the volume pedal Only the volume of the direct signal can be controlled, so that the sound after the delay can be highlighted.
â– If you don't try it yourself, no one will believe that there will be such a "cool" effect. The human voice is processed using a bandpass filter with a center frequency of approximately 3.5 kHz. The resonant frequency of the filter is modulated with a human voice envelope over a very narrow frequency range (eg 3 to 4 kHz). Then, the ratio of the direct sound and the effect sound is finely adjusted - the sound is different after the effect is removed, but the effect cannot be clearly perceived. In this way, the filter automatically modulates the vocal frequency range and makes the vocals meticulous and full of life.