Future Music July 2018 [PDF]
English | 116 pages | PDF | 44 MB
THE JOY OF EFFECTS
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.
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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.
home page
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