I do this: use one for early reflections & the other for late reflections...the end result is more lush & realistic sounding reverb especially if you keep the early verb super short & the late short enough to not muddy up the mix but long enough to be felt more so than heard. When you just go to a real room w/ alot of ambiance & listen to how everything sounds, you get an even better imagination of what can be done to replicate that. Things like LP filtering the signal before it hits the verb end up helping it sound more real. Making sure you hear no siblance in the verb also helps because IRL you never hear reverb bounce off a wall & sound so crisp & audible it needs a de-esser lol. Reverb lives in the lower mids & the proximity effect of sounds being warmer & having less information in the highs & high mids when further is very much a part of reverb. When you do hear bright frequencies in real ambiance, its odd metallic noises from the amount of reflections bouncing & what theyre bouncing off. To add some of that, you can just multiband saturate certain frequencies in the high mids that you already cut out. Keep in mind you can get different effects from doing A to the early verb & B to the late...maybe making one brighter than the other via added saturation & you can always add that saturation to the signal BEFORE it hits the verb if adding it after compresses the verb too much. Have fun...I love reverb.
A few years back, I learned this technique from Jon Allen (the engineer who mixed for Rod Stewart, Steve Tyrell, Kristin Chenoweth & Neal McCoy) Now I look forward to blending plate, hall and room verbs on vocals when opportunity presents itself.
I LOVE that he used Gregor Barnett’s song for this! Especially THIS song! Love this dude’s production too. As requested in all the comments, please more from Will! 🤘🤘🤘
So funny to see this in my feed. I’ve just recently acquired a TK Audio Mini Blender for my USB rack and started playing around with combining various effect units together to apply to my vocal chain. I’m getting really cool combinations of delays feeding into short verbs followed by long verbs and really all kind of just weird whatever kind of funky phazer, or micro pitch effects. Really cool stuff. And what rules? Breaking rules has been the basis of Rock n Roll since it’s inception! Rock on!
You can also use some EQ before the same 1176 or sidechain it then don’t forget that Reverbs can be pricessef with EQ and some light compression as well (say, some LA2A/LA3A) for a tiny more sustqin and control, if needed
brainstorming on a certain guitar track reverb, and stumbled on this. it's sounds good, and i get your point, they are working different zones differently .... i think i am going to do the poor man's version, UAD Pure Plate + DreamVerb
Capitol Chambers is really great. If I would fault it for anything, it's that it has too many options that create subtle differences. So you can spend way too much time tweaking tiny things that don't really matter. But it sounds great on all kinds of sources. I like putting a bit on synths and other direct sources to make them less dry. Sometimes with a little of the brigade chorus to give it that swirl. Lately I'm doing a 90's thing and using a beat matched delay or tape echo in parallel to the reverb, but also feeding the reverb a little bit. I gate it so it only jumps in on loud passages and gets out of the way for the quiet. Gating is tricky, sometimes it works perfectly. Sometimes you spend hours and can't get it it to open/close right even with keying. The SSL Drumstrip has a better gate than the stock Logic one, so I often go for that. (does UAD make one that isn't part of a DSP guzzling Unison strip?) And I fade it down low so it's not very obvious. Esp with (virtual) tape delays that you can modulate the wow and flutter this sounds amazing. Giving it a bit of a chorusy sound on sustained notes, but in a very non obvious, smooth way.
Not sure why you used a vocal demo recorded in a garage. A dryer vocal would probably have given us a better demo. BTW I do use Ocean Way and Capital Chambers on every dry vocal first for a room ambiance. They’re game changing. Thanks UA. Love your gear.
Is that natural room ambience on the raw vocal? Wow I thought everyone recorded vocals in booths these days, or am I mistaken. It sounds cool and then great job with the reverbs, UA.
I may have missed this, but are you simply running the 2 reverbs side by side, concurrently, each on their own send (from the vocal track), feeding the mix bus? Or is one reverb feeding into the other (one AUX feeds the next AUX)? Both would yield very contrasting results!
Interesting but are you running separate sends from the vocal channel respectively into the two reverbs, or one send into the first reverb and then from that one in the second reverb? Not sure if you said that in video but if you did I must have missed that. Thanks
I think those 'rules' back in the day was due to the limitations of the technology. It would seem a 'waste' of track to have two reverbs, sort of doing something similar. Meanwhile, you'd always be thinking about being effecient and making sure you're using the tracks judiciously. Not to mention, there was not much recalls then. You'd have to log everything on a session sheet. And I guess it just became an unwritten 'rule' of sort. DAWs, and the modern way of recording digitally, can break every 'rule in the book' in a sense.
