The Abbey Rd trick is always a good one to allow you to use more reverb and not let it get in the way. Also, occasionally I like to time the pre-delay on things like the snare to create a rhythmic effect. Sometimes I like to have a completely dry vocal and the reverb in parallel too. Mostly, I just don't know what I'm doing and hope for the best.
Great stuff,makes me miss using a couple of 2 track Studers with vari speed from 15 to 30 ips as pre-delay,usually some AMS delays,always needed another channel,into a colossal EMT plate,miss that motor creaking away like a tardis,...man I loved that sound,the pre delay was always the key for multi channel use, as much as authentic that colossal arrangement was,plug ins aint half nailing it.
I like putting DearVR inserts on my mono tracks to put them in a 'real space' before I send them to reverb (lately it's usually R4 or iRCam). Might be interesting to try this trick on my stereo tracks though..?
I love this - my reverb was either too complicated and confused or it didn't add any depth. Now my singer sits at the front with the instruments behind them. To make my life easier, I create 3 bus "layers": front, middle and back, and route all the instruments into the them parallel wherever I want to put them on the "stage". Each of these buses goes into my reverb channel.
I see. So instead of creating one delay channel strip for every instrument like Warren does (where you determine how delayed you want that instrument to feed into the reverb bus), you create three busses with a different amount of delay each and send every instrument to those depending on where you want them to sit on the stage. And those three busses will turn feed into the reverb bus. Sounds good!
Just for the record, I've clearly watched too many PLAP videos as I've found myself saying "I hope you're doing marvellously well" to people entirely unintentionally.
I used to just put one mild reverb on the master bus to glue it together, but this will give me so much more control. Your videos are proof that you don't need a bunch of special gear, hour long tricks, etc. There are simple, beautiful sounding techniques you can use. So thank you. Please do more of these digitized versions of simple classic tricks. Please please please.
This is one of those things I will look back on as a real landmark for my mixing skills. I can see that often I end up indiscriminately painting a mess with reverb. What a great lesson to illustrate many things.
I am totally impressed! This is exactly what this song needed. This is one of the best reverb lesson I have yet seen on RUclips. Going from reverb bypass to on is such an eye opener (... or ear opener), it glues the mix so well and makes it cohesive. Really well done Warren!
@@Producelikeapro hello Warren I want to understand the pre delay better. In Logic I would place the delay on the track as an insert or send? And using the reverb as a send or busing that track to the verb?
@Gerhard Schöner I felt the same way about the spring setting. I actively thought, "that's the best-sounding spring reverb I've ever heard." Couldn't believe it.
I have been trying this sort of thing for a while. With little success, mind you. Now that I know the secret, You can bet I'll be back at it. Thank you, Warren.
This is one I'll need lots of practice with wrapping my head around. I think I'll save this one. 😅 I will eventually get the hang of it. I feel so peculiar thinking about where to start creating reverb this way. I'm coming from an earlier world where for fun reverb, I'd be riding with my music making and other performing friends to go driving around to all of the fun natural spaces we knew of with built in environmental reverb, and record ourselves. We threw several after hours coed parties in various locker rooms and empty nunneries to just check what it would sound like in different places. Barn silos, to missile silos, Red Rocks, to Central City, mine shafts. In the empty museum waiting for the planetarium laser Rock Show. In the empty planetarium itself, and in the zoo, at different habitats etc. I miss those people so much I didn't realize the rarity of that kind of openness of cooperative experimentation and cohesion amongst that many people at once. I know this was just about reverb, but it reminded me of what fun we had building a performance (many types of performances) and then capturing bits of it to do again, keeping what worked and making it better each time. I think this place reminds me of the spirit of that bunch of people. ❤️
Listening to you play around with the drum predelay settings, and I’d just like to point out: Sound travels through air at about 1 foot per millisecond, so if you want your drums to feel 10 feet behind the vocal, 10 milliseconds should get you there! Also, the more predelay, it might be beneficial to add more of the wet signal into a mix. Of course, that’s if you want a strictly “realistic” sound
hey man, help me gain more clarity on this. normally a sound source seems closer if sent to a verb with some predelay and seems farther if sent to a verb with no predelay, hope I'm correct. but with this trick it seems like the sound sources with no predelay, like the vocal seems closer, and those with some predelay seems father. could someone who has this really figured out help explain better. I'd like to have some better understanding of what I'm doing so i could have more control
I love this trick. It works so well to put closed miked sources and dry virtual instruments in a virtual room and make them sound cohesive. Thank you for sharing, Warren.
