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Post by tasteliketape on Oct 5, 2019 21:41:09 GMT -6
I’ve recently been doing this on a project I was given to mix . The drums were tracked close miked in a small room . I tried the technique from this Video and seems to work reasonably well, it does give some feel of room when blended in.
Also I tweaked it a little and tried it on two rhythm guitar tracks that were recorded thru a Pod and it gave them a little feeling of space and separation.
Just wondering if anyone else has done this or something similar .
And yes I do realize it doesn’t replace a real room
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Post by kcatthedog on Oct 6, 2019 3:43:24 GMT -6
It’s very well done and clearly explained: thx!
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Post by stormymondays on Oct 6, 2019 4:41:06 GMT -6
I watched the first 5 minutes of the video, it seems interesting but a bit too involved. I don't see how that would be different from sending the overhead to an appropriate reverb, unless the overhead is setup to pick cymbals only. I record a room mic most of the time, but my XY overhead into the Bricasti (or LiquidSonics 7th Heaven) sounds just as good or better!
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Post by kcatthedog on Oct 6, 2019 4:46:51 GMT -6
He uses a variety of plug ins to well emulate the sound of real room mikes: basically creating a room sound where there was none.
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Post by stormymondays on Oct 6, 2019 6:46:07 GMT -6
He uses a variety of plug ins to well emulate the sound of real room mikes: basically creating a room sound where there was none. I thought that was called “reverb”  This reminds me, I have to try the Eventide plugin that does this, the “Berlin Bowie” thingy. |
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Post by kcatthedog on Oct 6, 2019 7:19:02 GMT -6
You need to watch the video  It’s odd not to use room mikes but, if that’s what you have in your session, what you going to do? he uses, eq, delay and a waves verb so you create both the early reflections and a pseudo , (but very believable) real room sound and mix into your close miked tracks. |
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Post by stormymondays on Oct 6, 2019 7:45:20 GMT -6
I did listen to the end result, the “fake room”, and it didn’t strike me as something that couldn’t be done by sending the overheads to an appropriate reverb. I’ll watch some more for sure.
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Post by tasteliketape on Oct 6, 2019 8:03:05 GMT -6
Just FYI Joel is the guy behind Rascal audio
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Post by michaelcleary on Oct 6, 2019 8:37:14 GMT -6
checked it out. cool but seems like a long way to go when I can get similar by sending to UAD Ocean way.
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Post by Martin John Butler on Oct 6, 2019 8:44:01 GMT -6
I was thinking the same thing, I have Ocean Way. I barely use it now. The best results with OW I've heard involved re-micing. I didn't hassle to collect some nice mics just to change their sound, so there it is.
It's possible I'm not using it to its full potential though. I can be a little lazy if something doesn't do what it's supposed to do without my fussing much.
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Post by Drew @ UA on Oct 7, 2019 5:34:55 GMT -6
checked it out. cool but seems like a long way to go when I can get similar by sending to UAD Ocean way. Indeed. |
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Post by svart on Oct 7, 2019 11:03:01 GMT -6
Ok, sooooo... I watched this and I'm wondering why would you do it this way when you can just drop your sends into the track pre-effect?
Does PT not have that capability to send pre-effects like Reaper does?
I mean that's how I've been doing it for years and I can't imagine not being able to do that in modern DAW..
But otherwise it's just using sends like you would on a hardware mixer to send to a reverb and return on an AUX.
Nothing new here at all which is kinda funny that all this comes back around to how it was already being done back in the day and we've reached that point where the new kids don't know what the old school guys used to do anymore.
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Post by svart on Oct 7, 2019 11:17:11 GMT -6
But otherwise, another cool way of making a room sound bigger is to use a room mic, even if the room is too small, and use that through a reverb as full wet output. Think of it as a "reverb trigger mic" rather than a room mic because it's giving you a more room-like balance of the drum kit to use as the trigger for a room emulating reverb.
You can nudge the track a little to make it sound a bit further away rather than using the reverb to do it and it sounds different that way.
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Post by brenta on Oct 7, 2019 12:09:08 GMT -6
As far as I know Pro Tools does not have an option to make sends pre-insert. You can make them pre-fader but not pre-insert.
That being said, I don't think his final result sounds much different than adding a reverb to the tracks post insert, which as Svart said is not a new trick by any means.
I usually just use the pre-delay setting in a reverb instead of adding a separate delay plugin. Like Svart mentioned to set up a room mic or two even in tiny rooms and then add a reverb to that. If it is tracks someone else has recorded with no room mics I will bus them to an aux and add a reverb to that. Snare and toms get more verb than the rest and kick gets less. My favorite verbs for this are Ocean Way, Altiverb, and Softube TSAR.
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