How do i get this reverb/delay setting?

[JCcares]

Please listen to the first verse of this song



Any suggestions on how I can get that reverb/delay setting on the main vocal which is found on the opening verse? There is a heavy hall type reverb in the background but still does not disturb the vocal placement.

[Razor]

Don't know if this helps but here is how I would approach it.

1> Keep your main vocal centered and nice and clean and present where you want it to be (up close)
2> Bus a copy of the vocal to an aux
3> Set up your EQ on the aux as a high pass filter and cut off the low frequencies by sweeping up until the bussed aux starts to thin out.
4> Use the reverb designer to give a wide ambience sound and keep it below the lead, by quite a bit.

If you want to get the best separation from the lead and the reverb, offset the AUX bus timing by a short single delay (very fast), or alternatively, use a compressor to "duck" the reverb when the singing happens and set the compressor to stay closed a little bit longer before it allows the reverb back in.

I hope this helps.

[JCcares]

Don't know if this helps but here is how I would approach it.



If you want to get the best separation from the lead and the reverb, offset the AUX bus timing by a short single delay (very fast), or alternatively, use a compressor to "duck" the reverb when the singing happens and set the compressor to stay closed a little bit longer before it allows the reverb back in.

I hope this helps.

Excellent reply.I will try this out.
As for using a compressor to duck the reverb,how is this possible?When time permits can you explain that a bit.Wish I could have a template! Thanks.

[tristancalvaire]

Send your original vocal channel to to a bus of choice. Delete or mute the aux channel that's created. Make sure to bus it at 0 dB.

On the reverb channel, insert a compressor. In the top-right corner of the compressor, set the side-chain to your chosen bus.

Adjust settings of the compressor to taste. Lagerfeldt has written a great guide here - http://www.gearslutz.com/board/showwiki ... ance-music

[rhys]

3> Set up your EQ on the aux as a high pass filter and cut off the low frequencies by sweeping up until the bussed aux starts to thin out.

Can I just point out there is an EQ in Space designer which is mega helpful.

[Razor]

I was going to reply but I see Tristancalvaire and rhys have done a pretty good job already.

So instead, I will ask "Did you get it all sorted?"

[bcfromfl]

Great vocal track in the example cited, and great ideas to emulate it! I hear this technique used semi-frequently, and while the solution is relatively simple, it seems, it's not necessarily intuitive.

If I may, I have a newb question with respect to the technique. Why would you bus the copy and handle the processing there, instead of just creating a separate channel strip and sticking the EQ and reverb directly on the track? I know the advantage to bussing is to control plugins when there are multiple and identical instances, in order to free up processors, but why bus in this example? Is it just a matter of "good mixing practice" and the way things "should" be done?

Thanks loads!

-Bruce

[rhys]

Great vocal track in the example cited, and great ideas to emulate it! I hear this technique used semi-frequently, and while the solution is relatively simple, it seems, it's not necessarily intuitive.

If I may, I have a newb question with respect to the technique. Why would you bus the copy and handle the processing there, instead of just creating a separate channel strip and sticking the EQ and reverb directly on the track? I know the advantage to bussing is to control plugins when there are multiple and identical instances, in order to free up processors, but why bus in this example? Is it just a matter of "good mixing practice" and the way things "should" be done?

Thanks loads!

-Bruce

Once the bus is set up you could send anything to it without having to copy any thing else over.

[bcfromfl]

Once the bus is set up you could send anything to it without having to copy any thing else over.

Thanks, rhys. Yes, this makes sense, but in this particular application, wouldn't the processing on the SFX be so track-unique, for lack of a better term, that it would be unlikely that any other tracks could benefit from this EQ, reverb, and volume?

Sorry to be a pain!

-Bruce

[Razor]

Once the bus is set up you could send anything to it without having to copy any thing else over.

Thanks, rhys. Yes, this makes sense, but in this particular application, wouldn't the processing on the SFX be so track-unique, for lack of a better term, that it would be unlikely that any other tracks could benefit from this EQ, reverb, and volume?

Sorry to be a pain!

-Bruce

Bruce,

By Bussing to an aux, you can apply the effects to the aux track and have it sent pre fader.
You would then have the aux completely "wet" ie, no dry signal (original signal) in there at all.
That way you can blend the wet and dry tracks easily to suit.
If you want multiple vocals to be affected in the same way, you can send them down the same bus.
If you want to automate the effects (ie more effect in the chorus, less in verse, or bridge or whatever) this makes it really simple.

Is this what you were asking?

[bcfromfl]

Hi Razor --

Thanks for that explanation...I'm still a bit fuzzy on when and why bussing is important, but the automating you mentioned would be a good use. So far, all my efforts have been directed towards individual channel strips, and it seems that the FX requirements of each track I've done wouldn't benefit from bussing, so I've not spent a lot of time on understanding this feature.

I cringe when I imagine what a pro would think of my work flow!

-Bruce

[CarlosUnderground]

By busing, you have more control over the effect. Say you want the vocal dead center, but you want the reverb panned at 2o'clock. If you just insert the reverb on the vocal channel, you wouldn't have that option. Busing is also handy for creating sub grupes, say a drum
channel or a backing vocal channel. This way, you mix the grupe as desired, bus it and, have control of their overal level with one fader.
An indispensable mixing tool. I often use busing to audio tracks to create drones from several synths while tweaking parameters. Afterward, I'll dump that into the EXS24 to create a sampler instrument from all that movement. It's all about being creative.

[bcfromfl]

Thank you, Carlos. I'm really going to have to ponder what you've suggested...I'm not sure I understand all of it! Wow, reading this forum is sure humbling...

-Bruce

[Razor]

Bruce,

To simplify it right down.

You put effects on the actual audio track to effect the ACTUAL sound of that audio

The concept of the bussing to an AUX in THIS discussion is to give you ANOTHER copy of the audio to modify in a completely different way, say for instance, adding a large amount of reverb whilst removing the original "dry" audo... or panning... or whatever...

Then you can adjust the faders of each of the original and aux independently to blend the sound to suit your own taste.

Another example of a good use of bussing to an aux is where you have multiple guitars, or vocals, or drum parts and you want to compress them together and/or eq them together or add a little room reverb for ambience etc etc.

You get the individual tracks sounding the way you want them, then turn off their output, and buss them down to a common aux channel. Send them down Pre-Fader, with the sends adjusted to your required levels.

Then put your compressor, eq, reverb etc on the aux track and affect all of the tacks coming through that aux as a whole.

I hope this helps.

[redlogic]

You get the individual tracks sounding the way you want them, then turn off their output, and buss them down to a common aux channel. Send them down Pre-Fader, with the sends adjusted to your required levels.

Then put your compressor, eq, reverb etc on the aux track and affect all of the tacks coming through that aux as a whole.

Instead of setting them to No Output, using pre-fader sends and having to adjust a bunch of send levels, it's easier to set all the channel strip outputs to an unused bus and put the effects on the associated Aux.

[Razor]

You get the individual tracks sounding the way you want them, then turn off their output, and buss them down to a common aux channel. Send them down Pre-Fader, with the sends adjusted to your required levels.

Then put your compressor, eq, reverb etc on the aux track and affect all of the tacks coming through that aux as a whole.

Instead of setting them to No Output, using pre-fader sends and having to adjust a bunch of send levels, it's easier to set all the channel strip outputs to an unused bus and put the effects on the associated Aux.

Yes, even betterer! (more than one way to skin a cat eh?)

+1 redlogic

Only real difference is if you are sending to multiple busses/auxes, but even that can be done both ways.

Cheers.