Many of our tutorials focus on the more melodic side of Synth Sound design – hopefully even if we Software synths to the extreme with everything from inventive tweaks to outright modulation madness. However, when it comes to using effects, our sound design world can expand anywhere, and we are not limited to just using these oscillators as source material.
Effects can of course be applied to any sound, not just VA, wavetable or FM synths. This means that if your sound design ambitions lie in the area of sound effects for films, TV or video games, for example – and not just music – then this is where things get exciting.
When it comes to effects, our sound design world can expand anywhere
The other great news for you is that the world of plug-in effects has become extremely exciting in recent years. Thanks to the processing power of computers, plug-in effect developers can go wild with the options, which is obviously great for sound designers. While synthesizer developers may have focused on recreating instruments from the 1970s, plug-in effect developers are trying to create effects from the 2070s!
In fact, plug-in effects have gotten so good that it’s hard to know where to start, apart from the ones that come with your DAW. So what exactly do you need if you’re looking to manipulate sound and get creative with your audio?
Focus on what you need
Rather than go into every single effect that’s there, it might be better to give some general pointers. Sound designers can easily argue for having a delay and reverb to fall back on. Time stretching plugins are also a great option if your DAW doesn’t have this (though most have this built in), and distortion plugins and bit crushers are also a fantastic option.
Another good way to think about what effects you’re going to use is to take some cues (sorry) from the synths we’ve discussed. The best of these take the source signal from the oscillator and send it through a fine selection of filters. They also have a range of modulation sources and destinations that are well implemented and easy to use. You could also add a delay or reverb. If only we could get effects that offered these varied options. Welcome to Multieffect 2024…
The rise of the multi-effect
Yes, it’s almost as if plugin developers have been secretly working on plugins with all sorts of features tailored to sound designers, because in 2024, we’re surrounded by some of the best – or craziest – multi-effects ever. In fact, these are often more useful when you want to create weird and wonderful sounds from a single audio source than for general music production.
As we’ve already hinted, the popularity of the feature-rich multi-effect is largely due to how computers can now handle their power. Now, for example, you get not just bitcrushers, but bitcrushers with extreme modulation like Cableguy’s CrushShaper, so you can add all sorts of rhythmic effects. And now you get not just filter options, but plugins like Polyverse Supermodal, which lets you choose from 27 models. Why go for one processor when you can have 54 like in Devious Machines Infiltrator 2?
So rather than choosing your sound design effect based on a single type, in these days of abundant choice it might be best to choose them in the same way you would a great plug-in synth, and opt for one or two feature-rich multi-effects that have their own character all their own.
As we move on to our effects section, we’ll introduce you to some of the best effects for sound design. We’ll also share a tutorial or two on how to get the sound design potential out of the effects you already have at hand, namely the CM Plugin Suite!
Extreme delays with PSP CM Delay
PSP CM Delay, an effects plugin that comes free with every issue of Computer Music magazine, is great for getting an almost dub-like distorted delay if you crank the feedback to the maximum and keep everything in sync. Try the above settings with any audio with the delay put on an aux send. Adjust the filters to get some nice tonal control over the resulting saturated effects.
For a more practical approach, turn off the sync option, leave the feedback control set high, the filters at their maximum values, and switch the delay to ping-pong mode. With the time set to 250ms, the feedback will build up and you simply adjust the delay time until the delays become self-sustaining.
Shown in detail with the in-ear display Litote CM
Granular processing is a great way to take your sound design to the extreme and create crazy effects. Litote CM is a fantastic processor in this regard and has several parameters, the most important of which is grain – the bigger this is, the better you can detect the incoming signal. Load the INS_Divide preset to hear what the plugin can do with some vocals.
Now if you run a longer vocal through the plugin you will hear this effect developing. Short stabs will be noticeable, less so if you reduce the grain, but you can still just about detect the vocal quality. Now try experimenting with the speed control to send the pitch either up or down.
You can make your sound design even more extreme by increasing the Diffusion and Feedback parameters in the Timbre section.
Finally, Litote CM also works well with a bit of DAW automation. For example, record changes in speed to create pitch bend effects, or record variations in the Freq parameter to create more atmospheric sound effects.
Distortion and more with Klevgrand Stark CM
Distortion is the next big sound mangler, and luckily we have a wide range of options for you in the CM Suite, including titles from around a dozen developers including Mercuriall, Audio Assault and NoiseAsh. And while it may be one of the older ones, Klevgrand Stark CM is right up there with the best.
Just use it to add some presence to whatever you’re working on. Ambience Room Size isn’t exactly reverb, but combined with the Presence control and the Stereo knob, you can quickly create big sound.
But the right panel is where things get very interesting very quickly. Just click and you have a choice of 14 effects, each of which then gives you additional controls to tweak, as shown above with the Phaser.
While it may be simple, Stark lets you test different effects on one sound very quickly, so it’s a great tool for a sound designer looking for a quick solution. It also has a good selection of presets for three guitar types, beats, and synths. Overall, you can use it for big distortions, subtle colors, or anything in between.
A touch (or a lot) of reverb with Hyperspace CM
And as mentioned, every sound designer needs a bit of reverb in their life, and with JMG Sound/United Plugins Hyperspace CM – free with every issue of Computer Music magazine – you can have as much of it as you want. This algorithmic reverb features three modes, nine parameters to tweak, and a wonderful XY pad for experimentation – perfect for sound design.
There’s a lot to play with here, but the four knobs on the right add plenty of drama and the Modulate fader is a great source of action too. The hands down best feature though is the XY pad. Take it up with automation to create some funky effects. And that concludes our quick tour of the CM Suite – something for all you sound tinkerers.
