Don't know who originally wrote it or where I got it from, but cheers to the original author...
To create spiralling vocal layers, first send your dry vocal part through a delay effect with moderate feedback (in time with the songs tempo). Follow this with a flanger or phaser. Thin out the processed sound using high and low pass shelving filters (similar to creating a telephone voice effect) so as to detract from the original voice once they are mixed together. Enhance the effect further using a stereo delay instead with several milliseconds difference between the left and right channels, plus differing feedback levels. This pushes the effected vocals sideways for a moving, stereo effect. Improve the intelligibility of the original vocal by introducing the effect towards the end of the vocal line or on particular words using automation of the send level.
Break Your Mic
Take a cheap mic on a long cable and shove it in a glass jar. Fasten the top of the jar securely with Gaffer Tape. Plug the other end of the cable into your mixer, start up your hard disk recorder (i used soundforge to record it). Go up a few floors and wander to a window. Then DROP the mic and jar to the surface below. Once done, reverse, pitch shift and filter the result.
For a differebt angle on the reverse reverb, have the reverb tail panned left on a separate track, then the original sample Mono, followed by a regular reverb trail on another track panned right. The result is a reverb that leads up to the sample and trails away afterwards, while panning across the stage, left to right.
Throw it into reverse
Reverse reverb is a common effect, easy to do if your sample editor allows you to reverse a sample. First reverse the sample, then run it through the reverb and resample, then finally reverse it back. It also works well with other effects like Delay.
For intricate, sonic cloud like swooshes and swirls with more intrest than a filter swept noise osc, use a granular synthesis. It works by slicing a section of audio into fien sound particles of between 10 and 100ms. Once reassembled uinto a continuous stream you hear it as a single sound, especialy with grains below 50ms. Verying the attck and release portion of the amplitude of each grain (fading in and out in volume levels) alters the overall timbre, while the grain duration and separation between grains alters the overall pitch. U can get access to granular synths on the net.
Combine 2 samples by taking the attck from one and loop from another crossfading between the two create a new sound, similar to morphing. This is useful when combining disimilar sounds such as a string sample with a horn.
Send your drum sample out of its own output and add a short delay of (1-10ms), to create a flam. Instead of combining it with its original sound mix it with a different drum sound.
Make it slowwww
Take any interesting sample or loop and apply xtreme timeshifting to it. Repeat to taste. Use the result as further effecting. This technique is good for pad sounds.
Wash it out
Take a sample with a great deal of movement, like a drum loop and process it with a lot of reverb, 100% wet. Resample it and repeat a few times. A pad like sound will result.
For the opposite effect, turn the feedback right down on a pad amd put it in front of a mix. This can warp your ears as no real sounds do. This and your brain ties itself in knots trying to work out what is happening.
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