![]() It’s loosely based off the chorus found within a Juno 60 synthesizer, and it has a pleasantly dark and detuned character. Magic Switch couldn’t be simpler, featuring only an on/off button and a mix slider. I figured we’d start with a plugin that is free for all to enjoy, and Magic Switch from Baby Audio is just that - so go download it at no charge ASAP. ^ Lead guitar with Julianna - chorus/vibrato blend ^ įor those of you who produce and mix music within a DAW, there are tons of great plugins that allow you to unleash chorus in all its glory here are a few of my favorite chorus plugins and how I use them during recording, production and mixing: 1. ^ Clean guitar with Julianna chorus - full mix ^ ^ Clean guitar with Julianna - wacky vibrato ^ ^ Clean guitar with Julianna chorus - subtle ^ Walrus Audio Julianna Deluxe Chorus/VibratoĬheck out some sound clips of the Julianna in action: Walrus Audio makes top-notch effects pedals that include reverbs, delays, distortions and more. For what it’s worth, the original packaging and enclosure are totally beautiful. I’ll take everything from vocals, to synthesizers, and even reverbs - send them out of my DAW, process them with Julianna, and record them back into the original session. Because it’s stereo, it’s also especially useful for reamping tracks. Julianna covers a super-wide range of tones, from a gorgeous slow chorusing effect to a wild warble - and everything in between. There’s a tap tempo function if I want to synchronize the effect with the song I’m playing, a “drift” function which will gently speed up and slow down the LFO rate and a random LFO shape in addition to sine & triangle. ![]() Julianna is an all analog, digital LFO (low frequency oscillator), stereo chorus/vibrato with features that you simply wouldn’t find on the more basic chorus pedals of yesteryear. I use a Julianna Deluxe Chorus/Vibrato from the Oklahoma-based company Walrus Audio. Today, there’s an abundance of high quality chorus pedal effects available to players. The Roland JC-120 amplifier was used on Prince’s “Purple Rain,” Kurt Cobain employed the EHX Small Clone to achieve the watery effect on “Come As You Are,” and funk guitar legend Nile Rodgers occasionally utilizes an Ibanez CS9 to embellish his shimmery clean tone. Chorus wasn’t just for organists and guitar players anymore, it had become a sought after sound and found its place within the world’s greatest studios.Ĭhorus was subsequently used on many hit records, and was not limited to one particular genre or instrument. The late ’70s and ’80s saw the development of numerous studio-grade chorus rack units including the Roland Dimension D, Yamaha SPX90, T.C. The CE-1 featured a high and low input switch and knobs for level control, chorus intensity and vibrato depth & rate. ![]() In 1976, Boss released the famed CE-1 (Chorus Ensemble) pedal and the effect became accessible to even more guitar players. The solid-state Jazz Chorus featured a relatively low cost compared to tube amplifiers by rivals Fender and Marshall, and it became a favorite among guitarists playing a wide range of genres ranging from funk, to post punk and even metal. In 1975 Roland released the Jazz Chorus amplifier which had the effect built in. Other organs and synthesizers included a similar effect and the chorus sound remained a somewhat commonly used sonic texture throughout the late ’60s and early ’70s. ![]() Check out this wonderful resource on ADT directly from the Abbey Road Website. The Beatles and their brilliant engineering team utilized this technique extensively on Revolver and on many subsequent albums. The effect was dubbed Artificial Double Tracking, or ADT. Townsend employed a second tape machine which played back the original recording slightly out of sync with the first, while also using an oscillator to alter the playback speed of the second machine, resulting in a chorus-like effect. Displeased with the tedium of having to overdub his vocals, John Lennon repeatedly asked Ken Townsend if he could come up with a technical alternative. This generated a sound that was perceived to be richer, fuller and with more depth.Īnother ingenious use of this type of effect, although created in a much different way, was by engineers at Abbey Road Studios on recordings by (you guessed it) The Beatles. Hammond’s BC organ featured a “chorus tone generator,” which created a second note that was slightly out of tune with the first. It’s arguable that the first chorus effect was found within Hammond Organs in the 1930s. ![]()
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