Orinj Bass chorus

Orinj version 9.0.0

The Orinj Bass Chorus is similar to the Orinj Chorus. It creates multiple repetitions of the same sound with minimal delay. The idea of a chorus is to create a fuller, richer sound with the impression that the sound has multiple sources. The repetitions of the signal (the voices) are with the same amplitude as the original signal (no decay). To make the chorus natural, the small delays between the original signal and the repetitions vary over time (the delay sweep).

The difference between the Orinj Bass Chorus and the Orinj Chorus is that the Orinj Bass Chorus does not repeat bass frequencies. This is so to avoid the muddiness in the sound that may appear if the bass frequencies are repeated multiple times. The Orinj Bass Chorus thus uses a high pass filter, a filter that passes only frequencies above some specific cutoff frequency and stops all frequencies below that frequency. Frequencies above the cutoff frequency are chorused. Frequencies below the cutoff frequency remain only in the original signal, but not in any of the repetitions.

An example of the Orinj Bass Chorus

The following are three repetitions of the same guitar riff. The first repetition is as recorded, without a chorus. The second repetition uses a chorus of four voices, delayed between 5 and 15 ms with a slow rate of delay variation of 5 ms / s (i.e., a relatively "tight" chorus). The third repetition uses the same chorus, but with a high pass filter at 500 Hz (i.e., a relatively "tight" bass chorus).

Click to play this example with a bass chorus.

Using the Orinj Bass Chorus

The Orinj Bass Chorus can be added to tracks, auxiliary channels, and the master channel in the multitrack session view and to waves in the single wave view.

• To add the effect to a track or an auxiliary channel in the session, first click on the track or auxiliary channel to select it. Click on Effect, Delay, and then on Orinj Bass Chorus in the menu.
• To add the effect to the master channel in the session, click on Track and then on Master Channel in the menu. In the master channel dialog, click on the Add button.
• To add the effect to a wave in the single wave view, click on Effect, Delay, and then on Orinj Bass Chorus in the menu.

You will see the following dialog with two tabs.

When this dialog becomes visible, the Orinj Bass Chorus effect has been added. Adjust the parameters of the bass chorus in the dialog above and click on Close. These parameters are described below.

Orinj Bass Chorus parameters

See Orinj Effects for an explanation of the Title, Track, Presets, Bypass, and Lock channels controls. The remaining Orinj Bass Chorus controls are as follows.

• Left channel voices: Use these controls – the box and the slider – to set the number of voices in the left channel. The number of voices is equal to the number of repetitions of the original signal plus one – plus the original signal. The chorus can have between 1 and 99 repetitions, which means between 2 and 100 voices.
• Left channel maximum delay: Use these controls – the box and the slider – to set the maximum difference in time between the original signal and any of the repetitions in the left channel. The maximum delay can be between 10 milliseconds (ms) and 200 ms.
• Left channel minimum delay: Use these controls – the box and the slider – to set the minimum difference in time between the original signal and any of the repetitions in the left channel. This delay is specified in milliseconds (ms) and can be between 5 ms and 100 ms.
• Left channel rate: Use these controls – the box and the slider – to specify the speed with which the differences in time between the original signal and any of the repetitions in the left channel changes. The fact that the delays between the original signal and the repetitions change is called delay sweep. This rate is measured in milliseconds per second (ms/s) and can be between 0 ms / s and 20 ms / s. For example, a value of 5 ms/s means that the delay will change by at most 5 ms for every second.
• Left channel invert: Use this control to invert the phase of the chorused signal in the left channel (to turn the signal upside down). The bass chorus effect may sound different if the phase of the chorus (but not the original signal) is inverted, depending on the settings for the remaining parameters.
• Right channel voices: Use these controls – the box and the slider – to set the number of voices in the right channel. This control works in the same way as the left channel voice control.
• Right channel maximum delay: Use this control to set the maximum difference in time between the original signal and any of the repetitions in the right channel. This control works the same way as the left channel maximum delay.
• Right channel minimum delay: Use these controls – the box and the slider – to set the minimum difference in time between the original signal and any of the repetitions in the right channel. This control works the same way as the left channel minimum delay.
• Right channel rate: Use these controls – the box and the slider – to specify the speed at which the delay between the original signal and any of the repetitions in the right channel changes. This control works the same way as the left channel rate.
• Right channel invert: Click on this checkbox to invert the phase of the chorused signal in the right channel.
• Left mix volume: Use these controls – the box and the slider – to set the overall volume of the left channel. This is the added gain to the total output in the left channel, including the original signal and the repetitions. It can be between -20 dB and 20 dB.
• Right mix volume: Use these controls – the box and the slider – to set the overall volume of the right channel. This is the added gain to the total output in the right channel, including the original signal and the repetitions. It can be between -20 dB and 20 dB.
• High pass frequency: Use these controls – the box and the slider – to set the cutoff frequency, above which frequencies will be chorused and below which frequencies will not be chorused (will remain in the original signal but will not show up in the repetitions). The cutoff frequency is between 300 Hz and 2.1 KHz.
• Precision: Use this control to set the precision, with which high and low frequencies will be separated. The high pass filter employed to separate the two frequency ranges can be precise and requiring a lot of computations or less precise and requiring less computations. In all high pass filters, the high frequencies will be passed approximately with their original amplitude, whereas the amplitude of the low frequencies will be significantly lowered. Around the cutoff frequencies, there will be a somewhat smooth transition from very low amplitudes for the low frequencies to the original amplitudes for the high frequencies. The less precise the filter is, the slower the transition will be.
• Dry mix: Use these controls – the box and the slider – to set the dry mix. The dry mix is in percent and can be between 0% (no original signal) and 100% (original signal at its original volume).
• Wet mix: Use these controls – the box and the slider – to set the wet mix of the chorus. The wet mix is in percent and can be between 0% (no repetitions) and 100% (repetitions at their original volume).

