Page 1 of 1
Posted: Mon Feb 20, 2006 3:00 pm
Havin trouble. Cannot seem to get it right, no matter how hard I try my mix always seems "up front" and lacks depth - i'm almost scared of using it because I never get it right.
It's all too easy to use a loop and chop it up, but i'm really in the position now where I want to use original hits and make them sound nice. Been constructin my own for ages but have never once managed to make them sound spacious without being boomy or sounding shite. I can do an "okay" job...
I understand about taking off low Freq reverberations for clarity - but it's damping/diffusion/room size/decay/pre-delay etc etc that I cannot seem to get the righht combinations of. I know what they are, but ain't getting it right.
Anybody know of any good tutorials or advice on reverb - especially on percussion....
Posted: Mon Feb 20, 2006 4:05 pm
Generally, I try to use very very small amounts of reverb.
Get a reverb sound you like - presets are ideal until you get used to your particular reverb effect, assigned as a send effect in your sequencer of choice.
(I quite like Waves Renaissance Reverb, but that's just my choice).
Then, with just your snare playing, add an amount (say 50%) of reverb. This might sound a bit poo, but use this opportunity to get the actual reverb sounding good. Don't worry about tweaking it too much at first.
Now, back it off until you think you just can't hear the effect any more.
Then, try turning the effect on and off - you should still notice the difference between a wet and dry signal. More precisely, you might not hear it when it's there, but you'll notice it when it's gone!
This - IMHO - is the right amount of reverb for percussion.
Hope this makes sense!
Basically, start out using tiny amounts of reverb, and graduate to larger amounts. Eventually you'll end up using HUGE amounts of reverb for spatial effects, but try not to run before you can walk!
Posted: Mon Feb 20, 2006 4:24 pm
TechMouse wrote:I quite like Waves Renaissance Reverb, but that's just my choice
Indeed, v nice.
worth trying to stick to using the same reverb (with different dry/wet settings etc) across your tune aswell, or at least across your 'drum kit' to avoid things sounding like there all in different size rooms.
Posted: Mon Feb 20, 2006 4:34 pm
realverb pro on the uad-1 is pretty tastey as well.
as techmouse said, i would always use reverb as a send effect, and try not to have more than two (possibly three) different verbs in a track as they start to clash etc.
for the wilder spacial effects, i would reach for a nice sounding delay first and see how that works for putting sounds further back in the mix
Posted: Mon Feb 20, 2006 4:48 pm
I find a pre-delay on the reverb of about 15-30ms can help keep thigns from getting to washed out sounding. Convolution reverbs are a bit better in this regard too.
Posted: Mon Feb 20, 2006 4:54 pm
I have RVerb, so that's pretty handy...
I've read that maybe i should start with "plate" and take it from there....
it';s decays/early reflections/damping etc which fuck me right up!!!!
strangely, I don't have as much trouble on vox etc - just percussion.
I think i'm actually scared of putting too much on, but end up under-doing it.
@ Techmouse - great idea - tweak it at 50% first, then drop the wet/dry mix. That's great advice thanks.
@shapshankly - I'm savin up for the UAD-1 - mostly because I've heard some pretty good things abou the FX in there.
Posted: Mon Feb 20, 2006 5:35 pm
Get the Plate 140 reverb for the UAD if you do, DEAD EASY to use and sounds wonderful. My go to reverb just cause it's so simple to set up.
Posted: Mon Feb 20, 2006 6:03 pm
shapshankly wrote:realverb pro on the uad-1 is pretty tastey as well.
And Dreamverb is much much nicer
I sometimes like whacking LOADS of reverb on stuff. Can make things sound really lush.
Posted: Mon Feb 20, 2006 6:52 pm
if only we'd bought the full uad-1 pacakage.
Posted: Tue Feb 21, 2006 10:41 am
guys - thanks for your help - simple advice but made a big step forward last night - really pleased with the results.
Posted: Tue Feb 21, 2006 11:05 am
the only time i use it really is gated reverb on drum layers
Posted: Tue Feb 21, 2006 11:31 am
Gated reverb on drums is good for giving them that snappy effect. I like to wet up almost every thing in the mix with a little reverb, although i only really apply it between 4% min and about 20% at the absolute max. It depends really what it is you're affecting. If u find things are clashing in your mix stick a low cut on each channel and imagine making an audio jigsaw puzzle, ie: you give frequency space to each channel as it needs. Some reverbs allow you to control the reverbarated frequency range which is very usefull. Also TC Native's reverb VST plug-in has soft saturation and gives a really nice sound IMO. Don't be afraid of the verbs man, they can really make a track!
Posted: Tue Feb 21, 2006 12:12 pm
yeh you really do have to use reverb otherwise a mix will sound unnatural as we're so used to hearing stuff in normal rooms. try going in an anachoic chamber!
personally the only way i use it is one bus channel with a low cut, and then logic space designer. very occasionally compress it and turn the volume right down...
that tip about turning it down till you cant even really hear it and then bypassing and you can hear the difference was top stuff. nice one TechMouse!
Posted: Tue Feb 21, 2006 3:24 pm
Another thing i noticed that gave a good result was to put the reverb on after a limiter or compressor (if you are using one on the channel) that way you get a much clearer reverbaration. If you put it on before the comp/limiter, it has a tendency to squash the reverb in to the sound and doesn't sound so nice.
Yep, i agree with the above, good tip TechMouse!
nice vocal trick
Posted: Tue Feb 21, 2006 3:58 pm
Alesis mc 6000 =D
no but back to reality.
True verb is choice for me. another waves delight, from the diamond bundle.
If your part has any dynamics you can do killer work with reverb.
Take for instance this trick
Imagine this from a mixing desk point of view... so track is tape and channels are faders
Channel one and two are both fed by track one.
Channel one is muted(or no output) with an AUX bussed PRE to your reverb
Channel two is your compressed signal.
2)Big and Deep vs Up front and intimate
Now if there are any dynamics in the part your reverb will help create depth and perceived size during intense passages.(as the muted channel effectively sends more signal to the reverb it gives more depth and in cases increases the stereo image. While the compressor on channel two controls the passage dynamiclly, the reverb is only effected by the recorded[or otherwise] signal...)
Where as in the less intense passages you are... creating a more intimate and up in your face illusion. (This is because the reverb gets less signal but the compressor is bringing the vocal up, so the depth disappears and the percieved image is closer to the front.)
So in a dynamic piece... you get some interesting effects.
Works the best on vocals that i've seen.
Other than that, find a reverb that has pre sets.
Select the different presets by room sizes.
Toy with them from there.
Use them ears and have some fun meddling around with reverb.