As a assistant engineer I've worked with countless bands and musicians in tracking situations. Some well known and some not. However, with the nature of budgets (and everyone mixing in home studios) I'm never around for the mixing stage of the production. Your videos have proven to be an invaluable source of information in helping me move to the next step in my career. Thank you so much Dave.
This all seems so obvious to me now. But it wasn't clear to me before I saw this video. I really believe it's been integral in transforming my sound. You have a way of making us all feel part of the same frequency and energy. Whatever you say cuts through. Thank you so much for your ongoing work. Never ever stop please!
Thank you for making these videos. With so many tutorials on the internet, it’s nice to get tips, tricks and education from someone that really knows and understands the process.
Being someone who started off as a hip hop producer I find rap vocals do really well with just early reflections and minimal pre delay. Makes them sit in the mix without creating a noticeably reverb sound.
I agree i think it also depends on what sound those vocals need. A lot of rap music now wants that reverb present in the vocals so its all really dependent. I mean you've got a guy like drake who's probably all slap lol and young thug who's got all hall behind him
Thanks to Dave for putting so much effort on this channel, i did learn many technique here. And as u said, we shouldn't follow your step, what we need to do is experiencing it,and creating it. thank you very much Dave!!! You are just Awesome!!!!!
For those wondering about the reverb's predelay value for a given tempo, if you really want to calculate musical values then just divide 7500 by the tempo and keep halving the result until you get the predelay you want. For example if the tempo is 120 then 7500/120 = 62.5. There's a musical value for you. I forget which, lol, but that doesn't matter. Half it and you get 31.25. Half again and you get 15.63. All of these values are musical beat divisions of the tempo. Depends on how short you want the predelay - experiment.
MrSolcys 7500 is the number of milliseconds per 32nd note at a tempo of 1bpm. So if you want the value in ms of a 32nd note at a given tempo, you divide 7500 by the tempo. If you want the value of a 16th note, it's 15,000 divided by the tempo, and so on. So you could remember the value in ms of each note value at 1bpm, or you could just remember that 7500/bpm gives you the value of a 32nd note and then just keep doubling it to get 16ths, 8ths and so on, or keep halving it to get 64ths, 128ths and so on.
Hearing what the reverb is doing in a heavy mix is an acquired skill I think. You have to A/B it over and over. Sometimes the best reverb is at the level at which you can't hear it's there, but when you turn it off you notice that it's gone.
Hundred, you're spot on. There is no diffierence worth mentioning. The acquired skill Jnyc is talking about is the ability to realise you're doing stuff that no one only maybe yourself is going to notice.
Nah....what we are talking about is imagined difference. All too often you hear guys going on about applied compression to bring out the intial transients, add a bit of impact to that intial hit and even out the sound. Then they'll tweak about with threshold buttons and attack and release settings...using the same old garbage they heard a million times...now we want the fairly quick attack and a fast release so the compression kicks back into again at the right time...then they A/B the sound an nothing...it's the fucking same sound...I mean half of it all is complete Bullshit
It's not completely useless, the change is very subtle, but this accumulates with every mix track/you have and it will make a difference. Inexperienced listener might not be able to pin it down but it's there, it can be felt if you're not listening on crap speakers. And reverb (and delay for that matter) is a special case, because a change that might seem inaudible in the whole mix is still making a difference in terms of putting it into a place.
Now that's a very good showcase of smart usage of reverbs. Though i think i would have treated the last vocal example differently: that portion of the song definitely have that cool 80ish vibe, i think i'll had gone for a lush, bright 80ies digital plate, and for a quite wet sound, rather than that soubtle amount of conv. reverb. Anyway Dave is a boss, definitely the man! ;)
By far the best video's for mixing advice / tips on UA-cam, great work guys, keep it up ♫. I was wondering what Dave's thoughts were on the Fabfilter plugins? I've found them very useful and easy to work with, especially the EQ which allows you to get very creative. Also feel free to listen to the tracks on my channel - i'm not really one for self promotion which in turn means no one ever hears them. Again, thankyou for the effort you put in to these video's.
I would love an extended ITL about mix strategies regarding space. I am interested in the connection between all parameters that influence the perception of distances (e.g. amount of high frequencies, transients, reverb, dynamics...). And how do I manage to built a coherent musical space when I got endless different snippets of sound on maaany tracks. I often struggle at this stage.
