Regarding the three-reverb-technique you mentioned: if your goal is to place instruments in a room, wouldn't it make more sense to change the early reflection/tail ratios and pre-delays instead of decay times? Because I thought the percieved distance between the source and the listener wasn't decay dependent... Big fan of your channel btw! Learned a lot since I found it and love the math side of things!
Great stuff as always mate, id love a video breaking down your daily work routine, you pump out an insane amount of quality content alongside your professional work. Much love ❤️
There’s a reason why most don’t ride or better, specifically enhance many moments (like vocal ride), ands it’s due to nobody will know. It’s the signature of the engineer, those details are you signing off or stamping, very important. I use early reflection or delay for placement of things, I don’t want you to hear or notice effects, just feel something forward or back or floating etc. It’s only after I’ll decide space as an effect or delay. Good stuff, enjoyed your video.
I'm struggling with actually using stereo and mono reverb and delays. Like in some songs i tried to analyze how the engineer or producer used it, I got it a little bit but i can't effectively craft space with using both of them. If you could explain the effective places to put mono reverb or delay and where to put stereo, that would be amazing for people like me. And if that is only as simple as putting mono stuff on mono channel and stereo stuff on stereo channel, please let me know.
You can pan two different mono reverb sends and create an interesting space! The left can be a plate and the right could be a room! Flip the phase on one or eq them differently ! Or put a phaser on one verb and flanger on the other and so on
I always fader ride a utility plugin not the channel fader, so I can still adjust the mix using the faders. I also ride the master channel first before all other rides in the mix. But that's just me, there are no fixed rules. I use short (Bricasti Studio B Close), medium (Lexicon 480 Snare Plate or Bricasti Sun Plate C), medium (Lexicon 224 Concert Hall 1 on synths), long (Bricasti Sunset Chamber), splash (Lexicon 480 Auto Park). I find these work for my taste on most mixes, but I don't use them for soundstage, that's what pre delay is for, they are each used for their emotion.
I’m using my Finalizer for live sound. I started doing live sound in 2015. It was a game changing for me in regards to riding faders in the studio. Plus it increased the speed of my studio mixing.
I switch between 2 and 3 verbs. Depending on the song I'll have either 2 a long (or med) and a short, or all three. I tend to use three most often when working with vocals, but as I make DnB mostly, that isn't always the case. I'll still use three when doing atomospheric stuff, and I really need the layers of depth there, but if I'm doing something more upfront, I'll often just have the two. I'll also occasionally use another extra one for specific elements or as an effect outside of the the main ones, but that's only in rare cases where the more natural sounding main verbs I'll of chosen don't quite do the job and I want something a with a bit more charicter and more noticable, but usually the two or three I set up near the start are enough.
Thanks for sharing your insight man - you do it so authentically and I love the point you made about bringing value to others. It is a tough lesson (esp. since things like school, uni etc often train us repeating things and list quantitative "knowledge" instead of qualitative value) it not easy letting that go and instead focussing on understanding at what point in THEIR process someone is and helping them along like you, I'm not saying it's not worth learning your facts e.g. about gear, but it's not about regurgitating these at someone if they just need to get ahead in their process - it is worth for oneself to know what something is doing so you can decide unless of course we're talking about teaching facts - then we need to go throw frequencies and the likes at people 😀
As far as I know (people don't seem to talk about it at least) not many people realise that you can also use plugin doctor to test hardware aswell as plugins. You can send the test signal through a hardware loop and get back all the same info you get for pulgins like freq responce, compressor a/s/d/r, harmonics graph etc. Another really good free one is REW, designed as a room EQ for room correction, it has a bunch of other tools like the ability to check anything for how much harmonic distortion it adds to a signal etc. It's really granular and shows you how much noise vs harmonics, the ratio between first, second, third order harmonics etc. It came in really handy when I was tuning my bus comp's VCAs for the lowest possible THD.
Literally, every week look forward for your videos, I thought you had a video about TrueVerb. Do you have any videos talking about early reflections? Anyways your videos are AMAZING!
