If you are into processing, pedals might be plenty for you, especially in this era of stompboxes that do things even top studio gear couldn’t manage a decade ago. Still, there is a portal to another world of sound available for live use—a world explored by guitarists like Adrian Belew, John McLaughlin, Eivind Aarset, Fennesz, Dan Phelps, the late Andy Gill, and others. It’s a portal you may be looking at as you read this. I am talking about a laptop computer.
I was introduced to the concept of guitar and laptop performance through the series of Warper parties— gatherings dedicated to computer-based music—I attended in New York City. At the very first one, I encountered a guitarist with a computer built into his guitar and another playing jazz fusion through his laptop to backing tracks, also on computer. Yet a third player was performing arrangements of TV themes, playing guitar with one hand and keyboards with the other—all through a laptop.
Plug-ins offer sonic shaping and effect routing that is difficult or impossible to achieve with pedals. Even if you could, it would require a pedalboard the size of the entire stage and a router/switching system of NASA-level complexity.
For me, performing solo with a laptop let me privilege the kind of sonic fairy dust I had been offering as a side musician, shifting the lush pads and textures I had delivered to singer/songwriters for years out from the background and into the focus of attention. Plus, as someone who does not sing or play typical solo guitar, playing through a laptop let me take control of my performance opportunities: no pesky bandmate schedules to consider for rehearsal or booking.
Many guitarists already use a laptop to record everything from demos to final releases. These days, all it takes is a guitar, an audio interface, a DAW (Digital Audio Workstation), and a pair of speakers or even good headphones, and you are ready to make your next masterpiece. If you have worked this way, you have likely discovered plug-ins. Instantiated in a DAW, plug-ins offer sonic shaping and effect routing that is difficult or impossible to achieve with pedals. Even if you could, it would require a pedalboard the size of the entire stage and a router/switching system of NASA-level complexity. Multi-effects units might get you part of the way there but as yet cannot offer the range of potential sounds available with a computer.
With a wealth of creative software, a laptop lets you easily take lush reverbs and mangle them with filters or distortion. You can sequence effects to automatically appear and disappear over the course of a song or composition. If that sounds interesting, you might want to consider transporting your laptop, DAW, and plug-ins to the stage, either as your sole processing system or in conjunction with pedals. Here’s what you’ll need to get started.
Hardware
A MIDI controller, like the Novation Launch Control ($159 street) seen here, isn’t necessary to use Ableton Live, but using one increases interactive functionality.
Because live performance has different requirements than recording, ultra-high audio specs are not quite as important, but portability, reliability, build quality, and low latency are crucial. Latency is the time it takes for your signal to go into the audio interface, pass through the software on the laptop, go back into the interface, and travel out to the speakers, as measured in milliseconds. You will want the latency low enough that you don’t hear the sound reaching your ears noticeably after you hear/feel your pick hit the strings. Ideally, you will want the most powerful laptop you can afford in order to have access to the fastest processor possible. Plenty of RAM and a solid-state drive will contribute to the computer’s speed.
There are factors that affect latency. One is buffer size, delineated in samples. Without getting too technical, the lower you can set the buffer in your DAW, the less latency you will hear. How low you can set it, without getting dropouts and other unwanted glitches, is determined by the number of plug-ins you are running and the power of your computer. With virtually any of the current Apple M1 powered laptops you should be good to go. If you can’t afford a new computer, don’t worry. I was performing with a MacBook Pro over a decade ago with no problems. You can attempt this with a non-Apple computer, but virtually every major touring act uses Macs thanks to their reputation for reliability.
Here I have the buffer size set to 128, where I find I can record tracks without latency issues. With modern computer power and minimal plug-ins, you can probably set this even lower.
To plug your guitar into your computer, you will need an interface, which converts your signal from analog to digital. There are many available options, including the Universal Audio Arrow (available used for $350-$399) or Focusrite Scarlett ($179 street). You only need one input, unless you use both electric and acoustic guitars, which have different input requirements. The number of outputs will depend on your signal chain.
A MIDI controller of some sort—foot switcher, tabletop controller, or both—is a good idea because, as with pedals, you will want to turn effects on and off and have access to parameters. Akai, Korg, and others make a variety of tabletop controllers, ranging from $119 street and up, with knobs and switches that will let you turn on, blend, and manipulate the parameters of the plug-ins in your DAW.
