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Magic Stereo

For me, the gold standard for sound isn’t what comes out a studio, but live music. One of the reasons is that mono sound does not exist in an acoustic environment—it’s always interacting with the acoustic environment.

Sure, we can add reverb to give a mono instrument like electric guitar a static position in a stereo field. However, that will always require some kind of time-based manipulation. For a recent song project, I wanted a background guitar part to have motion within a stereo field—but without using any kind of delay, reverb, panning, or EQ. In other words: dry, electric, mono-output guitar with a stereo image. Impossible? Let’s find out.

The Track Setup

The way this works is so simple I’m surprised I never figured it out before. Fig. 1 shows the track layout.  The guitar (with added chorus, as required by the song) pans full left, and has two sends. One send provides the guitar’s audio to a bus. The other send controls the sidechain of a Compressor inserted in the bus. The bus is panned full right.

Figure 1: Track layout for the magic stereo effect.

As the Compressor’s level changes, there’s a sense of motion as the dynamics and levels in the left and right channels change. Even better, these changes are tied to the instrument’s dynamics. This makes for a more natural effect.

This audio example plays the guitar by itself, panned to center, and going through the PreSonus chorus.

Guitar without Magic Stereo

Now let’s hear the magic stereo effect. Although it’s most obvious on headphones, you’ll hear the effect on speakers as well.

Guitar with Magic Stereo

The final audio example plays it in context with the mix. It adds a sense of animation to the guitar you can’t get in any other way. I also included this example because the drums are following the chord track. It has nothing to do with this tip, but I love the cool melodic quality it adds.

Effect in context

Compressor Settings

The Compressor settings are crucial. The ones shown in fig. 2 are a good place to start.

Figure 2: Compressor settings for the Magic Stereo effect.

Adjust the settings by panning the source track full left. Increase the processed track’s level until both channels are at about the same level. Experiment with the Compressor’s Threshold to find the sweet spot between the compressor having no effect, or having too much of an effect. The Release can also affect this—too short or too long a release neuters the effect.  You’ll likely have to readjust the processed channel’s level quite a bit as you zero in on the ideal settings.

With 15 ms Attack, both channels have their attacks hit at the same time and with the same intensity. So, the attack sound appears in the center, has the advantage of center-channel buildup, and helps anchor the part. As the audio decays and the channels are more dissimilar, the audio “wanders” more in the stereo field.

This technique is also great with background vocals. I didn’t use it in this song because there was so much motion going on overall I wanted the background vocals to be a constant. However I’ve used this technique with other songs, and it’s very effective—especially if you have multiple tracks of background vocals, and you apply individual magic stereo processing to each one.

Instant Inspiration!

The MIDI-oriented Songwriter’s Assistant tip makes it easy to play around with chord progressions. This new tip is about experimenting with, and recording, audio chord progressions in real time—keep the sections you like, discard the rest, and build your song from there. It’s a simple, eight-step process.

1. Start with an empty Song. Enable the Chord Track, then use the Paint tool to create a Chord Track that runs the length of how long you expect to be trying out different chord progressions. The chord itself doesn’t matter.

2. Double-click on the Chord Track, then enable the Chord Selector’s Instrument Input and Speaker buttons (fig. 1).

Figure 1: Click the Instrument Input and Speaker buttons, outlined in orange.

3. Create a stereo audio track. Assign its input to Instruments > Chord Preview, and record-enable it. We’ll call the track Chord Progression (fig. 2).

Figure 2: Track layout for this tip.

4. Click on the Instrument Editor button in the Chord Preview mixer channel to open Mai Tai. This is the sound used for the Chord Track preview. For this tip to work correctly, it’s crucial to make the edits in fig. 3 to the Chord Preview preset. (After making the edits, I overwrote the original preset.)

Figure 3: Edit the Chord Preview preset parameters outlined in orange.

5. At this point, you’ll usually enter a rough tempo (you can always tweak the tempo later), enable the metronome, and select a 1-bar precount.

6. With the Chord Selector visible, start recording in the Chord Progression track. Click on a chord in the Chord Selector (however, the first chord must be different than the one that’s currently selected) to record its sound into the Chord Progression track. Continue selecting chords to create various chord progressions. Note: the chord will play for only a finite amount of time after you click on it, and it won’t play if you click on it again. To extend a chord’s playback, my workaround is to alternate clicking between the original chord and Power Chord (under Type).