My "reverb system" if I can call it like that is as follows: I set a short and long reverb for each category of tracks. For example a short & long reverb for drums, other for instruments, other for vocals, etc, and appart from that have special reverb aux busses that I use for the main vocal and or main synth
Your content is so awesome and there is so much to learn from you on so many different topics. I use different delays and reverbs on busses in my mixes and was inspired by a live engineer who had it setup like that. I saw that Chris Lord-Alge uses the same approach, I considered his Epic plugin but ended up making my own approach of it. It’s a great way to get a good starting point when mixing fast, sometimes I will adjust the settings but mostly I end up with my templates because they just work for the genre I mostly mix.
Ive been usinf front middle back room for my spatial verbs and a separate bus for verbs that add vibe rather than spatial information. I mostly keep the front middle and back verbs in the same algorithm. For front middle and back I set the predelay time, compression, and eq accordingly. I turn down the secondary reflections. I then route those into the room verb which has the predelay turned down or off. Its kinda like brute forcing 3d rendering, and its kinda processor intensive, but it definitely adds that holographic quality that i feel is missing with other reverb methods. You can also automate things moving forward and backwards in the space with send automation if you feel like the track needs it. I will also add a send for the character verb usually to the back verb to add some glue. I keep the room verb level pretty low in the mix compared to the character verbs. A little goes a long way, especially in dense mixes or fast tracks
Nicholas! Boy am I glad I stumbled upon your page when I did! I always look forward to your content because unlike many other "similar" engineers on TH-cam, I gain a whole lot from your posts because you are not a surface or 'quick fixes' engineer. You should know that you are a human of high value! Keep up the good work. I appreciate you man!
I learned pretty fast on my first studio session as an assistant that unless someone asks for your opinion just keep your mouth shut and do as you are told, I also tried to show off my knowledge and was quickly put in place about it.
I only came her to comment on the title. I'm not gonna watch because it's making me feel like you are the only person that can share these lessons, which is complete bullshit, it's that secret sauce kinda bullshit. I do not approve of such view tactics.
You missed out, it's not even click bait. He's litterally talking about things he learnt as an intern that's not even nessasarily spoke about anywhere else. Things like learning humility from trying to show off infront of the engineer on his first day and getting a clip beinhind the ears (metaphorically). Ever heard the saying "Never judge a book by it's cover?"
@@DaftyBoi412 so like he says you should have common sense? like you would learn in any work enviorment? I do judge books my their cover, the chosen art says all I need to know about the author. Never read a bad book to this day so I must be doing something right.
@@samiirai You fundamentally misunderstand that saying. It's not about the books you've read, but the great ones you missed (by sticking your nose up in the air at artwork?!) You know it's oftentimes the publisher that designs the cover right, and not so often the author.
@@DaftyBoi412 No I did not, books are not people. They are dead items and if the cover is not good, why should I care? The author did not do a good job at getting my attention so I highly doubt the writing will be any better. If the title and cover wasn't important, why don't they just save money and call it book and just have the cover blank white? As an artist, nobody going to look at my work without me making the invite, cover-art is that invite.
![CAMPปลิ้น | EP.82[1/2] แก๊ง 3 สาวเพื่อนซี้บุก CAMPปลิ้นครั้งนี้ห้ามเสียอาการ](http://i.ytimg.com/vi/_6WUjXHe1TM/mqdefault.jpg)
How do you manage to put out all this content. Whew! And of such high quality too
Go buy stocks in red bull
@@panorama_mastering I bought all the stocks of redbull my local supermarket had on the shelves. What do I do now? I'm shaking! :O
xD
Easy
He doesn’t intern in the studio anymore . He only does this full time. Much larger and steadier client base and 24/7 😂
Regarding the three-reverb-technique you mentioned: if your goal is to place instruments in a room, wouldn't it make more sense to change the early reflection/tail ratios and pre-delays instead of decay times? Because I thought the percieved distance between the source and the listener wasn't decay dependent...
Big fan of your channel btw! Learned a lot since I found it and love the math side of things!
Great stuff as always mate, id love a video breaking down your daily work routine, you pump out an insane amount of quality content alongside your professional work. Much love ❤️
Will do! Thanks for watching!
