Strangelight Audio
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Effects and mixing

Effects take audio in on the left and send processed audio out on the right. Chain them in series between a sound source, or Audio Input in Throughline FX, and Audio Output. The order changes the sound.

To insert an effect into an existing chain, zoom in on the cable until its + appears, click it and choose the effect. See Connections and sockets.

A serial chain

Signal flow diagramSource connects to Filter via Audio. Filter connects to Saturation via Audio. Saturation connects to Delay via Audio. Delay connects to Reverb via Audio. Reverb connects to Audio Output via Audio.AudioAudioAudioAudioAudioSourceFilterSaturationDelayReverbAudio Output
Diagram as text

Source connects to Filter via Audio. Filter connects to Saturation via Audio. Saturation connects to Delay via Audio. Delay connects to Reverb via Audio. Reverb connects to Audio Output via Audio.

graph LR
    SRC[Source] -->|Audio| FILT[Filter]
    FILT -->|Audio| SAT[Saturation]
    SAT -->|Audio| DLY[Delay]
    DLY -->|Audio| REV[Reverb]
    REV -->|Audio| OUT[Audio Output]

Try swapping neighbours to hear what order does:

  • Filter and drive: saturating after a filter drives an already shaped tone. Saturating before it lets the filter tame the harmonics the drive adds. Saturation and Bitcrusher both add harmonics, so this is where order is easiest to hear.
  • Delay and reverb: Delay before Reverb gives distinct repeats that then wash out. Reverb before delay repeats the wash.
  • Dynamics last: put a Limiter at the end so nothing after it can push the level up again.

On a synth, put effects after the Polyphony Zone so all voices share one copy.

Blend dry and wet

Most effects have a Mix control that blends the original and processed sound, as a parameter and as an input you can modulate. Use it instead of building a separate dry path when one effect is enough.

Parallel layers

To process copies of a sound differently and blend them, send one output to several chains and combine them in Mix. Mix has eight inputs, Input A to Input H, each with its own level.

Signal flow diagramSource connects to Gain via Audio. Source connects to Granular Delay via Audio. Gain connects to Mix via Input A. Granular Delay connects to Mix via Input B. Mix connects to Limiter via Audio. Limiter connects to Audio Output via Audio.AudioAudioInput AInput BAudioAudioSourceGainGranular DelayMixLimiterAudio Output
Diagram as text

Source connects to Gain via Audio. Source connects to Granular Delay via Audio. Gain connects to Mix via Input A. Granular Delay connects to Mix via Input B. Mix connects to Limiter via Audio. Limiter connects to Audio Output via Audio.

graph LR
    SRC[Source] -->|Audio| DRY[Gain]
    SRC -->|Audio| FX[Granular Delay]
    DRY -->|Input A| MIX[Mix]
    FX -->|Input B| MIX
    MIX -->|Audio| LIM[Limiter]
    LIM -->|Audio| OUT[Audio Output]

The same pattern layers two sound sources, such as an oscillator and a noise source, before a shared filter.

Duck one sound with another

Compressor has a Sidechain input. Connect the signal that should push the level down, such as a kick drum, to Sidechain and the sound to duck to its main input. For a drawn ducking curve in time with the beat, use a clock-synced Shaper into a VCA instead. See Timing and sync.

Keep levels safe

A normalized signal can still clip. Summing, gain and resonance all raise peaks:

  • Mix adds its inputs and does not limit the result. Follow a loud sum with a Limiter.
  • Use Gain for a fixed level and VCA when another signal, such as an envelope, sets the level.
  • Watch the output meters at the top right of the editor, or an RMS Meter in the chain. See Inspecting signals.

Filter or EQ

Use Filter when the filter is part of the sound and you want to move it. Use EQ to balance or correct a tone and leave it there. To move a filter, see Modulate a parameter.

Place and widen

Pan places a sound and Width changes stereo width. See Stereo and panning.