As you change the maximum delay in any of the channels in the bass chorus, the minimum delay might change automatically to ensure that the minimum delay is always smaller than the maximum delay. Similarly, as you change the minimum delay in any of the channels, the maximum delay might change automatically to be always higher than the minimum delay.

As with the Orinj Chorus, when the chorus is initially set, the initial delay for any of the repetitions is a random value between the minimum and maximum delay. At the beginning of playback, the initial delay for each of the repetitions is therefore different. The same random values are used when playback stops and is restarted to ensure that the effect has a consistent sound. During playback, the delay amount for each of the repetitions changes (delay sweep) at a random rate up to the (maximum) rate of change specified in the dialog, up and down between the maximum and minimum delays.

See Orinj Effects for additional notes on: where Orinj effects can be used, using boxes and sliders that control the same effect parameter, applying effects to mono and stereo waves, and using effects during playback. See Orinj Working with effects for additional information on creating, modifying, moving, removing, and processing effects. See Delay effect for additional information on the different types of delay effects in audio processing, including the bass chorus.

Automations

The Orinj Bass chorus offers the following automations.

• Left chorus voices: This automation adds or subtracts up to 100 repetitions from the left channel.
• Left maximum: This automation adds or subtracts up to 200 ms from the maximum delay between the original signal and the repetitions in the left channel.
• Left minimum: This automation adds or subtracts up to 100 ms from the minimum delay between the original signal and the repetitions in the left channel.
• Left rate: This automation adds or subtracts up to 20 ms/s from the rate of change in the delays between the original signal and the repetitions in the left channel.
• Right chorus voices: This automation adds or subtracts up to 100 repetitions from the right channel.
• Right maximum: This automation adds or subtracts up to 200 ms from the maximum delay between the original signal and the repetitions in the right channel.
• Right minimum: This automation adds or subtracts up to 100 ms from the minimum delay between the original signal and the repetitions in the right channel.
• Right rate: This automation adds or subtracts up to 20 ms/s from the rate of change in the delays between the original signal and the repetitions in the right channel.
• Left mix: This automation adds or subtracts up to 20 dB from the output volume (original signal and repetitions) in the left channel.
• Right mix: This automation adds or subtracts up to 20 dB from the output volume (original signal and repetitions) in the right channel.
• Frequency: This automation adds or subtracts up to 2.1 kHz from the cutoff frequency of the high pass filter of the chorus.
• Dry mix: This automation adds or subtracts up to 100% from the dry mix (the volume of the original signal).
• Wet mix: This automation adds or subtracts up to 100% from the wet mix (the volume of the repetitions).

Right-click on the corresponding controls to add or remove automations.