![]() It's a warm‑sounding, convincingly 'vintage' effect that does pretty much what you'd want from a phaser. Last in the Silver Line collection at present is the Fazortan phaser, which, well, phases. Not all the controls do what you'd expect - Tone, for example, starts off thin and trebly and gets progressively more mellow as you turn it up - but together they allow you to replicate anything from barely noticeable warmth to almost pure white noise. Although some of the presets use this EQ to try to mimic the frequency response of a guitar amp cabinet and speaker, the emphasis is, again, on other types of valve gear. A preamp gain control with high- and low‑cut filters precedes a valve distortion emulation with Tube Bias, Tone and Brightness controls, which is followed by a four‑band parametric EQ. Redoptor, meanwhile, turns out not to be a small but vicious predatory dinosaur of the late Cretaceous era, but another distortion plug‑in. Ramp up the clipping and you can get some absolutely brutal fuzztone effects, and although the presets called 'Guitar Tube Amp' ought to win some sort of award for sounding absolutely nothing like a guitar tube amp, there is certainly something on offer here for adventurous guitarists, especially if you can pair Devastor with a cabinet simulator to tame some of its innate fizz. Any or all can be placed before or after the clipper in the signal chain, and where two or three of them are in the same position, they operate in a parallel configuration.Īgain, many of the presets are designed to emulate the output stages of various pieces of vintage hardware, in which capacity they generally do a fine job of adding a certain wonky character to the source. The multiplicity resides in the addition of three separate filters, again similar to those found in Decimort. There's only one distortion element in the signal path - a preamp stage similar to that found in Decimort, offering an emulation of analogue 'diode clipping' distortion, with Threshold and Knee controls. It's billed as a multi‑band plug‑in, but isn't, at least as I understand the term. Ugly, but mostly in a good way.ĭevastor likewise sounds like a sinister figure from a JK Rowling book, but is actually a distortion effect. All manner of fizzing, ringing, clanging and crunching effects can be applied to almost anything drums are the most obvious candidate, but if, like me, you retain a weird nostalgia for the sound you got by plugging your first electric guitar into the mic socket on your parents' music system, the preamp distortion will get you surprisingly close. Not being lucky enough to own an MPC60 or similar, I can't vouch for Decimort's accuracy in emulating classic samplers, but I was very impressed by the sheer range of nasty noises that you can make. ![]() ![]() These are followed by an anti‑aliasing filter and a conventional resonant filter that offers all the standard filter responses. The signal path begins with a preamp control, which imparts a crunchy, solid‑state clipping distortion when you ramp it up, before the left and right channels pass through independent but linkable bit‑depth and sample‑rate reduction stages (I'm unsure why you'd ever want to unlink them, personally). There are still samplers and drum machines from the '80s that command high prices because of the particular brand of crunchiness they impart to the source, and of all the innumerable 'bit crushing' effects, no two ever seem to sound quite the same.ĭ16's Decimort is the first such plug‑in I've encountered that includes presets emulating the sound of classic hardware like the Akai MPC60, Emu Emulator, Casio FZ1 and so forth. Reducing the bit depth and sample rate of a digitised signal is a fairly simple business, so it's a source of constant wonder that it can yield such individual and widely varied results.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |