I know this isn't the best way to do this reverb trick, I didn't know the better/easier method when I made this video. If you're interested I have newer video called "Everything To Know About Mixing Reverb" that shows the better method at 5 minutes in
@@aikighost screw bitwig! bunch of Ableton pillow biters,.... JK ;-) Bitwig is pretty cool and you can use your 32bit plugins without a wrapper but I'm still a Cubase/Ableton guy since ver. 1 for both. There are a few ways to accomplish this,.... method/style,... I wouldn't call it a trick? His was kinda long with unnecessary steps involved but still accomplished a great end result.
In a nutshell: 1. Send your reverb wet to an entirely separate mixer track 2. EQ the highs and lows out of this track 3. Make your dry/main track suppress the volume of the reverb track you made 4. Add OTT before the compressor and after the reverb (adds longer life to your reverb)
The main idea behind recording, when you boil it down to its most fundamental form, is making space for the frequencies. And this is a prime example. When the reverb starts with the signal itself, it can occupy a lot of sonic space along with the input signal (the notes). But when you can effectively duck out the reverb until the end of the note, you are left with the same basic effect, but with much less sonic "clutter." Bravo!!!
Maybe someone has already mentioned this but notching the reverb(with an eq) in the most present frequency of the sound can also help get the reverb out of the way. Of course this should be used along with the sidechaining method.
This is more complicated than it needs to be. Using the same audio signal as a side chain input as the signal you want to compress is a bit redundant since the compresor reacts the same way to the signal. The same result can be achieved by just inserting the compresor before or after the reverb (2 different flavors) on the send return.
@@JIKESOfficial Just put a multiband compressor directly after the reverb. The same can be said about a delay for that matter, just tweak with the threshold a bit.
Awesome trick. Never would have thought to use a sidechain trigger to make reverbs sick out of the way of chords. Especially when the reverb of an adjacent semi tone clashes with a chord, this should help cut out some of the reverberant brown noise 👍🏼 Thanks for the tip!
Brother you have changed my life, this is so good. Thanks I was unable to control delay reverb But we can do it with any compressor or limiter that has sidechain available
In Ableton Live you don't need to make a bounce track, just add a built-in compressor, enable sidechain mode and select the source signal track. Also if you know that you'll only use the effects bus on this particular track, there's effects rack that allows you to mix dry and wet singal and that will become the output of your single track that you worked on. Also I usually use a bit faster way to do this - I just add reverb to a track, use small percentage of the wet signal and then add and agressive compressor to the track. The reverb is hardly audible while the main part is playing, and then in the "empty" part compressor brings back the reverb. Can use a reversed compression there as well if you don't want to "crush" the main signal.
I would actually be surprised if there was someone out there not already doing this 😂. A little tip, if the release is short on the synth sound itself there is no reason for bouncing out, just use a track send and duck it that way. Sidechain can and should be used on everything you want. Kick and reverb are the standard, but can be used on snare against vocal or bass against plucks. Basically anything that gets in the road of another instrument sharing same space
nice tip dude. another one of those things you just don't really think of. One possible tip back to you, option clicking the solo button of track will unsolo all other tracks and only solo the track you click with the option button, then you won't need to click more than once.
Nice job! I like the explanation of this technique. As for most techniques, there are many ways to skim the proverbial cat. That said, I like the succinct way that you are showing the info and appreciate the delivery. Great video!
So this is an awesome trick and finally helped side chaining make sense to me, so thank you! My question now is how would I have multiple different vocal tracks that I want to send to the same effect?
Man thank you again for that great video ! I LOOOOOVE IT ! I got 3 questions : 1st : what is this Serum Saw waves preset ? I LOVE IT ! 2nd Question : Do you really need to select the option "Ext" on the compressor ? Because, as you did, you can go and select an external track by using the option proposed by Logic on the right top of the plugin. Or do I have to do both ? 3rd : Maybe you showed it only for the exemple but I saw you sent on the Synth MIDI track some Reverb and some Delay (both of its) : would recommend to send the track only in the reverb bus or in the delay one ? or both is a good thing ? I did not know that we could send both on the track (I was afraid to get a mix too muddy) but your sound is great. Thanks a lot man !
