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Purchase Soundtoys MicroShift from this link, and Logic Fiends will get a few bucks to keep the site running. MicroShift lets you quickly thicken up a track (and you don’t even have to create a second track to do so) which can really make the difference when your lead instrument needs to stand out front and center, or in this case to the sides ?īottom line: A must have for recording guitar or lead vocals! While you can record multiple tracks of everything, sometimes that’s just not practical or possible. If you are finding elements of your mix sound thin, and not quite so professional, there’s a good chance thickening is an issue for you. While the MicroShift has a simple interface and only gives you three styles, it’s not mean to really do any more than thicken up your tracks, and it does that well. Distorted Guitar 2 Distorted Guitar 2 with Style 2 Distorted Guitar 2 with Style 3 Final Thoughts Here’s another distorted guitar, this time the mix is all the way up and Style. Distorted Guitar Distorted Guitar with Style 1
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This is a distorted guitar and then with Style 1 applied with the Mix at 12 o’clock and the Detune at 3. One of the better uses of MicroShift is for thickening up guitars.
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Piano Example Clean Piano Sample Piano – Style 1 – 250Hz cutoff Piano – Style 1 – 250Hz cutoff and 200% Delay Wall of Guitar The delay knob increases or decreases the delay, and since each style is different, this is also represented in percent, with a range of 50% to 200%. The range is 50% all the way to the left, and 200% all the way to the right, which would double the detuning. The Detune knob is adjusts the micro-pitch shifting, but not directly in cents, as each style is different. Hint: You can right click on the knob to see the actual frequency readout. A good starting point would be 250Hz, or 11 o’clock, which should cut out most of the low end. Since it’s very likely that the material will get muddy, and bass is usually put in mono (or down the center) you’ll most certainly want this turned higher than 20Hz. It will only be applied to the high end (above the crossover point.) The range is from 20Hz to 10kHz. The Focus knob is used to control the crossover point at which the effect is applied. If you want to put it on another track as a send, then you’d probably want to have the mix set at 100%. This is useful to emulate parallel processing of the signal on the same track as an insert. The Mix knob allows you to blend in the effect with the original source. Style 3 is modeled from the AMS (Neve) DMS 15-80, which offers a wider delay and different saturation. Style 2 is also from the H3000 (preset 519) with a slightly different variation on the delay as well as the frequency response. Style 1 is modeled off the original H3000 (preset number 231) giving an authentic delay and pitch variation with some analog saturation. There are 3 styles to choose from in the MicroShift. Soundtoys MicroShift focuses on that aspect. It did this by pitching each panned side up or down by a few cents, and adding some delay. Even though it was designed to be used as a harmonizer, the H3000 was often used to just thicken up or widen a track. If you’re not familiar with Soundtoys, the founders actually worked on the original harmonizer, H3000 by Eventide. Yes, another Soundtoys review, this time we’re looking at MicroShift.