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I guess you're looking for a sound effect equivalent to a herbarium or a wine aroma dictionary. However, the result of an effect only means something when applied to a sound source. So whereas everybody can see what a dandelion looks like or what elder flowers smell like, the ability to understand and separate the original sound from the sound with a ...

This is going to depend greatly on each individual person's creative sensibilities. For myself, I'm always doing rough mixing during the creative process, because I want to see how a new sound "sits in the mix." So the mix is an integral part of my song-making. But this works better on "old-school" equipment (outboard synthesizers, effects and mixers), ...

There are three main objections to presets that I have come across: 1) Presets are often over-hyped in order to sound impressive in a demo context. For example the first patch on a synthesizer is usually a very lush and elaborate sound so that holding down just a single note results in a fully produced soundscape, often drowned in reverb and delay. But such ...

I think it was more of an issue in the past, where synthesizers came with much fewer sounds that, as a consequence, were easily recognized. For example, the factory preset sounds of the venerable Yamaha DX-7 synthesizer can be found in countless pop hits from the 80's and in many cases, with little or no variation from the factory preset. Once the DX-7 ...

I own a POD from Line 6 with which I got the POD Farm plugin offered (but I think you can buy it as "standalone" plugin). It's a VST plugin that you could plug to an audio editor that support it (even the last version of Audacity supports it). Then you just record a riff with any instrument (but it's more guitar-oriented) in your DAW and voilà ! With your ...

I negotiate this by only working with pans during the initial 'ideas/basic tracks' phase. If something does not sound exciting right off the bat, it's probably never going to (unless you mangle hard with it, which is more work); by the same token, if the basic tracks are good, with only basic panning and minimal fussing the mix tends to sound good, too. ...

I think the short answer would be, never mix-down, yet constantly mix. The longer answer would be that you should try to evolve the mix of the track/song as you go without mixing down. Use sends to aux channels if necessary. I personally prefer in-line mastering and I tend to mix and master as I develop the track. The one exception to the 'mix down' -- ...

My best guess would be to create some examples with your software and to host these somewhere, if you can bring a laptop you could use software and be able to show more than an online emulator. I don't think that there would be a site that would have specific examples of the effects you mentioned, and an online emulator (which would probably be too simple) ...