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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.
Just like drums, percussion is made up of short bursts of sound with strong attacks. As a result, it's very important that the reverb parameters are tuned precisely to the song. In this video I am going to show you how to do that. So the first thing we are going to do is listen to the tambourine which is a nice hand percussion. Let's listen to it in the track. It doesn't have any reverb at all. (Music playing) Now let's solo it and have a listen to what it sounds like.
(Music playing) I already have a Send in here. This goes to our shortest reverb, which is used for the drums. Let's just have a quick listen of what it sounds like. (Music playing) Sounds pretty good in space. Watch what happens when we add too much reverb. It actually changes the rhythm that the tambourine is playing. (Music playing) It all starts to melt into one instead of sounding like very distinct events.
Let's bring it back to where it was before. (Music playing) And let's listen in the track. (Music playing) Now you can hear it has a little bit more personality when the reverb is on. This could actually work without reverb in the track. Usually what we want to try to do is put everything in its own space, at least a little bit. Let's just experiment a little bit with the sound just so you can hear what it sounds like with different parameter settings.
So right now we are at 1.2 seconds on a rather large room. Let's cut this in half and let's make this 600 milliseconds. And have a quick listen to what it sounds like. (Music playing) You can hear that what happens is with the shorter decay, it puts it into a different environment. And it begins to sound bigger. Let's cut it down even more. We cut it to 300ms.
(Music playing) Let's listen in the track. (Music playing) This sounds pretty good and usually what you'll find is very, very short reverb decay times will greatly help a percussion track. The longer the reverb decay, the worse it usually sounds because once again, it begins to change the rhythm and that's not a good thing.
The only thing that really helps is the pre-delay. Let's solo it up again and have a quick listen to what happens. (Music playing) Let me change the decay time. We will put it back to where it was at about 1.2 ms and let's listen. (Music playing) Now let's listen with no pre-delay. (Music playing) It sounds okay but it sounds a lot better with some pre-delay.
Let's put it up to 72 ms which is timed to the track. (Music playing) Now, you can hear what happens is it sort of blends together since it's timed with the track. And that makes it sound pretty interesting. It makes it sound big and puts it in its own environment. Let's have a quick listen. (Music playing) Sometimes what we are trying to do is when we time reverb and delays to tracks, what we are trying to do is make it so it's not obvious.
When we add the reverb, when we add the effects, we are trying to make it sound bigger without being obvious. And that's what the timing of the pre- delay and the decay does to the track. In conclusion, percussion is made up of short bursts of sound with strong attacks and as a result, it's very important that the reverb parameters are tuned precisely to the song. That means timing the pre-delay and the reverb time to the track. You can see exactly how to do that in another movie. Remember, that you're normally not trying to make any percussion instrument sound bigger, push it back in the track.
You are just trying to put it into its own environment.
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