What Is Pre-Delay And How I Use It To Create Depth In My Mixes: Understanding Reverb
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- Опубликовано: 4 сен 2024
- The Objective Mix (book - $5): theobjectivemi...
Understanding the 3 parts of reverb video (part 2 in creating depth using reverb): • The 3 Parts Of Reverb:...
FREE EQ & Compression Guides:
www.dinosaurdo...
In this video we dive into the most misunderstood concept of reverb, Pre-delay. We talk about what it is, how to use it and why it matters in your mix. Reverb is a central part of getting a pro-sounding mix, on par with even some EQ and compression techniques. This is the start of a series breaking down reverb into the various "depth" components and how to utilize this strategically to create depth in your mix.
The Objective Mix (book - $5): theobjectivemix.com/
Understanding the 3 parts of reverb video (part 2 in creating depth using reverb): ruclips.net/video/e8syNsu3w-U/видео.html
FREE EQ & Compression Guides:
www.dinosaurdogstudio.com/EQ
Excellent and enthusiastic explanation, thank you. I was dialing in some reverb with a friend just the other night, both of us admitting we both didn’t know how to use it. Then this pops up in my feed. Priceless!
Glad it was helpful! Thanks for the comment. 🙏
My ear-holes really appreciated this. Very well explained.
Thanks for watching & commenting!
Interesting concept. The lead vocal really was perceived as closer by me in your reverb example.
Thanks for commenting. Glad that you could hear the concept in action!
Make a script, dude! Good info but so much filler talk ("we'll dive into that"...raps on mixing opinions) up front that the lesson gets lost a little. Not until you start doing with/without and associated settings does the idea become clear, so put that up front and all the theory and opinion after. Just my 2ȼ worth...reverb has been twisty for me, thanks for the road map!
Thanks for the critique! I appreciate it.
Kinda thought I had my reverb knowledge dialed in but....
This was great!
Glad it was helpful!
Well done explanation. Been digging deep into early reflections for a while and this video may have been enough for me to move onto a new mixing subject for a bit.
Thanks! Keep an eye out on Friday, I have a part 2 to this video that will help you understand this even more if you're interested.
thanks man. I appreciate your videos.
Thanks for watching!
Excellent video which explains something very clearly that to most of us, seems slightly counter intuitive
Thanks for commenting! Glad that this cleared up this concept for you.
Thanks for the tips man. Very useful info in the future.
Of course! Thanks for commenting!
Not telling this is a must have but, maybe would be a nice helping tool if we could use an osciloscope to better adjust the dry sound and the reverb using the pre-delay...
What do you think?
BTW, great video!
Thank you!!!!
Thank you! And I think it could be nice to learn and understand what's happening with your reverb, but not a "must" for a plugin. I've seen only 1 that had this feature, although can't recall which that was....
@@dinosaurdogstudio I'm not sure if I got what you mean but, if you're talking about an oscilloscope to observe two or more tracks simultaneously I suggest you Psyscope - it's free and the paid version is really cool. And it will cost you less than a McDonald's poisoning...
...ops, "meal".
Thanks I’ll get your book today
Thanks! Glad you found value in this.
Thank you!
Very helpful 🙂
Of course! Glad you found it helpful. :)
Thanks for the detailed explanation - the diagram helps a lot. But if I am using a sidechain compression to duck the reverb so that the vocal has better clarity (so it's not drowned out by reverb), doesn't that mean that the pre-delay setting doesn't matter because it is occurring while the signal is ducked?
Side-Chain doesn't eliminate the reverb altogether, and pre-delay would still impact the signal and your perception of the reverb.
Although I would use plate reverb as a vocal effect to avoid early-reflections entirely.
@@dinosaurdogstudio Thanks for your response Tyson. Maybe I am sidechaining too heavily? I usually sidechain so that reverb is only clearly heard between words/phrases (not during actual singing). As per your suggestion, I will compare plate reverbs vs other reverbs with pre-delay while still sidechaining. I am always experimenting to find ways to use reverb more effectively - like a lot of producers, I think I have spoiled mixes with misuse of reverb.
