Difference between revisions of "Signal processing/Effects (Q911)"
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(Changed claim: context (P66): Effects span a wide range. Surprisingly, even the most complex room simulations and creative reverbs are made from simple linear, time-invariant building blocks (feedback-delay networks) and a few filters. Effects can be time-variant but otherwise linear, as with modulated choruses and phasers, time-invariant but non-linear, such as exciters or waveshapers for creative use, or they can go all the way to fully time-variant and at the same time non...) | (Changed claim: context (P66): Effects span a wide range. Surprisingly, even the most complex room simulations and creative reverbs are made from simple linear, time-invariant building blocks (feedback-delay networks) and a few filters. Effects can be time-variant but otherwise linear, as with modulated choruses and phasers, time-invariant but non-linear, such as exciters or waveshapers for creative use, or they can go all the way to time-variant and at the same time non-linea...) | ||
| Property / context | Property / context | ||
| - | + | Effects span a wide range. Surprisingly, even the most complex room simulations and creative reverbs are made from simple linear, time-invariant building blocks (feedback-delay networks) and a few filters. Effects can be time-variant but otherwise linear, as with modulated choruses and phasers, time-invariant but non-linear, such as exciters or waveshapers for creative use, or they can go all the way to time-variant and at the same time non-linear, such as instrument amp models, harmonizers, autotuners, and much more. To keep up with ever more complex offerings found on the market, it is helpful to think about effects in terms of their basic building blocks. (English) | |
Revision as of 12:05, 26 July 2024
common classes of effects, their parameters, their signal properties, and their creative uses
| Language | Label | Description | Also known as |
|---|---|---|---|
| English | Signal processing/Effects | common classes of effects, their parameters, their signal properties, and their creative uses |
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difference of inline and additive effects (English)
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common additive effects (reverb, delay, chorus etc.) and their parameters (English)
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reverb use cases (English)
corrective use, e.g. to blend spot microphones realistically (English)
creative use (English)
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exciters, saturators, distortion, and their parameters. (English)
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harmonizers and autotuners, and their parameters (English)
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Effects span a wide range. Surprisingly, even the most complex room simulations and creative reverbs are made from simple linear, time-invariant building blocks (feedback-delay networks) and a few filters. Effects can be time-variant but otherwise linear, as with modulated choruses and phasers, time-invariant but non-linear, such as exciters or waveshapers for creative use, or they can go all the way to time-variant and at the same time non-linear, such as instrument amp models, harmonizers, autotuners, and much more. To keep up with ever more complex offerings found on the market, it is helpful to think about effects in terms of their basic building blocks. (English)
0 references