In full ef­fect

Future Music - - WELCOME -

Broadly speak­ing, there are two ways to use ef­fects in mu­sic pro­duc­tion – as mix tools, or as cre­ative pro­ces­sors. Th­ese two ap­pli­ca­tions are ef­fec­tively the po­lar op­po­site of one an­other. The for­mer is all about trans­parency – try­ing to im­prove the sound of an au­dio sig­nal with­out mak­ing it ob­vi­ous that an ef­fect has been used on it. When it comes to cre­ative pro­cess­ing though, the sound of the ef­fect is pre­cisely what we’re after. Whether that’s the spaced-out am­bi­ence of a long, drawn-out re­verb, the wob­bling re­peats of a vin­tage de­lay, or the har­mon­i­cally rich crunch of an ana­logue re­verb.

It’s th­ese cre­ative ef­fects we’re fo­cus­ing on in this is­sue. This month’s two main tu­to­rial fea­tures are all about find­ing new and ex­cit­ing ways to push sounds as far as you can, to cre­ate out-there, ear-catch­ing re­sults. First, on page 30, we’re deep-div­ing into the realm of de­lay, look­ing at ways to take this clas­sic ef­fect to the next level. Then in the lat­est Pro­ducer’s Guide on page 57, we take a look at de­sign­ing cus­tom ef­fect racks, and ways to use mul­ti­ple pro­ces­sors to achieve unique and cus­tom sounds.

Don’t for­get to grab the ac­com­pa­ny­ing videos and files from file­­ture­mu­sic

We hope you en­joy the is­sue!

Si Truss, Edi­tor si­mon.truss@fu­

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