Boot Camp Tip: The Power of Dry Reverb
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- Опубліковано 8 вер 2024
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THIS CHANNEL IS GOLD !!! Even the vids that come from 7 years ago... Thank u Michael !!!
if you want to know more about mixing and mastering . register for mike courses I bet you will never loose your money. mike is great teacher. All works improve massively since I joined the class. Thanks mike.
WOW Mike, this is must be your most subtle tip I’ve yet heard from you, but you’re absolutely right.
The ambience we only feel….. is still heard, in its own way.
I have found that using “room spaces” within a convolution reverb plugging achieves this effect fantastically.
… and the choices of rooms are vast.
😎👍👍
Hi, Michael. Firstly, your videos have done more than any other form of instruction, including school, to improve me as an engineer and producer. Thank you! Now, what might be the determining factors in choosing dry reverb over early reflections as a treatment? Do some specific applications lend themselves to one over the other? Is the potential for ERs to have the fluttering that you mentioned the primary factor in deciding which to use? Thanks, again!
pre delay means the distance between sound and wall.
somebody stands on the middle of classroom.
he yells. voice flies to the wall. the speed is about 340m/s. (340m/1000ms)
if the area is about 10 x 10m, the voice flies 5m and it reflects back. sum is 10m.
so, the voice should have pre delay about 30ms.
he set the pre delay to 2.2ms.
it means it has distance from the wall about 30cm.
it's pretty small room like head.
if you can set the location of sounds in music space, the only thing left is FX(it's movement and interaction).
you can use volume, eq, transient, reverb to adjust the location.
quiet, less low and high, less transient, more reverb = far sound
loud, more low and high, more trasient, less reverb = near sound
highcut = covered sound, the sound through the wall(ground).
lowcut = levitation from the ground. more lowcut, more levitation.
try to listen to sounds around you.
ear is our another eye.
I did not hear the changes you made, but obviously many others did.
Another Michael White classic! Thank you
Wow, this is great. Adds that vibe and kind of magic to the kick in this case, makes it speak better and you get the intention of it better
Cheers!
Saturation and Dry Reverb both glue parts together in a track. I'm so glad I found out what the name for this type of reverb is. Before I would tell people that reverb can add glue into a mix and I would get a funny stare. Npow I know it called Dry reverb. Thanks Mike
I don't know that there is an "official" term for it. I just coined the phrase dry reverb because it best describes the effect. You feel it more than you hear it.
@@mixingwithmike just like the saturation of a console.
I often have two main FX returns, one for "dry" reverb and the other for longer "fx" reverb. I think of "dry" reverb (e.g., decay 800ms, predelay 4ms, small room size setting, maybe some vibrato for sparkle) as an instrument enhancer rather than an "FX" for adding a bit of shine to an instrument, much like using subtle saturation. The reverb tail almost unnoticable but it is there. I just add enough of the dry reverb to make the instrument sound more resonant and rounded. For example, it can make my ukulele sound more like what I would think a full solid body, more expensive ukulele would sound like. By playing with the low/hi-cut of the reverb, the timbre of an instrument can subtly brighten or darken.
So true
Mike, what you're creating is called 'Room Tone'.
Another 💎 dropped!!! Love It!!
Thank you Mike.There was an excellent explanation of this classic technique in the old DVD "Internal Mixing". The technical aspect of this mixing technic is perfectly explained in these tutorials. (sorry for my english)
Cheers! Who made that DVD?
@@mixingwithmike Looks like it’s by a German engineer called Friedemann Tischmeyer
You would love the IK Sunset Sound and Fame Studio plugins, perfect for this dry reverb thing
Magic as always
Cheers!
The video I have been waiting for years! Thanx
cheers!
This was amazing Mike. Thanks.
Greate technique! I love to use sonnox oxford here. Has an amazing ER section! Thanks Mike.
Yes, the Oxford Reverb has a great ER section
Nice one! “Dry” is good...
Yes, Dry is good!
Really helpful,
Thank you!
Thanks for this great video, Mike! I love this technique.
Cheers!
You’re a beast man
Very helpful! Thank you for posting!
Cheers!
this helped me a lot, thx
Great lessons here!
Thanks for your relentless Teaching Mike, awesome. Some things will grow greater than our existence and your teachings will be one of the stones thrown into the water that make a tiny blip first but could grow into a tsunami. I made a new friend recently an Artist from San Francisco, I live in Uruguay and given the pandemic its quite a treat making new friends in person, really really successful and we talked about mixing, bc , yeah... and he told me he does all the mixing by himself except after his exhausting trials a specialist will take over and he just wonders how his mess got a real Song. Noting, never try to find an excitable person in a good engineer, because the best of them are dry as a monkey’s asshole, they aren’t artists like us.(don’t consider myself an artist for full disclosure, but thanks for notmaking me the odd one out in this quote.)
