@@kennedywokama687 my fault kinda wrote it wrong but if using compression when f'ex mastering use bpm divided by 60000 x 4 and use the first 2-4 numbers and those numbers should = release + attack
Another thing that helps is using parallel chains for multiple reverbs. Ex. One reverb can be ultra short but gives the depth to the vocals while another is long which gives the atmosphere. You can also sidechain reverbs to the original vocals if you feel the vocal is getting covered by the reverb(especially a long reverb).
It’s a great advice all the time, but I come back for how you stare into my soul without blinking your eyes and doing these slow movements with your head 🫶
But, ducking is the real solution. If the vocal phrase is longer than in your example, the predelay won't accomplish your goal of keeping the tail "out of the way." If your reverb doesn't have a ducking option, you can use a compressor or an audio-triggered EQ (this is especially easy in bitwig).
@@andrescamiloarevalo7311just google “another producer reverb calculator” the website will pop up and you just put your bpm and it will give you multiple reverb timings to choose from
If I made a video saying to do that then the comments would say “just use your ears”. Point of the video is just to explain what the settings are actually controlling.
If you calculate predelays and decay times with respect to the song tempo, you’ll have better cohesion. U can find out the manual way to do it. Better yet, use an online delay calculator and get it done in seconds.
I would say it’s not the best way because in real world music and reverbs dont work like that. Music isnt math only thing if you want to make the best songs. Feeling is the most powerful thing and when things feel too quantized or calculated it’s not the one for sure.
@@Borderbeach we’re not quantizing the drums or the percussive elements or the arrangement here. We’re just tryna make sure the predelays don’t overlap and make the mix muddy.