High-quality mixing can only be achieved with the reverberation of the target
The reverberator is an indispensable effect for creating a sense of distance between sounds and the layering of different instruments. Well used, we can make our mix instantly "upgrade". If you don't use it well, it will make everything look "unprofessional" in a flash! The potential of the reverberator is so great that many of us can't be too cautious when using it, or use it too much to fear and lead to a mix of sounds.
In order to solve this problem, we will provide you with 10 "Reverberant Coupons", hoping to help you reasonably avoid the common pitfalls in the use of reverberators and establish an effective reverberation workflow.
First, long reverberation and short reverberation
First of all, I would like to provide you with a general proposal. Many people know that it is: in the mix of richer content and more musical instruments, the reverberation time is shortened, while in the more relaxed and whitened mixes. The reverberation time is adjusted to be longer. There is a misunderstanding. Many people like to choose the reverberation time according to their name. For example, if you want long reverberation, choose Halls or Chambers. If you want to be short, choose Plates or Rooms. In reality, however, these different names are mainly used to indicate different reverberation properties, not just the decay time of the reverberation. When we need to reduce the reverberation effect for a short time, we can of course also adjust the various parameters of the Halls or Chambers preset, but this short reverb effect and the reverberation of Plates or Rooms of the same duration. The effect is different. When we consider the reverberation problem, we need to start from the nature of the reverberation, not just the size of the reverberation effect or the length of the decay time.
Second, the pre-delay
Pre Delay is one of the most important function parameters on almost all reverberators. The effect of pre-delay is to reserve a dry sound signal for a certain period of time before the delay effect occurs. This is especially important for the reverberation processing of the human voice, which can preserve the vocal intensity and clarity of each vocabulary while the sentence is reverberated as a whole. In this sense, the Pre Delay parameter has the same effect as the compressor's Attack Time parameter. The more natural pre-delay time is between 20 ms and 80 ms, and the pre-delay value above this interval will produce a significant reverberation lag effect.
Third, 3D reverberation
When creating a more spatially pleasing reverb effect, we can try to use multiple reverbs at the same time. For example, you can use three reverberators to create a highly credible environment: first select a room-type Reverb to add a little smooth contour to the sound, then choose a plate reverb ( Plate Reverb) adds flavor to the tone according to your own adjustments, and finally chooses a Hall Reverb with a long decay time to expand the sense of space. It should be noted that the intensity of the reverb should not be excessive. How to overdo it? Please look down. . .
Fourth, how much?
The amount of reverberation is a matter of taste. Some people work by the atmosphere, so of course he has to use a lot of reverberation, and more people just need reverberation as a glue for the mix, then they always use the reverb until. Please remember that if you want the work to be more patient, then it is best not to add too much reverb. When we start to add reverberation effects, we should solo the instrument track or the human voice track, and then open our reverb effect a little bit until we can clearly hear its existence, and then slightly weaken to one we think " The point that is too late, this point is generally a moderate amount of reverberation.
Five, high-pass filtering
I believe that everyone in the mix often uses high-pass or low-pass filters to highlight or filter the instrument frequency. This technique is equally applicable in reverberators. Without high-pass filtering, the low-frequency parts of different instruments will fight in the overall reverb effect, and only high-pass filtering can make the reverberation space more inclusive.
6. Use reverb to make the sound brighter
The reverberator is a good choice when we want to make the vocals brighter, but when we don't get the feeling we want with EQ. This technique can of course also be used on the track of the instrument. The approach is simple. Just find the band you want to enhance and add an EQ to the back of the reverb to push it. For example, if the vocal sound is very strong at around 3000 Hz, instead of directly using EQ to enhance the vocal signal, it is better to add a reverberator first, and then use EQ to enhance the frequency band around 3000 Hz behind the reverberator. The sound obtained in this way is different from the texture of the sound directly obtained by EQ, and the part of the sound that becomes brighter sounds more transparent.
Seven, use the reverberator to increase the explosive power
Some producers like to use a technique called "threshold reverberation" to deal with snare drums, giving them an explosive sound similar to glass frying. This effect is simply achieved by using a pre-delay (Pre Delay) value of about half a second of the reverberator followed by a threshold effect. This technique of adding explosive power to the reverberant appeared earlier in the music of Phil Collins and David Bowie, and has now become a popular sound enhancement in the studio, no longer limited to handling snare drums.
Eight, reverb grouping
When we use a lot of reverb effects on different tracks, it is necessary to group all the reverbs for unified management. This way we can switch the dry and wet sound of the entire music reverb with one click.
Nine, spring reverberation and low fidelity reverberation
Some instruments are naturally suitable for reverberation, and some instruments are not. In general, we prefer the electric guitar sound to be more prominent, but at this time, if the normal reverb effect is added, the impact of the electric guitar sound will be reduced. Low-fidelity reverberators such as spring reverb can come in handy in this situation. The rough feel of the spring reverb can make the original signal sound louder while reverberating, increasing the sense of presence. The use of low-fidelity reverbs such as spring reverberation in vocal tracks is also an interesting mix of sounds that are now popular.
Ten, mono reverb
We are used to thinking that reverberation should be stereo, but creating a mono reverb has great advantages in certain situations. Mono reverb is very useful when we want to emphasize the presence of a certain instrument but don't want to make a fuss about it. If we want to highlight a keyboard solo on the right pan, we can create a mono reverb on this instrument track, the phase of the reverb is the same as the instrument. In this way, while highlighting the instrument, it does not destroy the dynamic range of the original mix.
to sum up
When using the reverb, we should be soberly aware that the reverb is used well depending on whether it can bring us the atmosphere or mood we want. Reverberation can be more than just increasing the volume of sound space, but serving our creative ideas.
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