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Post by kcatthedog on Jan 20, 2022 18:32:43 GMT -6
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Post by nick8801 on Jan 20, 2022 21:30:16 GMT -6
Saw that! I like that it was only a 60 second video...right to the point. I’m gonna try it out. It’s a cool approach!
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Post by yewtreemagic on Jan 21, 2022 11:10:25 GMT -6
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Post by bricejchandler on Jan 21, 2022 11:31:31 GMT -6
I barely use any reverb on most of my mixes because I always add room mics to whatever I'm recording to but when I do use verb this is pretty much what I do because I really like to have everything sit in the same space.
I set up three different predelays, short, medium and long and off I go!
It's a nice way to create cohesion but still some separation.
The engineer I assisted way back did exactly this on his console, 3 hardware delays and one great reverb.
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Post by Blackdawg on Jan 21, 2022 12:10:00 GMT -6
o take this up a notch, you use 2 sends for the same thing. Take a snare. Sent some with no predelay, and then some with predelay. You mix between the two to get a very natural sound.
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Post by nick8801 on Jan 21, 2022 12:11:41 GMT -6
o take this up a notch, you use 2 sends for the same thing. Take a snare. Sent some with no predelay, and then some with predelay. You mix between the two to get a very natural sound. Ooh nice idea! Gonna try that too! |
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Post by nick8801 on Jan 21, 2022 12:12:59 GMT -6
I barely use any reverb on most of my mixes because I always add room mics to whatever I'm recording to but when I do use verb this is pretty much what I do because I really like to have everything sit in the same space. I set up three different predelays, short, medium and long and off I go! It's a nice way to create cohesion but still some separation. The engineer I assisted way back did exactly this on his console, 3 hardware delays and one great reverb. How many milliseconds are you setting each pre-delay to? Just curious! |
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Post by seawell on Jan 21, 2022 12:26:15 GMT -6
I barely use any reverb on most of my mixes because I always add room mics to whatever I'm recording to but when I do use verb this is pretty much what I do because I really like to have everything sit in the same space. I set up three different predelays, short, medium and long and off I go! It's a nice way to create cohesion but still some separation. The engineer I assisted way back did exactly this on his console, 3 hardware delays and one great reverb. I've been doing this more as well. I'll leave a pair of condensers or ribbons set up in the room at all times. Sometimes a Blue ball mic sitting on the floor can be cool too. Even in smaller rooms, you can compress the room mics and really get something useful. Another option is that I've printed a Bricasti M7 track with each instrument so that when it came mix time you could just bring up the bricasti track to dial in the amount of room you want for that instrument. |
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Post by bricejchandler on Jan 21, 2022 12:41:54 GMT -6
I barely use any reverb on most of my mixes because I always add room mics to whatever I'm recording to but when I do use verb this is pretty much what I do because I really like to have everything sit in the same space. I set up three different predelays, short, medium and long and off I go! It's a nice way to create cohesion but still some separation. The engineer I assisted way back did exactly this on his console, 3 hardware delays and one great reverb. How many milliseconds are you setting each pre-delay to? Just curious! That kind of depends on the tempo of the song, how crowded the arrangement is but most of the time I just go by bpm. Super short'll be 1/256, short 1/128, Medium 1/64, long 1/32. Helps me not overthink it too much. Having it follow the tempo probably doesn't matter but I've just kind of ended up doing that. |
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Post by bricejchandler on Jan 21, 2022 12:45:40 GMT -6
I barely use any reverb on most of my mixes because I always add room mics to whatever I'm recording to but when I do use verb this is pretty much what I do because I really like to have everything sit in the same space. I set up three different predelays, short, medium and long and off I go! It's a nice way to create cohesion but still some separation. The engineer I assisted way back did exactly this on his console, 3 hardware delays and one great reverb. I've been doing this more as well. I'll leave a pair of condensers or ribbons set up in the room at all times. Sometimes a Blue ball mic sitting on the floor can be cool too. Even in smaller rooms, you can compress the room mics and really get something useful. Another option is that I've printed a Bricasti M7 track with each instrument so that when it came mix time you could just bring up the bricasti track to dial in the amount of room you want for that instrument. I've seen the Reverb trick done ! Never done it myself but I've seen other people put it to great use! But yeah I double mic practically everything. My usual for acoustic instruments is Schoeps mk4 close up and Coles 4038 further back and I agree it works great even in small ( nice sounding) rooms. |
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Post by kcatthedog on Jan 21, 2022 14:18:34 GMT -6
interesting discussion :thx!
