1
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
2
"http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
3
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
6
<title>TAP-plugins</title>
7
<meta name="generator" content="GNU Emacs 21.2.1">
8
<meta http-equiv="Content-Type" content="text/html;
10
<meta name="description" content="Tom's Audio Processing plugins for
11
audio engineering on the Linux platform.">
12
<meta name="keywords" content="TAP-plugins TAP Reverb Editor
13
Reverberator Equalizer EQ Vibrato Tremolo Echo Tom Szilagyi LADSPA
14
JACK Plugin Linux Audio">
15
<meta name="author" content="Tom Szilagyi">
18
<body bgcolor=#ffffff>
19
<table cellpadding="5" cellspacing="0" border="0" bgcolor=#ffffc0
22
<font size="+2" color=#004060><b>TAP</b>-plugins</font><br>
23
<font color=#004060>Tom's Audio Processing plugins</font><br>
24
<font size="-1" color=#004060><i>for audio engineering on the Linux
28
<a href="../index.html">[ Home ]</a>
29
<a href="../ladspa.html">[ LADSPA plugins ]</a>
30
<a href="../reverbed.html">[ TAP Reverb Editor ]</a>
34
<a href="releases.html">[ Releases ]</a>
35
<a href="cvs.html">[ CVS ]</a>
36
<a href="general.html">[ General Info ]</a>
37
<a href="manuals.html">[ Plugin Manuals ]</a>
43
<a href="autopan.html">[ TAP AutoPanner ]</a>
44
<a href="chorusflanger.html">[ TAP Chorus/Flanger ]</a>
45
<a href="deesser.html">[ TAP DeEsser ]</a>
46
<a href="dynamics.html">[ TAP Dynamics (Mono & Stereo) ]</a>
47
<a href="eq.html">[ TAP Equalizer and TAP Equalizer/BW ]</a>
48
<a href="doubler.html">[ TAP Fractal Doubler ]</a>
49
<a href="pinknoise.html">[ TAP Pink/Fractal Noise ]</a>
50
<a href="pitch.html">[ TAP Pitch Shifter ]</a>
51
<a href="reflector.html">[ TAP Reflector ]</a>
52
<a href="reverb.html">[ TAP Reverberator ]</a>
53
<a href="rotspeak.html">[ TAP Rotary Speaker ]</a>
54
<a href="limiter.html">[ TAP Scaling Limiter ]</a>
55
<a href="sigmoid.html">[ TAP Sigmoid Booster ]</a>
56
<a href="echo.html">[ TAP Stereo Echo ]</a>
57
<a href="tremolo.html">[ TAP Tremolo ]</a>
58
<a href="tubewarmth.html">[ TAP TubeWarmth ]</a>
59
<a href="vibrato.html">[ TAP Vibrato ]</a>
62
<h2>TAP Chorus/Flanger</h2>
63
<img src="tap_chorusflanger.png" alt="[TAP Chorus/Flanger GUI as shown in Ardour]">
65
This plugin is an implementation capable of creating traditional
66
Chorus and Flanger effects, spiced up a bit to make use of stereo
67
processing. It sounds best on guitar and synth tracks.
70
<h3>General information</h3>
72
<table cellspacing="0" cellpadding="5" border="1">
73
<tr><th align="left">Unique ID</th><td>2159</td>
74
<tr><th align="left">I/O ports</th><td>2 inputs / 2 outputs</td>
75
<tr><th align="left">CPU usage (44.1 kHz)</th><td>2.8%</td>
76
<tr><th align="left">CPU usage (96 kHz)</th><td>6.2%</td>
77
<tr><th align="left">Hard RT Capable</th><td>Yes</td></tr>
78
<tr><th align="left">In-place operation</th><td>Supported</td>
79
<tr><th align="left">run_adding() function</th><td>Provided</td>
85
The Chorus and Flanger effects operate on a very similar basis, that's
86
why they were implemented in the same plugin. Both effects are
87
achieved by creating a time-varying delay of the incoming signal and
88
mixing it with the original. The delay time is modulated by a
89
sinusoidal. After the time-varying delay is applied to the signal, it
90
is further delayed by an (adjustable) amount of time. If this
91
additional delay is small (under 10 ms), then mixing the dry and wet
92
signals will introduce strong phase distortions, and thus a Flanger
93
effect is achieved. If the delay time is greater than 20 ms, then the
94
wet signal is more likely perceived as an additional "voice". Thus,
95
mixing the two signals yields a Chorus effect.
