Ableton Forum

any sort of analogue filtering, I am always abit of a junkie for. It seems something in ever tune i do gets run thru either the Sherman or the Moog filter.

Fade To Grey Rack

Delay for sure, I can't play guitar without my moogerfooger delay. I use a lot of delay in mixes too, in place of reverb whenever possible. I'm not great at dialing in reverb.
I love filters, with and without delay. Frostwave and Volcano2 mostly. I know a guy (Locate/Module) who plays filter and delay like a violin.
Lately though I'm all about modulation. I like to modulate the filter frequency. I like to modulate everything really. It's addictive. Ooh, I could send this over there, and have this do that over here! Started reading about modular synths a few months ago and now i try to apply those types of concepts to the gear i have.
I don't get out a lot.

roach808 wrote:any sort of analogue filtering, I am always abit of a junkie for. It seems something in ever tune i do gets run thru either the Sherman or the Moog filter.

Nice.

reverse it, unwrap to lengthen.

Lately, I've been very partial to using the Simple Delay with sync turned off and with subtly different, short times on each side of the spectrum.

Delay, not just as an "effect" but used really fast 'n lightly to thicken things. And yes filters...all Runciter all the time until I quit smoking and my wife therefore buys me a Sherman.

The other thing I've been doing a bit lately is throwing some kind of chorus/flange/phase in the master channel to both glue the mix together and sort of slant it...if you lay it in real delicate like, so you can't exactly literally hear it unless you know it's there, it just creates this sort of unease, while also acting as a unifying force. If a song is lacking something, or sounds too open or bland, it's definitely worth a try. The phaser, flanger and frequency shifter from the u-he Uhbik pack are excellent for this sorta stuff.

Coming from many years of recording to 4-track cassette, I often find all this newfangled computer stuff a little sterile, so I also have to second the occasional use of distortion/overdriven saturator/redux (particularly the bit reduction - the downsampling gets a little harsh) to add some hiss and/or dirt.

For me it's delay. So many uses/textures from subtle ambience to endless echoing canyons. Couldn't mix without it.

compressor, eq8, synth and guitar effects (when working with sounds/synths), and most importantly minimal delay

BBE

right about now it has to be this:

http://www.g-sonique.com/gweb/dubmaster.htm

and audio damages Liquid Flanger:

http://www.audiodamage.com/effects/prod ... ?pid=AD015

mute

Nick the Zombie wrote:Lately, I've been very partial to using the Simple Delay with sync turned off and with subtly different, short times on each side of the spectrum.

+1. Simple delay is great for those slapback vocal effects.

For me overall, I'm getting into and loving reverb and short delay (like the classic 25ms right 50ms left)combos. short delay on the main signal panned slightly left, sent to a reverb which is then brought back and panned slightly right.

get this lovely width going on, great on vocals and guitars.

ghast wrote:BBE

It is a thing of beauty.

i tend to have a thin slightly overdriven sound on vocals a lot of the time via speakerphone, ohmicide etc. Not much, but giving it that Sparklehorse, Eels feel to it.