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Pedal order: chorus 1st into flange; or flange 1st into chorus?

lefort_1

Nuzzled Firmly Betwixt
Platinum Supporting Member
Messages
15,567
And I often run Delay after Spring Verb.
It always comes down to do I want reverb on the or delay on the reverb?
And ‘what do I want to hear?”

Flanger last can add a ‘swoosh‘ to whatever is before it.
For an EXTREME example, look at songs where they ran the WHOLE MIX through FLangers (how it was invented).
Itchycoo Park (still one of the top 10 song names)
Wasted Union Blues (intro and outro... what were the LaFlammes smoking in that control room???)
Jesus is just all right (great tape flange on the drums)
... and about HALF of the entire White Noise album
 

Jon Silberman

10Q Jerry & Dickey
Silver Supporting Member
Messages
41,954
Again, I'll have to try it also for myself, but for a faux organ tone, what do you think - flanger into chorus?
 

Cerpin Taxt

Member
Messages
596
I used to run my chorus before my flanger because I had a mono CE-2 clone and a stereo flanger (mono in, stereo out). Never used them at the same time though. I replaced the CE-2 clone with a stereo chorus pedal with stereo ins so it goes after the stereo flanger now. Not sure it really matters unless you're trying to run them both on. If that were the case I'd just spend 15-30 minutes flipping them back and forth and just see which one you like better. The only rule is that you like the tone.
 

jdogric12

Member
Messages
2,549
Again, I'll have to try it also for myself, but for a faux organ tone, what do you think - flanger into chorus?
I'll dare say no. A Hammond/Leslie would have chorus in the organ, and I'd use the flanger to emulate the Leslie on fast.

Here is another idea... a CH-1 has stereo out, which is wet/dry. Figure out which output is the dry, and run that through the flanger, so you have chorus to one amp and flanger to another. Might give you more of the 3D "in the room" sound of a Leslie if you use two amps.
 

Aceman893

Member
Messages
751
I never run both at the same time, so it doesn't matter to me.

If you are that kind of funky tone freak though - you gotta experiment and decide for yourself.

Depending on the FL/CH the order might vary as well.
 

Dashface

Member
Messages
5,806
Interesting. My reason for asking, of course, was I was wondering about what would sound better if they were indeed both on at the same time. Anyone do this? If I could coax up a faus organ sound that way in tandem with working my guitar's volume knob for swells, that would be some sweet icing on the cake.
To throw my two cents into the pile, in my time in a Floyd act I have occasionally gone so far with modulation as to run a CE-2, an Electric Mistress, and a Dynacord CLS-222 (a Leslie sim) at the same time - and then that signal is split into three amps, one clean, one with a CE-2 always on, and one a Yamaha RA-200 with rotating speakers...

...So I know wild modulation :D

In my experience, I always put the flange first, chorus second.
 

paka

Member
Messages
495
Depends on many things of course, but for me it depends on the chorus spread. So with a light chorus, I could do it either way. But with a heavier pitch mod on the chorus, I want to flange the whole thing, so flanger later. Why? Because it smooths out or blends the "gaps" in the pitch mod. If I run a heavy chorus after the flanger, it gets too choppy because its actually being double flanged. It's always a matter of what you're looking for in the end. On a board, my flanger is stationed after my chorus. But that's why I like multi-effects units, since you can move them around for each patch.
 

npappas

Member
Messages
757
It definitely does not matter at all and is totally up to you. :)

That said, some flangers sound good before the amp / drive. I've never heard a chorus that sounded good that way, but the MXR M117 sounded killer in front of dirt.
 

HomeInMyShoes

Member
Messages
1,583
Chornge?

Florus?

I don't have a standalone flanger so I can't really try this experiment, but I'd love to hear some examples if anyone is doing experiments.
 

ctreitzell

Member
Messages
3,322
Leslied.
Except instead of the Leslie's Chorus and Trem*
It's 80's and Barracuda


* to my ears, that low-freq rotating drum is much more trem-y than phase-y
unless you let a lot of pre-amp HISS into the low-freq drum... then it mocks a good phasey/swirly/chorus effect again.
the scenario I suggested is not intended to be a specifically labelled effect; it's a solution which can work in series or parallel...nor an effect related to any specific cover song; just using imagination to arrive at solutions

I don't know why you talk about phase and trem? is it because you've ushered in rotating speakers to the conversation? I thought op was asking about modulation...
 

lefort_1

Nuzzled Firmly Betwixt
Platinum Supporting Member
Messages
15,567
the scenario I suggested is not intended to be a specifically labelled effect; it's a solution which can work in series or parallel...nor an effect related to any specific cover song; just using imagination to arrive at solutions

I don't know why you talk about phase and trem? is it because you've ushered in rotating speakers to the conversation? I thought op was asking about modulation...
It is because the parallel 'solution' you suggested is quite analogous to a rotating speaker:
the signal is split at a mid-freq value, and the signal is shuttled off to two differing sound modulators.

I thought it would be informative (to the TGP public) to illustrate the concept of freq-split/alternate processing in an instrument they are familiar with.

... and phase/trem are modulation... at least in any description I've seen.

Have a good day.
 

AnalogKid85

Member
Messages
1,359
Or you you could frequency split before the inputs; I’ve done that before
Something like send everything below 700Hz to flanger and everything above to chorus
I’ve only done that in the digital domain in parallel
Sounds like a job for the MPX-G2:
  • Crossover (splits <700Hz to L path and >700Hz to R path) ==>
  • [L path] --> Aerosol/Comb2/Flanger(S)/etc.
  • [R path] --> Detune(D) (with LFOs modulating the detuners, for a 4-voice chorus)
  • mix them both back together, with both FX in full stereo at the outputs
:D
 

ctreitzell

Member
Messages
3,322
Sounds like a job for the MPX-G2:
  • Crossover (splits <700Hz to L path and >700Hz to R path) ==>
  • [L path] --> Aerosol/Comb2/Flanger(S)/etc.
  • [R path] --> Detune(D) (with LFOs modulating the detuners, for a 4-voice chorus)
  • mix them both back together, with both FX in full stereo at the outputs
:D
well, I had done something like this with GSP2101 with a custom algorithm
and then with midi CCs toggle:
-no FX
-Flange on Lo Freqs only
-Chorus on Upper Freqs only
-both

lots of room for experimentation
 

jdogric12

Member
Messages
2,549
It's also fun to experiment with a bass chorus, which will typically leave your lower frequencies unaffected for a more stable sound.
 




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