DJ Subaqeous does a Creative Mixing in Ableton series that's amazing where he talks about using the Max4Live convolution reverb for creating a "coherent musical space". He sets a general room idea that he likes for the track and then thinks about different distances and spaces in the room and uses 3 variations of the same reverb for different distances and locations in the room to gel everything together. And then there's the handy calculation you can do for predelay based on your bpm (60,000 / BPM / 4 = perfect quarter note predelay). Setting your gate and compressor release times on certain elements with the same formula (roughly, because you still need to think about why you're choosing to compress something, dynamically speaking) can also help everything gel and groove to the actual true speed of the track. I've been learning lately that it's not big things you do that make a track but many many many small things all together.
60,000/BPM/4 gives you 16th notes. Remove that last 4 and you get quarter notes. I will agree, though, that dividing into 16ths is probably a more realistic predelay time if not a bit long actually.
i was talking about 2 other good reverbs...lexicon pcm92 and tc electronics m3000. Under the bricasti they are about the only other ones out there. The pcm92 has same sound as the pcm96 just without firewire bugs and for less. Otherwise eventide but never liked them. had the tc m4000 too but didnt offer much that the m3000 didnt. the m3000 is clear transparent verb while the lexi is a bit more lush. both totally smooth, neither are better, both are good for different things on different sources.
yeah maybe...i guess I just didnt get his irony. I do have the pcm92 and m3000 which are excellent in their own ways tho. curious how the bri compares to the 92 if it's actually worth the extra
Hey I was of the impression it is best to use one "type" of reverb for a given song to make it sound as if it was performed in the same area. If you picked a different reverb that was "optimal' for each instrument, wouldn't that ruin the cohesiveness of the sound?
There are no rules, you can use as many different reverbs as you like as long as it sounds good. You have to ask yourself, "is my goal to make this mix sound like everyone's playing in the same room?" In modern music, especially electronic styles, this isn't often the goal, unless you're specifically going for a "live" sound. You can use common reverbs to glue certain elements of the mix together, for instance you might have a couple of background pads which would benefit from sounding like they were in the same space, and you'll probably send all of your background vocals to the same verb, but you certainly aren't restricted to one space in the track. Sometimes the contrast works really well, for example drums through a short ambiance, contrasted against a wash of distant pads going through a long hall reverb. This is the beauty of modern audio production, you have the means to create whatever sound you like. It doesn't have to be "natural."
FYI mixing vocals with instrumentals is easy. Most instrumentals already have space for the vocals to sit. Study your frequencies and find where vocals are supposed to sit. Once again use your ears and listen to where they are placed. Good Luck!!!!!
Isn't there a point where, depending on the arrangements of the production, nuances between reverbs literally disappear (beyond general settings, such as decay time, predelay and ER/Tail balance) ?
I would say no because generally you have a few different types setup on return tracks. That means you're relying on the general sound of each return rather than getting overly tweek happy. Even if you matched all the settings (wherever possible) you'd still end up with different qualities.
lol, i don't want to be hurting, but mr. Pensado in his chair and the little room looks like the big boss "Basilius P. Richfield" from the TV series 'Dinosaurs' :D
Michel Mario Hahaha ohhhh, you were asking how much he _charges_ to mix a song. I thought you were asking a vague, unanswerable question about quantifying the mixing process in general.
you mix a song so motherfucking much that it sounds all distorted and ugly and clicks every half second. nah Im kidding, look up Dave Pensado on google
not only him! I figured out, automation of all kinds of tracks like reverb, delay, even eq sometimes can bring your tracks to a new level, and pros do it ALWAYS and btw since ages
Richard Hanno Yeah, they all do. Watch the episode of Pensado's Place with Ryan Hewitt, and as he says, "mixing is a verb." I'd never thought of it that way, but it's true. There wouldn't be phrases like "riding the vocal" if they didn't move the faders.
