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Shimmer Motion Kit Create this highly detailed effect from your photos with just a couple steps. Customizable settings in After Effects allow you to completely transform your results, giving you maximum control. That’s right, no plugins, no pre-renders and no third party apps. Feb 23, 2016 - In this video, I was requested to do a tutorial over how I did that nice light gleam effect that I usually apply to some of my text animations.

• Signal Processors >Reverbs

For more instant gratification, you could try a commercial plug‑in such as Valhalla Shimmer!

Creating your own shimmer reverb effects is easy, and gives you plenty of creative control.

One of the staples of ambient music is the so-called shimmer reverb effect, in which each note is followed by a reverberant wash of sound an octave higher than the original. Guitar players often combine this effect with a slow fade-in to the note, which can be achieved using a volume pedal, a little finger wrapped around the guitar's volume knob, or a dedicated slow-attack pedal, such as the EHX Attack Decay that we reviewed in SOS July 2019 (https://sosm.ag/ehx-attack-decay). Numerous reverb pedals now include a shimmer effect, but those that do it well don't come cheap. An inexpensive software option is the excellent Valhalla Shimmer plug‑in. But you can also set up your own variation on the shimmer effect using plug‑ins that most of us already have.

Shimmer Basics

Taking the basic shimmer effect first, this is best set up as a send effect, as this allows you to use different processing to the dry part of the sound, such as a more conventional reverb and/or delay. Some shimmer pedal designs also incorporate a little feedback from the output of the reverb back to the input, and this configuration makes replicating that trickier in most DAWs, but I've found that this step is usually unnecessary anyway.

The two key components of the shimmer effect are octave-up pitch shifting and a suitably long and washy reverb. But it's also helpful to place a compressor before the pitch-shifter — this can help to keep up the level and density of the reverb tail, creating something akin to a pad or string machine sound. To reinforce the pseudo-strings effect, try adding modulation to the shimmer sound using a subtle chorus or ensemble plug‑in. Using a rotary speaker emulation, on the other hand, will give you something more akin to (surprise, surprise!) an organ sound.

As a Logic Pro user, I have my own template for the shimmer effect that uses only Logic's built-in plug‑ins, and you can download a Zip file of that above. But I realise that many of you use other DAWs, so in this article I'll try to suggest third-party plug‑ins that will work well. The best place to start, of course, is with the plug‑ins you already have — not least your own DAW's bundled collection.

Treating The 'Dry' Path

By way of insert effects on the main source track, I like to add a little reverb plus some quarter-note tape-style delay, with the top rolled off down to maybe 1.2kHz to make the repeats sit nicely behind the main sound. (Without such delay and/or reverb effects, I find the dry part of the sound can seem rather too separate from the shimmer reverb tail.) Pretty much any basic reverb and a delay plug‑in that also includes variable filters will work for this part of the job.

The effects used by Paul for the DIY shimmer effect he describes in the main text.If you're working with a clean, DI'd electric guitar, try putting a compressor at the start of the track's plug‑in chain — this will help even things up, and if the note attack is too 'pingy', reduce the compressor attack time until it is suitably tamed. Add just enough gain reduction (typically 6dB or thereabouts) to soften the note. Either use an auto release or set it to around 200ms for slowly played parts. There's also the option of panning this 'dry' track to one side and the shimmer send bus to the other, which can create a bigger stereo panorama, which is sometimes what you want, and sometimes not.

The Long Wash

For the shimmer chain — which, as I said in passing, should be set up as a send effect — you can again start with pretty much any compressor. Of course, the aux send control of your source track controls the level feeding into the compressor, and thus how much signal crosses the compressor threshold, so it's usually best to leave the send at its unity gain position and adjust the amount of added shimmer using the aux bus (effects return) track's level fader. The compressor type and settings aren't critical, but I tend to use a ratio of around 4:1, a fast attack and a release time of about 200 to 400 ms. The threshold is then adjusted to give gain reduction up to about 10dB.

Next up is a pitch-shifter. Most DAWs have one now, but if you don't already have something suitable, the free Pitchproof from https://aegeanmusic.com will do the job nicely. This particular pitch-shifter has the added benefit that it can generate key-related harmonies from a monophonic input, which opens up further possibilities such as having the shimmer tail work as a harmony to the original sound. For the conventional shimmer effect, however, set it to +12 semitones. I also like to run the mix control at between 50- and 70-percent wet, so that some of the original pitch also gets through to the reverb, which comes next. As a rule, the better the quality of the pitch-shifter you use, the smoother the sound. But as the reverb that follows does a lot to hide any rough edges, the pitch-shifting quality doesn't need to be top-notch!

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I find an algorithmic reverb set to Hall or 'large' usually gives the best results, and they don't need to be expensive or sophisticated.

I've achieved good sounds with many different reverbs — there are countless options to choose from — but I find an algorithmic reverb set to Hall or 'large' usually gives the best results, and they don't need to be expensive or sophisticated. For this example, I've settled on the Initial Audio AR1, which is very straightforward and usually available at a very substantial discount. Again, you probably already have something that you can try.

Here, you can see the routing used in Paul's Logic session — note that the 'dry' sound is treated to some insert effects, before being sent to the shimmer effect bus.

The key settings are a long reverb time, little or no HF damping, and a 100-percent wet mix. If your reverb has a top-cut filter, as the AR1 one does, then bring it down until the reverb sounds adequately smooth. If your reverb has modulation, try introducing some of that too, to add more texture to your shimmer effect. When working in Logic Pro, I generally use the old Silververb plug‑in — one of Logic's original 'low horsepower' plug‑ins, it somehow captures that '80s digital reverb sound perfectly.

