The Spatializer shines with some sample pre-prep on the computer. You can do some DIY Haas effect processing on your computer. Then keep your sample in mono for a while and unleash the stereo version at the right point for more interest. You can also make an almost out of phase copy of a mono sample and put each copy on one side of a stereo channel and manipulate with Spatializer. Some bass samples have a lot of stereo which you may want to avoid with Spatializer. Just some ideas.
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How would he know what effect or parameter he’s tweaking if he’s not supposed to read anything
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…some people just want to missunderstand, no matter what…
…gimme a break, guys…
he is obviosly reading the manual…and when i say stop reading, start playing this is of course by no means saying stop reading the manual literally…
the focus is…u can read as much as u want…especially in the ot world, it only starts making sense, if u also start to play along at the same time…because as we all know, this manual only makes sense if u translate it into realtimeaction…
to wrap ur head around ot for real, there’s only step by step…
and the overall experience and learnig remains endless on this machine…
so many people who never read it…and so many people who read it too often without trying and figuring things out while reading…just to end up even more confused…
and no matter how often u read it, the real ot experience comes via learning by DOING…
and as mentioned already…i only wanted to encourage him to do so…
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…no further comment…we all have better things to do than getting lost in argueing against each other online…
don’t we…?
and we’re really reaching off topic level now…
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…no fixed rules…stop posting…start playing…
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I usually start to play and mess around with knobs until i hit a wall or feel frustrated by not understanding in which conditions i should use which parameter or if i want to achieve something precise.
In these last cases i go to the manual.
When i still don’t get it, i ask people. The thread was not especially dedicated to Spatializer, that was one of the examples where i don’t understand one function. I used to have a H4n Pro recorder with this option of mid / side for the mics and i could really hear the differences. In the Spatializer i tried with stereo samples and if the Mid is « active », the SG don’t change nothing to the sound from my own experience. Mostly i would have wanted to widened some sounds, to push them on the sides so they can leave some space in the front stage.
The filter for instance is really praised and i found some nice tips in this thread: The OT Filter Is Awesome : Discuss Tips and i was calling for some other examples in context for all knd of Ot’s Fx, tsettingss you like to use for a special purpose.
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Ahahah i’m really not one of them, actually for once i was reading the manual i was pretty proud of myself 
An other question about the OT’s reverbs: which one do you use for which purpose? Maybe to soften some hi hats or for drones, leads…
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Dark Reverb is best very nice for all sorts of sounds. Plate is ok for hi-hats or other percussive / metallic short hits, spring I haven’t really found a use for yet.
Yes so far i’mmainly using dark reverb but i am sure there are some specific usesfor which the 2 other would be accurate.
Well yeah, plate works well for percussive elements.
Any settings to recommend for different percussive elements?
Off the top of my head, no. Spring reverb is good for snares I guess, but I dont really use it much personally.
Don’t be afraid to use a chorus on percussive elements, either. Especially if you have a free FX slot.
It has a very broad range of capability, more than your average roland-style chorus.
Sometimes the plate reverb just isn’t working out, even with very short decays, and the chorus ends up doing the trick.
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Which trick? I know chorus as a guitar FX but why/how do you use it for percussions? To give some « air »?
To give it some stereo width. Like a reverb but with a bit of phasing rather than reflections.
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I was reluctant to use that FX as i am really not a big fan of chorus Fx on guitar for example but i shall try. I hope it’s usable to only widen a sound and not get this untuned sound of chorus FX.
I can’t remember keeping Spring in a slot after trying to make it work for something. Then again, @Unifono made nice use of it in the tracks/album he put on Bandcamp (in December IIRC). Similar story with flanger. I’m guess I’m impatient and think of post recording possibilities with plugins and my outboard FX. I like Plate a lot with subtle settings; bit of phaser on hats, comb can be wild, I try out using most, but with further processing in mind (focused on putting down tracks, not live at the mo). Sorry, no super tips here. I’d like to hear about cool tips and results from the flanger.
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I definitely love the plate reverb on percussive elements. Usually I have it set subtle (short decay, low mix setting (usually configured as send fx) with different plates on my hats, snares and other percussion. It can add that little extra magic sparkle. Nice to have a scene which takes the reverbs out of the mix and shortens the amp envelope for breaks.
Also plate on 303, 101 basslines and similar stuff.
Dark reverb on pads and stuff like that.
Flanger and phaser are used on percussion, pad sounds, leads etc. Very versatile. I usually have an lfo on my flanger (modulates delay) and phaser (modulates CNTR), tho. The stock modulation doesn’t do it for me.
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Definitely, especially for sounds that move a bit, it adds a little something. I really like using it gated with a high decay on tight percussion, and in some cases will use a scene to open up the gate and let the reverb back in. It really livens up some patterns, especially if you have LFOs modulating the sound.
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I also don’t know the difference with Send or Mix. There is clearly a huge difference but how does it work? The manual states that one already know it…