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Audio Mixing Bootcamp
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Using the three-reverb setup


From:

Audio Mixing Bootcamp

with Bobby Owsinski

Video: Using the three-reverb setup

In this video we'll look at how to use 3 reverbs in the mix to get a small, a medium, and a large space. I'll show you that by placing instruments in different environments, we can give the mix depth and interest. So the first thing we're going to do is add a reverb. We'll go and I'll get our D-Verb that we've been using, and this is going to be for our short reverb. This will be a small space and we'll call this a Room, and it will be set to less than one second. In this case I'm going to put it somewhere down 500 milliseconds or so.
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  1. 1m 16s
    1. Welcome
      1m 16s
  2. 8m 20s
    1. Determining the listening position
      2m 27s
    2. Fixing acoustic problems
      2m 5s
    3. Setting up your monitors
      3m 48s
  3. 20m 17s
    1. Setting up your session
      5m 52s
    2. Setting up your subgroups
      7m 50s
    3. Setting up your effects
      6m 35s
  4. 8m 45s
    1. Developing the groove
      3m 46s
    2. Emphasizing the most important elements
      3m 44s
    3. Knowing what to avoid
      1m 15s
  5. 1h 4m
    1. Learning the principles of building a mix
      1m 1s
    2. Assigning the drums to a subgroup
      3m 55s
    3. Building the mix from the kick
      10m 8s
    4. Building the mix from the snare
      8m 46s
    5. Building the mix from the toms
      5m 25s
    6. Building the mix from the overhead mics
      3m 53s
    7. Checking the drum phase
      4m 44s
    8. Balancing direct and miked bass channels
      3m 36s
    9. Building the mix from the bass
      3m 26s
    10. Building the mix from the vocals
      4m 19s
    11. Balancing the rhythm section
      2m 44s
    12. Balancing the rest of the instruments with the rhythm section
      5m 22s
    13. Making a mix without building it
      4m 20s
    14. Balancing the harmony vocals
      2m 35s
  6. 23m 2s
    1. Looking at the three main panning areas
      9m 23s
    2. Panning the drums
      6m 9s
    3. Avoiding pseudo-stereo
      7m 30s
  7. 1h 17m
    1. Understanding compressor parameters
      3m 42s
    2. Setting up the compressor
      14m 44s
    3. Compressing the drums
      7m 53s
    4. Compressing the room mics
      4m 9s
    5. Compressing the bass
      5m 24s
    6. Using the New York compression trick
      4m 23s
    7. Compressing the clean electric guitars
      4m 40s
    8. Compressing the distorted electric guitars
      4m 48s
    9. Compressing the acoustic guitars
      8m 7s
    10. Compressing the piano
      6m 35s
    11. Compressing the electric keyboards
      4m 32s
    12. Compressing the vocals
      4m 34s
    13. Compressing the horns
      3m 55s
  8. 25m 36s
    1. Learning noise gate basics
      9m 23s
    2. Using the noise gate on guitars
      3m 57s
    3. Using the noise gate on drums
      7m 38s
    4. Learning de-esser basics
      2m 15s
    5. Using the de-esser on vocals
      2m 23s
  9. 36m 4s
    1. Understanding equalizer parameters
      10m 16s
    2. Learning subtractive equalization
      8m 57s
    3. Learning frequency juggling
      8m 28s
    4. Using the magic high-pass filter
      7m 39s
    5. Learning the principles of equalization
      44s
  10. 49m 46s
    1. Equalizing the kick
      6m 7s
    2. Equalizing the snare
      2m 57s
    3. Equalizing the rack toms
      5m 4s
    4. Equalizing the floor tom
      4m 32s
    5. Equalizing the hi-hat
      4m 56s
    6. Equalizing the cymbal or the overhead mics
      6m 49s
    7. Equalizing the room mics
      5m 13s
    8. Equalizing the bass
      3m 59s
    9. Editing the bass rhythm
      4m 21s
    10. Equalizing the rhythm section
      5m 48s
  11. 47m 58s
    1. Equalizing the electric guitar
      8m 15s
    2. Equalizing the acoustic guitar
      4m 55s
    3. Equalizing the hand percussion
      3m 28s
    4. Equalizing the lead vocals
      6m 5s
    5. Equalizing the background vocals
      4m 14s
    6. Equalizing the piano
      4m 46s
    7. Equalizing the organ
      6m 49s
    8. Equalizing the strings
      6m 4s
    9. Equalizing the horns
      3m 22s
  12. 30m 47s
    1. Learning the principles of reverb
      1m 59s
    2. Understanding reverb parameters
      6m 49s
    3. Timing the reverb to the track
      6m 6s
    4. Equalizing the reverb
      2m 51s
    5. Using the two-reverb quick setup
      5m 35s
    6. Using the three-reverb setup
      7m 27s
  13. 59m 8s
    1. Adding reverb to the drums
      7m 56s
    2. Adding reverb to the vocals
      11m 59s
    3. Adding reverb to the guitars
      5m 17s
    4. Adding reverb to the piano
      4m 19s
    5. Adding reverb to the organ
      3m 43s
    6. Adding reverb to the strings
      5m 36s
    7. Adding reverb to the horns
      2m 57s
    8. Adding reverb to the percussion
      4m 46s
    9. Using reverb to layer the mix
      12m 35s
  14. 46m 8s
    1. Learning delay principles
      1m 40s
    2. Understanding delay parameters
      6m 54s
    3. Timing the delay to the track
      1m 28s
    4. Using delay timing variations
      2m 51s
    5. Equalizing the delay
      4m 23s
    6. Understanding the Haas effect
      2m 51s
    7. Using the three-delay setup
      7m 23s
    8. Adding delay to the vocals
      8m 43s
    9. Using delay to layer the mix
      9m 55s
  15. 21m 35s
    1. Understanding the types of modulation
      2m 43s
    2. Understanding modulation parameters
      4m 13s
    3. Modulating the guitars
      4m 7s
    4. Modulating the keyboards
      3m 17s
    5. Modulating the vocals
      4m 17s
    6. Modulating the strings
      2m 58s
  16. 12m 22s
    1. Mixing with subgroups
      5m 5s
    2. Using mix buss compression
      4m 21s
    3. Understanding the evils of hypercompression
      2m 56s
  17. 39s
    1. Goodbye
      39s