Eivind Aarset is among the group of creative guitarists who bring a laptop into the mix for all gigs.
Photo by soukizy.com
You might be thinking, “Aren’t my hands otherwise occupied playing my guitar?” That’s true, but one of the advantages of laptop guitar is advanced looping. Once a loop is created, a tabletop controller lets you easily route that loop through myriad effects—filters, resonators, delays, reverbs—in ways that are impossible with hardware loopers. A footswitch-style MIDI controller is helpful if you want to do sync’d rhythmic loops, though it’s not as necessary for ambient looping.
Software
To process your guitar in the computer, you can use any software that hosts plug-ins: Logic, Pro Tools, GarageBand, Logic MainStage, and others. As a performing tool, Ableton Live (starting at $99 street for an introductory version) is the most ideal and offers a number of unique features. With Ableton, you can tap in tempo, easily syncing all your effects and loops at once, and there are “nudge” buttons that let you move the tempo of loops slightly up or down to match a drummer’s shifting time without changing their pitch. The “link” feature lets you wirelessly sync your effects with your keyboard player’s laptop, your drummer’s loops, and even the computer running the show’s backing tracks and light show.
This is my performance setup in Ableton Live. It includes the Jam Origin MIDI Guitar plug-in ($149 street) that lets me control spoken-word recordings in a sampler without any kind of MIDI pickup on my guitar. Also shown is a great granular processing plugin, Stream, from Delta Sound Labs ($49 street).
Live’s native plug-ins will let you create a custom amp-modeling system; emulate digital, analog, and tape delays; and add stutter, granular, or bit-crushing effects. Plus, if you are performing solo using backing tracks and running through a PA, you can easily set a dedicated track to resampling and it will record your entire evening’s performance.
Live lets you loop in two different ways via the looper plug-in and “clip” system. The looper plug-in is great for overdubbing ambient soundscapes, but can also provide timed rhythmic parts, while the clip system is perfect for making multiple rhythmic-based loops that can then be triggered by a MIDI footswitch and/or tabletop controller. While you can’t overdub on a clip, you can set up multiple clip loop tracks where you are able to, for example, record all your verse parts in one row, your chorus parts in a second row just below, and create a third row for the bridge. You can then trigger these rows as scenes.
Here is a dummy clip set to raise and lower the feedback of the Ableton echo plug-in.
Live also lets you make “dummy” clips with no audio that can be set to modify effects parameters over time. For example, you could set a dummy clip to increase a delay plug-in’s feedback to just under runaway levels while simultaneously shortening the delay over a period of two bars, and then reverse the process over the next two bars. Try that with pedals!
Would you like to hear two great examples of guitarists using Ableton Live onstage? Check out any video with Eivind Aarset performing. Aarset uses it for a variety of sounds, including ambient reverbs and delays and looping. John Scofield collaborator Avi Bortnick also uses Live for myriad sounds and textures, one of which includes using his guitar to open a noise gate that lets rap vocals cut through only when he plays.
Signal Path
Fig. 1 (*Magenta cables indicate additional or alternative signal path.)
There are multiple ways to insert a laptop into your signal chain. You can run everything through your computer, employing amp modeling software—like Bias FX 2 ($49 street), Guitar Rig ($199 street), or AmpliTube ($99 street)—and running the signal from your audio interface to the house PA or a pair of powered monitors (Fig. 1).
Fig. 2
You might instead eschew the amp modeling software and run the signal into a pair of guitar amplifiers (Fig. 2). This offers a way to keep your favorite tube amps as part of your rig. But be careful: Some effects plug-ins can put out low frequencies that don’t work well with guitar amps and speakers.
For both of those methods, all you need is an interface with one input and two outputs. You run your guitar signal into the interface, which converts your analog signal to digital, and then sends that digital info through USB, Lightning, or Thunderbolt cables into the laptop and the software. Next, a stereo digital signal is sent back to the interface, where it is converted to stereo analog and sent out to the amps, powered speakers, or PA using standard guitar cables or XLR-style microphone cables.
Fig. 3
A more complicated method is a version of the wet-dry-wet setup. Here you would split your guitar signal between a mono signal going directly into a guitar amplifier and the laptop’s stereo output to two full-range powered speakers or the PA. This setup can be achieved in a few ways. You can use an interface with one input and three or more outputs that can be routed inside the interface. This allows you to send your guitar signal from the interface simultaneously to the laptop and directly to a guitar amplifier (Fig. 3).
