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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.
Although many sophisticated reverbs have a wide variety of somewhat obscure parameters, you can get exactly what you need for any mix with only five. Let's take a look at a native Pro Tools reverb plug-in. Most software reverbs have four environments that you can dial in: a Hall, a Room, a Chamber, and a Plate. In this case we have a Church instead of a Chamber and we have a couple other ones too. I have ambient and nonlinear and let's forget about those for a second because most reverbs don't actually have those parameters. A Hall is a large space that has a very long decay time and lots of reflections while a Room is a much smaller space that can be dead or reflective but has a short decay time of less than 1.5 seconds or so.
A Chamber is an electronic representation of a tiled room that many of the large studios used to build just to create a great reverb sound. Phil Spector's Wall of Sound was built around in an excellent acoustic chamber at Gold Star Studios as an example. A Plate is a 4 foot hanging piece of metal that has transducers on it that many studios use for artificial reverb when they couldn't afford to build the chamber. Each of these reverb types have distinctly different sound and there's no rule on which one to use. Also in this Pro Tools D-Verb plug-in that we're looking at is also a size parameter that can select between a small, medium, and large space and that means a hall could either be a small hall or a medium or a large hall.
In fact, you don't see that on a lot of other reverbs. Probably the most important parameter is the Decay parameter and what this does is it represents how long it takes the reverb to fall off to where we can no longer hear it. So in other words if it's set on 4.5 seconds, it takes 4.5 seconds until the reverb tail falls below a level that we could hear it. The longer the decay time is the more it pushes a track further back in the mix while short ones under about a second or so make it sound bigger.
One of the things you have to worry about in almost all artificial reverbs is the very shortest decay times, because they tend to boing and usually that's how you can tell if a reverb actually sounds good or not. If it boings or sounds funny or metallic at a very, very low decay time, then usually it's not going to sound all that much better at longer ones as well. Now the other end of the spectrum is the longest delay time and what will happen is you'll also hear some boinginess or ringing or just some funny artifacts as a reverb is dying out.
Sometimes it doesn't matter so much because it's cover-up in a track, but if it was the very last note of a song for instance and you had this dying reverb tail that all of a sudden has sounded boingy or funny or had some artifacts in it, then it's something obviously you wouldn't want to use. So if you stay anywhere in between the shortest reverb time and longest reverb time it usually sounds a whole lot better, but that's how you can tell whether a reverb is going to sound good or not or the quality of the reverb is. Let me put this back here to somewhere normal. The third parameter is Pre-Delay.
Pre-delay delays the entrance of the reverb. So in another words a pre-delay of 0 milliseconds means that the reverb begins exactly when this sound does. But sometimes it actually muddies up the mix. So it's better if the Pre-delay is actually moved to 20 milliseconds or even more, which we will cover in a later movie. What this will do is add some space between the entrance of the sound and the entrance of the reverb and that space will clean it up considerably.
Suddenly instead of the reverb sounding kind of muddy, along with vocal let's say, you'll hear the vocal distinctly and then the reverb distinctly, and even though it's 20 milliseconds or 60 milliseconds or something very, very short, it really does make a difference. Though this is very important. In the days before electronic reverbs Pre-delay was achieved by using a tape recorder and what would happen is they would listen off the playback head and there a delay between the record head and the playback head, because there's a distance between the two heads and that would pre-delay the sound of the reverb.
It's a lot easier to do it without digital plug-in these days. So the Pre-delay can be usually adjusted from 0 to 120 milliseconds or so and that's about an eighth of a second. Usually, a 120 milliseconds is way long. We don't use it that much. It's usually somewhere between 20, 40, 60, 80, somewhere in there, but it's a very powerful parameter on reverb and something that you should learn how to use because it makes a huge difference in the sound. The next most important parameters are the high and low pass filters on a reverb.
Now many times these aren't included in a reverb plug-in and you would do this externally to shape the tone of the reverb. And that's another very important thing in mixing, where the tone of the reverb is shaped to make it fit best in the mix. In this case we have a high cut filter which is really important. There is a low pass filter which is basically the same thing and I'm not quite sure why they actually put two of the same thing in here, but the high frequency cut filter is very important and it will be used all the time.
If you want to clearly hear the reverb in the mix, you wouldn't cut the high frequencies at all. If you want the reverb to blend in with the mix, you cut the high frequencies and sometimes you'd cut them down to 8K and sometimes you cut them down to 3K, and this will make the reverb fit a lot better in the mix. On the other hand if your mix has a lot of low-end and it's already busy, too much low-end on the reverb would just muddy it up and that's why we would use a high pass filter to roll off anywhere between 50 Hertz and maybe as high as 600. It should be noted that the reverbs at Abbey Road that have been heard on hundreds of hit records over last 50 years and of course every Beatles record, they set their low pass filter at 10K and their high pass filter at 600 and that's a real secret to the way their reverbs sound.
Finally, the dry/wet control, which is sometimes called the mix control, allows you to mix the reverb signal with the dry signal. Normally, we'd set that at 100% wet when inserted into a dedicator reverbs effects channel. Many reverbs have a diffusion parameter and what that does is it simulates how reflective the walls in the particular space are. For instance a more diffused environment has hard walls with lot of reflections while one with softer walls has few reflections. A simple way to think of this is that high diffusion provides a thicker sounding reverb and low diffusion is a thinner sounding reverb.
So to sum it up, the reverb types selects between different reverb environments. Decayed time represents how long it takes the reverb tail to fall off to where we can't hear it anymore. Pre-delay delays the actions of the reverb so the reverb doesn't get in the way of the track. The high and low pass filters help shape the sound of reverb and the dry/wet control determines the mix of the dry to the affected signal.
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