7. Some of the progressions you try might be useful, some might not be—no problem. Keep the chord progressions that work, delete the rest, move them around on the timeline…whatever.

10 . At this point, you’ve probably forgotten which chords you played and when. Right-click on the recorded Event, and choose Audio > Extract to Chord Track. This automagically shows your chord progression (fig. 4). You may need to do a little cleanup, like extending a chord over where there’s silence—but your song is on its way.

Figure 4: I liked the section from measure 20 to measure 28. The rest will be discarded.

If you extended a chord’s length by using the workaround described in step 6, when you extract to the Chord Track, the chord extends for the time you clicked between the chord and Power Chord. Furthermore, it retains the chord type. For example, if you click on Dm, Power Chord, Dm, Power Chord, Dm, all of those will be represented as a single Dm chord “bar” in the Chord Track when extracted. Nice.

Now you can record other parts on other tracks, and have them follow the Chord Track. And here’s an extra tip: Read over the Chord Track documentation when you get a chance, and re-visit my previous Chord Track tips—the Chord Track is an incredibly powerful feature.

Heads-up: Version 1.3 of The Huge Book of Studio One Tips and Tricks is now available! This 637-page book with 230 innovative tips is a free update to owners of previous versions ($19.95 to new buyers). Download the update from your PreSonus or Sweetwater account the same way you downloaded your previous version. For more information, check out the series of Studio One eBooks. Also, there’s a dedicated support forum if you have questions about the tips, or suggestions for future revisions.

Instant Soundtrack!

Who reading this wouldn’t want to make a little more money from their music? Okay, dumb question.

When people think “soundtrack,” images of Hollywood scoring stages come to mind. But soundtracks are a much broader topic now. YouTube videos, podcasters, corporate presenters, educational videos, and local businesses doing radio or TV ads all need soundtracks.

In 1992, I wrote an article called “Subtractive Sequencing” for Keyboard magazine that described filling a piece of music with loops, and then cutting out sections to make an arrangement. It didn’t get much attention. But over 20 years later (!), a blog post called “Subtractive Arranging—Novel Production Method from Danny J Lewis” presented the same technique. This time, it did get attention, to the point where the inevitable “Why I Don’t Use Subtractive Arranging” appeared in someone else’s blog.

 Why? He didn’t like how this technique created static arrangements. But those “static arrangements” are actually ideal for… wait for it… soundtracks.

A good soundtrack fills space behind visuals or narration, but always plays a supporting role. So, I use subtractive arrangements to create soundtracks. I just take a song, and remove anything with a human voice, lead lines, some of the layers in layered parts, and most ear candy unless it complements the visuals (fig. 1). Then I render the mix, and compress the heck out of it—not to win the loudness wars, but to maintain a constant level that can happily sit -12 to -15 dB or so below the narration or dialogue.

Figure 1: The events in white were part of a song—but not part of a soundtrack.

In fig. 1, subtracted events are filled in with white for clarity. The tracks Lead Vocal and Smile (some ear candy) were muted. So was a layered, Nashville tuned guitar track, because the high frequencies stood out too much. The layered Standard tuning part was left in, but extra tempo-synched echo for both were cut. Similarly, there were two tracks of “Beat Filters,” loops from my AdrenaLinn Guitars loop library. They were panned to center and side for a cool stereo effect—that no one would care about. So, I muted one of them. Sections of a house bass loop were also removed.

The final, mixed soundtrack is exactly 1.5 minutes, and consists of drums, rhythm guitar triggered by a drum sidechain signal, bass in some parts, a beat filter loop in some parts, and a little acoustic guitar. That’s all that was needed. One last tip: You can mix bass up pretty high, because it helps drive a song and is out of the speech range.  

Every now and then, I go through some of my older projects, strip out anything distracting, create a soundtrack, and save it into my “Soundtracks” folder. Whenever I need a soundtrack, there’s always something suitable in there. And even better, if you get into creating soundtracks, you might find some interesting opportunities to make money from them.

Here’s the finished soundtrack:

For more tips on how to get the most out of Studio One, check out the series of Studio One eBooks that cover tips & tricks, creative mixing, recording/mixing vocals, dynamics processors, and recording/mixing guitar. Remember, just like software, eBook owners can download the latest “point” updates for free from their PreSonus account (or Sweetwater account, if purchased from there). Owners are also eligible for new editions at a reduced price.