There’s a reason why most don’t ride or better, specifically enhance many moments (like vocal ride), ands it’s due to nobody will know. It’s the signature of the engineer, those details are you signing off or stamping, very important.
I use early reflection or delay for placement of things, I don’t want you to hear or notice effects, just feel something forward or back or floating etc. It’s only after I’ll decide space as an effect or delay.
Good stuff, enjoyed your video.
Fair assesment! Thanks man, appreciate you following along
The channels for the vocals, the PC,VERB,SPACE,WIDE,CRUSH AND SHINE, WHAT IS ON THOSE CHANNELS?
I'm struggling with actually using stereo and mono reverb and delays. Like in some songs i tried to analyze how the engineer or producer used it, I got it a little bit but i can't effectively craft space with using both of them. If you could explain the effective places to put mono reverb or delay and where to put stereo, that would be amazing for people like me. And if that is only as simple as putting mono stuff on mono channel and stereo stuff on stereo channel, please let me know.
You can pan two different mono reverb sends and create an interesting space! The left can be a plate and the right could be a room! Flip the phase on one or eq them differently ! Or put a phaser on one verb and flanger on the other and so on
I use stereo fx almost exclusively… i don’t think about it too much more than that
I always fader ride a utility plugin not the channel fader, so I can still adjust the mix using the faders. I also ride the master channel first before all other rides in the mix. But that's just me, there are no fixed rules.
I use short (Bricasti Studio B Close), medium (Lexicon 480 Snare Plate or Bricasti Sun Plate C), medium (Lexicon 224 Concert Hall 1 on synths), long (Bricasti Sunset Chamber), splash (Lexicon 480 Auto Park). I find these work for my taste on most mixes, but I don't use them for soundstage, that's what pre delay is for, they are each used for their emotion.
Good tip! Thanks for sharing
I’m using my Finalizer for live sound. I started doing live sound in 2015. It was a game changing for me in regards to riding faders in the studio. Plus it increased the speed of my studio mixing.
If it works it works!!!
I switch between 2 and 3 verbs. Depending on the song I'll have either 2 a long (or med) and a short, or all three. I tend to use three most often when working with vocals, but as I make DnB mostly, that isn't always the case. I'll still use three when doing atomospheric stuff, and I really need the layers of depth there, but if I'm doing something more upfront, I'll often just have the two. I'll also occasionally use another extra one for specific elements or as an effect outside of the the main ones, but that's only in rare cases where the more natural sounding main verbs I'll of chosen don't quite do the job and I want something a with a bit more charicter and more noticable, but usually the two or three I set up near the start are enough.
Thanks for sharing your insight man - you do it so authentically and I love the point you made about bringing value to others. It is a tough lesson (esp. since things like school, uni etc often train us repeating things and list quantitative "knowledge" instead of qualitative value) it not easy letting that go and instead focussing on understanding at what point in THEIR process someone is and helping them along
like you, I'm not saying it's not worth learning your facts e.g. about gear, but it's not about regurgitating these at someone if they just need to get ahead in their process - it is worth for oneself to know what something is doing so you can decide
unless of course we're talking about teaching facts - then we need to go throw frequencies and the likes at people 😀
Can you explain in more detail why plugindoctor is useful please?
This video explains it better than I ever could; th-cam.com/video/1IH6N63AXu4/w-d-xo.htmlsi=7TIBWmuux2IheJ-A
@@panorama_mastering thank you
What's the difference between your spatializer and wide channel
Slap… i don’t know what I said spatializer… it’s slap
@@panorama_mastering Thank you, was now confused a bit
As far as I know (people don't seem to talk about it at least) not many people realise that you can also use plugin doctor to test hardware aswell as plugins. You can send the test signal through a hardware loop and get back all the same info you get for pulgins like freq responce, compressor a/s/d/r, harmonics graph etc.
Another really good free one is REW, designed as a room EQ for room correction, it has a bunch of other tools like the ability to check anything for how much harmonic distortion it adds to a signal etc. It's really granular and shows you how much noise vs harmonics, the ratio between first, second, third order harmonics etc. It came in really handy when I was tuning my bus comp's VCAs for the lowest possible THD.