Wow, he must not know a lot of engineers then LOL!
Nice
Great video Mike! This is a subtle one
As you apply it more and more on your own, you will start to hear it everywhere.
Another pro tip....thanks!
Cheers!
Well I’ll be damned… brilliant!
What's the difference between dry reverb and early reflections?
Good question. In this video Michael seems to be using the reverb function as early reflections in this video
Great great video thanks 🙏
Cheers!
Great as aways. Cheers!
Thanks Shelly!
This is it.
Thank you for good tips. What reverb are you usually using for this effect?
Hello Mike, I was just wondering whether this video is an extention from the "Creating a 3D Soundstage" Video?
I’m very interested in the use of dual reverb. Am I correct in thinking the dry reverb is for ambience and the second wet reverb is for space.
What is struggle with is mixing the two. Do you use only one of the reverbs on a track or do you combine both ?
Hi Michael, great video again; Can this be done with the ER mixed in or let's say a Reverb plugin that don't let you edit ER and Reverb separately (like the new Relab LX480 Essentials)?
I've been mixing for close to 4 years now. I know that relatively I am still a beginner, but I feel self-conscious of the fact that I hear zero difference, please sent help
your room probably has a lot of natural ambience. if that's the case then the subtle reverb being added would sound insignificant, i.e. you wouldn't here much difference. probably want to treat the space you are in a bit more
Any natural reverb present in your listening environment (untreated reflections etc) will make this difficult to hear because it's so short.
It's much more obvious when the Imager is activated. Just after 13.20 there's some Bypass action on the imager that really lets you hear it.
Try listening with a good set of monitoring headphones and you should be able to detect it.
@@smokeshadow yes, my room is not treated, I always mix.and listen to tutorials like this one on my beyerdynamic bt 1990
Yes, the acoustics of the room is one of the most important things in order to make good mixes, and this subject is one of the firsts that Mike teaches on the Boot Camp.
Why use this instead of early reflections??
Can you do a video on Ambeo Orbit the VST? i think it's pretty cool. It's like 360 pan effect tool.
I think it's an Ambisonics tool for surround that has been "adapted" for stereo. The tricky part is balancing what sounds great in headphones to speakers.
Great tutorial, as usual. These new waves skins look horrible though. ;)
Should I go back to the original look?
Is that new waves r-verb ?
Might be a dumb question, BUT does this affect phase in any way?
If you set it up well, no it should not. that's part of the tuning process when setting the size, length and predelay
The concept is great and could be pushed further with taking the same space but different reverb tales for shorter instuments like drums and longer ones like synths. I knew this trick more to glue a mix together. One advice ... don't be too redundant on explaining the same aspect over and over (like the reverb should not be heard and felt instead) and don't do A/B comparisons on song positions where something changes (like the shout) ... that distracts from this kind of subtle changes. Just my thoughts. Otherwise thanks for the tip.
Yes, each should be tailored according to the instrument or grouping of instruments. Too much for a basic video like this. BTW, this video has been officially approved by the Department of Redundancy Department and co sponsored by the Ministry of Silly Walks. So I take offense to your comment ;-)
very subtle difference...a lil too subtle
Try it out and exaggerate it a bit until you get used to the effect.
Do u have an email you can be reached at
Contact me through the website mixingwithmike.com
Beware with the stereo ehancer , you're out of phase a lot ... Mono compatibility will be a problem
am i the only one that cant hear the differences? 🥴
This is kind of aggravating buddy. Are you putting reverb on everything or just that snare thing clap or whatever that is. And the drums that you started it off already have reverb on it. so you're adding reverb on top of reverb. it's confusing
Sorry for the confusion. There is no added reverb to anything other than the drums. There is some reverb that exists within the keyboard sounds, but nothing like what I added.
I don't think doing this to the entire drum mix is a good idea. The kick sounds very flappy & loses its precision making the entire kit sound very loose. The kick needs to be on its own & not summed with the rest of the kit. Anything with the low order such as a kick needs special attention to keep the downbeats without a pre-delay on the strip.
I'm not going to pretend that my presentation is perfect here. It's mostly unrehearsed and shows conceptually a technique used in modern mixes. I will say that I hear some variation of this technique on almost every great sounding mix I hear. It has also been somewhat of a standard practice for at least the 35 years I have been mixing professionally.
wtf ?? on which instrument have you applied reverb? not sure what you wanna say, try playing a single element so that i can find out the different, you are playing the whole track and asking to determine the reverb ?? on which instrument ??? frustrating video.
i think it was on the drums and bass, just listen to when he mutes and unmutes the effect and use headphones
he explains that hes sending the entire percussion mix through the reverb track at the beginning, wear headphones or go in a low noise environment with some speakers to get the full effect
Only on the drums and percussion.