azslow3
Please excuse me if that sounds like a self advertisement, but since this small free plug-in was created for Sonar I hope that is acceptable to mention it in this context

Not just acceptable...a fine addition! Thanks.

Week 151: Super-Long LFO Waveforms
 
Sometimes I think the drawing tool for automated LFO waveforms is underappreciated, but it does have a significant limitation—it can’t draw “frequencies” slower than 1 measure automatically. Fortunately there’s a simple, albeit manual, way to create automation curves with as long a period as you want. To show how, let’s draw a panning sine wave LFO automation waveform (triangle and sawtooth waves are easy, so we'll do something challenging) with a frequency of 4 measures.
 
 
 
1. Add a node at measures 1, 2, 3, 4 and 5, and arrange as shown. The nodes at 1 and 5 should be at one extreme of the excursion, and the node at 3 for the other extreme (in this case, the panning excursion extends between 80% left and 45% right). If all you wanted was a triangle wave LFO you could skip to step 4, but let’s continue with the sine wave.
 

 
2. Right-click on the line between nodes 2 and 3 and select Fast Curve. Do the same for the line between nodes 4 and 5. Next, right-click on the line between nodes 1 and 2 and select Slow Curve. Do the same for the line between nodes 3 and 4.
 
3. Select the automation curve you created, copy it, and place the Now time at measure 5.
 

 
4. Call up Paste Special, and in Advanced mode, specify paste Track/Bus automation, and choose the number of cycles you want under Repetitions.
 

 
5. Once you click on OK, you’ll create your super-low-frequency LFO waveform.
 
But wait! There's more! You can create any arbitrary waveform that makes you happy, and repeat it as many times as you want. And of course, it doesn't have to fall on measure boundaries, either. 

That's one I could have used a while ago!   I am very glad to have a much better handle on how to do it "next time". That's way easier than what I did and reminds me that standing back and thinking about a solution will always present a simpler easier path. Nice
Thanks Craig!
Michael
 

Great tip Craig that I think many of us will use in the future.  Thank You !   

Thank you, Craig, for all your effort :) 
Visit my site 

Week 152: Build a “Virtual Room Mics” FX Chain
 

 
Let’s improve the acoustic environment in which your instruments live, by faking—uh, I mean, “emulating”—a pair of room mics.
 
Going direct with an instrument can sometimes seem “lifeless,” because in the real world the instrument will exist in a room with delays and reflections. These reflections can be important enough that many engineers (myself included) add room mics with miked instruments to pick up the room’s “sound,” and blend that in with the main instrument mic(s). But what if you don’t have a room, let alone room mics? Well, let’s create both with the “Virtual Room Mics” FX Chain.
 
This FX Chain consists of two Sonitus stereo delays in series. The main delay times are prime numbers, which means they can be divided only by themselves. As a result, they don’t reinforce each other or give a periodic sound, thus providing a bigger sense of space from a limited number of delays.
 
The first delay’s dry sound passes through the second delay to create the 23ms and 17ms delays. However, the first delay’s delayed sound also passes through the second delay, which produces an additional delay of 11+23=34ms and 13+17=30ms; so there’s a total of six virtual reflections. Because the times are spaced close together, they’re not really perceived as individual echoes—but they’re also sparse enough so they don’t sound like reverb, either.
 

 
Set the initial control settings for both delays as shown above (if the parameters are hard to read, right-click and open in a new tab, or copy the image and paste into a paint program). Then, right-click in the FX Rack and choose “Convert FX Rack to FX Chain.” Next, right-click on the FX Chain and click “Add Knob” to add each of the four knobs. Here’s how to edit the parameters for the various knobs.
 

 
This effect is best when applied subtly, even though the ranges are wide enough so you can have less-than-subtle sounds if you want. To get a good sense of what this FX Chain can do, set the DiffTime, DiffAmount, and Reflections controls to 30% and the Mix control to 50%. Play a D.I.ed instrument like guitar through the chain, and it will sound like you’ve added a couple of room mics—which is the whole point of this FX Chain. Not bad, eh? Your studio just added a bigger room, and you have two new room mics, simply by creating an FX Chain. Have fun with your new acoustic space!

XLNT, Thanks Craig. I will check it out.  

Followed the instructions to the letter and voila, a very subtle but completely convincing room environment ambience which lends any audio source an added sense of depth and spaciousness. Very impressive Craig. Kudos

Yes, I agree. Very nice
Thanks Craig!

Thank you Craig this is quite effective.