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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.
Whether it's brass or woodwinds, solo instrument or a section, all horns sound better when placed in some sort of acoustic environment. In this video, I am going to show you the best way to add reverb to this sax track. So we are used to hearing a horn or a horn section, whether it's a brass or woodwind, in some sort of a space and that's why reverb always sounds a little bit better than any other effects when it comes to horns. The other thing it will do, it will push the horn further back in the mix and sometimes that's what you want. You want it to sound like it's farther back rather than in the front. So let's have a quick listen to what this sax sounds like, just by itself.
(Music playing) Let's add a little bit of a standard reverb with just the default settings on it. (Music playing) That's a little long. Let's make it a medium hall, bring that down at 3.4 seconds. (Music playing) And the next thing we can do is add pre-delay.
That was playing at a 160 beats per minute and that comes up to 92 millseconds for pre-delay, so let's type that in and will listen to what happened. (Music playing) And what happens is we hear the reverb after the horn. So in other words, it sounds a little bit bigger and also stays out of the way of the original horn sound.
Now let's compare them both. (Music playing) You can hear the pre-delay sounds a lot more interesting. (Music playing) Now if we want we can cut this in half, so let's go to 46ms, have a listen now. (Music playing) It also sounds good.
I think the longer one sounds better in this case, but again, if it was playing a track with other instruments, then you'd actually have to compare and find out which one sounds best. Last thing we can do is use the high- cut filter, cut some of the highs off. Let's have a listen. (Music playing) Now, this will make the reverb sit in the track a whole lot better, so a lot of times you want to shape the sound of the reverb by using a high and low-pass filter.
So to sum things up, horns sound better when they are placed in an acoustic environment. Use reverb to push them back in the mix or making sound larger than life, and because most horns have a brisk attack and release, the time reverb works very well.
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