SAE Magazine

nough of them, each effect y choices and lots of char- value interesting, I make anges to each version of can see my rack for the at all the instruments are e theory I use for any in- have dramatic parameter ontrol live. In returning to udio to stage, if I set these ecording a note, I quickly sical and good in the mix obviously many folks will e to control, say, a synth o play with. In that case I se controls to a dedicated knobs on a keyboard, or ntroller that is just for per- g facilities apart from other onfusion in the heat of the ment as well as makes me eful to choose my battles d not just map everything. mitations, I’ve found, can ke for much more effec- e decision-making. Con- er how you’d choose if ited to a maximum num- of effects or controls at a ow, what would you leave ? If you adopt this simple ft in thinking, your produc- ns will naturally become e shows with little to no ra effort. INDEX Fig.2 A simple Effect Rack setup. Shown here is Send 2, a Delay, as I move between the different chains, The Delay times get shorter while increasing the speed of an AutoFilter effect to make them even more dramatic. The extra mile- age this buys me in terms of not having to build so many extra global effects is awesome, because I’m constantly finding new cool ways to use delays to sew together sounds or sections of song by play- ing with the delay time in real time. n Fig. 2 Effects RackPhoto: Brian Markman

SAE Magazine

Pages