The original voice has no processing? How was it recorded? Can anyone say? It sounds like there was a lot of saturation and some use of reverb in the recording. Was this in the recording directly or was there in-box processing?
On your vocals is already some kind of slap delay or spring reverb. So it's not very good example to show the reverb properly. Vocals should be dry or at least not so muddy. It sounded like a doubled vocals with a lot of effects.
Gotta be honest, this does not sound good in the example. Maybe it's the recording, but this was not the place to pile on reverb, because it did in fact muddy up the track.
I do this: use one for early reflections & the other for late reflections...the end result is more lush & realistic sounding reverb especially if you keep the early verb super short & the late short enough to not muddy up the mix but long enough to be felt more so than heard.
When you just go to a real room w/ alot of ambiance & listen to how everything sounds, you get an even better imagination of what can be done to replicate that. Things like LP filtering the signal before it hits the verb end up helping it sound more real. Making sure you hear no siblance in the verb also helps because IRL you never hear reverb bounce off a wall & sound so crisp & audible it needs a de-esser lol.
Reverb lives in the lower mids & the proximity effect of sounds being warmer & having less information in the highs & high mids when further is very much a part of reverb. When you do hear bright frequencies in real ambiance, its odd metallic noises from the amount of reflections bouncing & what theyre bouncing off.
To add some of that, you can just multiband saturate certain frequencies in the high mids that you already cut out. Keep in mind you can get different effects from doing A to the early verb & B to the late...maybe making one brighter than the other via added saturation & you can always add that saturation to the signal BEFORE it hits the verb if adding it after compresses the verb too much. Have fun...I love reverb.
Wow! This comment is even better than this great video 😅! Thank you!!
i like his energy. he’s a good producer/engineer too. shoutout to will
More Will Yip demos! Dude is a legend.
More Will, his productions are killer
More from Will please. His records rip.
you mean they Yip
Love to see Mr Yip on here. Please feature him more often!
will yip is the absolute man
A few years back, I learned this technique from Jon Allen (the engineer who mixed for Rod Stewart, Steve Tyrell, Kristin Chenoweth & Neal McCoy) Now I look forward to blending plate, hall and room verbs on vocals when opportunity presents itself.
Thanks Will for your time and advice! Thank you too, UA!
👍🏻
Love Will Yup and love this run through of his verb processing ✨
I LOVE that he used Gregor Barnett’s song for this! Especially THIS song! Love this dude’s production too. As requested in all the comments, please more from Will! 🤘🤘🤘
Love the ambience in the raw track
capitol chambers “Al Schmitt the one” preset is my go to on all vocals, acoustics etc. it’s amazing
Yup!!! The GOAT!!
👍
Nice tip 🙏🏼
The quick plate verb almost acts like a delay, which then goes into the big verb. Cool concept!
I like a slap smear just sprinkled in for the short space and then add the big tail with the Chambers.
So funny to see this in my feed. I’ve just recently acquired a TK Audio Mini Blender for my USB rack and started playing around with combining various effect units together to apply to my vocal chain. I’m getting really cool combinations of delays feeding into short verbs followed by long verbs and really all kind of just weird whatever kind of funky phazer, or micro pitch effects. Really cool stuff. And what rules? Breaking rules has been the basis of Rock n Roll since it’s inception! Rock on!
YA we need more Will
Awesome presentation.
You can also use some EQ before the same 1176 or sidechain it then don’t forget that Reverbs can be pricessef with EQ and some light compression as well (say, some LA2A/LA3A) for a tiny more sustqin and control, if needed
brainstorming on a certain guitar track reverb, and stumbled on this.
it's sounds good, and i get your point, they are working different zones differently .... i think i am going to do the poor man's version, UAD Pure Plate + DreamVerb
My default reverbs are the emt 140 I use the preset Gold Plated and the Capitol Chambers Frank Fillpetti Vocals.
Done that exact mix of reverbs plus more several times!
👍🏻
great tutorial, thanks!
Good stuff...thanks Will!
Great content, keep them coming. It would have been nice to hear before/after with the 2 reverb auxes on/off.
Wow! amazing! sound ,,respect !!
I wish Will Yip would show us how he got the Whirr and Nothing vocals :(
I'm confused, the "dry vocal" you first brought up had a ton of ambiance on it? Like the singer was in the middle of a very large, ambient room 0_o
Love everything UA does
😍
Great video and I liked ‘there’s no rules’. 👊🏿
Capitol chambers on shortest decay for a bit of ambience is also amazing, very versatile.
