Question re: global reverb: If every sound in the natural world has a slight amount of reverb in it, wouldn't a dry sound coming out of a speaker also then create reverb from the room it's played in? (Not including listening on airbuds)
Yes absolutely! This is why every room you listen music in sounds differently. So you kinda get this 'free reverb' on all music you make - you just don't have any control of what type of reverb it's going to be, since it's dependent on the listener's setup. Keep in mind this reverb is usually a lot less 'reverby' than the reverbs you would add to your music deliberately - so you still 'need' to add reverb to your music despite getting this freebie auto-reverb :P
I consider myself considerably experienced when it comes to sound design, production techniques, mixing, etc. I have watched over a thousand videos on music production, but I must say that your content is incredibly valuable. I am learning a lot of new stuff through your videos, and it will definitely be used as a beneficial implementation to my arsenal. Thank you for sharing this.
Pensado video on youtube: Abbey Road Reverb Technique - Into The Lair #128 What does he do there? 1. High Pass at 600 Hz (depends on source material, in this case it is a female vocal). 2. Low Pass at 6.65 kHz (same track) So the difference to what you do and recommend in your video here is to also filter high frequencies. Then Dave add Fabfilter Saturn. He stresses, that he processes the signal before it goes into the reverb (the input signal and not the output signal). I think that goes beyond what is commonly referred to as the Abby Road Reverb technique/method/trick. Typically, the Abby Road trick is High Pass at 600 Hz and Low Pass between 8 kHz and 10 kHz.
You are an amazing teacher. You are able to explain problems that have plagued me for years in such a way where I am able to see beyond it & I am able to understand WHY I am doing it in the process. Thanks a ton for what you do dude. It’s very juicy info
Loved the Franky Wah tutorial you shot, but I was wondering if you could cover how to do the speed up & slow down of synth sounds as illustrated in Franky's track "Distance Between Us" at minute 2:25 onwards? Link to track:- ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-JDi9sJXX8J4.html Cheers Will
Lol. That tea must be good! Nice touch. Another great video, Will. I like the tip of getting the decay length dialed in, then reducing the dry/wet to compare with the reference track.
Probably your best episode yet! So true..with verb...less is more...allow generous tails or wash on a single item exposed in a sparse mix...hopefully you'll be at ADE and I'll be sure to say hello.
I used to put too much reverb on everything, which I never noticed until I re-listened a track much later. Now I always try to apply it in a way where I only notice it when it's gone and I haven't disappointed my future-me yet.
Will, excellent tips. I like putting a beat repeat plugin at the end of the reverb return track chain. You then get a chunky sounding reverb tail, sounds quite cool in certain scenarios.
Can't thank you enough. You give meaning to my life. I wish I were from a country so I could buy your courses or donate or something, but my soul and energy is always with you.
Great tips! Referencing is super important, but keep in mind that a solo section in the reference track might have exaggerated effects activated, maybe a more extreme reverb setting.
Hi Will, please, is there a video somewhere on your youtube channel of how you made the "Good Things" track? Or is it downloadable as project? Sounds really cool. Thank you
You 're right, it is a waste of time. It 's barely audible in most of your examples and as far as i know. If u can 't hear it well, remove it, its clutter.
@@Hermit_ I watched the vid on studio monitors and heard the difference. Assuming we're talking about the room reverb trick (since the others are more obvious) it does add subtle cohesion and width to the track. Its these subtle moves here and there that add up to a pro final mix I find in my experience and would warn against discounting moves that don't "make a big change".
@@fathuman I did like the vocal one. if it comes to the room reverb thing, it 's nice to have early reflections but as far as the actual reverb tail goes, silence it.
The side chain technique and placement of reverbs according to their usage, especially. I've not been sure of my way of applying the reverb plugins, and been watching hundreds of tutorials. This is "IT" tutorial for me. Thank you. @@EDMTips 👍
I've been experimenting with overly high-passing lead vox and then putting some of the lower freqs back with short delay and pre-delayed reverb. Is that a muddy mix in the making or a cool idea?
Great video! A question Will: is it a mistake to favor delays instead of reverbs on vocals in fast-paced songs? I feel reverb makes it a little bit cloudy. But maybe that's because I didn't sidechain compress the reverb to the lead vocal.
It completely depends on the length of the reverb, really. No reverb at all will most likely sound strange, unless you want a very intimate sounding vocal
Will, useful as ever. Yes, you are right, sometimes less is more if you know how to handle reverb. It's not the case that a song will work if you just smack some reverb on it. I have to take a look at my own nose. So, those aspects are always worth watching your videos. Thank you.
It depends what effect you're trying to achieve. Sometimes you might want all your percussion parts, or your synths, to sound like they were recorded in the same room, so you'd bus them to the same reverb, but other times you might want more separation. Similarly, you might have two bass layers, but you only want reverb on the higher frequencies and not on the sub-bass, so you wouldn't send the whole bass group to the reverb aux.