Big thanks Warren for reminding me that old trick - I almost forgot... Here's another I'm sure you know : sometimes I put an expander (not a gate) before the verb and set it so as the signal gets louder, more of it is sent to the verb... works well with delay, of course! Have a wonderful day! ;-)
Something like this was done for Heroes by Bowie wasn’t it? Three mics with three different thresholds or something like that. I could be remembering it wrong.
Can't thank u enough sir for all the help you r providing to all the budding producers. It feels more like interning at a studio rather than watching RUclips vids. U and Michael from "in the mix" r one of the finest in the game. Much love n respect ✊
Couldn't agree more @Farhan Khan! Warren always makes me feel like I'm in the studio with him (only I can rewind him at will!) Great "tone" to his vids. 😁
Great tip. I think what’s confusing some people is WHERE exactly the delays for each individual track are inserted. As far as I got my head around it (without trying in my DAW), you do it like that: 1. Create a parallel channel for each track (or group) you want the reverb on. 2. Insert the delay on those parallel channels at a 100% wet, no feedback. Set the (pre-)delay time. 3. Turn the parallel channel’s volume fader down. 4. Send the parallel channel’s delayed signal pre-fader(!) to your reverb buss like you would normally do. Correct me if I’m wrong!
I love tips like this because it's so practical and I get caught up in having too many reverb options that can make mixing a song so much harder. Thanks Warren.
This is a great cheat I've used on my thing of using electronic instruments (I predominantly fiddle around with synths and drum machines and so on). It's a great way of creating the illusion that these instruments were sat in a room physically and recorded thus. I've managed also to use it to split up things that very slightly clashed too by moving them a bit more away from each other. Though that's probably not something I'd recommend as that was more of a bodge on my part. I particularly love doing it by "building up". Start with the first track, add what you feel is right, then add another track, and so on. If you get it wrong or lose yourself, drop back. It's a great trcik and it absolutely WILL teach you to use reverb correctly and efficiently if you don't have it sussed.
You say it is old school, I say it is new cool! I have never heard abletons stock reverbs bringing life to sounds like with this trick. A feel of a space and unity of a mood are ears opening to me. It’s so close to those old Japanies ambient records where reverb as such is hard to grasp, because it’s feels like environment not a reverb. Thank you for this lesson!
1. The song is great and has some cool old school vibes 2. Beside a cool trick with reverb, the instruments were recorded/sampled perfect and that shows how much depends on good quality instrument recordings 3. The reverb sounds great and even in full mode it doesn't sound like a "too much" spring - like if You crank loud the amp spring reverb.
Awesome. There's a version of this where you create two identical reverbs.... Except one is set to only have early refections.... And it's counterpart is set to only use the tail. Then everything that you send to the reverbs can also have a different amount going to early reflections and the reverb tail... That in conjunction with pre-delays can make it sound even more real that everything is in different places in the same room.
Just to consider why magic happens and not give all the credits to the reverb technique, which is undoubtedly great. The nature of the sound of each instrument is great, the recording of them too, there is no compression so the song breathes freely all the time and finally the reverb finishes coloring like silk what was previously already very good. Excellent work in every way and thank you very much for sharing.
I love this trick. To my ears, it sounds a lot more natural too, which I think is something that is often taken for granted. Great presentation as always, Warren. Thanks brother.
Yes. This is great! Using the same reverb for EVERYTHING really makes it feel like a group of people playing a song. Using different spaces, reverbs, studios, whatever...really makes a disconnect. Thanks for this! Subscribed.
I usually time the reverb with the BPM of the song. Then experiment with the millisecond values of pre-delay (1/4 note 1/8 note 1/16 note 1/32 note ETC) for each instrument and vocal in the song. Yea, it's time-consuming but the reward is the "everything in one room" sound that is so cool. But sometimes you might not worry about timing the reverb, and just add a little mix of a bused reverb to each instrument or vocal. If it works in the mix then that's cool too.