Play Faster with Tape Stretch

How to Play Faster—By Playing Slower covered how to slow down tempo of non-MIDI based music without changing pitch. This allows playing a difficult part at a slower speed, and then speeding the part back up to the desired tempo. However, this method may produce artifacts, because time-stretching algorithms aren’t perfect (yet…).

With tape, musicians used variable-speed recorders to implement the same technique. However, because this approach locked pitch and tempo together, slowing down the tempo also lowered pitch. So, you’d need to learn the song in a different key, or retune your instrument to match the lower pitch. Speeding the tape back up to its original tempo sped up the slower overdub, and raised its pitch as well.

Studio One’s “Tape” stretch mode works the same way as variable-speed tape, and unlike other stretch methods, produces zero artifacts. You still need to learn the part in a different key, but sometimes this is a good thing. When you play along at the slower tempo and then speed the part back up again, the instrument’s timbre becomes brighter—which might be just what a song needs. Similarly, you can record at a faster speed, and then slow back down for a sound that’s more like downtuning. What’s more, with stringed instruments, it’s possible to record with a different voicing that might be more effective, or provide additional contrast if you’re layering parts.

How to Do It

1. Rather than try to slow down an entire Song, position the loop markers at the beginning and end. Choose Song > Export Mixdown to create a premix of the Song. Under Export Range, choose “Between Loop.” Under Options, check “Import to Track” (fig. 1).

Figure 1: Export the premix.

2. Mute all Song tracks except the imported premix.

3. Select the premix, and open its Inspector (F4).

4. For Timestretch mode, choose “Tape” (fig. 2).

Figure 2: Inspector settings for the premix.

5. Further down in the Inspector, locate the “Speedup” parameter.

6. Enter a Speedup value that “lands” on a key, as shown in fig. 3. For example, a Speedup setting of 0.89089 slows the tempo to 89% of its current value, and transposes pitch down 2 semitones. Enter all 6 digits for correct tuning, even though Speedup displays only 3 digits (Studio One knows the extra digits are there). Hit Return.

7. Create a new track, and record your overdub at the slower tempo, in the different key.

8. When you’re done, make sure your overdub extends to the song’s beginning. If there’s a gap, use the Paint tool to create a blank event that extends from the song’s beginning to the overdub. Select the blank clip and overdub, and then type Ctrl+B to turn them into a single event.

9. Click on the overdub event, and set Timestretch to Tape. transpose it up by as much as it was transposed down. For example, if the track was transposed down 2 semitones, enter a Speedup time of 1.12246 to transpose it back up two semitones. Hit return.

10. Done!

Figure 3: Speedup parameter values for different transpositions.

That Vintage Airy Sound

…as in, 10cc’s “I’m Not In Love.” Back in those days, to minimize tape hiss, noise reduction compressed and increased highs when recording, then expanded and reduced highs on playback. Many recordings of that era enhanced the highs on some tracks (especially vocals) by using noise reduction when they printed to tape, but then they didn’t “undo” the sound on playback. Once you’ve heard that sound, you’ll recognize it—a present, bright, yet not overbearingly trebly sound.

You may remember the “cassette,” a primitive form of audio recording invented over half-century ago, and intended for dictation. If so, you may also remember that when you turned off noise reduction, the cassette sounded brighter and more present. It’s the same principle.

How It Was Done

The early days, “studio standard” noise reduction was a broadband unit that applied the noise reduction process in four separate bands. The “hack” was to disable two of the bands, and use only the high bands (basically, shelving EQ around 3 and 9 kHz) to compress and increase highs.

But the reason why this worked so well is because lower-level, high-frequency signals were compressed the most. The higher the level, the lower the compression ratio. This is why the treble increase wasn’t overbearing when you used noise reduction to enhance the highs. Amazingly, we can obtain a very similar effect with stock plug-ins.

How to Do It

We’re not constrained to trying to sound like the original hardware unit, so we can optimize our approach for musical applications in Studio One instead of noise reduction with tape recorders. The Multiband Dynamics plug-in is well-suited for the “more-compression-at-low-levels” trick (fig. 1).

Figure 1: These Multiband Dynamics parameters give the fabulous airy sound. Only the High band is active. Everything else is muted.