I used to use peak controller with reverb but I'd rather use Waves' RComp since it gives me MORE CONTROL of the reverb with the attack and release settings. Also, turning the makeup gain up by 1-2dbs makes the reverb sound richer
Dude, this is a RAD trick! Never really used this before in a rock setting but thank you so much! Will definitely be trying this. Do you have a video on sidechaining 101? I feel like it's a very misunderstood concept.
I was always lazy doing bus for effects, but this actually improved my mix ! Actually, that trick is purely logical when we think about it. Thanks for convincing me to move out of my comfort zone.
Bus is very important as I've learned. Theres no escaping it. But for good as it fills up the mix and gives you the control you won't get without bussing the damn thing. Lmao.
Do you have tips for recording. Like vocal channel strip empty to record dry but bus to another aux that has the reverb and compressor so the vocalist can hear and feel it ! If so do recommend a certain plugins ?
What is the ghost track/SC Trigger for? Why not use the signal from the Big Saw Chords track? Edit: I see that other people said the same thing and the guy apparently made another video where he does it more efficiently ✌️
dude why do you have to print the track? couldn't you just send the dry signal to a bus, have reverb then comp on that bus and choose the source track as a SC input in the compressor so that it ducks the reverb?
@@BigZMusic The reverb demo was great as the difference between the wet and dry signals could clearly be heard but the delay.........what delay? I listened to the delay wet and dry signals a few times but just heard a repeated reverb comparison every time. What am I missing?
Hey guys! Been searching for quite a while now, but haven't found the answer yet. I want to apply Brooks' reverb technique with the FL Studio peak controller (as seen in his masterclass) in Logic Pro X. I know how to side chain the reverb with a compressor, but haven't figured out how to recreate this awesome effect Brooks uses. That seems to be the way to set up the reverb side chain. But I guess it's not the thing where it shuts down the reverb, when an actual note is playing? Or is it just necessary to use the gate for this?
Isnt this similar to adding a long reverb predelay and a higher mix level? Pre delay means no reverb while sound is playing and then the reverb comes in between the chords. A high end reverb usually has eq too. Your way works great, but I can get similar using predelay, mix level, reverb time and eq.
Glad i found your channel! :) Love your videos and the way you teach your stuff! Thanks. It would be great if you could have some videos on how to get the great instrument sounds you got, especially if you could show how to create a sound like the supersaws in this video just using logics stuff, or some freeware if possible..?! Thanks BigZ once again : PEACE:
While that is possible now in Logic, not too long ago it wasn't. Using an instrument track as a sidechain input was impossible until Logic Pro X 10.4 or something. I could imagine that would still be the case in other daws.
@@WouterStudioHD It's pretty much just Logic. Every other DAW is designed for actual recording and mixing. Logic was more like composing workstation. Side chain has been a prerequisite in audio mixing since the first mixers came up.
@@eliteextremophile8895 What are you talking about? Fl Studio and Ableton are two of the most popular DAWs on the planet and they are far more focussed on composing and production than Logic. Logic is better at tracking and mixing than either of them and lacks certain production aspects compared to them. Pro Tools on the other hand is more focussed at mixing and tracking and is also only designed to do these things. There are way more DAWs than these, but most of them are worse at tracking and mixing than Logic. Also, sidechain has been a major part of Logic since forever, but only audio tracks could be used as input until recently. Makes sense tho, since the buffer is completely predictable and thus far less CPU intensive when you use audio tracks only.
Sounds like just a simple detuned saw with a lot of voices, a bit going on with the noise OSC, a LFP to smooth it out & a delay effect with BPM set to off & the ms time set somewhere in the range of 17 to 28ms to give it that extra metallic sound, then just adjust the feedback & wet knob. Throw OTT on that bitch and there you have it haha you should get something within the general ball park. Just be careful with the amount of detuning between the voices cuz with saw waves, ESPECIALLY if you use both OSCs at the same time, cuz it can generate a super harsh white noise effect which can't be tamed out of the sound using the LPF, & that white noise type of sound you here in there is definitely NOT being made by the detuning of the voices. I'm sure its contributing, but its not the real meat & potatoes behind it.
