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+---- Thread: EFFECTS, THEIR ORDER AND INFLUENCE ON EACH OTHER (/thread-18666.html)
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EFFECTS, THEIR ORDER AND INFLUENCE ON EACH OTHER - Chello - 01-05-2025
EFFECTS, THEIR ORDER AND INFLUENCE ON EACH OTHER
I've done some testing with the Pa5X today.
I've used the "Japanese method" to see what Korg has done, and looked for repeated patterns in their setup.
It turns out that depending on which effect you choose in FX1, access to effects in FX2 and FX3 is determined by the one you chose in FX1.
Korg has put in an incredibly extensive amount of work with all the effects, which means that you can never choose the wrong effect together with another, because you don't get access to effects that don't fit together.
I also managed to create a new setup in Master Effects, which has an insane impact on the sound, and this is very easy and quick to do.
I've never used this effect I found as a Master, and by adjusting the amount in MFX Send the effect is formidable, even with minimal adjustment.
I'm seriously considering creating a new version of all internal styles with this setup - V3.
Here is a demo I made to demonstrate the effect.
I haven't reduced the output volume (as I have to) to effectively show the difference.
In fact, the original style is too loud (-9dB), and my V3 is much louder (-5dB), with obvious distortion.
Rely Dance orig.mp3 (Size: 1.35 MB / Downloads: 4)
Rely Dance V3.mp3 (Size: 1.37 MB / Downloads: 4)
RE: EFFECTS, THEIR ORDER AND INFLUENCE ON EACH OTHER - musicalmemoriesuk - 01-06-2025
On the Pa700 unless you select in the lock function in the global effects to upper 1 every time you change the sound in upper 1 the master effects b will also be changed.
It’s like what ever master effects b are assigned to upper1 sound, will also be assigned to lower, upper2 and upper3.
Unless you select the lock function in the global preferences menu.
RE: EFFECTS, THEIR ORDER AND INFLUENCE ON EACH OTHER - Chello - 01-07-2025
Multiple setups for effects MUST be used
As proof of what I just said, I experienced that my new effect could not be used - even though the volumes in MFX Send were set to zero, it was enough that the effect was ON - the sound was completely different than expected.
So which effects are used in which order has unexpected consequences; especially when you use parts from another style in a new style.
Many may not be aware that when they select an effect, this has an impact on the sound when it is ON even if all parts in MFX Send are set to zero.
RE: EFFECTS, THEIR ORDER AND INFLUENCE ON EACH OTHER - musicalmemoriesuk - 01-07-2025
I’ve seen some videos on music production where reverb is used last in the chain so to speak.
RE: EFFECTS, THEIR ORDER AND INFLUENCE ON EACH OTHER - Chello - 01-07-2025
(01-07-2025, 11:12 PM)musicalmemoriesuk Wrote: I’ve seen some videos on music production where reverb is used last in the chain so to speak.
Yes; on the Pa5X, reverb is always last in the chain, while O-verb is always first.
I have found that I can replace reverb with Dynamic Compressor, and use O-verb to compensate for what reverb did.
But Dynamic Compressor is extremely effective and must be used with the utmost care.
Styles that previously had too weak parts never become a problem when Dynamic Compressor is used.
RE: EFFECTS, THEIR ORDER AND INFLUENCE ON EACH OTHER - musicalmemoriesuk - 01-07-2025
In alot of real world recordings a lot is mentioned about open and closed mics, and mic placement.
From what I understand the closer the mic to the instrument, the smaller the reverb. And the further away the mic the more reverb.
So how do we emulate this on our arrangers, one way is to use delay.
A lot of what we have spoken about before with the use of ambience in our sounds and styles.
It would also depend on how many mics are available for the purpose of recording.
If only one mic was available for the whole recording as in the early days, how would you ensure all instruments can be heard and / or vocals.
This about is if you was to do a recording of a church organ one close to the front of the church, one in the middle of the church, and one at the rear of the church would they all sound the same or different.
RE: EFFECTS, THEIR ORDER AND INFLUENCE ON EACH OTHER - Chello - 01-08-2025
(01-07-2025, 11:38 PM)musicalmemoriesuk Wrote: In alot of real world recordings a lot is mentioned about open and closed mics, and mic placement.
From what I understand the closer the mic to the instrument, the smaller the reverb. And the further away the mic the more reverb.
So how do we emulate this on our arrangers, one way is to use delay.
A lot of what we have spoken about before with the use of ambience in our sounds and styles.
It would also depend on how many mics are available for the purpose of recording.
If only one mic was available for the whole recording as in the early days, how would you ensure all instruments can be heard and / or vocals.
This about is if you was to do a recording of a church organ one close to the front of the church, one in the middle of the church, and one at the rear of the church would they all sound the same or different.
Everything you say here is very important to understand.
The closer the mic is to the instrument, the smaller (shorter) the reverb.
I will consistently call this reverb ambience, which is created by using near-field mics.
The ambience created by this is more than anything else able to reproduce the signature of each instrument.
If all reverb levels are to be reproduced, several mics must be used at different distances.
With Drum Editor we can determine the amount of ambience for drums/perc, but we cannot do this with other instruments, which I actually find strange.
There should be a Sound Editor that allows this, but I have not found one yet.
Adobe has software for this, but why can't Korg make an internal version that can regulate the amount of ambience for all sounds ?
RE: EFFECTS, THEIR ORDER AND INFLUENCE ON EACH OTHER - musicalmemoriesuk - 01-08-2025
It’s similar to how a reverb chamber works, with the placement of the speaker and the amp placement.
How can we emulate mic placement,
well using balance makes an instrument sound further way, but say we want the piano to sound up front a dry sound but we want the mic way back at the back of the room.
The only way I can think of doing this is with an echo or delay of some sort.
Something like a multi tap delay.
RE: EFFECTS, THEIR ORDER AND INFLUENCE ON EACH OTHER - musicalmemoriesuk - 01-08-2025
So what would the use of a delay effect instead of reverb have on a drum track?
RE: EFFECTS, THEIR ORDER AND INFLUENCE ON EACH OTHER - Chello - 01-08-2025
(01-08-2025, 01:43 AM)musicalmemoriesuk Wrote: So what would the use of a delay effect instead of reverb have on a drum track?
I've tried different delays on drums a few times, but ended up with a Phil Collins sound, which I'm not thrilled with.
