This copy is then mixed with the original signal. Because the copies of audio are identical, interference will begin to occur. Resonances will be created at some frequencies, but more noticeably, a series of notches notch filters will also be created across the frequency spectrum. Due to its shape, this is called a comb filter. This type of filtering occurs in both flangers and chorus. Because flangers have shorter delay times, notches will be created in mostly high frequencies.
Chorus units will create notches in lower frequencies due to their longer delay times. Because the notches in flangers are generated by frequency relationships within the signal itself, they will occur at harmonically-related intervals based on the frequency content of the original signal. Flangers also make great use of feedback, sending the output back to the input to receive more processing.
This accentuates the notches and resonances, resulting in the harsh, metallic timbre characteristic of flangers. In the flanger plug-in below, we can see that the delay time between the original signal and the copy is set below the XY pad.
This plug-in offers an additional feature, as the LFO for the left and right channel can be separated and at different phases. The second and fourth have been processed with a flanger.
The sound design capabilities of flangers are obvious, especially when parameters are automated in an interesting way. However, the constantly oscillating comb filter can become tiring to listeners quickly. Once again, a copy of the original signal is made.
Connecting another all-pass filter afterwards would create a single notch one tooth of a comb filter. Phasers work by stringing several all-pass filters together in series to create a series of non-harmonically related notch filters.
An LFO can then be used to modulate these notch filters, similar to the motion in a flanger. This phaser also has a feedback option, giving it capabilities similar to that of a flanger.
The native Ableton phaser repeats the LFO parameters for the native flanger, with LFO amount, shape, rate, and phase all being adjustable. The second and fourth have been processed with a phaser. The phaser and flanger create very similar sounds, and can be used more or less interchangeably. As mentioned, the flanger can sound more extreme than a phaser, so phasers can be used when more nuance is needed.
Often confused due to their similarity, these processors all incorporate phase shifting in different ways. Chorus combines it with pitch modulation, flangers use it to cause harmonic-based comb filtering, and phasers employ all-pass filters to phase shift without the use of delays. While chorus, flangers, and phase shifters may slightly differ in their functions and application, all can be used effectively to create interesting timbres in sound design.
Learn what headroom is, why it's important in both mixing and mastering, and how it ties in to the related concept of crest factor. What is metering in the mixing and mastering process? We examine metering tools as they relate to levels, frequency content, stereo spread, and dynamic range. Learn how the Unmasking capabilities of Music Production Suite 4.
Get top stories of the week and special discount offers right in your inbox. You can unsubscribe at any time. Never Miss an Article! Chorus Demonstration. The digital phaser features speed, depth and resonance controls, plus a mode which switches between four, eight, 10 and 12 phase stages. Unidirectional phasing, which creates a continual rise or fall, is achieved via two extra modes, plus a step effect.
The addition of tap tempo mode keeps you in time, which you can control with greater flexibility by linking in an additional expression pedal. Featuring speed, depth, resonance and shape modes, the Source Audio Lunar phaser pedal has four and eight-stage phasing, plus the Uni-Vibe mode for chorus and vibrato simulations. The phased sound range is versatile, with the resonance setting adding a more metallic and wide sound range on the sweep. Four-stage phasing gives the classic sound, eight-stage adds the bubble effect and Uni-Vibe creates a real warble.
The resulting sound is classic enough, though it gives more of a pulse than a whirl. Fender has also added a boost button to avoid any mid-range dip. The variety of the toggle switches does enable a broad phasing range, even if it slightly misses the classic sound. Chris Corfield is a journalist with over 12 years of experience writing for some of the music world's biggest brands including Orange Amplification, MusicRadar, Guitar World Total Guitar and Dawsons Music.
Chris loves getting nerdy about everything from guitar gear and synths, to microphones and music production hardware. Guitar World. Included in this guide: 1. MXR Phase Powered by: 9V DC. Reasons to avoid - Doesn't do thicker eight- or stage phasing. Electro-Harmonix Small Stone Nano. Controls: Speed, Color. Reasons to avoid - Slightly more trebly sweep than the big-box version.
Walrus Audio Lillian analog phaser pedal. By going back to the principles of phase earlier in this tutorial we can then see how certain frequencies cancel each other out and therefore create different textures. Phasers can be used to add swirls to sounds or to completely maul a sound into something else. As with all effects and dynamics, it is up to the individual to explore and experiment.
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