Manual Magix Audio cleaning lab 2014 (page 85 of 156) (English)

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Plug-ins 85

- Stereo chorus: Compared to mono chorus, two copies of the original are created,

modulated against each other in pitch, and then fed accordingly to the set mix ratio to

the left and right output channel.

- Mono Flanger & Stereo Flanger In contrast to the Chorus Effects the lower delay

periods and a slightly changed modulation are processed.

- Ensemble: This creates a denser chorus, similar to Boss/Roland CE-1: Instead of two

voices, six are generated. Two internal sine LFOs for de-tuning, whereby for both

LFOs the second and third voice phase length by 120°. This results in a denser-

sounding effect that is also less warped.

• Rate: This specifies the speed of the modulation. Lower rates provide slight

hovering effects, and high speeds produce a wobbling, typically distorted

"underwater" sound.

• Depth: This parameter specifies the depth of the modulation, i. e. the maximum

deviation of the modulation and the resulting pitch bending.

• phase: This fader moves the right channel's oscillator phasing relative to the left,

wave is put back to the right. So that the Tremolo effect drifts apart in the stereo

field with ever increasing values. At 180° both oscillators work in reverse,

therefore the stereo effect is at its strongest.

• Feedback: This parameter defines the portion of the delay that is sent back to the

input. Feedback causes the effects of modulation to be more drastic and cutting.

Nullification of the feedback is set at the middle of the fader. Set to the right, the

feedback is fed to the input equi-phasal; to the left, the feedback occurs. Both

variants may sound very different depending on the signal, since they prefer

different frequency ranges for dissonance.

• Mix: Regulates the mix ratio of the original signal and the delayed portion.

Tweak

• Low Cut: This knob sets the filter frequency of a high-pass filter. Signal

components below this frequency will be filtered out.

Tube Stage

Preamplifier are still used today, if the signal needs a warm, flattering sound. This is

often not only about saturation or distortion artifacts, but rather more about getting a

compact and more vivid sound picture. A tube stage makes things a little more

dynamic, this is not due to the tubes itself, but rather the entire circuit, which interacts

with the tube in a way that amplification levels don't do on a semiconducter basis. As

with guitar amplifiers, the complexity increases with the number of stages.

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Magix Audio cleaning lab 2014 Manual

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