“The team at Soundtoys have done a wonderful job with their plug-ins. And, of course, you can lock everything to the master tempo of the Soundtoys Effect Rack or your favorite DAW for solid, dead-simple synchronization. Like our custom shapes, custom patterns are even swappable between plug-ins. You can even choose the number of beats per bar to create some funky syncopation or odd-time-signature grooves. You can turn individual steps on and off to create pauses or rests, and adjust the level and length of each step to humanize your pattern and give it some musical variation. Choose a length (in bars) and the size of the steps you want to edit (sixteenth notes, eighth notes, quarter notes, etc), then start clicking to make a new pattern. Our Rhythm Editor is like a rhythmic modulation sequencer.
Use it to dream up new LFO shapes, from knife-edged waves to gently ebbing curves. You can also draw and sculpt your own totally customized shapes using our Shape Editor. Our included library of LFO shapes goes far beyond standard modulation effects, giving you curves based on vintage modulation effects, amps and instruments as well as more abstract shapes. With any shape you can imagine.Īn LFO (Low Frequency Oscillator) is at the heart of every modulation effect - it’s what gives tremolos, phasers, panners and sweeping filters their characteristic motion. It responds how I remember it.Effects that move to your rhythm. The Native instruments VC2A is probably my favourite version in a plugin. I used a hardware one constantly in 1990's when I was a studio recording engineer. I use this style of compressor as a leveller. Great for bass, guitars, keys, and vocals (in conjunction with another compressor like an 1176 if you need to deal with a vocalist's transients). It leaves transients alone and averages out the signal over time. Gain would make the panel inside brighter optically and then you adjust the peak to control the amount of compression (how much of the light the photo cell responds to). You control it by using the input gain and peak together. It worked using a luminescent panel as an input and photocells 'seeing' and adapting the compression ration and release, if the photo cell sees light it continues to work. If it was modelled properly then the attack/release and the ratio are dependent on the source signal but generally the original Teletronix was a 10ms attack time, a 4:1 ratio and the release was around 60ms on quick signals with a further hold from 1s - 15s depending on the signal.
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