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Beim Contest merk ich wieder mal, dass ich eigentlich keine Ahnung von Reverb hab.
Hier ein paar Fragen an euch:
1. Wie entscheidet ihr euch für ein bestimmtes Reverb Plugin? Oder benutzt für alle Anwendungen das selbe?
2. Benutzt ihr Impulse Response? Für was genau?
3. Wie findet ihr zu passenden Einstellungen innerhalb eines Reverb Plugin. Presets durchprobieren oder an einer "Standardposition" starten?
4. Wie groß sind die Räume bei Modernen Produktionen? Kommen da schon mal Kirchen und so vor oder nimmt man eher Club/Studio größe?
Ganz interessant:
http://www.soundonsound.com/sos/mar06/articles/usingreverb.htm
Vocals & Drums
reverb Sony DRES777.s
The most realistic artificial reverberation is now created through convolution technology, but this requires so much DSP power that it only became a practical reality for real-time processing in 1999 with the Sony DRE-S777.
We've never had so much choice when it comes to high-quality reverberation, so the challenge is twofold; not only do we have to decide which type of reverb to use, but we also have to avoid getting sidetracked into trying out every one of the hundreds of presets and room samples that modern products so often come with! In my view, synthetic reverbs (or convolution samples of synthetic reverbs), with their larger-than-life sound, are still the first choice for pop vocals, though the choice of decay time is harder to pin down, as it can vary from around two seconds for some ballads to less than one second where you're after a tight, intimate sound. Furthermore, on those reverb devices that let you adjust the level of the early reflections and reverb tail separately, you have the option of using stronger early reflections to create density and space with less reverb tail, which helps avoid clutter.
As a rule, modern productions tend to use far less obvious reverb treatments than records made up to the early 1990s, so it really helps to put on some records and do some analytical listening to see what reverbs have been chosen and how heavily they've been applied. It's probably fair to say that choosing an appropriate vocal reverb is more important than any other reverb application. One factor always to keep in mind when mixing is that a heavy application of reverb tends to make a sound appear to be more distant, and that's often at odds with the concept of a lead vocal that you want to keep upfront. Shorter, brighter reverbs feel closer, while warmer, longer reverbs push sounds to the back. If you need more obvious reverb on a lead vocal, then keeping it bright and adding some pre-delay is one way to prevent the sound being pushed too far back.
reverb Altiverb.s
The leaps in computer processing power during the last few years mean that reverb convolution processing has become increasingly available in the form of plug-ins such as Audio Ease Altiverb.
Today's drum sounds are drier and tighter than the roomy sounds of the '70s and '80s, so convolution presets based on studio drum rooms, or synthetic ambience programs that focus on early reflections, tend to be very effective in producing the desired sound and sense of space without the result getting messy. For a more traditional rock drum sound, though, a synthesized reverb plate still sounds fantastic. Guitars and synths can make use of whatever suits artistically, though springs and plates are still very popular. The only word of warning here is that many synth patches come with lots of reverb to make them sound impressive for in-store demos, but in a mix you may find you need to back off the reverb a bit.
If you're into dance music, you may notice that very heavy reverb is used on some synth parts, but it is still used with care, not indiscriminately. It's also often the case that less is more, so using reverb sparingly can result in a product that's artistically better than where reverb is overused. Ultimately, the correct choice of reverb type and its application is an art which rates alongside setting level and pan settings as a major part of mixing. Knowing what is available helps, but you also need to develop your listening skills so that you can hear how the better commercial records were produced and how the use of reverb figures in those productions.
Thanks to FX Rentals (+44 (0)20 8746 2121) and Klark Teknik (+44 (0)1562 741515) for supplying the Klark Teknik DN780, Quantec Room Simulator, Lexicon 224, and Ursa Major SST282 Space Station digital reverbs pictured in this article. These units can be rented from FX Rentals for around £35, £88, £35, and £59 respectively per day including VAT. Thanks also to Jim Kenniff at K-Sound Studios (+1 717 872 8509) and to Janet and Phil at Bova Sound (+1 613 228 0449) for the pictures of their EMT 140 plate reverbs.