I figured it out! I had to do bit of different routing tho since I use reason 11 , on each bus track I created a parallel ,then I sent each p channel prefader , turned each p channel all the way down then adjusted each send of the parallel channels along with a delay plugin on each p track. Boom! now i have not only everything in one room now I have front to back depth!
And really wanna thank you from my band account too! Mr Warren because of your video for the last 5 years I learned to mix my music to the level which we have now! Thank you! Stay safe and keep doing your great job! Sinoptik - occult rock trio from Ukraine
This reminds me of band recording on 8 track years ago with a single REV 7 reverb unit. Your guys play a bit better than we did but the recording you made has the feel of one of those recordings. Listening now I sort of miss recording that way. Don’t miss the stress of having to know your part for risk of cost overuns
This is fantastic. Definitely gives it an instant 60s vibe. In the past I've used an empty hollowed out bedroom for a reverb chamber, and I use to love to send tracks out to it. It was definitely a poor man's chamber reverb, but it was quirky and I loved it. I don't have that luxury anymore, no empty bedroom, but this plugin really gives me some of that back again, in a much better sounding room of course, but still with lots of personality.
Brilliant tips here Warren - thanks! I have often added too many reverbs and delays in the past and just ended up with a muddy mess. I'm a big believer in "less is more" in which case, and very often I've been doing much as you've done here, adding just one reverb, but love the extra delay tip on each instrument before it sends to the verb. Definitely something I'm going to be trying on my mixes.
I call this "the glue reverb". Been doing it for a LONG time now. On certain styles/genres it is just what the doctor ordered. Makes everything sit together perfectly. It's especially great on small ensemble stuff like this.
I often send all my 4-5 main busses into an instance of UAD Ocean Way. I cut some bottom end and blend it in the mix...aaand voila. It's like putting a band INSIDE THAT ROOM using those mics. Absolutely lovely! That delay on the reverbs is a cool trick. Very schnitz and sniggles. Me like!
Yep, I do this. Set up one reverb I like on a single bus and send varying amounts to it from individual channel strips. Have not found a need to stack up other reverbs doing it this way so far. Shout out to the musicians as well btw - great track!
This is pretty much my favorite way to use reverb to make it sound like the instruments were played in a specific space. You nailed it. One extra thing I like to do is adjust the volume up of the reverb based on which instruments or individual drums would be more dynamically responsive, you could also try panning the reverb sends to help create the sense the instruments are coming from a different area in the room.
Yes, that was it... at Westworld Recorders (Sherman Way and Van Nuys---gone now) we had a single plate, an RMX16, an old Yamaha reverb I never used much, and a real tape delay. That was it. We had 3 Lexicon delays that we would use to set different pre-delay times on different sends: usually 1) lead vocal; 2) snare; 3) everything else. If using the AMS unit on the drums, I think that knocked us down to only 2 different pre-delays available for the plate. It was a patching thing, but I can't quite remember where the limitation was... console or patchbay. We got a lot of mileage out of all that, and it seemed quite normal. This was mid-80s.
I was practice mixing using one of the Cambridge multitracks, and I was getting there with the mix, but wasn’t totally happy. Implementation of this trick totally put me in the happy place. The track I was mixing was live recorded too in 1 take. This technique works a treat for that type of material
absolutely the best 18 minutes on recording/mixing techniques on youtube!! thanks a ton for sharing this ..it actually answered some question for me! thx again and cheers!!!
Wow, I just started doing this last year, figured it out myself... To hear from a pro like you that it's "how it's done" is a great feeling! Love your videos!
I love this technique. A lot of the complex reverbs really draw CPU power. Having one with bus delay is so simple but yet never would have thought of that.
What a cool technique for utilizing a shared reverb - sending different groups or instruments with different amounts of predelay! absolutely amazing thank you Warren!
Think about standing in a church. The choir in the back is hitting you at the same time as the reverb surrounding the direct signal. The person sitting in front of you chatting away has a direct signal which hits you first, followed by the sound of the room following after a short delay for the signal to hit the walls and come back. In fact in an acoustic room a pre-delay would suggest that the person is closer to you. No pre-delay would suggest that the person is further away. This explanation is great but exactly backwards if the intention is to push the singer towards the front. In this mix the drums sound closer to you than the vocal, but the effect is still pleasing, and the one room verb is very effective.