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Audio Mixing Bootcamp
8h 53m Beginner Nov 11, 2011

Viewers: in countries Watching now:

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.

Topics include:
  • Optimizing your listening environment
  • Setting up sessions, subgroups, and effects
  • Understanding which mixing elements to avoid
  • Understanding the principles of building a mix
  • Panning instruments
  • Setting up the compressor
  • Using noise gates and de-essers
  • Understanding the concept of frequency juggling
  • Using the magic high-pass filter
  • Timing reverb and delay to a track
  • Using reverb to layer the mix
  • Understanding the Haas effect
  • Modulating guitars, keyboards, and vocals
  • Mixing with subgroups
  • Tweaking the final mix
Subjects:
Audio + Music Mixing Music Production Audio Effects
Software:
Pro Tools
Author:
Bobby Owsinski

Using the three-reverb setup

In this video we'll look at how to use 3 reverbs in the mix to get a small, a medium, and a large space. I'll show you that by placing instruments in different environments, we can give the mix depth and interest. So the first thing we're going to do is add a reverb. We'll go and I'll get our D-Verb that we've been using, and this is going to be for our short reverb. This will be a small space and we'll call this a Room, and it will be set to less than one second. In this case I'm going to put it somewhere down 500 milliseconds or so.

We're going to use this for percussion and drums and maybe even guitars and keyboards. The second one is going to be a medium space and what we're going to do is add a Reverb Effects returned. So we'll come up to Track, we'll say New, we'll say Stereo because it sounds better in stereo, and we'll say Aux Input. So there is our Aux Input that just came up. Let's call this Rev Medium. Let's again let's add a D-Verb. I am using D-Verb because I think it sounds better than all the other ones.

Now this one we're going to set to a plate. We're going to set it between 1 and 2 seconds. Now it's at 1.7; we'll set it at 1.8. Once again, 20 milliseconds or so sounds really good and what we would like to do also is roll it off to about 10K. That always sounds really good. There is our second one and our third one is going to be a long reverb. This is a large space. D-Verb up again. Now we'll set this to more than 2 seconds, so we'll go to 2.5 in this case.

Once again, 20 milliseconds always sounds good. If we were going to do this really the right way in the mix, we would time the decay and we time the pre-delay to the track. This will work okay. Let's cut it at 10K and we're all set. The one thing we didn't do is set the bus input for the medium reverb return channel that we just created, so let's do that now. And since this was Bus 11 and 12, the other one is 13 or 14, I don't know what the other buses are.

I'm just going to say 23 and 24. So now let's have a listen to what these sound like and we'll start with the drums. I'll start with our snare drum. (Music playing) The first thing we'll do is go to Bus 11-12. That was our short reverb. Let's have a listen what it sounds like. (Music playing) I don't know if that fits this song, so let's actually set this now to the next bus.

Let's set it to 13 and 14. This is to the medium reverb. (Music playing) That seems to fit the track a lot better. Let's listen. (Music playing) That sounds pretty good.

Let's go to the vocal. Vocal is always the most important thing, and once again we'll try the three different reverbs. Let's set it to 11-12 which is the short one. Let's hear what it sounds like. (Music playing) Again, this is only a half a second, so it doesn't take much to actually put the singer into a room.

Let's listen in the track. (Music playing) You can hear it. It makes a really big difference, so we're going to keep it there. Let's go to the strings. Strings are interesting because they usually sound really good when they have a long reverb on them, and in this case we have a nice long reverb on our reverb number 3. So let's have a listen. Solo it up.

(Music playing) Okay, now let's listen to the strings, and usually they benefit from a really long reverb. So the first thing we're going to do is we're going to set our bus to 13 or 14, which happens to be the really long reverb. Solo it up first and listen without the reverb at all. (Music playing) Pretty bland.

Let's listen to the reverb added now. (Music playing) Let's go back and forth. We'll go between the muted reverb and the reverb. (Music playing) Let's listen in the track now.

(Music playing) Now let's add a couple more reverbs here to some other instruments. (Music playing) Okay, let's add a reverb to the electric piano.

Let's listen to it by itself now. Here is the electric piano. (Music playing) Let's add some of the medium reverb and see what it sounds like. So we know that it's on Bus 23-24. Let's have a quick listen. (Music playing) Let's have a quick listen in the mix now.

(Music playing) Now let's go back and just mute the reverbs quickly and have a listen to what it sounds before and after. Now keep in mind that all of the instruments don't have reverb on them and they don't normally would, but you can get the idea just from this. (Music playing) So by using three different reverbs we can artificially simulate a small, a medium, and a large environment, and that will help us better layer the tracks in the mix.

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