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Post by yewtreemagic on Jan 22, 2022 17:38:36 GMT -6
How many milliseconds are you setting each pre-delay to? Just curious! That kind of depends on the tempo of the song, how crowded the arrangement is but most of the time I just go by bpm. Super short'll be 1/256, short 1/128, Medium 1/64, long 1/32. Helps me not overthink it too much. Having it follow the tempo probably doesn't matter but I've just kind of ended up doing that. Interesting - never thought of that approach, since the delays would (theoretically) relate to the size of room rather than the tempo of the music, yet it's still a perfectly acceptable way to time things (lets face it, it's often recommended that longer fx delay/echos are bpm-related to tie in with the feel of the song. Ironically, your values also tie in to some extent with the 3 'nominal' delay approach, which may for example suggest delays of 30, 40 & 50mS for near, mid and far positions, whereas for a tempo of 120bpm your near would be 16mS, mid 31mS and far 62mS. Same ballpark! |
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Post by EmRR on Jan 23, 2022 5:53:21 GMT -6
Pre-delay always by tempo here. Makes space for the space.
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Post by kcatthedog on Jan 23, 2022 6:18:21 GMT -6
Makes sense as then even your sense of the space is in time.
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Post by drumsound on Jan 24, 2022 18:18:04 GMT -6
So, the idea is to set up say, 3 delay lines that output to the reverb, not to the mix bus?
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Post by bricejchandler on Jan 25, 2022 3:02:04 GMT -6
So, the idea is to set up say, 3 delay lines that output to the reverb, not to the mix bus? Yep |
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Post by EmRR on Jan 25, 2022 8:44:45 GMT -6
A game of how many auxes can we use to go one place?
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Post by svart on Jan 25, 2022 8:49:38 GMT -6
I generally only use one reverb these days. I used to try using different ones for different things but it always ended up muddy.
This is also why I have a few room mics that I use specifically to send to the reverb. I don't mix them into the mix directly. My room is small and mostly dead, but the distance to the mics adds some pre-delay and when fed to the reverb, it sounds like my room but much bigger.
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Post by svart on Jan 25, 2022 8:49:57 GMT -6
A game of how many auxes can we use to go one place? 4. |
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Post by bgrotto on Jan 25, 2022 8:51:44 GMT -6
I generally only use one reverb these days. I used to try using different ones for different things but it always ended up muddy. This is also why I have a few room mics that I use specifically to send to the reverb. I don't mix them into the mix directly. My room is small and mostly dead, but the distance to the mics adds some pre-delay and when fed to the reverb, it sounds like my room but much bigger. CLA does something similar for drums. Great technique. |
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Post by svart on Jan 25, 2022 8:59:12 GMT -6
I generally only use one reverb these days. I used to try using different ones for different things but it always ended up muddy. This is also why I have a few room mics that I use specifically to send to the reverb. I don't mix them into the mix directly. My room is small and mostly dead, but the distance to the mics adds some pre-delay and when fed to the reverb, it sounds like my room but much bigger. CLA does something similar for drums. Great technique. Interesting. Never really followed CLA. I just happened on it one day by muting the room mics from the mix but forgot the mute was post send so they were still in the reverb and I liked how it worked. You can also pre-delay the room mics to a certain point to make the room sound bigger even without using reverb. It works better if they sound very different than the close mics since if you add too much pre-delay you might end up comb-filtering. |
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Post by bricejchandler on Jan 25, 2022 9:40:34 GMT -6
CLA does something similar for drums. Great technique. Interesting. Never really followed CLA. I just happened on it one day by muting the room mics from the mix but forgot the mute was post send so they were still in the reverb and I liked how it worked. You can also pre-delay the room mics to a certain point to make the room sound bigger even without using reverb. It works better if they sound very different than the close mics since if you add too much pre-delay you might end up comb-filtering. Yes! Great tips. A private studio I've worked at that has pretty small room has a pair of PZMs on the ceiling that are permanently patched into a reverb and while the raw "room" sound of those mics is not amazing, I've heard some really cool drum tones coming out of there where the PZM/reverb mics act as the room. You need a good reverb though! |
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Post by drumsound on Jan 25, 2022 12:46:33 GMT -6
I generally only use one reverb these days. I used to try using different ones for different things but it always ended up muddy. This is also why I have a few room mics that I use specifically to send to the reverb. I don't mix them into the mix directly. My room is small and mostly dead, but the distance to the mics adds some pre-delay and when fed to the reverb, it sounds like my room but much bigger. I'm often a one reverb guy. Hell, I've done a lot of things with no reverb. CLA does something similar for drums. Great technique. Interesting. Never really followed CLA. I just happened on it one day by muting the room mics from the mix but forgot the mute was post send so they were still in the reverb and I liked how it worked. You can also pre-delay the room mics to a certain point to make the room sound bigger even without using reverb. It works better if they sound very different than the close mics since if you add too much pre-delay you might end up comb-filtering. On a thick guitar driven band I'm working with I did a lot with the room mics, including sending them to the reverb on some songs, and delaying them as well. The room mic delay is a Steve Albini thing, but I found using some feedback on the delay sounded better on some songs then eather of the reverbs I had in a template I created for this record. |
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