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Reverb
Oct 28, 2016 8:58:56 GMT -6
Post by Deleted on Oct 28, 2016 8:58:56 GMT -6
Get a bit lost with this .... any tips. How do you create space, depth, or height without mushing the mix? Dedicated send or on tracks that need it or both?
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Post by drbill on Oct 28, 2016 9:12:17 GMT -6
Very rarely have a verb on an individual track. It happens from time to time, but rare. Definitely for a "unique" situation. Always send to hardware or software verbs via post fade, post pan aux sends, coming back into aux returns. Some times the old ways ARE the best ways.
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ericn
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Post by ericn on Oct 28, 2016 10:24:57 GMT -6
Out of the box for reverb on an individual track the old trick is to direct out bring the wet signal back on another input or return ( this is where the second input on an inline console is great). When CPU power was limited or I need to use the same box but 2 or more settings I have printed wet tracks .
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ericn
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Reverb
Oct 28, 2016 10:25:11 GMT -6
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Post by ericn on Oct 28, 2016 10:25:11 GMT -6
Double post
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Reverb
Oct 28, 2016 17:19:02 GMT -6
Post by Deleted on Oct 28, 2016 17:19:02 GMT -6
Thanks guys - slowly sinking in
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Reverb
Oct 28, 2016 18:29:27 GMT -6
Post by jazznoise on Oct 28, 2016 18:29:27 GMT -6
Very often short reverbs and impulses are more likely to work on a mix than big long plates that just eat up space. I'd suggest having 2-3 different verbs with different intentions - a short, wide plate, a mono spring and maybe a room sound would be a good example.
Personally I think for depth, you get that during tracking. Get your distances right, set up room mics if you need. Don't delay any choices you can make now. If you need a roomy guitar tone, mic it from a distance.
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Reverb
Nov 1, 2016 10:17:20 GMT -6
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Post by ChaseUTB on Nov 1, 2016 10:17:20 GMT -6
Always send elements to the reverb... my mix of Wiz song I have a med plate, med hall, med room, small chamber and most elements of the mix were sent multiple combos of these verbs to create a space for the instruments... for example if you read my most recent post in Wiz mix thread I typed out how i processed the guitars, I feel that could help you and you can listen to the mix as well via DL or Wiz direct link...
There is no right or wrong but there is such thing as a proper workflow and usually that entails time based fx ( reverb and delays ) to be used via send and return setup...
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Reverb
Nov 1, 2016 13:46:33 GMT -6
Post by schmalzy on Nov 1, 2016 13:46:33 GMT -6
Only time I use reverb on an individual track is when I need that reverb to be part of that track's processed sound.
For example: Drum room mics.
Sometimes the rooms I get sent to me don't have enough decay or length. A little reverb right on the track mixed in somewhere between 25% and 50% wet can help that fill out a bit. Then I'll compress and EQ that track and its reverb before it it goes to the drum group, etc..
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Reverb
Nov 1, 2016 20:28:58 GMT -6
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Post by ChaseUTB on Nov 1, 2016 20:28:58 GMT -6
Get a bit lost with this .... any tips. How do you create space, depth, or height without mushing the mix? Dedicated send or on tracks that need it or both? How good is your monitoring setup? Do you have your CR/ mix space acoustically treated? Improving these two things helped me immensely compared to buying a piece of HW that is supposed to latest and greatest..Again, my monitors focal solo6be and Yamaha hs 8 aren't hi end by any means however I know them well... the yammys provide the honesty, non flattering, shows you the areas that need work and the focal reveal the good of each sound / mix and for me in my room I have better results with the hs8.. I think Plate is great for depth and fx and chambers can somewhat fall into this category although I think of chamber as 1/3 room, 1/3 plate, & 1/3 hall just based of the reverb return on certain elements. Rooms are great for space, think about being in a bedroom standing at one side and clapping. You hear the initial clap, the pre delay ( times it takes to hit back wall and reflect, and you hear the decay or tail, and where you are in the room influences this. Inlike halls, halls are great for height and placement, short pre delays can push sounds back for depth, and depth can also be expressed via eq and reducing high frequency content here are some links with vids and script! theproaudiofiles.com/video/how-to-use-reverbs-part-1-of-3-roomearly-reflections/theproaudiofiles.com/video/how-to-use-reverbs-part-2-of-3-halls/theproaudiofiles.com/video/how-to-use-reverbs-part-3-of-3-plates-and-chambers/
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Post by Randge on Nov 3, 2016 10:18:02 GMT -6
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Post by Ward on Nov 4, 2016 11:17:18 GMT -6
In the world of music, especially those of us with any kind of guitar amp background, we tend to think of reverb as Spring, Hall, Room, Chamber and Plate.
