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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.
Since there is such a wide variety of different sounding keyboards, they each demand their own approach to adding reverb. Because an organ places more sustaining notes, the approach to adding reverb to it is different than any other keyboard. Let me show you how. While an organ might sound pretty good with the timed reverb, but it's not always essential and the reason for that is it's playing some long sustaining notes. So you won't necessarily hear if it's timed or not. Usually you don't try to make an organ sound larger-than-life. So simply putting it in an artificial space works well.
Let's have a listen to the Hammond B3 on this track. Let's solo it up and listen. (Music playing) Let's listen in the track. (Music playing) Let's listen to it by itself. (Music playing) It sounds good, but it can sound better with little bit of reverb. I've already placed an effects bus in the organ subgroup and this is sending to our long reverb.
So let's just have a listen to what this sounds like. (Music playing) Let's listen in the track now. (Music playing) You can hear it adds some sheen to it.
It puts it in its own environment. Before without reverb it sounded kind of dull and now it sounds a bit more exciting and that's what we're trying to do with reverb, where we are trying to make things sound more exciting or we're trying to make them sound bigger than life or just trying to make them sound plain bigger. Let's experiment a little bit. Let's go over and look at the reverb and if we play with it a little bit, let's see what happens. Now this reverb right here, this is same one that the vocal is using I think. Let's just have a listen, if we'd changed the parameters little bit.
Let's solo up the B3 and have a quick listen. (Music playing) Let hear what happens if we shorten that the decay time. We'll make it really short. Let's make it at about... (Music playing) Now this could work sometimes in certain tracks and other times it won't. What a very short reverb does is it makes them bigger rather than put it in the environment, because the environment is so small that you don't hear it as an environment.
You just hear it as sounding bigger. Let unsolo it and listen in the track. (Music playing) You can hear a little bit of a difference, but not as much as when we had it at the longer setting. Let's go back and set it at 1.8 seconds like we had it before. Now listen. (Music playing) There is a big difference there.
The reverb really helps. So there you have it. Because an organ plays more long sustaining notes, timing the reverb to the track isn't essential and putting an artificial space around it is more important than trying to make it sound larger-than-life.
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