Make your own mod­u­la­tion

Future Music - - FEATURE -

De­lay isn’t just be­hind the overt ef­fects you hear in a mix – it’s also re­spon­si­ble for far more sub­tle treat­ments that pro­duc­ers have been us­ing heav­ily for many years. And it all started – as do most things in mu­sic pro­duc­tion mythol­ogy – with those pesky Bea­tles.

Leg­end has it that the Fab Four had re­quested a method of dou­ble tracking vo­cals au­to­mat­i­cally. After Abbey Road engi­neer Ken Townsend came up with a so­lu­tion – du­pli­cat­ing the vo­cal sig­nal on tape and mod­u­lat­ing one copy – the ‘flange’ ef­fect was, sup­pos­edly, born, and used lib­er­ally on the ap­pro­pri­ately ti­tled Re­volver.

Flang­ing isn’t too far re­moved from the sis­ter ef­fects of phas­ing and cho­rus. The three stem from the same sim­ple process, and it’s easy to make your own with de­lay: set a short de­lay time, mod­u­late it slightly, and make sure you’re run­ning both dry and wet sig­nals. Here are some recipes…

Most mod­u­la­tion ef­fects have roots in de­layed sig­nals; do it your­self if you know how they’re for­mu­lated

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