In my default setup, I have an SSL-Bus-comp, a chorus, a doubler, a gated, a short, a long reverb and a delay. If I need something special, it'll get loaded up as an insert usually - this setup also ensures a faster workflow with new material. I has serverd me very well. But these are usually enough.
This is exactly how I like to apply Reverb to a track and I love that you said it's an old school way coz I love the old school. Great video thank you very much for 👍🏼
What are your favorite reverb tricks?
I create a gated snare plate without using a gate: I take a plate, make it short and timed to the tempo and compress the devil out of it. :D
The Abbey Rd trick is always a good one to allow you to use more reverb and not let it get in the way. Also, occasionally I like to time the pre-delay on things like the snare to create a rhythmic effect. Sometimes I like to have a completely dry vocal and the reverb in parallel too. Mostly, I just don't know what I'm doing and hope for the best.
Great stuff,makes me miss using a couple of 2 track Studers with vari speed from 15 to 30 ips as pre-delay,usually some AMS delays,always needed another channel,into a colossal EMT plate,miss that motor creaking away like a tardis,...man I loved that sound,the pre delay was always the key for multi channel use,
as much as authentic that colossal arrangement was,plug ins aint half nailing it.
I like putting DearVR inserts on my mono tracks to put them in a 'real space' before I send them to reverb (lately it's usually R4 or iRCam). Might be interesting to try this trick on my stereo tracks though..?
@Kevin i read CLA never Puts reverb on direct mics in Drums, only on the room and maybe overheads. I think this along those lines.
You can also low pass the predelays with different amounts, so that the instruments that are further away, sound further away in the reverb :)
✨✨✨
That "all in the same room" sound really completes the live recording and demonstrates that simplicity is sometimes the best creative choice.
Thanks ever so much! Yes, amazing players does really help!
I love this - my reverb was either too complicated and confused or it didn't add any depth. Now my singer sits at the front with the instruments behind them. To make my life easier, I create 3 bus "layers": front, middle and back, and route all the instruments into the them parallel wherever I want to put them on the "stage". Each of these buses goes into my reverb channel.
I see. So instead of creating one delay channel strip for every instrument like Warren does (where you determine how delayed you want that instrument to feed into the reverb bus), you create three busses with a different amount of delay each and send every instrument to those depending on where you want them to sit on the stage. And those three busses will turn feed into the reverb bus. Sounds good!
Just for the record, I've clearly watched too many PLAP videos as I've found myself saying "I hope you're doing marvellously well" to people entirely unintentionally.
whoa
Ha! Me too!
Yep, me too...
You're not alone. Just say'n.
Except on fridays when I say "Do you know where your bass player is?"
I used to just put one mild reverb on the master bus to glue it together, but this will give me so much more control. Your videos are proof that you don't need a bunch of special gear, hour long tricks, etc. There are simple, beautiful sounding techniques you can use. So thank you. Please do more of these digitized versions of simple classic tricks. Please please please.
Thanks ever so much Chris! Yes, far more control this
This is one of those things I will look back on as a real landmark for my mixing skills. I can see that often I end up indiscriminately painting a mess with reverb.
What a great lesson to illustrate many things.
Thanks ever so much!!
You put the Sunset plugin on a track recorded at Sunset, the glorious meta!!!
alpha
Haha Exactly! Thanks ever so much
@@lishonlouw1332 Thanks ever so much
It's Sunset inception...
I am totally impressed! This is exactly what this song needed. This is one of the best reverb lesson I have yet seen on RUclips. Going from reverb bypass to on is such an eye opener (... or ear opener), it glues the mix so well and makes it cohesive. Really well done Warren!
Thanks ever so much Jacques! You Rock!!
@@Producelikeapro hello Warren I want to understand the pre delay better. In Logic I would place the delay on the track as an insert or send? And using the reverb as a send or busing that track to the verb?
@@ST-fl5fy place it on the duplicated track and send that to the reverb is what i got from it.
Extraordinary. Fascinating how good this sounds without all the usual fannying about.
I have never heard what that reverb plugin actually sounds like until now, and boy is it gorgeous!
Yes it certainly is!!