Fig. 4
Alternately, you could use a splitter box before the audio interface that sends one signal to your interface and computer, and one to the amp (Fig. 4).
Fig. 5
If you don’t want to use modeling software in the computer for the wet signal, you can use a reactive load box, like the Universal Audio OX ($1,499 street) or Fryette’s Power Station ($899 street) or Power Load ($699 street), which gets placed between your amplifier and its speaker (Fig. 5). You run your guitar into the amp, and two outputs on the load box simultaneously send your amp signal to the speaker and, with speaker emulation, to the computer interface. Sending the sound of your amplifier to the DAW means there is no need for amp modeling within the computer. Once the sound is processed, it is sent to powered speakers or the PA, as in Fig. 2. In this method, your amplifier signal can remain dry and present, while processed sounds will emanate from the powered speakers or PA.
If you don’t want your amplifier signal completely dry or just want to place some of your effects pre-computer, you may want to use pedals in front of your amp. Which brings us to.…
Pedals and Laptop
As much as a computer can do, there are plenty of good reasons to combine pedals with laptop sounds. Digital modeling software sounds excellent these days, but adding a mild overdrive pedal before your interface can lend some analog warmth to the sound. In addition, a drive pedal set for just a little breakup can make the playing experience feel more organic. As you play harder and softer, the “give” of the pedal can often feel more expressive than even the best amp modeling software.
Plus, just as many plug-ins are not yet duplicated in pedal form, likewise there are pedals that perform functions not available as plug-ins. Glitchy, digital micro-looping pedals like the Red Panda Tensor, Hologram Electronics Dream Sequence, Chase Bliss’ Blooper and Mood, and the Hexe FX Revolver do not yet have any direct analogs in the plug-in world. If you want to learn a programming language like Max MSP, you might be able create something like these pedals inside your computer. Ableton includes Max for Live with the purchase of their suite and a plethora of pre-programmed plug-ins are available using Max as their basis, but these pedals still offer something special.
Taking the Stage
You now have all your hardware and software and are ready to perform. Depending on how you use the laptop in your signal chain, you might be able to place it out of the way and use a foot switcher, as if you were using a standard multi-effects unit. But if you want to maximize the advantages of using a computer live, you will likely want it at hand.
In almost two decades of performing with this setup, I have had fewer computer crashes than pedal malfunctions.
You can normally rely on the venue to provide a table of some sort, or you could try Eivind Aarset’s solution. He brings a keyboard stand and places his guitar’s hard case on it, creating a perfect platform for controller, computer, interface, and some of his hardware pedals. I haven’t used a hard case in years, so I just screwed some handles onto a painted piece of plywood and place that on a keyboard stand.
As with any performance, hearing yourself is crucial. If you are using guitar amps or powered speakers, they will act as monitors. Some powered speakers may have XLR outs to send to the house PA. If you are only running through the PA, you may want to use headphones plugged into your interface to be assured of hearing the same thing as the audience.
Some guitarists have trepidation about reliability when using a laptop. All I can say is that in almost two decades of performing with this setup I have had fewer computer crashes than pedal malfunctions. It is also easier to bring a backup laptop and interface than a second pedalboard and amp.
A laptop dedicated to only music is ideal, but if you don’t have that luxury, make sure to quit any programs other than the performing software in use. Turning off WiFi during your set will prevent notifications from interrupting and provide a little extra processing power. And speaking of power, while it is best to keep your laptop plugged in while performing, if there is ever an issue with clean power or a faulty socket, unlike with pedals, your laptop battery will take over and the show will go on.
Is It for You?
Playing through a laptop is not for everyone. You probably won’t be welcome at your local blues jam if you say, “Hang on a minute while I boot up my Mac.” But if your music involves a world of sounds that go well beyond those offered by hardware pedals and multi-effects, or you’re just seeking a more portable way of producing interesting tones, taking the stage with a computer might be an option. And, with tubes becoming harder to get, who knows? Someday it may be the best option.
Image 1: Impulse response reverbs like Audio Ease’s Altiverb excel at cloning real acoustic spaces.