I know man, I never do and I'm an idiot for it. I mean, Pro Tools lets me record fader movements like some kinda miracle, and I don't take advantage of it? Not sure why I have this aversion to automating a vocal track or anything else. I don't even use Vocal Rider although that's even more of a miracle. Now there's Bass Rider too!! I just like the way aggressive compressors sound more than smooth changes I guess. I should experiment more.
floofytown I think that often people tend to over compress because they do not automate in the first place. maybe a vocal sounds good for 20 seconds, then it gets more dynamic. Instead of automating the compressor settings for such different passages I often just make a copy of the track for the new part, just copy the channel strip and adjust settings for the more dynamic passage
Richard Hanno Man that's a really good idea. I did that once for a project with a singer who would just constantly leap between super quiet and full-gale belting, even in the same line. And didn't know anything about working a mic. Anyway, I haven't tried it since but now I will!
im a reverb whore i just love halls reverb i shud start learning more abt delays haha cuz i really have over used the halls on the songs i uploaded of myself rapping.. i just love the 80s reverb they used to put on alot of singers they dnt use it that much anymore haha kind of miss it today its all abt delays i think.. delays sound great to on new songs. i guess its all a fad that fades with time
If you're having trouble deciding on a decibel level for your vocals try listening to a record you consider to be the shit. Listen to it at about -20 db. then match it. It's all about your ears bro. No one can really say put the vocal at -6 db or so on because every mix is different. Once you start to comparing your levels of major works through your set up it will become easier to find the level you desire.
Dave, reverb is supposed to emulate a space, right? But most of the reverbs used on records emulate spaces that I NEVER hear people in. When have you ever heard someone singing in a hall, and you hear the sound of the reverb in the hall? An a cappella concert? Opera? Especially while a concert hall reverb is on the snare, but gated? And the ac. guitar is in a room, while the electric guitar is using his amp spring reverb. Your mixes sound good, but creating all these spaces defies logic. Discuss! LOL.
Some Reverbs emulate specific spaces and are labeled as such, where others are ambiance and special FX like non-linear, gated reverbs and combinations. In Pop music you're only limited by your imagination. Contrary to Classical and Jazz where you may be trying to emulate a particular performance space .
+DamageIncM I tend to use my reverbs that way too. Are there any cases when you use them directly on the channel? Me not so much but I'm curious if there are reasons (creative/otherwise) for doing so :)
+Abdelrahman Khaled I know it's been a long time since you asked this, but the main reasons are: 1) It conserves CPU power. Reverbs and other types of effects can be pretty stressful on your processor if you use them as an insert on a lot of tracks. What putting them on an Aux track and then using it as a send does is let you send multiple tracks to the reverb rather than putting it individually on each track, thereby saving time and processing power. It doesn't make it sound any different (unless you deliberately mess with it) than if you used it as an insert. 2) Probably the most important reason is that you are able to process the reverb if it is on an Aux track. If you use it as an insert, then any other inserts added afterwards will affect both the original track AND the reverb, which you may not want. If you want to be able to add EQ, compression, and other things onto ONLY your reverb, etc, (which is great to help clean up your mix even further), you put the reverb as in insert on the Aux track and then simply add your EQ/Compressor of choice afterwards as inserts.
say dave, would it be much to ask what volume lvs do you pros use when mixing rap vocals and instrumentals? like around what DB should a voice be at vs instrumental ive always wondered... ive googled it but alas even google is not the all knowing creature we once thought it to be... it can do a barrel roll(search it) though so all hope is not lost!
whats so funny about bricasti reverb? i would like one and it's not cheap, so thats not much to laugh over....more a frustration of how to get the money for one.
i didnt message you. i just replied here. then youtube may email you that reply if you have your yt settings set to email you on every reply comment. thats not my fault. change your yt email pref settings. i would not message you direct over a petty comment, or at all now i know you cant take a joke after making one yourself.
1st track........I'd go crazy having to mix this dogshit..........the best mix for this track is "noise reduction" and or a huge "MUTE" button strapped across the mix buss.
Brynn Arens Hee Hee because music is a. the recording arts and b. the performing arts _essentially_. Man, you must be talking about the performance because reverb is the crack cocaine of the recording arts since Les Paul and 'How High The Moon.'
![Into The Lair #58 - Ear Training Part 2 [FULL]](http://i.ytimg.com/vi/0K133DdB-CQ/mqdefault.jpg)
![Into The Lair #58 - Ear Training Part 2 [FULL]](/img/tr.png)
6 categories:
- halls (ballad vocals with space, strings, classic analogue instruments)
- rooms (create small atmospheric spaces like a small club)
- plates (vocals)
- chambers (drums, sometimes vocals, instruments to feel like live-space recorded)
- springs (guitars, vintage vocal, maybe mono, retro-vibe, boingy effect, rap vocal)
- non-lins (gated reverb: snare, rap vocal)
I have trouble hearing the difference. Maybe with practice. Thanks.
