1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
33
34
35
36
37
38
39
40
41
42
43
44
45
46
47
48
49
50
51
52
53
54
55
56
57
58
59
60
61
62
63
64
65
66
67
68
69
70
71
72
73
74
75
76
77
78
79
80
81
82
83
84
85
86
87
88
89
90
91
92
93
94
95
96
97
98
99
100
101
102
103
104
105
106
107
108
109
110
111
112
113
114
115
116
117
118
119
120
121
122
123
124
125
126
127
128
129
130
131
132
133
134
135
136
137
138
139
140
141
142
143
144
145
146
147
148
149
150
151
152
153
154
155
156
157
158
159
160
161
162
163
164
165
166
167
168
169
170
171
172
173
174
175
176
177
178
179
180
181
182
183
184
185
186
187
188
189
190
191
192
193
194
195
|
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
"http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<title>TAP-plugins</title>
<meta name="generator" content="GNU Emacs 21.2.1">
<meta http-equiv="Content-Type" content="text/html;
charset=iso-8859-1">
<meta name="description" content="Tom's Audio Processing plugins for
audio engineering on the Linux platform.">
<meta name="keywords" content="TAP-plugins TAP Reverb Editor
Reverberator Equalizer EQ Vibrato Tremolo Echo Tom Szilagyi LADSPA
JACK Plugin Linux Audio">
<meta name="author" content="Tom Szilagyi">
</head>
<body bgcolor=#ffffff>
<table cellpadding="5" cellspacing="0" border="0" bgcolor=#ffffc0
width="100%">
<tr><td>
<font size="+2" color=#004060><b>TAP</b>-plugins</font><br>
<font color=#004060>Tom's Audio Processing plugins</font><br>
<font size="-1" color=#004060><i>for audio engineering on the Linux
platform</i></font>
</td><td>
<center>
<a href="../index.html">[ Home ]</a>
<a href="../ladspa.html">[ LADSPA plugins ]</a>
<a href="../reverbed.html">[ TAP Reverb Editor ]</a>
</center>
<hr>
<center>
<a href="releases.html">[ Releases ]</a>
<a href="general.html">[ General Info ]</a>
<a href="manuals.html">[ Plugin Manuals ]</a>
</center>
</td></tr>
</table>
<blockquote>
<a href="autopan.html">[ TAP AutoPanner ]</a>
<a href="chorusflanger.html">[ TAP Chorus/Flanger ]</a>
<a href="deesser.html">[ TAP DeEsser ]</a>
<a href="dynamics.html">[ TAP Dynamics (Mono & Stereo) ]</a>
<a href="eq.html">[ TAP Equalizer and TAP Equalizer/BW ]</a>
<a href="doubler.html">[ TAP Fractal Doubler ]</a>
<a href="pinknoise.html">[ TAP Pink/Fractal Noise ]</a>
<a href="pitch.html">[ TAP Pitch Shifter ]</a>
<a href="reflector.html">[ TAP Reflector ]</a>
<a href="reverb.html">[ TAP Reverberator ]</a>
<a href="rotspeak.html">[ TAP Rotary Speaker ]</a>
<a href="limiter.html">[ TAP Scaling Limiter ]</a>
<a href="sigmoid.html">[ TAP Sigmoid Booster ]</a>
<a href="echo.html">[ TAP Stereo Echo ]</a>
<a href="tremolo.html">[ TAP Tremolo ]</a>
<a href="tubewarmth.html">[ TAP TubeWarmth ]</a>
<a href="vibrato.html">[ TAP Vibrato ]</a>
</blockquote>
<h2>TAP Chorus/Flanger</h2>
<img src="tap_chorusflanger.png" alt="[TAP Chorus/Flanger GUI as shown in Ardour]">
<p>
This plugin is an implementation capable of creating traditional
Chorus and Flanger effects, spiced up a bit to make use of stereo
processing. It sounds best on guitar and synth tracks.
