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| quote: | Originally posted by Bondor
"the magic *reverb* formula"
time the pre delay. it doesn’t matter what reverb you use on what instrument, you will find that some sound better with some interments but at the same time you might be going for a totally different feel in the song. Really what matters the most is the timing on the pre delay. lets say you were listening to a band play in a room or on stage, what do you hear?
+--------------+
|..............| S = Source
|......S.......| U = You
|..............|
|..............|
|..............|
|..............|
|..............|
|......U.......|
+--------------+
you hear the clear unaltered source music first(because thats the shortest path of the source to your ears) followed by the reflection of the room. The time between the two is determined by how big the room is, and the placement of the instruments. lets assume that the shortest reflection is from the back wall to U, being the first reverb reflection your ears hear. So the closer the source is to the back of the room the short the pre-delay time is, and the closer to you and further away from the back of the room the longer the pre-delay is. WOW ISNT THAT GREAT!!! but what difference does that make? well by timing the pre-delay on the reverb you can take your dry mix and layer it front to back in the room. If you set it up like a band you would usually place the drums in the back, with the shortest pre-delay, the backup singers or melody guitar in the middle, and the lead singer in front(closest to you, longest pre-delay). so now you have a stereo image that also has depth. cool huh? BUT, there is a problem. if you arbitrarily place the instruments front to back without any rhyme or reason you will end up with reverb hits that are VERY noticeable, and turning up the reverb just a little bit will make it sound swamped. SO WHAT ON EARTH DO YOU DO??!?!? easy, you time the reverb so that it falls in time with the song. WELL HOW DO YOU DO THAT?!??!?!?! easy, you figure out the length of 1/4 note(1 beat) in ms then just divide by two again and again and again. Your ear cant distinguish two differnt hits after about 20 or so ms, so you should start around there. Here’s an example of the reverb times i use on a 136 BPM track:
(in ms)
441.1 1/4 th
220.5 1/8
110.2 1/16 lead vocals or lead instruments (lead synth)
055.1 1/32 backup instruments (padds or stings)
027.5 1/64 drums (clap hi-hat, cymbals)
013.7 1/128 background stuff (ambient synths or noise)
006.8 1/256
mixing like this will let you drown the instruments in reverb without getting the sound swampy. But more importantly it adds non-conflicting depth to the song , as opposed to just left and right.
i dont know does that make sence?
the first time i did it to one of my songs, changing all the reverb times, and then pressing play, the song literally jumped out at me, the synths were in my face, and the drums were filling the room.
but with all that said, ferry corsten doesnt do this, so ... keep that in mind when making a track, this technique is used on major recordings and not necessarily on club friendly tracks. |
Best post of the thread.
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| quote: | Originally posted by dj_alfi
change your avatar for fucks sake. |
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How i make that ? ( sample inside )
