Chapter 5: Phaser, Chorus, Flanger, and More
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Modulation Pt.2
Page 3 - Basic Examples of Each Type
The following clips illustrate the basic characteristics of these modulation effects.
Phaser
Chorus
Flanger
Tremolo
Auto-Wah
Ring Modulation
page 5 - Les Paul on “Mammy’s Boogie”
Page 8 - Phaser
Here are some more phaser examples.
page 8 - Pedal Spotlight - Phase 90/95
page 10 - Flanger
Here are some more flanger examples.
Page 11 - Chorus
Here are various examples of Chorus.
Page 12 - Tremolo
Different Tremolo Wave Shapes
Tremolo Vs. Vibrato
Rhythmic Tremolo Patterns
Here are some other examples of Tremolo and Vibrato
Page 13 - Auto-Wah
Auto-Wah - Different Filter Types
Auto-Wah - Different Wave Shapes
Auto-Wah - Extreme Speed Settings
Here are some other examples of Auto-Wah
page 14 - Ring Modulator
page 15 - pedal spotlight - strymon mobius
Clips from the Strymon Mobius. There are many effects represented here, including some that are unique to the Mobius like Quadrature and Destroyer.
page 17 - challenges and use
Phase 95 1 note versus with harmonies
page 19 - rhythm section playing
Simple Harmony With and Without Modulation
Listen to these other examples that pair harmony and modulation. Notice how the modulation brings interesting texture, other sonic colors, and unique tambres to otherwise standard harmonized lines.
Subtle vs. Overt uses of modulation with harmony
Tremolo with Harmony.
Pattern Tremolo used as the song’s foundation. Notice how the sax becomes the one controlling the bass for the song. This allows an unconventional approach to arranging and gives a horn player the ability to fit in unconventional musical scenarios.
page 20 - written lines and melodies
Tremolo used to create a rhythmic part. Notice how the trumpet can play the role of a sing note snth or keyboard line. This gives the player the ability to rhythmical comp in a simple yet effective way. This is hard to do well without the precision of a tap-tempo.
Distorted Power Chord with and without modulation. Notice how the modulator gives the distorted sound more of an intense and impactful character.
Modulation and Delay
Modulation to Beef Up Horn Section. Note how the added effect gives a sense of mass and fullness to the section. In the examples with Sax and Trumpet, notice the difference between the single sax having no effect and the sax with chorus. In the trumpet example, the first time through the line there are four trumpet voices with no chorus, the second time, chorus isadded those four voices.
page 21 - Classic Saxophone Clips
Modulation being used to mark sections of tunes. Notice, in Treasure how the Chorus adds more mass to the Sax during the…Chorus, and adds a color similar to adding other unison voices. The Thriller example takes the opposite approach. The verse uses phaser to sound washy and mysterious. The removal of the phaser on the chorus causes the saxophone to open up and sound more clear and pristine, giving the feeling of ascending into the chorus.
Shane Endsley on “Snakepit”
page 22 - soloing
Adding modulation mid solo. Notice how the simple addition of one of these effects helps to ramp up the energy of the solo at the appropriate time.