Thank you soo much for this bless u
I really felt that these examples were kinda too subtle.
...but then again I probably use way too much reverb in my music so YMMV
love this comment
Legend!
thank you for this TL;DR !!
Best line in the video - "Whew! Makes me tingly". Thanks for the wisdom Dave!
As a assistant engineer I've worked with countless bands and musicians in tracking situations. Some well known and some not. However, with the nature of budgets (and everyone mixing in home studios) I'm never around for the mixing stage of the production. Your videos have proven to be an invaluable source of information in helping me move to the next step in my career. Thank you so much Dave.
Been looking for this type of video forever. Thank you.
This all seems so obvious to me now. But it wasn't clear to me before I saw this video. I really believe it's been integral in transforming my sound. You have a way of making us all feel part of the same frequency and energy. Whatever you say cuts through. Thank you so much for your ongoing work. Never ever stop please!
Thank you for making these videos. With so many tutorials on the internet, it’s nice to get tips, tricks and education from someone that really knows and understands the process.
Wow - that was great! Good examples and variaty of styles. Thanks for taking the time to do this video.
Being someone who started off as a hip hop producer I find rap vocals do really well with just early reflections and minimal pre delay. Makes them sit in the mix without creating a noticeably reverb sound.
I've found that early reflections really bring elements forward in a mix.
I agree i think it also depends on what sound those vocals need. A lot of rap music now wants that reverb present in the vocals so its all really dependent. I mean you've got a guy like drake who's probably all slap lol and young thug who's got all hall behind him
Thanks to Dave for putting so much effort on this channel,
i did learn many technique here.
And as u said,
we shouldn't follow your step,
what we need to do is experiencing it,and creating it.
thank you very much Dave!!! You are just Awesome!!!!!
Thank You 🙌🙌🙌🙌 Mr Dave Pensado Very Helpfull Video🔥🔥🔥🔥.
extremely useful, I'll be using some tips from this ITL
extremely useful!!! Never even really understood NLR until now.
60000 (milliseconds in a minute) divided by BPM = quarter note, quarter note divided by two = eight note, and so on.
What I needed. Thanks, bro.
For those wondering about the reverb's predelay value for a given tempo, if you really want to calculate musical values then just divide 7500 by the tempo and keep halving the result until you get the predelay you want. For example if the tempo is 120 then 7500/120 = 62.5. There's a musical value for you. I forget which, lol, but that doesn't matter. Half it and you get 31.25. Half again and you get 15.63. All of these values are musical beat divisions of the tempo. Depends on how short you want the predelay - experiment.
so for more would you double, abit of a stupid question but i want to be sure?!?
HITOPMUSIC
Yes for more delay, you double the time. So if it turned out that a sixteenth note was 15ms then an eighth note would be 30ms.
jtpinnyc Why 7500?
MrSolcys 7500 is the number of milliseconds per 32nd note at a tempo of 1bpm. So if you want the value in ms of a 32nd note at a given tempo, you divide 7500 by the tempo. If you want the value of a 16th note, it's 15,000 divided by the tempo, and so on. So you could remember the value in ms of each note value at 1bpm, or you could just remember that 7500/bpm gives you the value of a 32nd note and then just keep doubling it to get 16ths, 8ths and so on, or keep halving it to get 64ths, 128ths and so on.
jtpinnyc why eight not is more than 16th note
thank you again !!! simply Dave Pensado
Great Show Dave!
❤8 Beloved!
I love the info on how you like to use reverbs for some things thanks.
hanks for doing these videos ... I love that you're sharing your wealth of knowledge.
My God I NEVER Want To Hear That Song Ever Again LMAO
That's part of mixing... ear fatigue is REAL
Thank you for Sharing with Us!!!
Nice! Another Great Tip from Pensado! Thank you so much! =D
i'm definitely more a "spring" guy after listening to these examples.
i hate it when he says without - with, and i hear the same thing
i like to blame my headphones tho
Hearing what the reverb is doing in a heavy mix is an acquired skill I think. You have to A/B it over and over. Sometimes the best reverb is at the level at which you can't hear it's there, but when you turn it off you notice that it's gone.
