View Single Post
Old 11-08-2010, 11:50 AM   #87
Schmidty
Human being with feelings
 
Schmidty's Avatar
 
Join Date: Jul 2010
Location: Baltimore
Posts: 585
Default

Quote:
Originally Posted by Megagoth1702 View Post
With "big reverb", do you mean a longer one? Or just a "bigger room"?


About the frequencies - thank you, very useful tip.
What if I want a certain frequency range - do I just tone down all the others? I think what I tend to do is just crank up what I want and then use the gain setting to make up for the volume change.


Any more tips/opinions? I asked before on how to use ReaDelay properly, I just took over the settings from the manual-pdf, it sound OK but I think there is more "humanization" possible.
For the reverb comment, the answer is yes. Bigger room, or longer decay (they pretty much mean the same thing). It's ultimately up to your ears to determine when it's right, but usually a longer decay, quieter in the mix adds better space than a short decay (which will start to sound "boxy") sitting high in the mix. Listen to some of your favorite recordings very carefully (especially then ends of phrases, and quiet parts). You will be suprised how long some of the reverb tails are. But bear in mind that they were mixed subtly enough that you had to look hard to find them.

As for eqing, there are certainly times when bringing one frequency up is appropriate. Mainly whe trying to add attack to an instrument (like the hallmark 5k boost on kick to add the beater sound). But this should be used sparingly. An example is the EQ you used on the vox, the same curve could be achieved if you disable bands 2 and 3, enable band 1, switch it to "band" from "shelf". Set the Frq to 600, the gain to -6, and the bandwidth to 3.75. You end up with essentially the same curve.

As for re-delay, there are millions of possiblities for how to use this plugin (I used it a lot in my mix, which by no means is the gold standard, but I felt like the delay on the vox worked well). The multiple taps, and pans are very useful to create an ambiance.
Things to keep in mind:

0~20ms the brain doesn't seperate the two sounds, but interprets them as one. Here is where phasing is the greatest. Try sweeping the frequency to find a phasing pattern that compliments the track.

20ms+ as the delay gets longer the brain begins to destinguish it as a second sound, and it becoms a rythmic componant rather than spacial. I find it better to use the tempo matched "musical" length (you have to have your master tempo set to match the son for this to work. For this song, while not an exact match 145bpm worked well enough. For more accuracy there is a "tempo mapping a free form song" tutorial).

Layering multiple delays adds more depth. I've also found that even multiples work well, so if one is at 6ms do another at 12ms, or 7 and 14. This tends to keep them on the same tonal pallette, and add more depth with less phase distortion.
Be subtle with it.

Panning the delays can add a lot to a mix as well (not a moving pan, just a fixed pan).

Once you find delays that work, fade out the wet version until it sounds natural.

I'm sure there is plenty more that I'm either forgettin or don't know, but that should get you started.

Last edited by Schmidty; 11-08-2010 at 11:57 AM.
Schmidty is offline   Reply With Quote