This is not a buyer’s guide, though you’ll hear many different products. Our focus is common reverb plug-in parameters and how to use them. Nearly all modern DAWs come with good-sounding reverbs. You can also add superb third-party plug-ins. But there are also plenty of free and budget-priced reverbs—just google “free reverb plug-in.”
Reverb = delay. Reverb is merely a delay effect. Sounds traveling through air eventually encounter surfaces. Some sound bounces off these surfaces, producing a complex network of echoes, made even more complex when the initial reflections bounce off secondary surfaces.
The controls on reverb plug-ins define how the software mimics this process. Function names can be confusing, but remember, everything relates to acoustic phenomena that you already understand intuitively. For example:
- The space’s size. (The further a sound travels before hitting a surface, the slower the echoes arrive.)
- The hardness of the reflective surfaces. (The harder the material, the louder, brighter, and more plentiful the echoes.
- The relative angles of the reflective surfaces. (A square room sounds different than a round one, which sounds different than a trapezoidal one.)
- The presence of other objects. (Soft surfaces like carpets, cushions, and acoustic foam diminish the reverb, usually affecting some frequencies more than others.)
- The listener’s location. (The further an ear or microphone from the sound source, the more reverberation is perceived.)
Understanding Reverb Types
By definition, all reverb plug-ins are digital. Most are either algorithmic or convolution-based. Algorithmic reverbs employ delay, feedback, and filters to mimic sounds bouncing around in space. Convolution reverb (also called impulse response or IR reverb) creates “snapshots” of actual sonic spaces and audio devices. In convolution, developers amplify a test tone in the targeted space (or through a target piece of audio gear) and record the results. The software compares the new recording to the dry test tone, and then it applies corresponding adjustments to any audio, making it sound as if it was recorded in the modeled space or through the modeled gear. (That’s how the speaker simulations work in most amp modelers.) Algorithmic and convolution reverbs often perform the same tasks, just via different methods.
But when we make musical choices, we rarely think, “This should be algorithmic and that should be convolution.” We’re usually trying to evoke a particular sound: a place, an old analog device, a freaky sound not found in nature. So, let’s take a whirlwind tour of reverb history, with thoughts about obtaining those sounds via plug-ins.
A Haul-Ass Reverb History
Real spaces. Before the 20th century the only reverbs were actual acoustic environments: caves, castles, temples, tombs. It wasn’t till the 18th century that people began constructing spaces specifically for their sonic properties—the roots of the modern concert hall.
Convolution reverbs excel at conjuring specific places. Most IR reverbs include libraries of such sounds. Some evoke iconic spaces and famed studios. IRs can also mimic small spaces, like a closet or compact car.
Clip 1 — A Guitarist’s Guide to Reverb Plug-ins by premierguitar
In Clip 1, you hear the same acoustic guitar snippet through IRs captured inside the Great Pyramid of Giza, the isolation block at Alcatraz prison, Chartres cathedral, and the interior of a VW Beetle, all using Audio Ease’s Altiverb library. (For demo purposes, reverb is applied rather heavily in all audio examples.)
Echo chambers were the earliest form of artificial reverb, though they aren’t all that artificial. The chamber is usually a room with hard, reflective surfaces. A loudspeaker in the chamber amplifies dry recordings, and a distant microphone records the results. It’s still “real reverb,” only it can be added and controlled independently from the original recording. This process evolved during the 1930s and ’40s. The first popular recording to use the effect was 1947’s “Peg o’ My Heart” by the Harmonicats, produced by audio genius Bill Putnam.
PEG O' MY HEART ~ The Harmonicats (1947)
During a recent recording session at Hollywood’s Sunset Sound, I shot Video 1 in the famed Studio A echo chamber, thanks to house engineer George Janho. You’ve heard this very room countless times. The Doors and Van Halen made most of their records here. You also hear this reverb on “Whole Lotta Love,” the vocal tracks on the Stones’ “Gimme Shelter,” Prince’s 1999 and Purple Rain, and countless other famous recordings.
Sunset Sound Chamber
Echo chambers are well represented in most IR reverb libraries. Most algorithmic reverbs do chambers as well, replicating the general effect without modeling a particular space. You can even find plug-ins dedicated to a specific chamber, like Universal Audio’s Capitol Chambers, which models the Hollywood chamber famously used by Frank Sinatra.
