Select all three tracks, right-click in any of the track headers, and choose the 'Add Bus for Selected Tracks' command to add a bus channel for submixing.The rate can be tempo-sync'ed or not as you please! Now this track is panning from hard right to hard left, past both of the delay tracks, which produces our flanging effect. (Of course, that just makes it dual mono, with the same signal playing in both channels.) Next, insert the X-Trem plug-in on the track and set it to Pan mode, with Depth at 100 percent and a slow rate, as shown in picture 1. First click the channel mode button to make the channel stereo. Now we are going to mangle track 1, our original guitar track.You can experiment with making the delay settings very slightly different from track 2, if you like, but it is not necessary for the effect and, in fact, could work against you, so you might wait a little to do that, and be careful when you do. Right-click in the header of track 2 (the delay track) and choose the 'Duplicate Track with Events' command.Pan the track about halfway to the right. Set a very short delay (I used 4ms) with a healthy amount of feedback, some extremely slow modulation (.04Hz in this example), and Mix at 100 percent delay (all wet). What we really want is a simple, one-tap delay with a little modulation, but there is no delay quite that simple bundled with Studio One, so add the Analog Delay plug-in to track 2 (our copy).Right-click in the header of the guitar track and choose the 'Duplicate Track with Events' command. We'll start with the most conservative effect of the bunch: a stereo flange, which, in this case, is not all that conservative. You'll find audio examples of these three effects, both solo guitar and with bass and drums, at /sos/apr13/articles/studio-one-tech.htm. If you are writing as you play through the effects, you can tailor the part to work with them, but if you are applying these effects after the fact during mixing, don't lay it on so heavy that the part loses its purpose. One important thing to keep in mind is that if you apply as much processing as I will in a few moments, the guitar part had better be kept pretty simple rhythmically and melodically, or else the whole thing will end up a gelatinous mess, which is only occasionally desirable. The source guitar track should be in mono to start with. Bands from the Police to U2 have relied on this texture, often demonstrating in the process that a thing worth doing is worth overdoing, and it's what we're going to look at this month. Sometimes the best complement for a tight rhythm section and a focused vocal is a guitar sound so big and fat you spread it on with a butter knife. Take a walk on the wide side with these Studio One stereo guitar techniques. Picture 1: The setup for a stereo flange based on panning two delays half-left and half-right, and then sweeping the original signal fully side to side.
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