Hundred, you're spot on. There is no diffierence worth mentioning. The acquired skill Jnyc is talking about is the ability to realise you're doing stuff that no one only maybe yourself is going to notice.
But isn't this exatly what separates newbs from the masters? The devil is in the details.
Nah....what we are talking about is imagined difference. All too often you hear guys going on about applied compression to bring out the intial transients, add a bit of impact to that intial hit and even out the sound. Then they'll tweak about with threshold buttons and attack and release settings...using the same old garbage they heard a million times...now we want the fairly quick attack and a fast release so the compression kicks back into again at the right time...then they A/B the sound an nothing...it's the fucking same sound...I mean half of it all is complete Bullshit
It's not completely useless, the change is very subtle, but this accumulates with every mix track/you have and it will make a difference. Inexperienced listener might not be able to pin it down but it's there, it can be felt if you're not listening on crap speakers. And reverb (and delay for that matter) is a special case, because a change that might seem inaudible in the whole mix is still making a difference in terms of putting it into a place.
Thanks Dave, great info
Very Useful! Thanks Dave!
Very good show. I'll be using some tips from this ITL!!
With or without are synonyms with Pensado !
I love springs on tubes. Just a tiny touch of spring in my monitor mix off the big old fender console.
Excellent !
Now that's a very good showcase of smart usage of reverbs. Though i think i would have treated the last vocal example differently: that portion of the song definitely have that cool 80ish vibe, i think i'll had gone for a lush, bright 80ies digital plate, and for a quite wet sound, rather than that soubtle amount of conv. reverb.
Anyway Dave is a boss, definitely the man! ;)
Springs are actually pretty dope on snares when there's space in a mix. Think Temples of Boom by Cypress Hill.
By far the best video's for mixing advice / tips on UA-cam, great work guys, keep it up ♫.
I was wondering what Dave's thoughts were on the Fabfilter plugins? I've found them very useful and easy to work with, especially the EQ which allows you to get very creative.
Also feel free to listen to the tracks on my channel - i'm not really one for self promotion which in turn means no one ever hears them. Again, thankyou for the effort you put in to these video's.
Thanks for this great information. :)
I would love an extended ITL about mix strategies regarding space. I am interested in the connection between all parameters that influence the perception of distances (e.g. amount of high frequencies, transients, reverb, dynamics...). And how do I manage to built a coherent musical space when I got endless different snippets of sound on maaany tracks. I often struggle at this stage.
+Zisch2 Although it isn't answering your question per say... to quote the late Joe Meek... "If it sounds right, It IS right"
DJ Subaqeous does a Creative Mixing in Ableton series that's amazing where he talks about using the Max4Live convolution reverb for creating a "coherent musical space". He sets a general room idea that he likes for the track and then thinks about different distances and spaces in the room and uses 3 variations of the same reverb for different distances and locations in the room to gel everything together. And then there's the handy calculation you can do for predelay based on your bpm (60,000 / BPM / 4 = perfect quarter note predelay). Setting your gate and compressor release times on certain elements with the same formula (roughly, because you still need to think about why you're choosing to compress something, dynamically speaking) can also help everything gel and groove to the actual true speed of the track. I've been learning lately that it's not big things you do that make a track but many many many small things all together.
60,000/BPM/4 gives you 16th notes. Remove that last 4 and you get quarter notes. I will agree, though, that dividing into 16ths is probably a more realistic predelay time if not a bit long actually.
Great Video!!! Audio Examples Were nice
CLOCK!
what are u listening on? i could not hear any difference on my laptop till i plugged headphones in.
i was talking about 2 other good reverbs...lexicon pcm92 and tc electronics m3000. Under the bricasti they are about the only other ones out there. The pcm92 has same sound as the pcm96 just without firewire bugs and for less. Otherwise eventide but never liked them. had the tc m4000 too but didnt offer much that the m3000 didnt. the m3000 is clear transparent verb while the lexi is a bit more lush. both totally smooth, neither are better, both are good for different things on different sources.
yeah maybe...i guess I just didnt get his irony. I do have the pcm92 and m3000 which are excellent in their own ways tho. curious how the bri compares to the 92 if it's actually worth the extra
thts why it's spring reverb but still good right.
thanx for the advice :D i notice -12 and -24 in some recordings.. so i guess its preference like u say ...
