From the course: Audio Foundations: Reverb
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Strategically blurring and obscuring tracks
From the course: Audio Foundations: Reverb
Strategically blurring and obscuring tracks
Artists often live on the edge, and musicians are no exception. There is something to be said for music when it gets almost out of control, when it's on the edge of what we can comprehend, what we can keep up with, what we can understand. And so while reverb can be used to bring clarity and emphasis as discussed in the prior movie, we sometimes deliberately use reverb for the opposite, to blur and obscure elements in a mix. Putting too much reverb in a mix is a well-known and messy problem. A lot of reverb on the snare can create a sustained rumbling mess that covers your entire mix, making it hard to understand the vocals, hear the genius and the guitars and worse. So too much reverb is certainly a challenge, but a greater challenge for us as recording engineers is to try sometimes when the music calls for it, to flirt with that limit of what counts as too much. There are times when the music wants to spiral out of control, and so there are times when we allow our mix to get a little…
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Contents
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Choosing the right reverb for each of your tracks2m 17s
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Simulating space with reverb5m 42s
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(Locked)
Hearing space in the mix6m 33s
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(Locked)
Timbre and texture3m 36s
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(Locked)
Shaping tone and timbre with reverb5m 49s
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(Locked)
Creating contrasting sounds for your tracks4m 43s
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Using nonlinear reverb to help a track cut through4m 25s
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(Locked)
Emphasizing the reverb using predelay3m 23s
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(Locked)
Strategically blurring and obscuring tracks1m 46s
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(Locked)
Get in the Mix: Changing the scene by changing reverb7m 37s
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(Locked)
Get in the Mix: Gating reverb to emphasize any track in your production5m 52s
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(Locked)
Reversing reverb to highlight musical moments9m 36s
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(Locked)
Synthesizing new sounds through reverb6m 42s
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Get in the Mix: Supporting a track with regenerative reverb6m 31s
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(Locked)
Getting the most out of room tracks17m 39s
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