Spring reverbs. These were the first truly artificial reverbs. They initially appeared in pre-WWII Hammond organs, and by 1960 or so they had migrated to guitar amps. Fender wasn’t the first company to make reverb-equipped amps, but their early-’60s reverb units still define the effect for many guitarists.
The reverb effect is produced by routing the dry signal through actual springs, with a microphone capturing the clangorous results and blending them with the original tone. Springs generally sound splashy, trashy, and lo-fi, often in glorious ways. It’s an anarchic sound, best captured in a plug-in via IRs. Most of the spring reverb sounds in guitar modelers are IR-based. Meanwhile, reverb stompboxes—usually algorithmic—mimic the sound with varying degrees of success.
Plate reverb appeared in the late 1950s, initially in the Elektromesstechnik EMT-140, which remains a sonic gold standard. Plate reverb works similarly to spring reverb, but a massive metal sheet replaces the springs. It’s generally a smooth, sensuous sound relative to a spring.
Clip 2 — A Guitarist’s Guide to Reverb Plug-ins by premierguitar
In Clip 2, you hear the same acoustic guitar snippet through impulse responses of a Fender spring reverb unit and a vintage EMT-140 plate.
There are countless plate clones among today’s reverb plug-ins. Some are convolutions based on analog gear. But algorithmic reverbs also excel at faux-plate sounds. In fact, one of the initial goals of early digital reverb was to replace cumbersome mechanical plates. Speaking of which.…
Digital reverb (the algorithmic kind) arrived in 1976 via the EMT-250, also from Elektromesstechnik. Lexicon and AMS produced popular rivals. They focused largely on mimicking rooms, chambers, and plates. Sound quality has improved over the decades thanks to increased processing power and clever programming.
Today you can get far “better” algorithmic reverb from plug-ins. But ironically, those primitive digital ’verbs are trendy again in pop production. You can find precise clones of retro-digital hardware in plug-in form.
Convolution reverb debuted at the end of the century, popularized by Sony’s DRE S777 unit. Convolution reverbs often have fewer controls than their algorithmic cousins because most of the process is baked into the impulse response.
Most convolution reverbs have similar sound quality. The free ones can sound as good as the pricy ones. Higher prices are often based on the size and quality of the included IR libraries. Google free reverb impulse responses for gratis goodies.
Recent wrinkles. There are always interesting new reverb developments. For example, Things — Texture from AudioThings and Silo from Unfiltered Audio are anarchic granular reverbs that loop and manipulate tiny slices of the reverb signal to create otherworldly effects ranging from the brutal to the beautiful.
Clip 3 — A Guitarist’s Guide to Reverb Plug-ins by premierguitar
Clip 3 includes several granular reverb examples.
Image 2: Zynaptiq’s innovative Adaptiverb generates reverb via pitch-tracking oscillators rather than delays and feedback loops.
Some newer reverbs employ artificial intelligence to modify the effect in real time based on the audio input. iZotope’s Neoverb automatically filters out frequencies that can muddy your mix or add unwanted artifacts. And Zynaptiq’s Adaptiverb generates reverb in a novel way: Instead of echoing the dry signal, it employs pitch-tracking oscillators that generate reverb tails based on the dry signal. It, too, excels at radical reverbs suitable for sound design.
Clip 4 — A Guitarist’s Guide to Reverb Plug-ins by premierguitar
Clip 4 demonstrates a few of its possibilities.
Common Reverb Plug-in Controls
The knob names on a reverb plug-in can get confusing, but remember that they control variables that you already understand intuitively. Also, not all controls are equally important. The most essential ones are the wet/dry balance and the reverb decay time (how long it continues to sound). By all means learn the subtler functions, but don’t be surprised if you use them only rarely.
Video 2 walks you through most of the controls you’re likely to encounter on an algorithmic reverb plug-in. I used ChromaVerb from Apple’s Logic Pro DAW for the demo, but you’ll encounter similar parameters on most algorithmic reverb plug-ins.
Digital Reverb Walkthrough
Creative Reverb Ideas
Spring things. The single reverb knob on vintage amps is simply a wet/dry blend control. Some spring reverbs add a dwell control to set the amount of reverb input. Higher settings mean louder, longer reverberation.
But in the digital realm, you can deploy old-fashioned spring reverb in newfangled ways. For example:
- Pan the dry signal and spring sound apart for a broad stereo effect. (Traditional spring reverb is strictly mono.)
