FISHMAN SONITONE VS ES2 PATCH
FISHMAN SONITONE VS ES2 PRO
FISHMAN SONITONE VS ES2 SOFTWARE

Something as simple as a ping-pong delay, therefore, can be created by the output of a delay of the left channel being sent to a delay on the right channel, which in turn feeds back its signal to the original delay line. The feedback routing is created by bus sends on the individual aux return channels, and also by some effects (in this case, the Pitch Shifter) having its output routed directly to the reverb. This mimics the creative use of effects using a console, where the desk becomes an integral part of the feedback routing between the effects. The result is a dynamic amalgamation of all three effects the delays bounce between one another, for example, rather than use an internal feedback option or, in the case of the Pitch Shifter, the entirety of the output is fed back into the Reverb before that too is sent back into the Pitch Shifter. The second interesting facet of the use of effects is the use of a feedback path between them, so effects feedback between themselves. Indeed, we can even turn the instrument fader completely down and have an output solely based on the effects.

The main benefit here is that we can use a disproportionate amount of effects in the mix, so that the sound is perceived as being almost 100% wet. Firstly, the effects are all initially applied pre-fader so that the level of the instrument source is completely independent to the levels of reverb, delay and pitch shift returned into the mix.

FISHMAN SONITONE VS ES2 PATCH

The interest in the patch comes from the application of effects, with two unique points to note. Our starting point, therefore, is a simple instance of the Vintage Electric Piano patch, which works well given its pure, organic sound. This combination of treatments is also enshrined in StrymonвЂ™s Big Sky effects pedal that features a pitch-shifted reverb called вЂShimmerвЂ™. WhatвЂ™s interesting about both of these examples is that the initial soundsource is often relatively simple вЂ“ a DX7 patch in EnoвЂ™s case, or a Fender Rhodes in the Vangelis example вЂ“ with a big part of its interest coming from the application of effects like reverb, delay and pitch shifting. The sounds that weвЂ™re exploring are inspired by the textures created by Brian Eno and Daniel Lanois on their Apollo: Atmospheres and SoundtracksВ album, as well as Vangelis on the original Blade Runner soundtrack. In this workshop, we are going to explore a particular sound type вЂ“ ambient вЂshimmerвЂ™ pads вЂ“ but as you will see, itвЂ™s as much an exercise in effects routing and the creative application of reverb as it is in the typical tools of sound creation and synthesis.

FISHMAN SONITONE VS ES2 PRO

In many ways, the combination of virtual analogue instruments, samples, audio effects and mixer in Logic Pro X could be seen as one giant synthesizer, capable of producing a range of different sounds.

FISHMAN SONITONE VS ES2 SOFTWARE

One of the most intriguing aspects of working with a DAW is the blurred line between the software working as a production tool and as a musical instrument.

Fishman sonitone vs es2