But what about IR's? I've heard some incredibly cool things done with Irrational reverbs.
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Post by svart on Nov 4, 2016 11:29:55 GMT -6
One thing I learned from reading Andy Wallace's interviews is to EQ either the send to or the return from the reverb.
To elaborate where the interview did not, the environment around instruments and amps changes their tones, as well as the tone of the reverb. You can't get an accurately flawed sound from a perfect reverb generator. The best you can do is carve out the reverb to match your source better.
I think that real captured IR's excel at this because they capture the flaws of the environments, but rarely do they sound exciting in mixes, which is why things like the 480L and PCM80 and stuff are still huge players despite being nowhere near realistic.
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ericn
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Post by ericn on Nov 4, 2016 11:44:23 GMT -6
One thing I learned from reading Andy Wallace's interviews is to EQ either the send to or the return from the reverb. To elaborate where the interview did not, the environment around instruments and amps changes their tones, as well as the tone of the reverb. You can't get an accurately flawed sound from a perfect reverb generator. The best you can do is carve out the reverb to match your source better. I think that real captured IR's excel at this because they capture the flaws of the environments, but rarely do they sound exciting in mixes, which is why things like the 480L and PCM80 and stuff are still huge players despite being nowhere near realistic. Anytime I was ever teaching about consoles, the first thing I stress is to use inputs as effects returns so you can EQ the return and matrix/ layer Verb and delays. EQ'ing The sends can also make a huge difference as can compressing/ limiting the send especially with some older hardware. I found the best use for most effects returns is playback devices. The very existence of effects returns seams to be to push the input count on spec sheets.
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Reverb
Nov 4, 2016 11:45:46 GMT -6
Post by Deleted on Nov 4, 2016 11:45:46 GMT -6
...and compressing reverb - who'd a thunkd it ....
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Post by ChaseUTB on Nov 5, 2016 15:32:29 GMT -6
...and compressing reverb - who'd a thunkd it .... * and Side chain compression on the LD Vox reverb... who'd a thunk it.... * fixed that for you Yup I do it a lot, in PT you can use a send to a bus and name it SCvoxVerb or w/e you choose to call it so you know and stay organized. Have the key input of the compressor set to SCvoxVerb ( or w/e you named ) and put the compressor on the Vox verbs you want to duck when the main vocal is active..When the vocal is not active the compressor releases and the lets the verb tails go back to the level at which you set them. If you like big reverb tails on Vox this is a great way to keep things clean ( vox upfront and present and by drown out in verb ) You can experiment with comp b4 or after verb on the aux and use what sounds best to you... Also, you want a pretty fast attack to clamp down on the verb, I like -3 to -9 db of side chain compression depending on the vocal sound I want, and having a medium fast to fast release will allow the reverbs to become more apparent, when the LD vox stops... Again fine tune to taste for the song... oh ya same applies to Delays as well if you like a lot of delays and delay throws and don't like drawing lots of automation.... With the delays I tend to use automation more, for me it's easier to fine tune Have fun Ps: What DAW do you use? If you use PT this explains everything, however the side chain compression setup is specific to Pro tools only.. If you use a different DAW let me know and I will find you a YT vid that will show you the SC compression setup in your DAW! All DAW have sends, busses, and aux channels
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Reverb
Nov 5, 2016 17:50:50 GMT -6
Post by Deleted on Nov 5, 2016 17:50:50 GMT -6
Thanks Chase - Reaper user here. Great explanation - will experiment with this. Only considered bass and kick for sidechaining before ... this stuff's pure magic ....
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Post by guitfiddler on Nov 5, 2016 18:23:34 GMT -6
One word - Bricasti
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Post by ChaseUTB on Nov 6, 2016 2:09:44 GMT -6
Thanks Chase - Reaper user here. Great explanation - will experiment with this. Only considered bass and kick for sidechaining before ... this stuff's pure magic .... Hello again, here is another wonderful link I think you may like. Again it's PT, I will find you some reaper vids though Here you go mate This maybe the perfect ticket and recent vid as well. Most reaper tuts were a few years older so I found this for you!
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