As the curve shows, there’s a lot of compression at lower levels, but as the input gets higher, the ratio approaches 1:1. That’s exactly the effect we want. A maximum Knee setting makes for a smooth transition along the compression curve.

These are not necessarily the optimum settings for your application, so feel free to experiment. My intention was to create settings that avoided having too much or too little of a compression curve.

The Mix control determines the amount of the effect. Note that the Low Threshold, High Threshold, and Ratio controls all interact. The settings shown (which are also used in the downloadable preset) worked for me and give a pretty obvious effect. For something more subtle, set the Ratio to 3.0:1, and the Low Threshold to around -63. As to the preset, after downloading, import it into the Multiband Dynamics, or just drag it on top of the plug-in’s interface.

Anyway, hearing is believing, so listen to the audio example. I’ve added a fair amount of the effect so that it’s obvious. In a full mix, you might use less. The following audio demo alternates between an unprocessed version and processed version. The sounds are choir, 12-string guitar, vocal, and piano. I dug up a scratch vocal with loud sibilants because it really gets the point across—the sibilants are not more pronounced in the processed version, even though the overall sound is much brighter. Also, the piano is interesting. The portions with soft dynamics still have increased brightness, but the brightness doesn’t get out of hand when the dynamics hit hard (which even when unprocessed, are brighter anyway). You can hear the music these came from at youtube.com/thecraiganderton.

Vintage Airy audio example

So download the preset, drag it to your Multiband Dynamics, and…be happy you didn’t have to buy a piece of hardware to get this sound!

Download the CA_Vintage Airy preset here!

PreSonus Sound: Chiara Luzzana

“I don’t need a musical instrument when life plays the best notes”

Chiara Luzzana (2022)

We at PreSonus are extremely thrilled to hear and see Chiara Luzzana put her unique spin of sampling and *PLAYING* our hardware and software products musically in the creation of her performance video above. This performance was captured and edited using recordind software / DAW Studio One. Learn more about Studio One here.

Be sure to also watch her accompanying behind-the-scenes video (below) to learn how she hears and creates sound compositions from objects found in her world!

Chiara talks about her love of the Analog Delay and the Ampire Pedalboard plug-ins in the behind the scenes video around 4:58 and 7:01 respectively.

Chiara is a highly innovative and visionary sound designer.  She designs the sound of the most important brands in the world.

She has defined a real compositional method, unique in the field of sound brandingAs a kid, she studied guitar, clarinet and piano, but something in that method of teaching blocked her creativity. As she developed into an eclectic artist, she wanted to break the rules imposed by musical notation, to create music starting from noise to create visionary soundtracks.

As a former student at Berkelee College of Music, Chiara investigated how the brain reacts to sounds and vice versa, in order to structure every project with a specific mission.

Her sound works are a journey into the soul and psycho-acoustics, not just music. 

She studied to become an audio engineer in 2005, and has collected certifications and specializations in every field, from the neurobiology of musical cognition to the construction of microphones, to nourish her obsessive passion regarding every single detail related to sound.

Chiara made use of the ATOM SQ in this production (seen at :50 and 2:04 in the performance video) both as an instrument and as a performance tool to trigger sounds created in Studio One. Learn more about the power of the ATOM SQ


“It is in the noise and in its harmonious imperfection that my creativity finds inspiration”

Chiara Luzzana (2022)

Chiara is also a public speaker from the Italian and foreign stages; through talks and sound performances, she tells the importance of sound in communication and in everyday life.

Chiara has made more than 100 talks from 2015 to today, including an invitation as a speaker to the  Senate of the Italian Republic, several TED talks, and was even shared the same stage with Elon Musk, at Tech Week 2021. 

Her workshops are held in Milan and Shanghai. 

Winner of the “Muse Creative Award” 2017 for the “Best Soundtrack”. Winner of the “Muse Creative  Award” 2019 for the “Best Sound Project”. Finalist of “Music + Sound Award” in 2016.  Winner of “Best Soundtrack” for the Sandretto Re Rebaudengo Foundation.

