Section 07 of 09
The flagship algorithmic reverb included with the SQ-6. Models a physical acoustic space — hall, room, plate, and chamber programs. Use it on vocals to add depth and size, simulating the sound of a room. Key parameters: Room Size (how large the space sounds), Pre-Delay (gap between the dry sound and the reverb — small amounts create separation and clarity), Decay Time (how long the reverb tail rings), and Damping (reduces high-frequency content in the tail, making it warmer). A very short reverb (0.5–1.0 s decay) on vocals sounds natural; a long reverb (2–4 s) sounds dramatic. Start subtle and add more only if the mix sounds dry.
A reverb that is cut off abruptly by a gate, creating the punchy, explosive reverb sound famous in 1980s pop and rock production. Almost exclusively used on snare drum in live applications. The reverb builds up and then stops sharply rather than fading naturally. Use sparingly — it is a stylistic choice, not a corrective tool.
A stereo echo effect that repeats the input signal after a set time interval. Tempo-syncable so the echoes fall on the musical beat. Uses: add rhythmic interest to a guitar or vocal, create a slap-back echo on vocals for a vintage feel, or fill sonic space in a sparse mix. Key parameters: Delay Time (set it to match the song tempo), Feedback (how many repeats occur — high values create infinite repeats, keep it moderate), Mix (wet/dry ratio — usually keep this low so echoes do not compete with the dry signal), and Ping-Pong (alternates echoes left and right for a wider stereo effect).
Simulates the studio technique of recording a performance twice and blending the takes — making a single vocal sound like two singers in unison. Creates a subtle width and thickness without obvious processing. Useful for making a single vocalist sound fuller without reverb. The modulation amount controls how different the "double" sounds from the original.
A classic chorus effect based on the Roland RE-201 sound-on-sound design. A chorus creates a subtle detuned copy of the signal and blends it with the dry sound, producing a shimmering, widened sound. Commonly used on electric guitars, keyboards, and backing vocals. Key parameters: Rate (speed of the detuning cycle), Depth (how much detuning occurs), and Mix.
A lush, multi-voice chorus that creates a rich, ensemble-like quality. Less subtle than the Blue Chorus — adds significant harmonic complexity. Used on pads, strings, and acoustic instruments to add fullness. Can make a keyboard or acoustic guitar sound much larger in the mix.
A sweeping jet-plane whoosh effect created by mixing the signal with a slightly delayed copy of itself and slowly varying the delay time. More pronounced and obvious than chorus. Use sparingly in church settings — it works on electric guitar or as a special effect on a specific song rather than as a general effect.
Creates a sweeping, phase-cancellation effect similar to flanger but smoother and less dramatic. Adds movement and interest to sustained instruments. Often used on electric piano or acoustic guitar. Like flanger, use it as a stylistic choice for specific songs rather than as a blanket effect.