Quote:
Originally Posted by sjs94704
Thanks for your detailed reply. I will try it out and see what happens.
I have Melda Productions MTurboReverb. One of the effects is call 'Cathedral'. Naturally, it makes it sound like you are signing in a cathedral church.
I see that you have a 'room reverb'. BUT, if I was in a church signing, both the instruments as well as my voice are being effected by the cathedral sound. I might be mistaken here, but it sounds as if you are suggesting to have different reverbs for both the music and vocal. Am I understanding that right or is there some other point your trying to make?
Music sounds like it a church, vocal sounds 'flat'? Stands to reason that both would the same effect !!!
What track would you put this effect?
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Hmmm... You are not wrong with the church signing analogy. If this is what you are aiming for, then by all means only use one reverb for everything. However, note that Cathedrals were not designed for DRUMS - these sound rather nasty in cathedrals. Cathedral reverbs make a powerful statement that you must control very well - or else it comes out as a big messy wash.
What I was referring to is more modern forms of music production, where the vocals are coming out of the mix with a different type of reverb - sometimes a longer tail that extends in time. In these situations the mix is glued with a room reverb (normally Room verb simply means a more subtle reverb) and then the vocals are giving something to make them more dreamy and long lasting - sometimes thicker, sometimes predelay to have a dry in your face followed by a long tail, etc).
It really depends on the mood you want to create.
I'm not a big fan of super huge reverb on anything - this is why a mentioned just a little room verb on the mix and a bit more on the vocals. I'm not familiar with the MTurboReverb. But, just be careful with adding large amounts of Cathedral reverb. Unless you really want to hide some vocal defects and don't mind people complaining that your songs have too much reverb?
Vocal reverb and vocal delay is an art form - especially in a song that has the space to receive them well. This is the case with True Colors by Cindy Lauper - or Phil Colins who did a remake. Lots of space to create a dreamy sonic experience.
Listen to Cindy Lauper's version on Youtube. Notice right from the start how the drums have reverb - followed by synthesizer with reverb, but when Cindy starts to sing -- WOW! You have a very dry vocal with an added long tail of reverb. This is very well done - mix of instrument reverb with magic vocal verb. The dry and long tail can be a composite of several tracks or reverb with predelay. When she sings the words "True Colors", just before "are beautiful like the rainbow", you can hear some delay ON the reverb. Check it out - we are talking about delay action on the reberb!!! And this is automated - so it is only happening in this very specific area/ set of words.
Gosh what a fantastic sonic experience.
https://www.youtube.com/watch?v=LPn0KFlbqX8
See how complex things can get? I have learned how to do this in Reaper by automating the delay and other strategies. This takes time to learn - be patient and start with small simple steps - never going crazy on the amount.
Now for Phil Colins version:
It is more dry overall. Less vocal reverb and I can't really hear any delay action. It has more, back vocal support in certain areas. There is no Cathedral here to be found!?
If you like more reverb in your songs - then I suggest you use Cindy Lauper's song as a reference. Myself I like her version much better than Phil's...