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Emphasizing the reverb using predelay

From: Foundations of Audio: Reverb

Video: Emphasizing the reverb using predelay

If you stretch the pre-delay parameter of any reverb longer and longer in time, it makes it easier to hear the reverb itself. Let's return to that snare shaker track, and instead of adding nonlinear reverb as we did in the prior movie, I'll add a short plate sound and gradually increase the pre-delay from 0 up to 100 milliseconds and beyond. (music playing) Pushing the reverb 'til later in time away from the dry track itself makes sure that the track isn't obscured by the reverb.

Emphasizing the reverb using predelay

If you stretch the pre-delay parameter of any reverb longer and longer in time, it makes it easier to hear the reverb itself. Let's return to that snare shaker track, and instead of adding nonlinear reverb as we did in the prior movie, I'll add a short plate sound and gradually increase the pre-delay from 0 up to 100 milliseconds and beyond. (music playing) Pushing the reverb 'til later in time away from the dry track itself makes sure that the track isn't obscured by the reverb.

It makes the reverb itself easier to hear. Before we tailor this into a more musical effect, it's worth noting if you want to increase the sense of reverberation on any track, you have a few choices to make. You can turn up the reverb, make it louder by raising the send to the reverb, or raising the faders associated with the returns from the reverb. Another approach is to increase the reverb time. By letting the duration of the resonance last longer, you add more reverb to the mix. But a third more subtle and often more productive way to give your listeners the sense of more reverb is to stretch pre-delay to a slightly longer time so that it better reveals the reverb itself.

A snare hit can make it hard to hear the reverb that follows. Increasing pre-delay pushes the reverb away in time from the distraction of the loud snare hit. We usually push it just a little bit, 20 to 40 milliseconds is generally enough. But pretty dramatic effects are found when you take it to 100 milliseconds or more. Working the pre-delay parameter lets you get your reverb heard without the mix crowding techniques of turning it up or cranking the Reverb Time. Pre-delay can be stretched to a musically useful rhythmically valid duration as well.

In production styles that embrace technology, like electronic, house, trance, and other kinds of dance floor music, you might stretch the pre-delay so that the reverb happens in a way that is rhythmically interesting. And popular styles of music, file this under special effect, it's not an everyday occurrence. For this type of effect, you tune the pre- delay time to a musically-relevant time, a 16th note or an 8th note are common. Adjust Pre-delay until the pulse of the reverb offers a bit of syncopation to the groove.

(music playing) So ultimately, even though reverb comes to us from actual physical spaces, we're free to take it in unnatural directions for the sake of our music.

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This video is part of

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Foundations of Audio: Reverb

39 video lessons · 9118 viewers

Alex U. Case
Author

 
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  1. 9m 41s
    1. Welcome
      1m 58s
    2. What you need to know before watching this course
      2m 18s
    3. Songs you should listen to while watching this course
      2m 46s
    4. Using the exercise files
      55s
    5. Using the Get in the Mix session files
      1m 44s
  2. 6m 44s
    1. What is reverb?
      2m 35s
    2. Why do we use reverb?
      4m 9s
  3. 24m 33s
    1. Capturing reverb acoustically through room tracks
      5m 33s
    2. Creating reverb acoustically through a reverb chamber
      2m 51s
    3. Creating reverb mechanically using springs and plates
      5m 8s
    4. Creating reverb digitally via algorithms and convolution
      4m 51s
    5. Optimizing signal flow, effects loops, and CPU resources
      6m 10s
  4. 39m 10s
    1. The anatomy of reverberation
      3m 8s
    2. Mastering reverb time, predelay, and wet/dry mix parameters
      5m 36s
    3. Understanding the frequency dependence of reverberation
      4m 56s
    4. Tapping into advanced parameters such as diffusion, density, and more
      4m 37s
    5. Reference values from the best orchestra halls
      5m 40s
    6. Hearing beyond the basic parameters
      5m 31s
    7. Touring the interfaces for six reverb plugins
      9m 42s
  5. 1h 32m
    1. Choosing the right reverb for each of your tracks
      2m 17s
    2. Simulating space with reverb
      5m 42s
    3. Hearing space in the mix
      6m 33s
    4. Timbre and texture
      3m 36s
    5. Shaping tone and timbre with reverb
      5m 49s
    6. Creating contrasting sounds for your tracks
      4m 43s
    7. Using nonlinear reverb to help a track cut through
      4m 25s
    8. Emphasizing the reverb using predelay
      3m 24s
    9. Strategically blurring and obscuring tracks
      1m 46s
    10. Get in the Mix: Changing the scene by changing reverb
      7m 37s
    11. Get in the Mix: Gating reverb to emphasize any track in your production
      5m 52s
    12. Reversing reverb to highlight musical moments
      9m 36s
    13. Synthesizing new sounds through reverb
      6m 42s
    14. Get in the Mix: Supporting a track with regenerative reverb
      6m 31s
    15. Getting the most out of room tracks
      17m 39s
  6. 11m 32s
    1. Setting up your own reverb chamber: The architecture
      2m 2s
    2. Setting up your own reverb chamber: The audio
      4m 8s
    3. Using convolution correctly
      2m 32s
    4. Getting great impluse response
      2m 50s
  7. 1m 29s
    1. Next steps
      1m 29s

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