Ah yes…the good old days. When tape cost a week’s salary, you had to clean your recorder’s tape heads and capstan every day, and worst of all, there was no undo. And I had to make fun effects by laboriously breadboarding parts, soldering, and deciding what tradeoffs to make because an effect with 26 controls and 12 switches wasn’t really viable.
But now we have Studio One so we don’t have to mess with tape, and FX Chains, so we can make our own crazeee multieffects without having to solder anything! Which brings us to this week’s tip.
Back in the 70s, sample-and-hold effects from synthesizers were a big deal. This effect synched to tempo, and stepped through a resonant filter. Its cutoff frequency changed on the beat, and held until the next beat, at which point it changed to a different random cutoff frequency. I always liked that effect with guitar, and thought it would make a good Friday Tip, along with a companion, downloadable FX Chain. But I got carried away…check out the audio example, with guitar, bass, and drums.
Fig. 1 shows the FX Chain basics. The chain splits the stereo input by channel, into two Autofilters. These are modulated by their LFO step sequencers, which sync to the beat. The filters are before Ampire, so they alter the distortion character in a more subtle way than they would if they followed Ampire.
Figure 1: The Filter Shape Shifter “block diagram.”
Here’s the story on the Macro Controls (Fig. 2).
Figure 2: Macro controls for the Filter Shape Shifter FX Chain.
Cutoff and Resonance are “master” controls for both filters. The Filter Modes choose the filter types for the left and right Autofilters, while the two LFO Beats controls choose the rhythmic sync for the left and right LFOs.
R Step Offset is a bit unusual. It changes the values for all of the right LFO’s steps except for 1, 4, 8, and 12. Automating this parameter and varying it can add a considerable amount of variety to the sound, but keeping a constant, relatively high filter frequency on steps 1, 4, 8, and 12 maintains the beat.
Mix changes the wet/dry mix for both filters, and Widen enables a Binaural Pan when you want a wider stereo spread. And you know you want it.
Do check it out, and have fun warping your guitar-meets-Ampire sound!
A fundamental difference between Pro Tools and Studio One is effects handling, which can be confusing for Pro Tools users switching to Studio One (and yes, this tip is based on a true story). When you add an effect with Pro Tools’ mixer insert, you’ll see options for Multichannel and Multi-Mono effects—which Studio One doesn’t have.
Or does it? Actually, not only can Studio One emulate the Pro Tools Multi-Mono mode for people who’ve switched, but there are some advantages that are relevant to Studio One users.
In Pro Tools, Multichannel effects are like what we’re used to in Studio One (and other programs), where the effect processes a mono or stereo track. However, Multi-Mono effects insert separate effects for a stereo track’s left and right channels. Normally this is transparent to the user because the effects are linked, and have a single interface, so they seem like a Multichannel effect. However, Multi-Mono’s particular talent is that you can unlink the effects from each other, switch between the two channels in the interface, and process the two channels (or more, for surround) separately.
My Pro Tools friend was disappointed, because he would often use this feature when mastering, restoring tracks, working with two-track audio sources, and the like. For example, when prepping a file for mastering, he sometimes limited one channel to tame peaks, left the other channel with minimal limiting, then added a master limiter at the output to provide overall limiting (this isn’t the same as using a conventional stereo limiter, and unlinking the two channels). On occasion, the different channels needed different EQ as well.
He knew about my Stereo to Virtual Mono blog post, but wanted to have everything in a single track, like Pro Tools. Fortunately, there’s a simple solution (Fig. 1). As an example, let’s use his scenario of wanting different limiters in each channel.
Figure 1: How to implement Pro Tools’ Multi-Mono effects functionality in Studio One.
Done! Now the left and right channels have their own limiters. But the Pro Tools guy also realized there was an advantage to Studio One’s pseudo-Multi-Mono mode: he didn’t have to switch between Limiter interfaces. Instead, he could pin them, and see both at the same time. When I reminded him he could bring out the Gain, Threshold, Ceiling, and Release controls for each Limiter to Macro knobs, save that as an FX chain, and use less screen real estate…let’s just say he was a happy camper.
