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Audio Damage and an Interview with
Chris Randall
themselves if used in higher amounts. Diffusion controls the spread and depth. Size is a bit tricky be cause it is not pertaining to the size of a space, but rather the size of the effect. The larger the size, the bigger the reverb effects is on the sound, and the bigger the size, the more lushness is added. There is also a control set for the contour of how the reverb acts with hi and low frequencies if one wishes to adjust this. The input mute control is handy if you just want the processed signal, as in the effect, or after-effect as it were, to be the only audible part to be heard. As for the sound itself, it is truly a wonder, like all Audio Damage plug-ins, how some things seemingly so simple, can sound so much better, and add so much more character to tracks than more convoluted effects. This one doesn't disappoint.
simple on the front, but underneath the hood there are five modulated delays and four fixed ones that work to create the effect. That is plenty more than the usual chorus effect has going for it, and the difference is immediately obvious. Chorus has fallen out of fashion on many tracks, but this changes the course.
Fluid
The trick up Fluid's sleeve is the Feedback know which routes the output of the processed signal back into the delay architecture under the hood. This is uncommon for chorus plug-ins, but adds subtle differences to the out going sound. Which adds to the overall character created on the processed signal. The Mix knob controls In short, Audio Damage offers top how much shelf products at very reasonable Fluid prices that will make your music affects sound better. the signal overall. Waiting on the Drum Machine... (tatoo)
There are five knobs and that is it. It needs nothing more. This chorus effect is fantastic and will find a use in every track, and on every type of sound, whether it normally lends itself to lots of chorus or not. It may look
Rich characteristics, and this chorus adds wonderful stereo width, depth, and imaging and harmonic content to the incoming signal. Again, five controls, the Delay control affects the duration on the inner delays of the plug-in. The LFO rate controls how much vibrato is added to the signal and at increased rate, the more pitch harmonics come into play onto the incoming signal. The LFO depth determines how much the LFO modulates the delays.
Reality Check: For those who've passively looked at Audio Damage‘s effect thinking, “well, those look simple, and my host already came with simple effect plugins that do that.” The truth is likely, no, your host didn't come with plugins that do what Audio Damage’s do. Many hosts come with simple effects processors that may have more features, but don’t achieve the sound or level of quality you desire. Thus, leading you to investigate other effects processors. Most likely ones that come in extremely high-priced bundles. Or, ones that look wonderful reading spec-sheets and give you everything and the kitchen sink. But when it comes time to actually use it, only 10% of it is musically useful. At WSM, we think that Audio Damage is filling the gap between the extremes with simplicity, and outstanding sound quality. While you may not be dazzled by spec-sheets, usability in the context of making music is where their products really shine. They also bring life to your music where it matters most and are musically useful in any scenario.
Yes we are...
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www.WusikSoundMagazine.com
December 2009