I know this isn't the best way to do this reverb trick, I didn't know the better/easier method when I made this video. If you're interested I have newer video called "Everything To Know About Mixing Reverb" that shows the better method at 5 minutes in
then delete this videosmh
Nesstradaumus it’s introducing new people to my channel so that’d be dumb of me
Big Z makes sense i’m new
In bitwig you can just assign an adsr to any parameter in the reverb triggered by note on.
@@aikighost screw bitwig! bunch of Ableton pillow biters,.... JK ;-) Bitwig is pretty cool and you can use your 32bit plugins without a wrapper but I'm still a Cubase/Ableton guy since ver. 1 for both. There are a few ways to accomplish this,.... method/style,... I wouldn't call it a trick? His was kinda long with unnecessary steps involved but still accomplished a great end result.
In a nutshell:
1. Send your reverb wet to an entirely separate mixer track
2. EQ the highs and lows out of this track
3. Make your dry/main track suppress the volume of the reverb track you made
4. Add OTT before the compressor and after the reverb (adds longer life to your reverb)
Don't forget the sausage fattener
What is OTT
@@smokeystarr compression plugin
@@adoaqmusic oh ok cool ty
Vahllon and soundgoodizer just to be sure )
The main idea behind recording, when you boil it down to its most fundamental form, is making space for the frequencies. And this is a prime example. When the reverb starts with the signal itself, it can occupy a lot of sonic space along with the input signal (the notes). But when you can effectively duck out the reverb until the end of the note, you are left with the same basic effect, but with much less sonic "clutter." Bravo!!!
This is great man! Another super easy way is to divide the bpm by 60,000 and use that as the reverb “Time” turn the wet/dry all the way up!!!!
KMPLX then further divisions by 4 and then 4 again to get pre delay time
Maybe someone has already mentioned this but notching the reverb(with an eq) in the most present frequency of the sound can also help get the reverb out of the way. Of course this should be used along with the sidechaining method.
In Ableton, just drop Room on an Aux, put a side-chain-able compressor after it, then side chain the source track. Done. Same with every other DAW.
TheChosenOne ableton is the hands down best software ever
@@Ubi-o I couldn't agree more. It was my first DAW,
You can do the exact same in Logic. This guy just made it really complicated.
TheChosenOne I know imagine doing this it’s sooo long to get the same effect
On Danisma you can do this in most I think it’s just as easy you have source track and aux send with a sc-comp on it it’s that simple
Your channel is great!
The Producer School awesome 😎
I know nothing about music producing and engineering but thank you for this clip. I respect the art of music.
Big Z you legit boi. Thanks for all of the quality content.
This is more complicated than it needs to be. Using the same audio signal as a side chain input as the signal you want to compress is a bit redundant since the compresor reacts the same way to the signal. The same result can be achieved by just inserting the compresor before or after the reverb (2 different flavors) on the send return.
yep...
Preferably a multiband compressor.
Exactly. Not sure why he ran around the block just to take a step back.
can you make a video explaining? im not sure i fully grasp what you are descibing
@@JIKESOfficial Just put a multiband compressor directly after the reverb. The same can be said about a delay for that matter, just tweak with the threshold a bit.
Without even watching the video I guarantee it's Side Chain.
It is, you're right, marry me
lmfao made my day
And EQ pre reverb
REVERB TRICK
It was the comp on the thumbnail that gave it away lol
Awesome trick. Never would have thought to use a sidechain trigger to make reverbs sick out of the way of chords. Especially when the reverb of an adjacent semi tone clashes with a chord, this should help cut out some of the reverberant brown noise 👍🏼
Thanks for the tip!
