Post-Processing and EQ
This model has a large task: to attempt to mimic a wide variety of reed woodwinds. But the only real tone-shaping tool in the model is the shape of the pipe.
So we’ll add a lot more post-processing and EQ to this model than to the previous ones. We’ll put it into the FX section, since it won’t fit in the Voice Area. The G2 automatically gives the FX section its own DSP when necessary, so we have a lot of processing power available to us.
Below is a patch that includes a variety of tone-shaping tools. Useful controls are brought out to the G2 front panel. It’s an FX patch only; the reed model itself isn’t in it.
Step by step
This patch has 7 separate processing stages. They are:
Does it matter what sequence the modules are in?
Filters are “linear” circuits, so they can be placed in any order without affecting the sound. This includes the highpass and lowpass filters, the parametric filters, and the comb filters. Even the Reverb module is a fancy kind of filter.
The exception is the Overdrive module. As a waveshaper, it’s non-linear, so its position in the signal chain matters. We want it to be after the highpass filter so that it’s not affected by the model’s DC offset. But we want it to be before the rest of the EQ, so we’re not stuck with that characteristic “overdriven” sound.