98
The <i>Frequency</i> control determines the LFO frequency with which
99
the time-varying delay is modulated. The higher the frequency, the
100
more intense the effect will be. Values in the range of 1-3 Hz should
101
be a good starting point in most cases.
104
This plugin is capable of creating true stereo chorus/flanger
105
effects. The <i>L/R Phase Shift</i> control is provided to this
106
end. The two LFO's controlling the delay modulation of the two
107
channels run in sync with the same frequency, but the phase shift
108
between them can be adjusted with this control. The higher this
109
setting, the stronger the "stereo-ness" of the effect will be. When
110
set to 0, processing of the two channels will be in-phase; when set to
111
180 degrees, the two LFO's are is counter-phase to create the widest
115
The <i>Depth</i> control allows for adjusting the modulation depth of
116
the delay. Increasing it will result in stronger modulation using the
117
same LFO frequency. It should be noted that the <i>Frequency</i> and
118
<i>Depth</i> settings jointly determine the intensity of the
119
effect. Smaller frequencies usually allow for using a greater
120
modulation depth, and vice versa. If the modulation is fast (higher
121
frequency) and deep (higher depth) at the same time, a vibrato effect
122
is introduced. You may or may not want this.
125
The <i>Delay</i> control determines the fixed amount of time with
126
which the signal is delayed after the time-varying delay has been
127
applied. The setting of this control distinguishes between the Chorus
128
and Flanger effects. Delays smaller than 10 ms can be labeled Flanger,
129
delays above 20 ms yield Chorus, and delays in the range of 10-20 ms
130
result in a blend between Chorus and Flanger.
133
<i>Contour</i> is the cutoff frequency of a high-pass filter applied
134
to the now twice-delayed signal. By setting it anywhere above 20 Hz,
135
you can protect the lower frequency spectral content in the original
136
signal from being disturbed by the effect. Set it to somewhere in the
137
range of 100-500 Hz if you feel that your bass tones get smeared or
138
lose definition. Set it to somewhere between 1000-6000 Hz to have a
139
Chorus/Flanger that lets the bulk of the signal through, but changes
140
the sound of the cymbals, higher guitar tones, etc. This results in an
141
interesting effect when applied to mixes.
144
The <i>Dry Level</i> and <i>Wet Level</i> settings allow for a final
145
tuning of the sound. The strongest effect is achieved if the two
146
settings are about the same. Decreasing one of them (preferably the
147
Wet Level, to mitigate any unwanted side effects) results in a subtler
152
<h3>Summary of user controls</h3>
154
<table cellspacing="0" cellpadding="5" border="1">
155
<tr><th>name</th><th>min. value</th><th>default value</th><th>max. value</th></tr>
157
<tr align="center"><td>Frequency [Hz]</td>
161
<tr align="center"><td>L/R Phase Shift [deg]</td>
165
<tr align="center"><td>Depth [%]</td>
169
<tr align="center"><td>Delay [ms]</td>
173
<tr align="center"><td>Contour [Hz]</td>
177
<tr align="center"><td>Dry Level [dB]</td>
181
<tr align="center"><td>Wet Level [dB]</td>
191
Naturally, the two separate delays described above (one modulated and
192
one constant) are realised at once, as a single delay line. This saves
193
you a <i>lot</i> of CPU cycles (...but you are obliged to run other
194
TAP-plugins in those cycles. Just kidding, of course.)
200
$Id: chorusflanger.html,v 1.1 2004/08/17 13:05:16 tszilagyi Exp $
added
removed
doc/ladspa/chorusflanger.html