It's handy on vocals too. Thom Yorke does an extreme version of the technique with his voice verb on Default by Atoms For Peace
Summary:
1. Send reverb to an auxiliary bus channel
2. EQ reverb to remove low and top end
3. Sidechain reverb to its source
u genius
I've been doing this for years with delay but somehow never tried it with reverb! Thanks for the great video.
Brother you have changed my life, this is so good.
Thanks I was unable to control delay reverb
But we can do it with any compressor or limiter that has sidechain available
You can also use the Logic compressor and use the sidechain option in the plugin on the bussed reverb/delay.
Exactly, all of that bounce-new track thingy was kind of pointless.
Also try panning the reverb track to a different position from the dry signal
The combination with OTT is new for me and really sounds great. Thank you very much!
In Ableton Live you don't need to make a bounce track, just add a built-in compressor, enable sidechain mode and select the source signal track. Also if you know that you'll only use the effects bus on this particular track, there's effects rack that allows you to mix dry and wet singal and that will become the output of your single track that you worked on.
Also I usually use a bit faster way to do this - I just add reverb to a track, use small percentage of the wet signal and then add and agressive compressor to the track. The reverb is hardly audible while the main part is playing, and then in the "empty" part compressor brings back the reverb. Can use a reversed compression there as well if you don't want to "crush" the main signal.
I would actually be surprised if there was someone out there not already doing this 😂.
A little tip, if the release is short on the synth sound itself there is no reason for bouncing out, just use a track send and duck it that way.
Sidechain can and should be used on everything you want. Kick and reverb are the standard, but can be used on snare against vocal or bass against plucks. Basically anything that gets in the road of another instrument sharing same space
This is brilliant, thanks for helping us logic users!
It works on every daw :)
nice tip dude. another one of those things you just don't really think of. One possible tip back to you, option clicking the solo button of track will unsolo all other tracks and only solo the track you click with the option button, then you won't need to click more than once.
I am fan of your job...you are really good ! Hello from France...
Nice job! I like the explanation of this technique. As for most techniques, there are many ways to skim the proverbial cat. That said, I like the succinct way that you are showing the info and appreciate the delivery. Great video!
Where’s mission vao ?
In Ableton you don't even have to use any send and return, you can make a self ducking reverb in no time and put it on your track.
It's called "ducking" and plugins like neoverb by izotope have this already on board.
So this is an awesome trick and finally helped side chaining make sense to me, so thank you!
My question now is how would I have multiple different vocal tracks that I want to send to the same effect?
Man thank you again for that great video ! I LOOOOOVE IT ! I got 3 questions :
1st : what is this Serum Saw waves preset ? I LOVE IT !
2nd Question : Do you really need to select the option "Ext" on the compressor ? Because, as you did, you can go and select an external track by using the option proposed by Logic on the right top of the plugin. Or do I have to do both ?
3rd : Maybe you showed it only for the exemple but I saw you sent on the Synth MIDI track some Reverb and some Delay (both of its) : would recommend to send the track only in the reverb bus or in the delay one ? or both is a good thing ? I did not know that we could send both on the track (I was afraid to get a mix too muddy) but your sound is great.
Thanks a lot man !
Amazing advice! I wonder if there are any reverb or delay plugins out there that build in side chain compression into the plugin itself
I used to use peak controller with reverb but I'd rather use Waves' RComp since it gives me MORE CONTROL of the reverb with the attack and release settings. Also, turning the makeup gain up by 1-2dbs makes the reverb sound richer
Dude, this is a RAD trick! Never really used this before in a rock setting but thank you so much! Will definitely be trying this. Do you have a video on sidechaining 101? I feel like it's a very misunderstood concept.
Nice quick and simple explanation on how to sidechain. Thanks for the tips!
Finally, honestly been just throwing reverb on playing with different kinds but always felt like i was missing something. :D
Big Z doesn't bait.
Nice trick, kinda like Gated Reverb you put on big 80's snares. Thanks for sharing!
Have been watching you for a while. Do you have a suggestion on an affordable p.c for music production? Or a build. Thanks ahead of time .