Dave,
What's with the handwritten "CLOCK" sign? Goofy question- I know. But I can't help but wonder!
Don't forget to clock your hours so you can bill the client currently. A reminder.
or maybe something about with the wordclock
It reminds me that he bills top-dollar for the expertise that he is sharing with us for free. Thanks Dave.
*****
Doh!
Hey I was of the impression it is best to use one "type" of reverb for a given song to make it sound as if it was performed in the same area. If you picked a different reverb that was "optimal' for each instrument, wouldn't that ruin the cohesiveness of the sound?
There are no rules, you can use as many different reverbs as you like as long as it sounds good. You have to ask yourself, "is my goal to make this mix sound like everyone's playing in the same room?" In modern music, especially electronic styles, this isn't often the goal, unless you're specifically going for a "live" sound. You can use common reverbs to glue certain elements of the mix together, for instance you might have a couple of background pads which would benefit from sounding like they were in the same space, and you'll probably send all of your background vocals to the same verb, but you certainly aren't restricted to one space in the track. Sometimes the contrast works really well, for example drums through a short ambiance, contrasted against a wash of distant pads going through a long hall reverb. This is the beauty of modern audio production, you have the means to create whatever sound you like. It doesn't have to be "natural."
@@jtpinnyc there's no rules
Wow man, do you mix completely In the box? Or do you use a console with outboard? That sounds pretty awesome!
Your the man!
Arkadia 93til
FYI mixing vocals with instrumentals is easy. Most instrumentals already have space for the vocals to sit. Study your frequencies and find where vocals are supposed to sit. Once again use your ears and listen to where they are placed. Good Luck!!!!!
good sound byte at 8:31
I like the spring
BRILLIANT*
Isn't there a point where, depending on the arrangements of the production, nuances between reverbs literally disappear (beyond general settings, such as decay time, predelay and ER/Tail balance) ?
I would say no because generally you have a few different types setup on return tracks. That means you're relying on the general sound of each return rather than getting overly tweek happy. Even if you matched all the settings (wherever possible) you'd still end up with different qualities.
Thanks for that. :)
do you apply reverb on the source or aux?
lol, i don't want to be hurting, but mr. Pensado in his chair and the little room looks like the big boss "Basilius P. Richfield" from the TV series 'Dinosaurs' :D
Dave is the shit!!!!
Does he have autotune on 0:50 song track?
how much do you mix a song
As much as it takes.
Like what is your starting price
Michel Mario Hahaha ohhhh, you were asking how much he _charges_ to mix a song. I thought you were asking a vague, unanswerable question about quantifying the mixing process in general.
you mix a song so motherfucking much that it sounds all distorted and ugly and clicks every half second. nah Im kidding, look up Dave Pensado on google
FromPoetryToRap that’s what I do heheh
this guy automates volume so much
not only him! I figured out, automation of all kinds of tracks like reverb, delay, even eq sometimes can bring your tracks to a new level, and pros do it ALWAYS and btw since ages
Richard Hanno Yeah, they all do. Watch the episode of Pensado's Place with Ryan Hewitt, and as he says, "mixing is a verb." I'd never thought of it that way, but it's true. There wouldn't be phrases like "riding the vocal" if they didn't move the faders.
I know man, I never do and I'm an idiot for it. I mean, Pro Tools lets me record fader movements like some kinda miracle, and I don't take advantage of it? Not sure why I have this aversion to automating a vocal track or anything else. I don't even use Vocal Rider although that's even more of a miracle. Now there's Bass Rider too!! I just like the way aggressive compressors sound more than smooth changes I guess. I should experiment more.
floofytown I think that often people tend to over compress because they do not automate in the first place. maybe a vocal sounds good for 20 seconds, then it gets more dynamic. Instead of automating the compressor settings for such different passages I often just make a copy of the track for the new part, just copy the channel strip and adjust settings for the more dynamic passage
Richard Hanno Man that's a really good idea. I did that once for a project with a singer who would just constantly leap between super quiet and full-gale belting, even in the same line. And didn't know anything about working a mic. Anyway, I haven't tried it since but now I will!
Title of that rap song at 4:00? it kicks ass!!
