What they are and how they work
These are modulation effects: an LFO (low-frequency oscillator) moves a delay or a filter over time, and the modified signal is blended with the original.
- Chorus: one or more copies delayed by about 10–35 ms with a time that slowly oscillates. The variation in delay produces a slight pitch change (vibrato) in the copies: mixed with the original they sound like several performers slightly out of tune with each other. Effect: width, softness, movement.
- Flanger: a copy with a very short delay (usually under 20 ms, often 1–10 ms), modulated, plus feedback. Adding a signal to a delayed copy of itself gives a comb filter (regularly spaced peaks and notches, in a harmonic series); moving the delay makes the notches sweep: the classic "jet". It was born from tape: two synchronized recorders, slowing one by pressing on the reel flange; "through-zero" (the copy passes in front of the original) is only possible with tape or dedicated algorithms.
- Phaser: the signal passes through a chain of all-pass filters (4, 6, 8, 12 stages), which shift the phase; added to the original it creates irregular notches (not in a harmonic series) that move with the LFO. Softer and more "liquid" than the flanger. References: MXR Phase 90, Small Stone, Mu-Tron Bi-Phase, Uni-Vibe.
- Ensemble: several choruses with out-of-phase LFOs (often three phases at 120°) and different delays: a dense, wide "section" sound. References: string machines (Solina, with its ensemble), Roland Dimension D (four modes of increasing width, very subtle), the Roland Juno chorus (modes I, II and I+II).
Parameters one by one
- Rate / Speed: LFO speed. Chorus 0.1–1.5 Hz; flanger 0.05–0.5 Hz (slow sweeps) or tempo-synced (1/2, 1 bar, 2 bars); phaser 0.1–2 Hz; vibrato 4–7 Hz.
- Depth / Amount: amplitude of the modulation. High = obvious detuning ("seasick" chorus).
- Delay / Time: base delay (chorus 10–35 ms, flanger 1–10 ms).
- Feedback / Resonance: sends the output back to the input: more metallic and resonant (flanger, phaser); chorus usually has no feedback.
- Stages (phaser): more stages = more notches, a more pronounced effect.
- Stereo / LFO phase / Spread: LFO phase offset between L and R (90–180° = very wide).
- Mix: chorus 20–50%, flanger and phaser 50% for maximum effect (deeper cancellations).
- Sync: tempo-synced LFO for rhythmic effects.
- HP on the wet: keeps the lows out of the modulation (essential on bass).
Tools in FL Studio
- Vintage Chorus: models the BBD chorus of the Roland Juno-6 (modes I, II, I+II with Shift+click) and an Edit mode with times, feedback, HP on the wet, LFO shape and phase, sync, mono input, wet inversion, noise and mix.
- Fruity Chorus, Hyper Chorus, Fruity Flanger, Fruity Flangus (flanger + chorus), Fruity Phaser, Vintage Phaser, Effector (FLANGER and PHASER with Depth and Feedback), Fruity Stereo Shaper (by automating Delay or Phase you get phaser and flanger).
- Third-party: Arturia Chorus JUN-6, Chorus DIMENSION-D, Flanger BL-20, Phaser BI-TRON; Valhalla Space Modulator (free); Soundtoys PhaseMistress, Crystallizer and MicroShift; Eventide H3000 Band Delays/MicroPitch; Waves MetaFlanger, Doubler; u-he Uhbik; Kilohearts.
When to use them and on what
- Chorus: clean guitars (1980s, funk, R&B, indie), Rhodes and electric piano, pads, poly synths (Juno), choirs and backing vocals (width), fretless bass (with HP on the wet!).
- Ensemble: synthetic strings (Solina), pads, choirs, synth leads to widen without losing the center (Dimension D mode 1–2, very subtle, even on vocals).
- Flanger: psychedelic and rock guitars, drums and hi-hats in breakdowns, synths and transitions (slow tempo-synced sweeps), "jet" effect on vocals.
- Phaser: funk and rock guitars (Phase 90), Rhodes (1970s), pads and synths, hi-hats in house and disco, psychedelic vocals.