This isn’t to diss Pro Tools, which (like any DAW) does some things well, and some things not so well. But it does show that when switching from one program to another, concerns you may have about needing to give up a favorite feature could be irrelevant.
Compression and bass go together like ham and eggs, red beans and rice, or peanut butter and jelly (or gin and tonic, if you prefer something a little stronger). A lot of engineers plug in a compressor within milliseconds of turning up the bass track’s fader. Some “pro tips” on the web even recommend inserting lots of compressors in series. Hey, if one is good, then four must be better—right? Well, I’m not convinced.
Lately with electric bass (synth bass, too) I’ve been tossing compressors aside, and using Limiter2 when I want to get a solid sound down fast. And I mean fast—that 15 seconds is actually a bit misleading. I’ve clocked myself at under 12 seconds from drag-and-drop to pressing play, including editing the Limiter2 settings.
Check out the audio example. The drums are using my Bigness of Huge Drum Sound FX Chain. The first four measures are the bass sound as recorded, using the Limiter2. The next four measures are the same, but with the Limiter2 bypassed. Note that when the limiter is in play, the bass isn’t overwhelmed by the drums.
Fig. 1 shows the Limiter2 settings.
Figure 1: Settings for bass with the Limiter2.
That’s all there is to it. (But if you’re a 5-string bass fan, I do recommend changing the Release time to 300.0 ms.)
Granted, this isn’t necessarily a “one-size-fits-all” tip. You might want to add some EQ, some AutoFilter funk in parallel, or whatever. But this punchy, full sound will hold its own in the rhythm section, and get you through the tracking session. What’s more, if the bass player has a good touch and properly adjusted pickups, it maybe even take you to the final mix.
IR-driven cabs are often the weak link with amp sims Fortunately, cab emulations have improved dramatically over the years. Yet like samples, they remain “frozen” to a particular cab—they have their sound, and that’s it.
Although some guitar players think that a cab is a magical device, it’s really just a filter. To be sure, it can be a magical filter…but it’s still a filter. So, we can use filters to create our own cabs. They won’t be able to replicate a specific cabinet down to the smallest detail, but that’s not the point. Using the Pro EQ2 filter to create your own cabinet can give responses that IRs can’t give, with a different sound that can be satisfyingly smooth, and…well, “analog.”
I analyzed the frequency response of several cabs, using the Tone Generator’s pink noise along with the Spectrum Analyzer plug-in, then tried to replicate the response as closely as possible with the Pro EQ2. Although sometimes I was shocked at how close this could come to the cab, more often than not I couldn’t help but make some tweaks—it’s almost like I had taken that cab, brought it into a woodworking shop, and made specific changes for my needs.
If you want to experiment…be my guest! Insert Ampire, choose your amp (I particularly like the following curves with the VC30), select no cab in Ampire (important!), insert the ProEQ2 afterward, and rock out. Here are some ideas to get you started. Note that the white curve is the sum of all the other curves, so that’s the curve you actually hear.
This curve is based on a 1 x12 cabinet that’s designed for leads, but works with rhythm parts as well (Fig. 1).
Here’s a curve that’s more “Tweedish” (Fig. 2)
This curve (Fig. 3) is based on an amp by a company that no longer makes amps, but whose name I better not mention so that I don’t have to deal with lawyers. Suffice it to say they’re known mostly for making guitars that are popular with rock guitarists.
And here’s one more…just because we can (Fig. 4)! It’s based on a 2 x 12 cab.
These all have two elements in common: high-frequency rolloffs, and interesting resonances. Although “EQ cabs” may not replace IRs, they’re not supposed to—this is about augmenting your options. Nonetheless, in many of my current productions, I prefer using the Pro EQ2-based cabs because it’s easier to tailor them to fit in with a specific mix.
For this week’s tip, I’m not providing presets because this isn’t about presets—it’s about editing an “analog” cab to give the sounds you need for your productions. So, the “best” curve will depend on what works best with your guitar, playing style, and production goals. In any event, I think you’ll find that constructing your own cabinet can provide a musically useful, and novel, way to expand on what IR-based cabinets can do.