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what are some effects that have infinite parameters?


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There are some digital products that use continuous controllers (knobs) that rotate a full 360 degrees and don't have "stops" at the 7 and 5 o'clock positions, but I don't think that's what you're asking about.


Infinity is pretty long, ;) and nothing in the effects world really comes close, although we do use the expression "infinite repeats" to discuss a delay that is set so that the feedback is high enough to cause a run-away and self-oscillation - it is "infinite" in the sense that it will keep making that sound until you go in and stop it. Some reverbs also have near "infinite" reverb tails or decay times, but again, sooner or later either you will stop the sound, or the pedal will break, humanity will die off, or an astroid will hit it - so while it may have an indefinite and long length, something will stop it from actually continuing for infinity. ;)

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Infinite is kind of a funny thing...it doesnt necessarily mean there aren't boundaries.


for example...

all the rational numbers between 0 and 1 -- there's an infinite amount of them. It's just they all are within the boundaries of 0 and 1

(there's an even "bigger" type of infinity...like all the reals in the same interval - that's got a cardinality of C for "continuum")


it actually has a bearing in a way...as sometimes you hear controls and systems described as "continuously variable" or "infinitely variable" (probably most familiar is a transmission)



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If you're talking about causing a "maximized" effect there are several.


Many if not most pedals have knobs that work on a slope. It may adjust between 100% clean to 100% of whatever the circuit parameter being adjusted is. Example, the number of repeats on an echo can be tweaked from a partial or single repeat up to a self regenerating feedback loop which is considered to be infinity. Another parameter is "Mix" You can adjust between 100% dry up to 50/50 then to 100% Wet.


Thing is you cant go any farther then 100% wet. When there is no dry signal left that's all she wrote.


There are effects parameters which simply aren't practical or electronically possible to adjust to infinity.

Example a Tone control will only darken a sound so much. Its stops when the maximum capacitance of a capacitor is being used.

You want the tone darker, you need to redesign the circuit using a higher value cap. When you do that you no longer target the most practical tones the instrument produces musically.


In the end, you could likely make a tone control mask all frequencies. Isn't that what a volume control does however? Block all frequencies?


There a line between being practical and useful when circuits are designed. If you tweak something to the point where it becomes offensive you may want to design that control to work below that offensiveness so it has a practical use making music. There will always be a debate on what is offensive and what is art, but I give credit to the majority of musicians who buy gear. Bad designs get weeded out by lack of sales and what does sell well typically has allot of artistic flexibility.


Personally I wouldn't want all my adjustments to run into infinity. A few are OK going up to the edge or a little over. The rest I want to work on a slope between zero and max and no more. Good reasoning for that too. When you get into electronics and build your own gear you'll understand why. When controls can be over manipulated that can cause things like excessive noise, feedback, Oscillations, noises, motor boating, Unusable tones, unusable distortion, or flat out component failure depending on the circuits and the type of effects being used.


What it all boils down to is the circuits are made from man made components which have limited tolerance ranges. You'd like to think these components work as well as they do is Sci Fi movies. Nothing could be farther from the truth. Many analog circuits are super primitive and haven't changed in over 60 years. The most they might do is add a little show polish and call it something else.


Where the biggest changes are happening are in digital audio, but even there its about as slow as it gets. They spent the last 20 years copying older analog devices. They haven't done allot of "new" designing, just cloning of the old. Why? I'd say the reason why it hasn't gone much beyond that has the same causes as the technology itself. Digital audio on the internet is what caused the collapse of the studio Music Factory where new bands with new sounds were played on the radio and marketed to the public.


You don't have artists chasing the latest trends any more. There are no trends other then the few popular artists who do become famous. Instead we have a historical collage of old and new all thrown together with completely stagnant creativity. Its the age of the "clone wars." China steals any and all intellectual property and floods the market with any and all effects. This makes it unprofitable for most effects manufacturers and little to nothing is being put into R&D. Even if they did, artists simply aren't going to have the money to buy them even if they are working in music.

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It is exactly what I was asking about. Good explanation. I was inquiring more about an EQ if it was possible to get lower than low.


Most equalizers have a limited range - usually +/- 12 or 15 dB per band. If you need more, you can stack bands (if you're using a parametric EQ, you assign more than one band to the desired frequency) or stack multiple equalizers (running one after another in series), but that's not often needed. 15 dB of boost is a pretty large amount... and while I am not against boosting with an EQ if the situation calls for it, it's generally considered "best practice" to use equalizers to cut or attenuate what there's too much of in the sound, instead of trying to boost what there's not enough of...



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