- Add predelay, inserting space between the dry and wet signals. (If the plug-in has no predelay control, just add the effect to an effect bus with a 100 percent wet, no-feedback delay upstream.)
- Route a guitar signal to two different spring reverb sounds, panned apart.
- Assign the reverb to an effect send, add a compressor to the effect channel, and then sidechain the compressor to the dry guitar sound. That way, the reverb is ducked when the guitar is loud, but swells to full volume during quiet passages.
- Apply digital modulation to the wet signal for detuned or pulsating effects.
Clip 5 — A Guitarist’s Guide to Reverb Plug-ins by premierguitar
Clip 5 starts with a straightforward spring sound before demonstrating the above options in order.
Fender-style reverb is so ubiquitous that simply using less familiar spring sounds can be startling.
Clip 6 — A Guitarist’s Guide to Reverb Plug-ins by premierguitar
Clip 6 is a smorgasbord of relatively obscure spring sounds from AudioThing’s Springs and Amp Designer, Logic Pro’s amp modeler.
Finally, it can be exciting to use springs on tracks that don’t usually get processed that way. For example, spring reverb is often considered too quirky and lo-fi to use on acoustic guitar or vocals.
Clip 7 — A Guitarist’s Guide to Reverb Plug-ins by premierguitar
But Clip 7 shows how attractive springs can sound on voice and acoustic. (You hear the dry sounds first.)
Unclean plates. In contrast to a spring’s lo-fi clank, simulated plate reverb is smooth and warm. Even if your track already has spring reverb, you might apply some plate ’verb to integrate it into a mix.
One creative avenue is deploying smooth plate reverb in relatively lo-fi ways. For example:
- Try placing the reverb before an amp modeler on a track to mimic a reverb stompbox. That way, the reverb is colored by both amp and speaker.
- Imagine a guitar amp with a huge metal plate inside instead of springs. If your amp modeler lets you use pure amp sounds without speaker modeling and vice-versa, try sandwiching a plate sound between two instances of amp modeler on the same track. Turn off the speaker sound on the first amp sim and use only the speaker sound on the second one. This way, only the speaker colors the reverb.
- Plate reverb also sounds great panned separately from the dry sound.
Clip 8 — A Guitarist’s Guide to Reverb Plug-ins by premierguitar
Clip 8 starts with a conventional plate sound before demoing the above ideas.
Liquid reverb. Reverb plug-ins have one big advantage over hardware: Everything can be automated within your DAW.
Automated Reverb
In Video 3 I’ve written automation for both the decay time and reverb damping for an evolving effect that would have been difficult on hardware.
Oh, the places you’ll go. Convolution reverbs usually have fewer controls than their algorithmic cousins. You might do no more than adjust the wet/dry or fine-tune the decay time. But IR reverbs don’t have to be “plug and play”—especially if you create your own reverbs. It’s a surprisingly simple process. (Some IR reverbs, like Altiverb and Logic Pro’s Space Designer, come with an app to generate the needed signals and process the recordings for use.)
Image 3: You can get cool, if unpredictable, results by dropping random audio files into an impulse response reverb like Logic Pro’s Space Designer.
Theoretically, you need a hi-fi PA system to amplify the needed tones in the target space, and good microphones to capture the results. But not always! I’ve captured cool IRs in my travels with nothing more than an iPhone and a spring-loaded clipboard in lieu of the traditional starter pistol. I’ve even obtained decent results by clacking a couple of stones together.
Clip 9 — A Guitarist’s Guide to Reverb Plug-ins by premierguitar
Clip 9 includes quick and dirty IRs that I captured in a Neolithic cave painting site in France, a thousand-year-old ancient Anasazi ball court in Arizona, an ancient Greek stone quarry, a 19th-century limestone kiln in Death Valley, and the inside of an acoustic guitar.
You can also get interesting, if unpredictable, results loading random audio files into the IR reverb.
Clip 10 — A Guitarist’s Guide to Reverb Plug-ins by premierguitar
Clip 10 features a dry guitar snippet, followed by bizarre reverb effects generated by drum loops, synth tones, and noises.
New sounds, new spaces. Using reverb plug-ins can be incredibly simple. Often it’s just a matter of scrolling through factory presets, or making basic balance and decay time adjustments. You can also use them in endlessly creative ways. Whatever your goals, I hope this article helps you find exactly the sounds you seek.