@Gerhard Schöner haha thanks ever so much!
@Gerhard Schöner I felt the same way about the spring setting. I actively thought, "that's the best-sounding spring reverb I've ever heard." Couldn't believe it.
I have been trying this sort of thing for a while. With little success, mind you. Now that I know the secret, You can bet I'll be back at it. Thank you, Warren.
How great is this track, Bobby? I never tire of it!
Thanks ever so much Bobby!
@@petesawchuk agreed! Great song!
This is one I'll need lots of practice with wrapping my head around. I think I'll save this one. 😅 I will eventually get the hang of it. I feel so peculiar thinking about where to start creating reverb this way.
I'm coming from an earlier world where for fun reverb, I'd be riding with my music making and other performing friends to go driving around to all of the fun natural spaces we knew of with built in environmental reverb, and record ourselves. We threw several after hours coed parties in various locker rooms and empty nunneries to just check what it would sound like in different places. Barn silos, to missile silos, Red Rocks, to Central City, mine shafts. In the empty museum waiting for the planetarium laser Rock Show. In the empty planetarium itself, and in the zoo, at different habitats etc. I miss those people so much I didn't realize the rarity of that kind of openness of cooperative experimentation and cohesion amongst that many people at once. I know this was just about reverb, but it reminded me of what fun we had building a performance (many types of performances) and then capturing bits of it to do again, keeping what worked and making it better each time.
I think this place reminds me of the spirit of that bunch of people. ❤️
This is a possible solution for all that reverb-horror, many of us use to get in. GREAT!
Yes! Exactly Peter! Thanks for your great comment!
Yeah death by a choices.
Listening to you play around with the drum predelay settings, and I’d just like to point out: Sound travels through air at about 1 foot per millisecond, so if you want your drums to feel 10 feet behind the vocal, 10 milliseconds should get you there!
Also, the more predelay, it might be beneficial to add more of the wet signal into a mix.
Of course, that’s if you want a strictly “realistic” sound
It varies, but, generally, sound travels at about 1127 ft. per second. So, it takes 1/1127 seconds to travel one foot. you are right
hey man, help me gain more clarity on this. normally a sound source seems closer if sent to a verb with some predelay and seems farther if sent to a verb with no predelay, hope I'm correct.
but with this trick it seems like the sound sources with no predelay, like the vocal seems closer, and those with some predelay seems father.
could someone who has this really figured out help explain better.
I'd like to have some better understanding of what I'm doing so i could have more control
I love this trick. It works so well to put closed miked sources and dry virtual instruments in a virtual room and make them sound cohesive. Thank you for sharing, Warren.
I really love how this video creates space out of "nothing" in the sense that the tracks are dry, and end up with life in them. Thank you!
This song sounds really nice to my ears. Doesn't matter if the reverb is on or off :)
Thanks ever so much!
Yep, the vocal is on point. 👍
It’s so good I kinda like it dry and intimate. Great stuff Warren.
@@buddyalbert5808 Thanks ever so much!
Big thanks Warren for reminding me that old trick - I almost forgot... Here's another I'm sure you know : sometimes I put an expander (not a gate) before the verb and set it so as the signal gets louder, more of it is sent to the verb... works well with delay, of course! Have a wonderful day! ;-)
Nice!! I'm definitely going to try that
Thanks ever so much for that great tip Claudius!!
@@alaspooryorick9946 yes! Marvellous!
Something like this was done for Heroes by Bowie wasn’t it? Three mics with three different thresholds or something like that. I could be remembering it wrong.
@@volfore I didn't know that but I wouldn't be surprised ;-)
Can't thank u enough sir for all the help you r providing to all the budding producers. It feels more like interning at a studio rather than watching RUclips vids. U and Michael from "in the mix" r one of the finest in the game.
Much love n respect ✊
Couldn't agree more @Farhan Khan! Warren always makes me feel like I'm in the studio with him (only I can rewind him at will!) Great "tone" to his vids. 😁
I love this sound of the reverb you create, you really did a good job!
Thanks ever so much!!