Sudechain compress reverb. Nice with delays as well
Quick question, is the delay going on the reverb only? 🙏
First time view !! This is great 👍
I just have a question about this, why would you EQ reverbs or delay like that when there often time are a built in filters.
Those chords are a really good bright synth sound even before the reverb :@)
yeah way cool, thought the reverb diminished the coolness tbh
Great vid! I wonder how am I going to incorporate this using Abelton... :/
Ha, this is so simple yet so effective and often overlooked.
I was always lazy doing bus for effects, but this actually improved my mix ! Actually, that trick is purely logical when we think about it. Thanks for convincing me to move out of my comfort zone.
Bus is very important as I've learned. Theres no escaping it. But for good as it fills up the mix and gives you the control you won't get without bussing the damn thing. Lmao.
You can do this without sidechain, just automate wet/dry knob on reverb.
Yo Z, good stuff.. But, what's that degree behind you on the wall? Are you like a part-time chiropractor or something?
Great video Big Z! We love your content
Could we get a video on how to make that patch please???
Could I ask how you are recording the tutorial with no headphones please? I thought the speakers would interfere with the mic?
Great tutorial really enjoyed it alot just really starting out learning sound design.
great tip which i will be using from now on.Found a less convoluted method as others have said .
Jon Brayford hmmm
I like your way of explanation! Thnx man! 🔥🎶🔥
Do you have tips for recording. Like vocal channel strip empty to record dry but bus to another aux that has the reverb and compressor so the vocalist can hear and feel it ! If so do recommend a certain plugins ?
What is the ghost track/SC Trigger for? Why not use the signal from the Big Saw Chords track?
Edit: I see that other people said the same thing and the guy apparently made another video where he does it more efficiently ✌️
Nice. Incredible difference. Some reverbs also have in-built compressors like Kleverb from Klevgrand...
+1, and Goldverb too, its compressor is squishy AF and pumps beautifully. Disclaimer: I made Goldverb :-P
Gregory Scott 😂 There you go! I guess it’d be weird if you didn’t adore your own product! I will demo, I promise!
dude why do you have to print the track? couldn't you just send the dry signal to a bus, have reverb then comp on that bus and choose the source track as a SC input in the compressor so that it ducks the reverb?
Ben Potts that's how I do it in Studio One.
Yeah I do it a much better way now. This is a bad way to do it, I should make an updated video
I was thinking the same "soon as he printed.. thought what?". Was looking for someone to mention it and saw this 👍
@@BigZMusic The reverb demo was great as the difference between the wet and dry signals could clearly be heard but the delay.........what delay? I listened to the delay wet and dry signals a few times but just heard a repeated reverb comparison every time. What am I missing?
@@leepshin pretty sure delay was muted in the channel
Muddying up what mix? Its one sound 😳
Last night, Big Z save my life. 🎵🎶
Hey guys! Been searching for quite a while now, but haven't found the answer yet.
I want to apply Brooks' reverb technique with the FL Studio peak controller (as seen in his masterclass) in Logic Pro X.
I know how to side chain the reverb with a compressor, but haven't figured out how to recreate this awesome effect Brooks uses.
That seems to be the way to set up the reverb side chain. But I guess it's not the thing where it shuts down the reverb, when an actual note is playing? Or is it just necessary to use the gate for this?
Wow thanks for this amazing tip. Makes it push the mix much further
In fl studio u just need to add a peak controller and link the wet knob to the conttoller
Is good idea use with vocals?
absolutley awesome channel - thanks for doing this and sharing those amazing tricks !!! expertly explained and done - yes man !
I always high and low pass my reverb - comp only if needed like with voice
Isnt this similar to adding a long reverb predelay and a higher mix level? Pre delay means no reverb while sound is playing and then the reverb comes in between the chords. A high end reverb usually has eq too. Your way works great, but I can get similar using predelay, mix level, reverb time and eq.
Yes sorta, but this method has a lot more control
What does z stand for?