Capturing The UNLV Symphonic Wind Ensemble with Quantum 2626 and Studio One

“The way I found out about Studio One and PreSonus: I had lunch with Bob Moses (president of the Audio Engineering Society at one time)… and I asked him some questions about what he would recommend: what company was reliable, had integrity and specifically he said ‘you should look at PreSonus’ so that’s what I came away with”

Kevin Paez, Musician/Audio Engineer @bunnytonemusic (2022)

Under the musical direction of Conductor, Thomas Leslie and the production team of Wendell Yuponce, executive producer, David Garcia, recording engineer and mixer and Kevin Paez, assistant recording engineer; the award winning University of Nevada at Las Vegas (UNLV) Symphonic Wind Ensemble recently worked with special guest artists: John Patitucci (Chick Corea, Part Metheny, Herbie Hancock, numerous others), Eric Marienthal (Chick Corea,  Elton John, Billy Joel, numerous others), Mitchell Forman (Phil Woods, Carla Bley, Wayne Shorter, numerous others) and Bernie Dresel (Count Basie, Maynard Ferguson, Woody Herman, numerous others) and have recently completed initial tracking of a new recording project with a slate of all new wind orchestra works.

PreSonus Studio One DAW and Quantum 2626 audio interface captured the creative musical magic that flowed out over the span of nine days as the musicians tracked live onstage at the Artemus W. Ham Concert Hall on the UNLV campus.

This musical collection was commissioned to highlight the groundbreaking curriculum at the UNLV Wind Studies Department, which has an extensive history in expanding the repertoire of wind orchestra compositions and allowing students within the program the unique opportunity to interact with living composers of note while adding to the overall evolution of musical expression within the field of wind orchestra.

KRIS XEN: Modern Fusionist with PreSonus Studio One

Kris Xenopoulos, AKA “KRIS XEN” is a South African guitar player, musician and producer.

Most well-known for his work with South African death metal outfit, Vulvodynia and the meme-tastic comedy metal band xavlegbmaofffassssitimiwoamndutroabcwapwaeiippohfffx, KRIS XEN does not only have heavy riffs on his mind, but also manages to blend multiple genres into a seamlessly flowing track.

He’s also explored instrumental, guitar-driven music with his prog band Technopath… and now Kris is now branching out as a solo artist.

“I’ve been using PreSonus gear since I was 16 years old, I couldn’t be happier to be working with a brand that’s been such a big part of my life over the years.”

—KRIS XEN (2022)

KRIS XEN takes you on a musical journey that could only be described as modern fusion.

Born in Johannesburg, South Africa, and raised in Durban, he starting off as a drummer at the age of 11 and became addicted to guitars as a young teenager. He started his first bands at the age of 13 and eventually became a member of one of the most famous death metal outfits in South Africa; Vulvodynia. He is constantly evolving as a guitarist, producer and musician, and developed a great love for expanding his musical knowledge and touring.

During the pandemic Kris focused hard on writing, recording guitar and producing Vulvodynia’s most recent offering Praenuntius Infiniti from his home studio. The album was mixed and mastered by Christian Donaldson.

Kris shows Studio One to mix/mastering engineer, Christian Donaldson

He has played in Ron Bumblefoot Thal’s (ex-Guns N Roses, Sons Of Apollo) band, done multiple headlining tours in Europe with Vulvodynia and Xavleg, and has headlined tours in the States, Australia, and Africa with Vulvodynia.

In Technopath, Kris has worked with some legendary musicians such as Brian Beller (Bass for The Aristocrats, Steve Vai, Joe Satriani), Mattias IA Eklundh (Freak Kitchen) and Nick Johnston.

Kris has also been featured in Guitar World Magazine and was the cover page for “New Voices In Guitar,” outlining “10 fresh guitarists to keep an ear out for in the coming year” for 2020.

Kris has just released a signature guitar with Ormsby Guitars, available worldwide and is presently on tour throughout the United States with Vulvodynia.

Follow KRIS XEN on Instagram for tour information and musical updates!



Join PreSonus Sphere today to check out KRIS XEN’s exclusive Presets and more by other PreSonus artists!

Only $14.95 per month for Studio One Professional, Notion, and so much more.

Unlock the Power of Impact XT’s Multiple Outs

We all know Impact XT is cool—but it’s at its coolest when you use the individual audio outputs, because then you can add exquisite effects to individual drums.

How Multiple Outputs Work, Part 1: Impact Setup

Let’s zoom out. Impact has 16 potential outputs, which can be mono or stereo. The reason for saying “potential” is that you can use as many as you want, in whatever configuration you want—all stereo, all mono, or a mix of mono and stereo outputs.