- Doubling/micro-pitch: an alternative to chorus for vocals (±5–15 cents, 10–25 ms) for width without obvious vibrato.
Starting settings
| Use | Effect | Rate | Depth | Feedback | Mix |
|---|---|---|---|---|---|
| Clean 1980s guitar | chorus | 0.5–0.8 Hz | medium | 0 | 30–50% |
| Rhodes | chorus or phaser | 0.3–0.6 Hz | medium | 0–20% | 30–50% |
| Juno pad | Vintage Chorus mode I or II | fixed | — | — | 100% (hardware mode) |
| String machine strings | ensemble | slow + fast | medium | 0 | 50–100% |
| Choirs/backing | chorus or Dimension D | 0.3 Hz | low | 0 | 20–35% |
| Bass | chorus with wet HP 200–300 Hz | 0.5 Hz | low | 0 | 20–30% |
| House hi-hat | phaser | 1/2–1 bar (sync) | medium | 30–50% | 50% |
| EDM transition | flanger | 1–2 bars (sync) | high | 50–70% | 50% |
| Funk guitar | 4-stage phaser | 0.5–1.5 Hz | medium | 20–40% | 50% |
By genre
- Synthwave, city pop, 1980s: chorus everywhere (Juno, clean guitars).
- Funk, disco, soul: phaser on guitars and Rhodes, flanger in breakdowns.
- Modern R&B and neo-soul: chorus and ensemble on pads and Rhodes.
- Psychedelic rock, shoegaze: deep flanger, phaser, chorus.
- House, French house: phaser on loops and hi-hats, flanger over entire sections.
- Trap and modern pop: chorus/ensemble on pads and leads for width, rarely on the lead vocal.
Common mistakes
- Chorus on bass or 808 without HP on the wet: unstable low end and mono problems.
- Chorus on the lead vocal: it loses pitch accuracy and presence (use a light micro-pitch if you want width).
- Modulation effects on many instruments: the mix "floats" and loses focus.
- Flanger/phaser with 100% mix (the effect becomes almost just vibrato): for the notches you need the sum with the dry (50%).
- Forgetting the mono check: very wide stereo choruses cancel part of the signal in mono.
How to hear it
- Take Depth to the maximum and listen to the detuning, then reduce it until only width remains.
- Flanger: on pink noise or open hi-hats you clearly hear the comb sweep.
- Check in mono: if the instrument loses volume or becomes "hollow", reduce depth or width.
Starting settings
| Parameter | Value | Why |
|---|---|---|
| Chorus: delay and rate | 10–35 ms, 0.1–1.5 Hz | Width and movement. |
| Flanger: delay | 1–10 ms with feedback 30–70% | Obvious comb filter. |
| Phaser: stages | 4–8 (12 for strong effects) | Number of notches. |
| Mix | Chorus 20–50%, flanger/phaser 50% | Measured or maximum effect. |
| HP on the wet | 150–300 Hz | Lows stay intact. |
| Sync | 1/2–2 bars for sweeps | Movement in time. |
Frequencies to watch
| Range | What to do |
|---|---|
| Below 150–300 Hz | HP on the modulated (wet) signal: stable, mono lows. |
| 1–8 kHz | The zone where the notches of flanger and phaser are heard most. |
Example chain
| Step | Tool | Settings | Why |
|---|---|---|---|
| Processed source | EQ and compression | — | Clean signal. |
| Modulation | Vintage Chorus / Fruity Chorus / Fruity Flanger / Fruity Phaser / Vintage Phaser / Arturia JUN-6, DIMENSION-D / Valhalla Space Modulator | See table | Movement and width. |
| EQ after | Fruity Parametric EQ 2 | HP 150 Hz on the modulated signal | Stable low end. |
| Space | Fruity Reeverb 2 / Fruity Delay 3 | Send | Modulation before the space. |
| Stereo control | Spreader / Fruity Stereo Shaper | Moderate width | Mono compatibility. |
How to check the result
- Correlation of the modulated track: above 0 (better above +0.3); if it goes negative, reduce depth or width.
- In mono the track loses no more than 2–3 dB of level.
- Spectrum below 150 Hz unchanged compared with the track without the effect.