Another option at this point is to add some soft tape delay to the shimmer effect, but I'll leave that up to you. Finally, we can add a modulation plug‑in, to lend further texture to the shimmer. As an alternative to straight chorus, you could try a Roland Dimension D emulation, or one of those ensemble effects that does a similar thing. I often use Logic's own Ensemble plug‑in, but any multi-voice chorus-type effect will produce broadly similar results if used subtly.

Go Slow

One of the presets of Eventide's Physion will deliver the sort of slow-attack effect that's often used by guitarists along with shimmer reverb.Now for the slow attack. If you're playing your part in live, while monitoring the shimmer effect, you can use your guitar's volume control or a pedal as outlined earlier — many ambient musicians do just that. Alternatively, a gate plug‑in that can be set to a fairly long attack time can be used to coax some passable slow attack sounds, simply by setting the attack to its maximum time (you can do this during the performance, or later). But the plug‑in I've found that works like magic in creating a slow-attack bowed guitar is Eventide's Physion. Set it to the Bowed Guitar preset, adjust the Trans Decay knob to get the speed of attack you require and it's job done!

Finally, the shimmer effect also works really well in turning an eBow part into a rich pad — again, a common ambient music technique. To ring the changes you can also try adding a sub-octave as well as an octave up; you just need a pitch–shifter that can generate two voices with different shifts. In fact, the more you play with this intriguing effect, the more you'll find ways of adding your own twists to it. Things to try right away include putting heavy flanging before the reverb in the shimmer path or using a sync'ed chopper plug‑in to turn the shimmer tails into rhythmic elements. If you have a granular processor, try that on the shimmer bus too as the end result often sounds much greater than the sum of its parts.

Most importantly, remember that this isn't just an effect for guitarists. It can work really well on vocals and piano-style sounds too, but you can try it with any source, whether 'playing' the effect during a performance, or adding some atmosphere and mystery after the fact. Have fun experimenting — I know I have!

Think of a 'shimmery' guitar sound, and what comes to mind? Most likely a chorus pedal. Even though it's decades old, the chorus effect can still sound extremely seductive, but it offers far more variation than you can get by simply plugging your guitar into a pedal: there are several subtle variations that are easy to try using plug‑ins, and that can sound even more impressive in stereo. Although in this article I'll be describing the effects in the context of electric guitar, they can be applied to pretty much any sound source, including vocals — but I'll leave it up to you to decide which combinations of sound source and effect are artistically valid!

A pitch-shifter plug-in inserted on a hard-panned duplicate track can create a subtle stereo chorus effect.The traditional chorus effect works by creating an equal mix of dry signal and a slightly delayed, pitch‑modulated version of the same signal. The pitch modulation and delay creates a moving comb‑filter, which is rather like a more subtle version of flanging. Our ears perceive this as a sense of movement, sometimes with the impression that two instruments are layered together.

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However, the chorus effect has a regular pulse, caused by an LFO (low‑frequency oscillator) driving the pitch modulation — and while this poses no problems for some musical styles, there are always going to be times when we'd like the repetition to be less obvious. Some plug‑ins offer multi‑voice (or multi‑tap) chorus options, so it's worth trying these first if you want something that sounds less obviously 'churny'.

Shimmer Effect In After Effects

One trick I discovered when playing live in the '70s, when I used two guitar amps, was to use a chorus pedal on one of them but keep the other clean. As you'd expect, you create a kind of pseudo‑stereo effect with such a setup — but what I didn't pick up on until I tried it is that the brain doesn't perceive there to be a chorus on one side and a dry sound on the other. Instead, the two sounds integrate in a very natural way, to create a three‑dimensional chorus effect that's rather more subtle than an undiluted chorus effect used on its own. You can try this very easily in your sequencing software by copying the guitar part onto a new track, and adding a chorus plug‑in to only one of the parts. You then pan the two tracks to the extreme left and right of the stereo field.

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A pitch-correction plug-in on a duplicate, opposition‑panned track can also provide 'shimmer'.If you want a layered ensemble‑style effect, but without the mechanical LFO pulse of traditional chorus, try using a pitch‑shifter that's set to detune the signal by around five to 10 cents. This works fine as a mono effect with a 50:50 wet‑dry mix, but it sounds even better in stereo if you keep one side dry and the other 100 percent wet. Adding a short delay to the shifted part can also add a useful richness to the sound.

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For a less mechanical‑sounding effect when processing 'single‑note' parts, such as solos, split the track as before but use an automatic pitch‑correction plug‑in (such as Antares Auto-Tune) on one side, set to a fairly slow pitch‑correction rate. The treated track will differ in pitch from the dry track in very subtle ways that follow the player's technique, creating an effect that lies somewhere between chorus and very mild tape‑flanging. Note‑bending really brings out the best in this process.

Adding a modulated delay/echo effect also creates a chorus‑like sound, though you have to keep the modulation depth very low at longer delay times, to prevent the pitch modulation becoming too obvious. However, a practical alternative is to place a standard chorus plug‑in before an echo/delay plug‑in (typically with a 150-300ms delay time, and a little feedback): the delays have the effect of breaking up the modulation pulse (especially if you use a multi‑tap delay), which can sound less obvious than a straightforward modulated delay. You could combine the two effects by using chorus before a very gentle modulated delay, set at a different LFO rate from the chorus plug‑in. Placing chorus before a reverb fed from an aux send also adds a nice swirl without your having to effect the dry signal.

Shimmer Effect After Effects Program

You can download some audio files (/sos/jul10/articles/guitartechaudio.htm) that show the techniques I've been discussing, to see if they inspire you to add a little shimmer of your own. Once you start thinking in terms of duplicating the track and treating the two parts differently, or combining chorus with other effects that add to the overall complexity of the sound, you're sure to come up with combinations that add a bit more depth to your sound.