Five years later. You still don't know.
im a reverb whore i just love halls reverb i shud start learning more abt delays haha cuz i really have over used the halls on the songs i uploaded of myself rapping.. i just love the 80s reverb they used to put on alot of singers they dnt use it that much anymore haha kind of miss it today its all abt delays i think.. delays sound great to on new songs. i guess its all a fad that fades with time
What NLR means? cheers!
Non linear reverb
i couldn't hear the difference between reverbs, when the mix is playing, only only a single track. Maybe don't bother much about that.
If you're having trouble deciding on a decibel level for your vocals try listening to a record you consider to be the shit. Listen to it at about -20 db. then match it. It's all about your ears bro. No one can really say put the vocal at -6 db or so on because every mix is different. Once you start to comparing your levels of major works through your set up it will become easier to find the level you desire.
subscribed!
Dave, reverb is supposed to emulate a space, right? But most of the reverbs used on records emulate spaces that I NEVER hear people in. When have you ever heard someone singing in a hall, and you hear the sound of the reverb in the hall? An a cappella concert? Opera? Especially while a concert hall reverb is on the snare, but gated? And the ac. guitar is in a room, while the electric guitar is using his amp spring reverb. Your mixes sound good, but creating all these spaces defies logic. Discuss! LOL.
Some Reverbs emulate specific spaces and are labeled as such, where others are ambiance and special FX like non-linear, gated reverbs and combinations. In Pop music you're only limited by your imagination. Contrary to Classical and Jazz where you may be trying to emulate a particular performance space .
Nice broad perspective. Thanks.
***** What are your thoughts on using reverbs via sends/returns vs as inserts?
steefdroid I wish i could actually know the difference between putting an effect on inserts-sends?? :(
+Abdelrahman Khaled Inserts mean it's an effect on the actual audio track. A send/return is a parallel channel.
Thank you very much :D
+DamageIncM I tend to use my reverbs that way too. Are there any cases when you use them directly on the channel? Me not so much but I'm curious if there are reasons (creative/otherwise) for doing so :)
+Abdelrahman Khaled I know it's been a long time since you asked this, but the main reasons are:
1) It conserves CPU power. Reverbs and other types of effects can be pretty stressful on your processor if you use them as an insert on a lot of tracks. What putting them on an Aux track and then using it as a send does is let you send multiple tracks to the reverb rather than putting it individually on each track, thereby saving time and processing power. It doesn't make it sound any different (unless you deliberately mess with it) than if you used it as an insert.
2) Probably the most important reason is that you are able to process the reverb if it is on an Aux track. If you use it as an insert, then any other inserts added afterwards will affect both the original track AND the reverb, which you may not want. If you want to be able to add EQ, compression, and other things onto ONLY your reverb, etc, (which is great to help clean up your mix even further), you put the reverb as in insert on the Aux track and then simply add your EQ/Compressor of choice afterwards as inserts.
I dig the lava lamp!
NLR-Non linear reverb
I really wish I understood all of this vocabulary!!! :((
say dave, would it be much to ask what volume lvs do you pros use when mixing rap vocals and instrumentals? like around what DB should a voice be at vs instrumental ive always wondered... ive googled it but alas even google is not the all knowing creature we once thought it to be... it can do a barrel roll(search it) though so all hope is not lost!
well, imagine, applying reverbs on a single source track.
the rokits are more hifi speakers and can't really be used for mixing. So no wonder you can't hear it.
"plugins and real"😁
whats so funny about bricasti reverb? i would like one and it's not cheap, so thats not much to laugh over....more a frustration of how to get the money for one.
i didnt message you. i just replied here. then youtube may email you that reply if you have your yt settings set to email you on every reply comment. thats not my fault. change your yt email pref settings. i would not message you direct over a petty comment, or at all now i know you cant take a joke after making one yourself.
aux,cots less computer to think about it : )
Atl
Pensado will u marry me !?!
1st track........I'd go crazy having to mix this dogshit..........the best mix for this track is "noise reduction" and or a huge "MUTE" button strapped across the mix buss.
When mixing I find music to be important, what is this crap.
Brynn Arens Hee Hee because music is a. the recording arts and b. the performing arts _essentially_. Man, you must be talking about the performance because reverb is the crack cocaine of the recording arts since Les Paul and 'How High The Moon.'