Could you explain the Hammerstein graph in plugin doctor I'm not sure I understand it.
Sometimes, you just get set up and let the artists breathe and plan their excitation.
Literally, every week look forward for your videos, I thought you had a video about TrueVerb. Do you have any videos talking about early reflections? Anyways your videos are AMAZING!
Here you are Every Reverb Setting 101 to Create Your Own Perfect Sound
th-cam.com/video/6QHD7eqdZyg/w-d-xo.html
My "reverb system" if I can call it like that is as follows: I set a short and long reverb for each category of tracks. For example a short & long reverb for drums, other for instruments, other for vocals, etc, and appart from that have special reverb aux busses that I use for the main vocal and or main synth
Amazing! Thanks for sharing
dude's a legend 😍
Thanks man!
Your content is so awesome and there is so much to learn from you on so many different topics.
I use different delays and reverbs on busses in my mixes and was inspired by a live engineer who had it setup like that. I saw that Chris Lord-Alge uses the same approach, I considered his Epic plugin but ended up making my own approach of it. It’s a great way to get a good starting point when mixing fast, sometimes I will adjust the settings but mostly I end up with my templates because they just work for the genre I mostly mix.
Appreciate it! Thanks for sharing
50th comment 4.11.2k24
That reverb technique you mentioned is such a game changer. Highly recommend everyone try it to add depth in their mixes
Yeap! Spot on!
I still clip drums through my tc finalizer express sometimes!
If it works!!!
Ive been usinf front middle back room for my spatial verbs and a separate bus for verbs that add vibe rather than spatial information. I mostly keep the front middle and back verbs in the same algorithm. For front middle and back I set the predelay time, compression, and eq accordingly. I turn down the secondary reflections. I then route those into the room verb which has the predelay turned down or off. Its kinda like brute forcing 3d rendering, and its kinda processor intensive, but it definitely adds that holographic quality that i feel is missing with other reverb methods. You can also automate things moving forward and backwards in the space with send automation if you feel like the track needs it. I will also add a send for the character verb usually to the back verb to add some glue. I keep the room verb level pretty low in the mix compared to the character verbs. A little goes a long way, especially in dense mixes or fast tracks
Nicholas! Boy am I glad I stumbled upon your page when I did! I always look forward to your content because unlike many other "similar" engineers on TH-cam, I gain a whole lot from your posts because you are not a surface or 'quick fixes' engineer. You should know that you are a human of high value! Keep up the good work.
I appreciate you man!
Latch can also get you into the weeds ... later down the process.
Of course!
I learned pretty fast on my first studio session as an assistant that unless someone asks for your opinion just keep your mouth shut and do as you are told, I also tried to show off my knowledge and was quickly put in place about it.
Such great advice, man!
You’re welcome
It a great life lesson to learn making people around you feel valued ❤
I only came her to comment on the title.
I'm not gonna watch because it's making me feel like you are the only person that can share these lessons, which is complete bullshit, it's that secret sauce kinda bullshit.
I do not approve of such view tactics.
You missed out, it's not even click bait. He's litterally talking about things he learnt as an intern that's not even nessasarily spoke about anywhere else. Things like learning humility from trying to show off infront of the engineer on his first day and getting a clip beinhind the ears (metaphorically).
Ever heard the saying "Never judge a book by it's cover?"
@@DaftyBoi412 so like he says you should have common sense? like you would learn in any work enviorment?
I do judge books my their cover, the chosen art says all I need to know about the author. Never read a bad book to this day so I must be doing something right.
@@samiirai You fundamentally misunderstand that saying. It's not about the books you've read, but the great ones you missed (by sticking your nose up in the air at artwork?!)
You know it's oftentimes the publisher that designs the cover right, and not so often the author.
@@DaftyBoi412 No I did not, books are not people. They are dead items and if the cover is not good, why should I care?
The author did not do a good job at getting my attention so I highly doubt the writing will be any better.
If the title and cover wasn't important, why don't they just save money and call it book and just have the cover blank white?
As an artist, nobody going to look at my work without me making the invite, cover-art is that invite.