Warren uses reverb marvelously well :)
Great tip. I think what’s confusing some people is WHERE exactly the delays for each individual track are inserted. As far as I got my head around it (without trying in my DAW), you do it like that:
1. Create a parallel channel for each track (or group) you want the reverb on.
2. Insert the delay on those parallel channels at a 100% wet, no feedback. Set the (pre-)delay time.
3. Turn the parallel channel’s volume fader down.
4. Send the parallel channel’s delayed signal pre-fader(!) to your reverb buss like you would normally do.
Correct me if I’m wrong!
That must be it.
It’s straight forward and it absolutely will create what is shown here.
😎👍
Very helpful thank you!
You never fail to make my day (and hopefully production life easier) with these pearls of wisdom. Thanks for your generosity Warren
Thanks ever so much
I love tips like this because it's so practical and I get caught up in having too many reverb options that can make mixing a song so much harder. Thanks Warren.
Thanks ever so much Mark!!
Great mix.
Reminds me of a very well mixed live performance in a venue with awesome natural reverb.
Thanks ever so much
Splendid demonstration of "less is more" approach. Very, very interesting... Thank you so much Warren.
You’re very welcome!
This is a great cheat I've used on my thing of using electronic instruments (I predominantly fiddle around with synths and drum machines and so on). It's a great way of creating the illusion that these instruments were sat in a room physically and recorded thus.
I've managed also to use it to split up things that very slightly clashed too by moving them a bit more away from each other. Though that's probably not something I'd recommend as that was more of a bodge on my part.
I particularly love doing it by "building up". Start with the first track, add what you feel is right, then add another track, and so on. If you get it wrong or lose yourself, drop back. It's a great trcik and it absolutely WILL teach you to use reverb correctly and efficiently if you don't have it sussed.
Thanks ever so much for sharing Daniel! I really appreciate it!
You say it is old school, I say it is new cool! I have never heard abletons stock reverbs bringing life to sounds like with this trick. A feel of a space and unity of a mood are ears opening to me. It’s so close to those old Japanies ambient records where reverb as such is hard to grasp, because it’s feels like environment not a reverb. Thank you for this lesson!
Im definitely going to try this in my songs
1. The song is great and has some cool old school vibes
2. Beside a cool trick with reverb, the instruments were recorded/sampled perfect and that shows how much depends on good quality instrument recordings
3. The reverb sounds great and even in full mode it doesn't sound like a "too much" spring - like if You crank loud the amp spring reverb.
Thanks ever so much
I really appreciate the detailed comment!
This is my favorite video of yours! Love this method. TY!
Thanks ever so much! I really appreciate it
Awesome. There's a version of this where you create two identical reverbs.... Except one is set to only have early refections.... And it's counterpart is set to only use the tail. Then everything that you send to the reverbs can also have a different amount going to early reflections and the reverb tail... That in conjunction with pre-delays can make it sound even more real that everything is in different places in the same room.
You know it's the best when it's still great despite being old school! Cheers for the work!
This was an ideal track for this technique, I think, being so open and not filled with harmonic content. And brilliantly recorded, I must say. Thanks!
Brother, i havent seen anybody do this in decades... great trick from the vault my friend!
Thanks ever so much! I really appreciate it
Just to consider why magic happens and not give all the credits to the reverb technique, which is undoubtedly great. The nature of the sound of each instrument is great, the recording of them too, there is no compression so the song breathes freely all the time and finally the reverb finishes coloring like silk what was previously already very good. Excellent work in every way and thank you very much for sharing.
I love this trick. To my ears, it sounds a lot more natural too, which I think is something that is often taken for granted. Great presentation as always, Warren. Thanks brother.
Yes. This is great! Using the same reverb for EVERYTHING really makes it feel like a group of people playing a song. Using different spaces, reverbs, studios, whatever...really makes a disconnect. Thanks for this! Subscribed.
Especially if you get it wrong mixing different reverbs this is definitely more safer and consistent
It's not natural to have more than one type of reverb on one song anyway, it's the case of too many cooks spoil the broth.
@@bert7548 thats y songs of today have no space to breathe.
I love this vocal performance!
I usually time the reverb with the BPM of the song. Then experiment with the millisecond values of pre-delay (1/4 note 1/8 note 1/16 note 1/32 note ETC) for each instrument and vocal in the song. Yea, it's time-consuming but the reward is the "everything in one room" sound that is so cool. But sometimes you might not worry about timing the reverb, and just add a little mix of a bused reverb to each instrument or vocal. If it works in the mix then that's cool too.