You assign a drum to one of the 16 outputs by clicking on the little number in a pad’s lower right, and choosing from one of the 16 outputs, either stereo or mono. More than one drum can feed a single output. For example, fig. 1 shows an Impact layout for a recent song. All the drums go to their own outputs, except that Perc1 and Perc2 feed the same output because they’re going to be processed, and have their levels adjusted, simultaneously.

Figure 1:  Impact XT setup for sending 7 drums to specific outputs.

Part 2: Console Setup

Now we’ll have the drums show up in the console. Open the Instruments panel, click on the downward arrow, and choose Expand to see Impact XT’s outputs. You’ll see all the Impact outputs (you may have to scroll to see more than the 16 stereo outputs). They’ll have an St (stereo) or M (mono) prefix, followed by the output number. Check the box that corresponds to each output that you’re using. It doesn’t hurt to check outputs you’re not using, but they’ll take up space in the console, and serve no purpose.

Next, simplify your life by renaming the console channels to reflect the drum names (fig. 2). The names will then show up in the Instruments panel. This lets you think of the console channels as sounds instead of just outputs.

Figure 2: The outputs have been named, and the drums go through a variety of processing.

Part 3: The Payoff

So why bother doing all this instead of just using a stereo output? Because we can do all kinds of fun processing. In this example:

  • The Snare channel is going to a bus with Room Reverb, set for a loooong decay. It’s followed by a Gate.
  • The Kick channel has a send that feeds the Gate’s sidechain, so when the kick hits, it lets through the snare’s reverb.
  • The Hat1 sound’s Analog Delay adds some motion.
  • The Cymbal goes through another Gate, set for a long attack time to give an attack delay effect. This is followed by the Open Air convolution reverb, which uses the “8.00s Thin” idealized reverb impulse from my Surreal Reverb Impulse Responses pack.

This processing transforms a dancehall-type beat into something more chill. The audio example’s first half plays what the loop would be like without processing, while the second half includes the processing—and that’s just the tip of the iceberg of what multiple outputs can do.

Impact XT Multiple Outs.mp3

“Universal” Gated Reverb

Last week’s tip covered using the Mixverb to create the 80s gated reverb effects with drums. This week, we’ll present a more universal solution. But also, we’ll do some cool tricks with gated delay (there’s nothing like a dotted eighth-note delay, right?).

Compared to last week’s tip, the main difference this week is that it’s not limited to using individual drum sounds (although that remains the most flexible approach). Because the gate following the reverb has a sidechain, it works with drum loops or a mixed drum bus. Fig. 1 shows the mixer setup for a drum loop.

Figure 1: Mixer setup for gated reverb drums.

The drum (or loop, or bus) track has two sends. One goes to an FX Channel with Open Air reverb followed by Gate. The Pro EQ2 before the reverb is optional—it’s there to keep low frequencies, where the kick lives, out of the reverb. The other send controls the Gate’s sidechain.

For Open Air, I prefer reverb sounds that don’t have a lot of early reflections, with a long, consistent tail. Try different reverbs, because the results vary greatly depending on the reverb itself. My go-to is using a 4.00 or 8.00 second “Balanced” impulse from my Surreal Reverb Impulse Reponses sample pack, tweaked with the Open Air EQ. In the audio example, using this particular impulse imparts a sort of melodic component as well as space. However, most long, smooth reverbs will work.

Gate Settings

First off, a “gotcha”: When you assign a sidechain to the Gate, it assumes you want Duck mode. You don’t! Make sure you turn off Ducking, or you’ll wonder why the gating doesn’t work as expected.

The Gate’s Hold parameter plays an important role. You can set the Threshold to pick up as much of the drum dynamics as you want, and then use Hold to set a specific amount of time that the Gate is open. Release tailors the sound further by setting the way the Gate cuts off, from no time to a bit of a decay. For example, 250 ms adds a bit more of a reverberant character if you want a less drastic gating effect.

Audio examples? Sure! Let’s start with gated reverb on drums.  The first half is dry drums. The second half has gated reverb, and uses the parameters shown in fig. 1.

80s Gated Mixverb Drums.mp3

The final audio example gates a dotted eight-note delay from the Analog Delay. In some ways, I think this is a better application than traditional reverb…but maybe that’s just because I haven’t heard it a zillion times before. This example has only the processed sound, since you already heard the dry sound in the previous audio example.

Gated 80s Drums_Delay.mp3