</p>
<h3>General information</h3>
<table cellspacing="0" cellpadding="5" border="1">
<tr><th align="left">Unique ID</th><td>2159</td>
<tr><th align="left">I/O ports</th><td>2 inputs / 2 outputs</td>
<tr><th align="left">CPU usage (44.1 kHz)</th><td>2.8%</td>
<tr><th align="left">CPU usage (96 kHz)</th><td>6.2%</td>
<tr><th align="left">Hard RT Capable</th><td>Yes</td></tr>
<tr><th align="left">In-place operation</th><td>Supported</td>
<tr><th align="left">run_adding() function</th><td>Provided</td>
</table>
<h3>Usage tips</h3>
<p>
The Chorus and Flanger effects operate on a very similar basis, that's
why they were implemented in the same plugin. Both effects are
achieved by creating a time-varying delay of the incoming signal and
mixing it with the original. The delay time is modulated by a
sinusoidal. After the time-varying delay is applied to the signal, it
is further delayed by an (adjustable) amount of time. If this
additional delay is small (under 10 ms), then mixing the dry and wet
signals will introduce strong phase distortions, and thus a Flanger
effect is achieved. If the delay time is greater than 20 ms, then the
wet signal is more likely perceived as an additional "voice". Thus,
mixing the two signals yields a Chorus effect.
</p>
<p>
The <i>Frequency</i> control determines the LFO frequency with which
the time-varying delay is modulated. The higher the frequency, the
more intense the effect will be. Values in the range of 1-3 Hz should
be a good starting point in most cases.
</p>
<p>
This plugin is capable of creating true stereo chorus/flanger
effects. The <i>L/R Phase Shift</i> control is provided to this
end. The two LFO's controlling the delay modulation of the two
channels run in sync with the same frequency, but the phase shift
between them can be adjusted with this control. The higher this
setting, the stronger the "stereo-ness" of the effect will be. When
set to 0, processing of the two channels will be in-phase; when set to
180 degrees, the two LFO's are is counter-phase to create the widest
stereo effect.
</p>
<p>
The <i>Depth</i> control allows for adjusting the modulation depth of
the delay. Increasing it will result in stronger modulation using the
same LFO frequency. It should be noted that the <i>Frequency</i> and
<i>Depth</i> settings jointly determine the intensity of the
effect. Smaller frequencies usually allow for using a greater
modulation depth, and vice versa. If the modulation is fast (higher
frequency) and deep (higher depth) at the same time, a vibrato effect
is introduced. You may or may not want this.
</p>
<p>
The <i>Delay</i> control determines the fixed amount of time with
which the signal is delayed after the time-varying delay has been
applied. The setting of this control distinguishes between the Chorus
and Flanger effects. Delays smaller than 10 ms can be labeled Flanger,
delays above 20 ms yield Chorus, and delays in the range of 10-20 ms
result in a blend between Chorus and Flanger.
</p>
<p>
<i>Contour</i> is the cutoff frequency of a high-pass filter applied
to the now twice-delayed signal. By setting it anywhere above 20 Hz,
you can protect the lower frequency spectral content in the original
signal from being disturbed by the effect. Set it to somewhere in the
range of 100-500 Hz if you feel that your bass tones get smeared or
lose definition. Set it to somewhere between 1000-6000 Hz to have a
Chorus/Flanger that lets the bulk of the signal through, but changes
the sound of the cymbals, higher guitar tones, etc. This results in an
interesting effect when applied to mixes.
</p>
<p>
The <i>Dry Level</i> and <i>Wet Level</i> settings allow for a final
tuning of the sound. The strongest effect is achieved if the two
settings are about the same. Decreasing one of them (preferably the
Wet Level, to mitigate any unwanted side effects) results in a subtler
effect.
</p>
<h3>Summary of user controls</h3>
<table cellspacing="0" cellpadding="5" border="1">
<tr><th>name</th><th>min. value</th><th>default value</th><th>max. value</th></tr>
<tr align="center"><td>Frequency [Hz]</td>
<td>0</td>
<td>1.25</td>
<td>5</td></tr>
<tr align="center"><td>L/R Phase Shift [deg]</td>
<td>0</td>
<td>90</td>
<td>180</td></tr>
<tr align="center"><td>Depth [%]</td>
<td>0</td>
<td>75</td>
<td>100</td></tr>
<tr align="center"><td>Delay [ms]</td>
<td>0</td>
<td>25</td>
<td>100</td></tr>
<tr align="center"><td>Contour [Hz]</td>
<td>20</td>
<td>100</td>
<td>20000</td></tr>
<tr align="center"><td>Dry Level [dB]</td>
<td>-90</td>
<td>0</td>
<td>20</td></tr>
<tr align="center"><td>Wet Level [dB]</td>
<td>-90</td>
<td>0</td>
<td>20</td></tr>
</table>
<h3>Notes</h3>
<p>
Naturally, the two separate delays described above (one modulated and
one constant) are realised at once, as a single delay line. This saves
you a <i>lot</i> of CPU cycles (...but you are obliged to run other
TAP-plugins in those cycles. Just kidding, of course.)
</p>
</body></html>
|