Amazing thanks buddy. Well explained
Thank u. Love your tutorials!! Best on youtube! Your sounds are legit. 🔥🔥🔥
This was awesome man! I just started tinkering in logic and getting more comfortable and this really helps my ears for mixing... Thank you! 🙌🏾
Exelent! Gets right to the point!
Love your work Big Z! Thanks for sharing. All the best,
-J
good stuff... took me long enough to come across your tuts.. wonder why... keep up the good work !
I read that differently....
I never thought about using parallel compression like that that’s a really cool trick I appreciate it
Glad i found your channel! :) Love your videos and the way you teach your stuff! Thanks. It would be great if you could have some videos on how to get the great instrument sounds you got, especially if you could show how to create a sound like the supersaws in this video just using logics stuff, or some freeware if possible..?! Thanks BigZ once again : PEACE:
Hi Big Z, can you demoing this video with reaper? Thanks
Super smart technique
Tnx sooooo much dude. 🙌🏾 U just opened another padorabox for me
Great trick, thanx for sharing 🙏
You're a boss. Thanks for this. But I can't bounce the reverb??
Sounds like 'how to Zedd...' Thanks for the amazing tutorials
I LOVE YOU BIG Z!
Awesome video dude! Big help and great advice! New subscriber!
Never even consider doing this. Nice tip. Thank you!
The Thing All Pro Use: Fruity Reverb
does the Z stand for Zalbaar?
isnt this the same as parallel compression?
no
That sounds like a good idea. I'll try it tomorrow. Thanks for the tip 👍
Is this fl studio?
Nice one. Short and to-the-point
Sounds huge, isn’t this essentially a “ducking” reverb and delay though. Thanks for the vid, planted a seed in my mind for some future sounds.
I might be using FL but im still gonna watch your shit haha
This is great, thank you. I have to say though I cannot for the life of me think why some people offer such rude comments.
wouldn't a pre-delay feature in the reverb do the same job?
Its a nice trick but wouldn’t it be easier to use a linear phase eq so the reverb effects the chords to the tail end? Sounds better in my opinion.
Thanks man. You're a lifesaver
Why print it and not just sidechain the send?
Yes, is kinda of confusing how he explain...but sounds cool
While that is possible now in Logic, not too long ago it wasn't. Using an instrument track as a sidechain input was impossible until Logic Pro X 10.4 or something. I could imagine that would still be the case in other daws.
@@WouterStudioHD It's pretty much just Logic. Every other DAW is designed for actual recording and mixing. Logic was more like composing workstation. Side chain has been a prerequisite in audio mixing since the first mixers came up.
@@eliteextremophile8895 What are you talking about? Fl Studio and Ableton are two of the most popular DAWs on the planet and they are far more focussed on composing and production than Logic. Logic is better at tracking and mixing than either of them and lacks certain production aspects compared to them. Pro Tools on the other hand is more focussed at mixing and tracking and is also only designed to do these things. There are way more DAWs than these, but most of them are worse at tracking and mixing than Logic.
Also, sidechain has been a major part of Logic since forever, but only audio tracks could be used as input until recently. Makes sense tho, since the buffer is completely predictable and thus far less CPU intensive when you use audio tracks only.
@@WouterStudioHD - Studio One.. Does it ALL
Hey which Serum preset is it? Sounds dope thx
Sounds like just a simple detuned saw with a lot of voices, a bit going on with the noise OSC, a LFP to smooth it out & a delay effect with BPM set to off & the ms time set somewhere in the range of 17 to 28ms to give it that extra metallic sound, then just adjust the feedback & wet knob. Throw OTT on that bitch and there you have it haha you should get something within the general ball park. Just be careful with the amount of detuning between the voices cuz with saw waves, ESPECIALLY if you use both OSCs at the same time, cuz it can generate a super harsh white noise effect which can't be tamed out of the sound using the LPF, & that white noise type of sound you here in there is definitely NOT being made by the detuning of the voices. I'm sure its contributing, but its not the real meat & potatoes behind it.
That’s exactly what I’m looking for, thanks man
brooo good looks!!