![]() ![]() The question: what are the settings that competently cover all musical signals and genres? The short answer: there are no such settings (at least that this humble student of audio knows of). Consider the option of using reverb return channel EQ to match musical content (darker for slower songs, brighter for up-tempo music). If all of the content is being augmented with the same reverb, then changing the EQ on the reverb can be viewed as another tool to influence the entire mix. It can add another level of entire mix EQ.Since the listener gets the feeling of all audio signals coming from the same space, it helps sell the sonic illusion of the sound being propagated from a singular spatial point. A single reverb can act as a “glue” for the mix.Setting up three FX slots rather than just one can be time consuming, and in the heat of the moment there’s a bigger chance of things not being routed and/or adjusted properly. You only have to worry about one send-return and one mix bus. ![]() ![]() There are definite limitations to this approach, especially in terms of the tools at your disposal to match the content from the stage.īut instead of focusing on the negative aspects, let us inspect the positive ones: In these cases I recommend using only one reverb. So if there’s not enough time to even do a decent line check, how are we supposed to do a complex setup of various spatial effects and have them under control while still dealing with monitors on stage? The answer: we don’t. Believe me, it’s a rabbit hole that entices many a mix engineer.Īll too often I witness engineers trying to set reverb decay times for a “perfect” snare hit while the vocals are missing in the mix and beautiful solos go unnoticed forever. In my Guerrilla Mixing course, I explain the practice of minimizing everything down to its core, utilizing the bare essentials to get the job done efficiently and as quickly as possible since time is often such a lacking and precious resource. But what happens when I don’t have the time to set it all up? Avoiding The Rabbit Hole I like prepping parameters of these spaces for songs with scene/cue/snapshot recalls and then manually adding them to the mix, following the flow of the song, the response of the room and the energy of the performers and the audience. When I have time and the situation allows it, I provide myself with a palette of various spatial colors – drum room, snare plate, long drum verb, vocal plates and halls, tap tempo delays and slapbacks – that are all carefully chosen, equalized, sometimes dynamically processed and with their parameters linked to controlling encoders with meticulous deliberation. Getting EQ to translate from one console to the other is usually a much easier task than mimicking a reverb setting from one desk to another. Reverb is also probably also one of the most qualifying distinctions between digital consoles. A well-chosen reverb that supports the mood and the message of the musical content is the one “magical component” I’d have the most difficult time giving up if forced to restrict my workflow or gear options. I like using spatial effects to create interesting moments in the music coming from the stage. ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |