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When you have a convolution reverb, you ll probably want to get your hands on some impulse response (IR) files, unless you re extremely motivated and want to create your own. Here s a short list of freely available IRs:
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You will need StuffIt Expander (available from to decompress the .hqx files meant for a Mac. You will also need to convert the aif files to wav files using Adobe Audition, Audacity, or some other editing software capable of reading aif files. It s a bit of work, but worth it for a great collection.
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If you re still not satisfied, go to 2005SoundList.html#ir, where you ll find a list of more than a dozen websites that offer free impulse responses.
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Other Effects
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A variety of other effects can be used to give certain tracks a bit of exotic flair. This section is by no means comprehensive, but it contains some of the more commonly used special effects.
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Both flangers and phasers layer multiple phase-shifted copies of the input signal on top of the original signal. The net result is a sweeping, psychedelic, 1960s-ish sound, with the flanger periodically highlighting certain harmonics within the audio, and the phaser more smoothly sweeping through the audio. Both of these effects are subsets of ACID Pro s Flange/Wah-Wah effect. The third member of Flange/Wah-Wah, wah-wah is the classic sound of the guitar funk of the early 1970s. It is essentially a low-pass resonant filter that periodically sweeps up and down through the frequency spectrum. Try checking the Tempo Sync check box to synchronize the frequency sweeps of this effect with the rhythms in your project.
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The chorus effect creates multiple copies of your audio, detunes them slightly, and stacks them on top of each other. The net result is a thicker, more layered sound. Chorus can sound good on vocals, especially background vocals, where you might expect more than one singer. Try using the chorus effect if you are using a snippet of a lead vocal acapella as a background vocal.
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Although accidental distortion by clipping is a big no-no, distortion can be used purposefully for artistic effect. As opposed to a compressor, which has a (barely) perceptible attack and release time, distortion operates in absolute real time, squishing each cycle of the wave as it crosses the threshold. The sonic effect is completely different than compression, because distortion alters the spectrum of the signal, introducing discordant nonharmonic elements. ACID Pro s distortion provides all the flexibility of the graphics dynamics effect, giving you total control over the relationship between the input and output of the signal.
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Finalizing and mastering your mix should take place after your ears have had a rest from mixing and arranging. Often, if you wait a day after you ve finished the basic construction of the mashup to polish it off, you ll catch issues you wouldn t have caught otherwise. When you think you re done with mixing and mastering your mashup, you ll need to listen to it in a variety of situations to make sure it s perfect. Different sound systems will highlight different aspects of your mix. Listen to it on as many different systems as you can. Close your eyes, or at least look away from the computer screen. Listen to it first thing in the morning. Listen to it from the next room. Anything you can do to alter your perspective can be handy. Remember, music should make you happy. If listening to your mashup doesn t inspire you or make you feel something, well, something s wrong. If you are listening to your creation and you feel a sense of joy, you probably have done something right.
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