10. Effects — the “spice rack”
Effects are added after a sound is made, to change its character or place it in a space:
- drive / distortion: push it until it growls and crunches (think electric guitar).
- crush (bit-crush): make it lo-fi, gritty, “old video game.”
- chorus: smear gentle copies together for a shimmery, wide feel.
- delay (echo): repeat the sound fading away — like shouting in a canyon: “hey… hey… hey…”
- reverb: the “room.” A tiny reverb = a closet; a big one = singing in a cathedral. It’s the tails and washiness around a sound.
- compression: an automatic volume knob that turns loud bits down and quiet bits up, so everything sits together evenly and punchy.
# crunchy, lo-fi, wide, echoey, roomy — all five effects on one lead
inst lead = saw delay 0.3 reverb 0.25 drive 0.4 crush 8 chorus 0.5
steps 16
lead C4 . E4 . G4 . E4 . C4 . E4 . G4 . C5 .
Real names: saturation/distortion, bit-crushing, chorus, delay, reverb, compression. Delay and reverb are usually shared send effects — many instruments feed into one shared echo/room, like musicians sharing the same concert hall.
✅ Live now — sends:
delayandreverbas per-instrument send amounts (0–1), exactly the shared-send idea above — every voice feeds the one shared echo bus and the one shared reverb room. And the buses themselves are now tunable withfxlines:fx delay time 0.3 feedback 0.3 wet 0.5(orfx delay sync 3to lock the echo to the tempo) andfx reverb room 0.9 damp 0.2 wet 0.45set the room size and wash. Omitted keys keep their defaults;fxlines can go anywhere in the file.
✅ Live now — inserts:
drive(0–1saturation),crush(bit-crush,1–16bits), andchorus(0–1) are per-voice insert effects baked straight into each instrument — the snippet above is real. Pushdrivefor growl, dropcrushlow (crush 4) for grit, addchorusfor width.
✅ Live now — master compression:
fx master compress 0–1adds the one master compressor over the whole mix (see lesson 15). There’s still no per-instrument compressor — compression here is a master-bus effect by design.
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