![]() On the right panel, the Stereo, Output and Dry/Wet knobs work as expected. When unlinked, dragging in either side of the graphic affects only that side’s settings. Finally, notice that you can click‑drag in the Echo graphic to change the knob values in both linked and unlinked mode. The ‘D’ button between them determines whether the Dry portion of the output is affected by the Input setting and the ‘Ø’ button inverts the phase of the feedback signal. The Input and Feedback knobs at the bottom work as usual. ![]() The Offset settings are never linked and are reflected in the centre graphic. You use the numerical below that drop‑down to create an offset of as much as 33 percent above or below the time setting. The drop‑down showing ‘Dotted’ has four note‑value options: ‘Note’ (the note value displayed beneath the knob), ‘Dotted’ (1.5 times that value), ‘Triplet’ (2/3rds of that value), and ‘16th’ (the number of 16th notes shown beneath the knob). The yellow button between the Left and Right rate knobs links their settings - changing either knob or the two settings below the knob affects both channels. If you start with the default Echo settings (the settings you get when you insert the audio effect rather than one of its presets), you’ll hear echoes a dotted‑eighth‑note apart that slowly die out owing to the left panel’s rate and feedback settings. To get started, insert Echo on an audio track and place a short, non‑looping, single‑event audio clip in a clip slot on that track. The small white dots in the Echo tab’s graphic always represent eighth notes, and the semicircles in the display indicate echoes in the left and right channels. You can click‑drag the graphics in the Echo and Modulation sections and also edit them using the knobs and numerical displays. The large graphic display in the centre has three tabs: Echo, Modulation and Character. On the right is an output section that also offers reverb and the choice of stereo, ping‑pong or mid/sides processing modes. On the left you’ll find typical delay settings along with a couple of less obvious options. ![]() Early ReflectionsĮcho’s control panel is split into three sections. For coverage of Live’s other delay‑based effects check out the December 2010, January 2012, March 2014 and May 2017 SOS Live columns. And owing to the advanced graphics in its user interface, Echo is also one of the easiest to use. We delve into Live’s sophisticated new audio delay effect, Echo.Įcho, Live’s newest and most sophisticated audio delay effect, opens the door to sound design possibilities beyond the reach of Live’s other delays. Screen 1: Echo’s default settings are shown at the top with four variations below. ![]()
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