I don't have much to do with music production these days, but i got interested in the concept again quite recently when one of my nephews was asking me things he should watch on RUclips to learn as he's interested in becoming an audio engineer, and honestly, i told him he probably should stick to books instead and his course materials. what is this trend of RUclipsrs inventing issues that never existed to begin with? i have never heard anybody claim that a longer pre-delay time=further away and like i alluded to earlier, i haven't been involved in audio professionally for 15 years now i think it is. even back then before the advent of the democritisation of professional audio i don't remember anybody being confused about the function of pre-delay
Such a strange video
I was confused about this concept, so I made a video to help the "younger me" side-step this challenge. Glad that you never had this issue.
Also, longer pre-delay = closer.
Is your book e-book only?
For now, yes.
How come you know so much but when I google your first and last name I can't find any songs you've mixed or mastered? I'm not trying to be a jerk, I'm just genuinely curious...
Great video btw, really great and explained very well, thank you!
Great question. There are a few answers that add up:
Most of my credits are mastering - and mastering credits are the last to go on the record, and the first to be forgotten.
Also, I have done the bulk of my work (99%+) for independent artists that aren't well-known.
Most of the "credit" for my work is under the company names that I've worked for: Dinosaur Dog Mastering and Nightowl Music Group (and Nightowl Studios).
I have never truly taken the time to ensure that my credits are uploaded anywhere. Usually engineers take the time to upload their own credits to AllCredits and other similar sites...
I'm happy to send a few references your way if you're curious to hear some of my work.
Hi. I think there is a faux pas in your presentation. The closer the sound, the shorter the predelay, not the longer. Similarly, the longer the predelay, the further away the sound appears to be. The further away then the further the distance in the timeline. To use Haas panning as an example in left to right imaging, it only works up to 30 ms, as after that the ear discerns the ms gap as an echo repeat. So to take that further, if you utilise ms gaps in a front to back scenario as a tool to create the illusion of depth, it is not fseable past 30 ms, when the predelay would take on the audible character of a slap back delay. Of course volume & high end roll off are factors in 'distance' but I am commenting on ms in the remit of predelay/time over distance.
You can hear early reflections as a "slap back" in a canyon: aka echo. It depends on the size of the space. These are inherently the same thing, we just say they are different due to the common use cases.
Also, the logical discrepancy in your comment is that everything is anchored to the Early Reflection as the "timeline". Everything is anchored to the Direct Sound - then early reflections indicate the location in the room (aka: distance). Direct sound would hit you in less than 1ms if someone is making noise in your ear - but the early reflections would take longer to reach you.
@@dinosaurdogstudio i stand ny ground. The human ear will interpret any perceived 'direct' sound as an echo if its predelay exceeds 30 ms. To make my original point again, the closer the direct sound the shorter the predelay & the longer the predelay, the further away it appears to be. Canyon or not, with L to R location being much harder to discern over distance. But in a recording of a band, who would want to position the drummer a mile away, Lol! So I think we can safely stay within 30 ms of predelay & paint the sound canvas with volume, microtonal adjustments & panning. When creating sound effects for movies & surround sound we can push all boundaries. But for those of us recording songs, we only need to observe a 30 ms limit. The faux pas made in the presentation is that the closer the direct sound, ths less the predelay, not the longer.
Very few producers utilise Haas but the interesting thing is that you would leave the pan pot at the 12 o'clock default & then dial in up to - 30 ms (L) or +30 ms (R). There is no volume loss using Haas as opposed to panning. Observe the stereo buss output to see this.
You ARE saying ear hole aren't you? 😊
100%. 🤘
What is that thumbnail photo? Like WOOOOOW OOOMG??? I know kids doing that for more people to fish, but you.... 😢😢😢😢😢
Does he never breathe? Sounds like a rap...
He breathes every 3 seconds.
Haye when the try garner my view time, by use of obfuscation..
Just get ti the point. ..
Hopefully you looked at this monstrosity b4 ou uploaded.
Cut it down gives up the goods, keep it moving. But whatever you do. Please, please, please don't bore us to death.
Thanks.
Thanks for the suggestion.
Everybody does that. Yes it is nauseating. .
" Monstrosity " is a bit extreme however
Direct sound arriving at 1 ms? So the sound sound is 1 foot from your ears? WTF? And early reflections come more from the floor than the back wall. So much inaccurate info
And RUclipsrs don’t lean the truth.
🙈
Yep! You're right. Singers generally sing about 6-12 inches from the mic. And yes, you're also right about the floor, assuming you don't have thick carpet that is absorbing the bulk of those reflections.