Hier ein paar Fragen an euch:
1. Wie entscheidet ihr euch für ein bestimmtes Reverb Plugin? Oder benutzt für alle Anwendungen das selbe?
2. Benutzt ihr Impulse Response? Für was genau?
3. Wie findet ihr zu passenden Einstellungen innerhalb eines Reverb Plugin. Presets durchprobieren oder an einer "Standardposition" starten?
4. Wie groß sind die Räume bei Modernen Produktionen? Kommen da schon mal Kirchen und so vor oder nimmt man eher Club/Studio größe?
Ganz interessant:
http://www.soundonsound.com/sos/mar06/articles/usingreverb.htm
Vocals & Drums
reverb Sony DRES777.s
The most realistic artificial reverberation is now created through convolution technology, but this requires so much DSP power that it only became a practical reality for real-time processing in 1999 with the Sony DRE-S777.
We've never had so much choice when it comes to high-quality reverberation, so the challenge is twofold; not only do we have to decide which type of reverb to use, but we also have to avoid getting sidetracked into trying out every one of the hundreds of presets and room samples that modern products so often come with! In my view, synthetic reverbs (or convolution samples of synthetic reverbs), with their larger-than-life sound, are still the first choice for pop vocals, though the choice of decay time is harder to pin down, as it can vary from around two seconds for some ballads to less than one second where you're after a tight, intimate sound. Furthermore, on those reverb devices that let you adjust the level of the early reflections and reverb tail separately, you have the option of using stronger early reflections to create density and space with less reverb tail, which helps avoid clutter.
As a rule, modern productions tend to use far less obvious reverb treatments than records made up to the early 1990s, so it really helps to put on some records and do some analytical listening to see what reverbs have been chosen and how heavily they've been applied. It's probably fair to say that choosing an appropriate vocal reverb is more important than any other reverb application. One factor always to keep in mind when mixing is that a heavy application of reverb tends to make a sound appear to be more distant, and that's often at odds with the concept of a lead vocal that you want to keep upfront. Shorter, brighter reverbs feel closer, while warmer, longer reverbs push sounds to the back. If you need more obvious reverb on a lead vocal, then keeping it bright and adding some pre-delay is one way to prevent the sound being pushed too far back.
reverb Altiverb.s
The leaps in computer processing power during the last few years mean that reverb convolution processing has become increasingly available in the form of plug-ins such as Audio Ease Altiverb.
Today's drum sounds are drier and tighter than the roomy sounds of the '70s and '80s, so convolution presets based on studio drum rooms, or synthetic ambience programs that focus on early reflections, tend to be very effective in producing the desired sound and sense of space without the result getting messy. For a more traditional rock drum sound, though, a synthesized reverb plate still sounds fantastic. Guitars and synths can make use of whatever suits artistically, though springs and plates are still very popular. The only word of warning here is that many synth patches come with lots of reverb to make them sound impressive for in-store demos, but in a mix you may find you need to back off the reverb a bit.
If you're into dance music, you may notice that very heavy reverb is used on some synth parts, but it is still used with care, not indiscriminately. It's also often the case that less is more, so using reverb sparingly can result in a product that's artistically better than where reverb is overused. Ultimately, the correct choice of reverb type and its application is an art which rates alongside setting level and pan settings as a major part of mixing. Knowing what is available helps, but you also need to develop your listening skills so that you can hear how the better commercial records were produced and how the use of reverb figures in those productions.
Thanks to FX Rentals (+44 (0)20 8746 2121) and Klark Teknik (+44 (0)1562 741515) for supplying the Klark Teknik DN780, Quantec Room Simulator, Lexicon 224, and Ursa Major SST282 Space Station digital reverbs pictured in this article. These units can be rented from FX Rentals for around £35, £88, £35, and £59 respectively per day including VAT. Thanks also to Jim Kenniff at K-Sound Studios (+1 717 872 8509) and to Janet and Phil at Bova Sound (+1 613 228 0449) for the pictures of their EMT 140 plate reverbs.
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