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In this course, author Bobby Owsinski reveals industry tips, tricks, and techniques for producing professionally mixed audio on any digital audio workstation. He offers recommendations for setting up an optimal listening environment, highlights the most efficient ways to set up and balance a mix, and shows how to build a powerful sound with compression. The course also explains how to master the intricacies of EQ; incorporate reverb, delay, and modulation effects; and generate the final mix.
While guitars are percussive by nature they also have a sustaining quality. That means that a variety of different reverb settings can work depending upon the guitar's place in the arrangement. In this movie, I'm going to show you some different tricks that you can use to make the guitar sound larger-than-life. So the first thing we're going to do is we're going to listen to these guitars in the track. There is two of them. One is panned left, the other one is panned right. (Music playing) We can work on the first one, Guitar 1 that's on the left.
We'll solo that up and have a quick listen. (Music playing) So I already have a reverb all set for this guitar and it's called Guitar Verb and it's on bus 21-22. So what we'll do is we'll go to bus 21-22 with send. Now let's bring it up and hear what happens. (Music playing) Now what we didn't do is tailor the sound of the reverb, but also let's take a quick look what it is.
This is just the default settings of the reverb. We're in a large hall. We probably don't want that. So what we're going to do is just come down to Plate and we know from the other settings that the time to the track we want about 1.8 seconds. The other thing that we know is this track is at 104 BPM which comes out to about 72 milliseconds of a pre-delay. Now again, you should look at the movie that shows you how to time the delay to a track and that will show you how we get the 72 milliseconds.
Let's start there. 72 milliseconds. Here the thing we're going to do right off is use the High Cut filter and bring it down to 10K or thereabouts. Let's have a listen now. (Music playing) Let's listen in the track. (Music playing) Now the other way we can go with this is to have a very, very short decay time and what we're going to do is bring this down to about half of what this is.
So this is 1.8 seconds. Let's bring it down to 0.9 seconds. Have a listen to what it sounds like now. (Music playing) See it's making it bigger than pushing it further back in the mix. Let's cut it down even more and actually what we're going to do is cut the 72 milliseconds in half as well. What we're always trying to do is cut everything in half. We're doubling it. (Music playing) Now see it just sounds bigger rather than pushing it back in the track. Let's listen.
(Music playing) Let's listen in the track now. (Music playing) Now another trick is we can even take it down even more. So let's take this down to 450 milliseconds and let's take the Pre-Delay down to 18 milliseconds, again cutting it in half.
Now let's solo it and have a listen. (Music playing) Let's listen in the track. (Music playing) This is a trick that we can use on guitars to make them sound bigger, and again we're not trying to push it back in the mix.
Usually a lot of reverb is really good to make it sound bigger. We find this a lot on lead guitar solos because it's a way to make it sound bigger without washing it out. So there you have it. An electric guitar playing power chords can sound great with the long reverb decay and certain types of guitar mix elements sound even better with a very short but loud room reverb. Don't forget to try different pre- delay settings since that can make a big difference in how distinct the guitar and the reverb sounds.
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