A lot of the times, that low end on the bottom end of the reverb just gets in the way. Getting rid of that excess low end energy can allow you to hear the sound of the reverb without obscuring the clarity on the low end of your tracks. The other thing that you may wanna consider doing is actually rolling off some of the top end.
A lot of the times, that top end kind of gives the sound of the reverb away. It makes it sound artificial and unnatural. By rolling off a little bit of the top end on your reverb returns, you can create a more natural sense of space and depth in a mix, without drawing attention to the reverb, and without kind of making it sound artificial and unnatural. And if you want more vocal mixing tips like these, check out my website, BehindTheSpeakers.
Take care. Ready to learn how to mix vocals like a pro? Click here to download your Free Vocal Mixing Cheatsheet. Hall : This represents a general concert hall with a natural sounding character, perhaps useful on flowing orchestral sounds to sit in the background of your mix.
Church : Can be tricky to distinguish from the hall algorithm, however this setting will produce a much more diffuse sound with a long decay time and a slightly longer pre-delay to emulate the expected surface distances.
Plate : Emulates how false reverb was created before digital plug-ins, where a sound was sent to a vibrating metal plate from which vibrations were then captured. Plate reverbs tend to sound bright and work particularly well on vocals and percussive elements.
Room 1 : A medium sized room with very natural sounding reflections. Room 2 : A smaller and brighter environment which can be used when only a very subtle touch is required. Nonlinear : Probably the least commonly understood setting, this algorithm produces a natural sounding build up in reverb with an quick cutoff, almost like a gate.
This again is an interesting setting to try out on percussive instruments which feature definitive attack sounds. You will notice after choosing your algorithm that there are three sizes of that environment available, small, medium, and large of which characteristics change based on the chosen space. Not much can be said about their sonic effect that you would not already expect so the best thing to do is play around and see what you think sounds best.
Alternatively, you can click on the empty send, go to tracks and select the reverb return track. Creating a delay effect is identical to the process we have done for the reverb. Simply replace the reverb plugin with a delay plugin of your choice.
Now that you understand how to add reverb and delays to your mixes, I hope you'll have fun using them in your mixes. Leave a like if you like this video, or leave a comment below telling us why. Subscribe to the channel to not miss out on any new videos by clicking on the subscribe button. Also watch one of our other videos to learn more about music production.
Help us to make better content for you by telling us what you want to learn next. I hope you enjoyed watching this video and I'll see you next time. Next Post Previous Post. Welcome to Soundgrains, a website dedicated to music technology, sound design, audio production, computer music and everything audio or music related. I kind of look at pre-delay as the "attack" of a compressor, where if you set it longer, the original sound is able to poke through first before being effected.
Think of it as "fooling the ear" to be able to add more of that nice reverb sound without it muffling the intelligibly of the lyrics so much. Setting a pre-delay to come in a little after the transient of the words lets the initial attack come through clearly.
The pre-delay can also be set according to the tempo of the track, like the reverb's decay time. Using the same methods for finding decay times, you can measure a desired time for the pre-delay slap to come in. Long reverbs can add a great sense of space and texture to a mix. These can be a little trickier to set, as they have more of a dominant presence, unlike the subtle glue of a short or medium reverb. There are some specific reverbs that most professional engineers choose, whether they're in outboard or plugin form, that just naturally have pleasing qualities to them: Think AMS , Lexicon , and Eventide for hardware; Audio Ease Altiverb, Avid Reverb One, and Waves Renaissance Reverb or TrueVerb for plugins.
While I agree that these units have a nice charm to them, you can still get a big-budget reverb sound with stock reverbs in your DAW, you just have to know what to look for and know how to treat them.
So, aside from the aforementioned timing with long reverbs stepping on vocals, there is another aspect of reverb that can also step on vocals and other parts of the mix if you're not careful.
It's the overall tonal quality of them. All reverbs generally have their own frequency buildups and flaws, especially if they are a convolution reverb that models a specific room or place church, cave, bathroom, etc.
Taking a church for example, that room might have a lot of low-end buildup in there, so you will want to remove some of that through EQ so as to not step on the lows of the vocals and overall low-end in the mix.
There are exceptions to this of course—sometimes it can add what's missing in the vocals—but nine times out of 10, untreated convolution reverb will add an unwanted boomi-ness. Then, on the other side of the spectrum, a room may also have a lot of high-end flutter, depending on the material used. Sometimes this high-end is nice, but sometimes it can step on the articulation of the vocals, especially in "essy" ranges, or on things like hi-hats that you want in that same higher frequency range.
There are also buildups that can happen in the mid-range, say, between Hz to Hz, or around 2kHz. For a longer reverb, you would want to set that up on an auxiliary channel and send the vocal to it via a send on the vocal channel.
This way, you are able to process just the "wet" reverb without affecting the EQ of the vocals. Pop an EQ after the reverb on the return track and start listening to how it's blending with the vocals and mix. Hint: It's easier to hear these buildups when the send is set very high to hear the reverb more. Then, seeing how you have the reverb on a separate channel, why stop with EQ? The combinations are endless.
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