👍🏻
Capitol Chambers is really great.
If I would fault it for anything, it's that it has too many options that create subtle differences. So you can spend way too much time tweaking tiny things that don't really matter.
But it sounds great on all kinds of sources. I like putting a bit on synths and other direct sources to make them less dry. Sometimes with a little of the brigade chorus to give it that swirl.
Lately I'm doing a 90's thing and using a beat matched delay or tape echo in parallel to the reverb, but also feeding the reverb a little bit.
I gate it so it only jumps in on loud passages and gets out of the way for the quiet.
Gating is tricky, sometimes it works perfectly. Sometimes you spend hours and can't get it it to open/close right even with keying.
The SSL Drumstrip has a better gate than the stock Logic one, so I often go for that.
(does UAD make one that isn't part of a DSP guzzling Unison strip?)
And I fade it down low so it's not very obvious.
Esp with (virtual) tape delays that you can modulate the wow and flutter this sounds amazing.
Giving it a bit of a chorusy sound on sustained notes, but in a very non obvious, smooth way.
will yip is the man
Nice tutorial Will!
Not sure why you used a vocal demo recorded in a garage. A dryer vocal would probably have given us a better demo. BTW I do use Ocean Way and Capital Chambers on every dry vocal first for a room ambiance. They’re game changing. Thanks UA. Love your gear.
I hate agree with you. The baseline example was recorded in an ambient space. A dryer vocal would have been a better choice.
Is that natural room ambience on the raw vocal? Wow I thought everyone recorded vocals in booths these days, or am I mistaken. It sounds cool and then great job with the reverbs, UA.
I may have missed this, but are you simply running the 2 reverbs side by side, concurrently, each on their own send (from the vocal track), feeding the mix bus? Or is one reverb feeding into the other (one AUX feeds the next AUX)? Both would yield very contrasting results!
More will yip pllllllleasseee
Stack drives, stack Reverbs. ❤
I would like to see more of this as well, but also done in LUNA more.
jeje I love the highpass-- close the door :)
Wonderful thanks!
Interesting but are you running separate sends from the vocal channel respectively into the two reverbs, or one send into the first reverb and then from that one in the second reverb? Not sure if you said that in video but if you did I must have missed that. Thanks
Plus a tonne of room in the mic to begin with 😎
I think those 'rules' back in the day was due to the limitations of the technology. It would seem a 'waste' of track to have two reverbs, sort of doing something similar. Meanwhile, you'd always be thinking about being effecient and making sure you're using the tracks judiciously. Not to mention, there was not much recalls then. You'd have to log everything on a session sheet. And I guess it just became an unwritten 'rule' of sort. DAWs, and the modern way of recording digitally, can break every 'rule in the book' in a sense.
Awesome!
The original voice has no processing? How was it recorded? Can anyone say? It sounds like there was a lot of saturation and some use of reverb in the recording. Was this in the recording directly or was there in-box processing?
Hi Will, Is this the same set up as what you used in Peripheral VIsion? The vocals on that one is so good.
How about reverb ducking for some long tails. Could you talk about that please
legend
Dig it Will!
Thanks sir
Send that singer to the sing-school !
very useful👍 Thank's! Peace✌🌍🌌
🤘🏻
Great!
🥂
Great video . Does anyone know how similar UAD pure plate is to EMT?
virtually identical.
The two diff verbs on two sends right?
On your vocals is already some kind of slap delay or spring reverb. So it's not very good example to show the reverb properly. Vocals should be dry or at least not so muddy. It sounded like a doubled vocals with a lot of effects.
I think that was the compression bringing out the room sound.
Will uad moog and piano vst be supported in windows?
yes!!
Rent to own? When?
(spark)
Spark is a subscription or you can buy the UAD version and get the UADx free. Nothing other than that to announce at this time. 👍🏻
The original vocal had some room sound to it still. Was not a completely reflective free track.
"there is no rules" !!
Recording process is more important 😂😂😂 and choosing the right mic for the vocal…it can be any mic but it has to fit the vocal.
buddy singin ain he
Will Yip the 🐐no 🧢
⚜️x🤘🏻x⚜️
there are no rules!
There is 2 things you must use....your ears
bro sending the vocals to the back with just 2 reverbs while CLA manages to keep it on your face with 6 reverbs, the gap.
Gotta be honest, this does not sound good in the example. Maybe it's the recording, but this was not the place to pile on reverb, because it did in fact muddy up the track.
Sounds muddy to me. Not trolling, just an honest opinion :|