I figured it out! I had to do bit of different routing tho since I use reason 11 , on each bus track I created a parallel ,then I sent each p channel prefader , turned each p channel all the way down then adjusted each send of the parallel channels along with a delay plugin on each p track. Boom! now i have not only everything in one room now I have front to back depth!
This is absolutely magical. Exactly the sort of technique I love. Thanks for sharing.
Thanks ever so much
That's friggen AMAZING!!!! Warren I bow down to you thank you so much for sharing your knowledge! :)
Thanks ever so much! You’re very kind!
@@Producelikeapro Quite welcome, I have learned a lot from you :) keep up the great vids so very greatful. Cheers!
It puts me in mind of The Band, sounds great.
Thanks ever so much Paul!
And really wanna thank you from my band account too! Mr Warren because of your video for the last 5 years I learned to mix my music to the level which we have now! Thank you! Stay safe and keep doing your great job! Sinoptik - occult rock trio from Ukraine
Wow!! Thanks ever so much! I'm glad to be able to help!
That sounds freaking amazing!
Thanks for that!
Thanks ever so much
Yes, I have done this, cool trick, I also sometimes EQ the sends differently HPF/LPF etc.
This is just brilliant. It actually can be deployed in more complex environments it gives a sense of real space.
Thanks ever so much
I went "WHOAAA" the instant you switched to the Spring model. That's seriously the nicest spring plugin I've heard, got to get this one.
Sounds amazing... I’m definitely copping that reverb.. t-racks plug-ins are top notch
Thanks ever so much!!
@@Producelikeapro thanx warren your vids are always inspiring
I've learned so many cool tricks by watching your channel. It's been an invaluable resource to me. Thank you!
Your videos are pure gold. As a DAW beginner I've been acquiring plug ins like crazy. No more! Thanks Warren!
Gotta stop the plugin buying addiction! :) You can join PBA (Plugin Buyers Anonymous)
Great trick! Thank you warren!
Delay on 200ms for drums was phenomenal!!!
Thanks ever so much!!
Rock on Nathan, and thanks for the welcome 32c Channel Strip tips!
This reverb setup suited the song marvelously well
That reverb plugin is stunning!
This is the concept what i need "All in one room"
Thankyou sir
Thanks ever so much
This reminds me of band recording on 8 track years ago with a single REV 7 reverb unit. Your guys play a bit better than we did but the recording you made has the feel of one of those recordings. Listening now I sort of miss recording that way. Don’t miss the stress of having to know your part for risk of cost overuns
Amazing ! Thnx for the trick and congrats for the band and the rec !!! 👏👏👏
Thanks ever so much
Forget the rest of the tracks, that vocal is all I needed.
I really like this approach it's simple and sounds great. I am trying it out right now on a mix . That sounds great brother
Thanks Dennis!
This is fantastic. Definitely gives it an instant 60s vibe. In the past I've used an empty hollowed out bedroom for a reverb chamber, and I use to love to send tracks out to it. It was definitely a poor man's chamber reverb, but it was quirky and I loved it. I don't have that luxury anymore, no empty bedroom, but this plugin really gives me some of that back again, in a much better sounding room of course, but still with lots of personality.
Brilliant tips here Warren - thanks! I have often added too many reverbs and delays in the past and just ended up with a muddy mess. I'm a big believer in "less is more" in which case, and very often I've been doing much as you've done here, adding just one reverb, but love the extra delay tip on each instrument before it sends to the verb. Definitely something I'm going to be trying on my mixes.
Thanks ever so much Craig!!
I call this "the glue reverb". Been doing it for a LONG time now. On certain styles/genres it is just what the doctor ordered. Makes everything sit together perfectly. It's especially great on small ensemble stuff like this.
Reverb is by far one of my favourite effects. Marvellous done Warren! Sounded amazing!
Thanks ever so much! Glad to be able to help!
This is exactly I needed on my new mix
Fantastic
I often send all my 4-5 main busses into an instance of UAD Ocean Way. I cut some bottom end and blend it in the mix...aaand voila. It's like putting a band INSIDE THAT ROOM using those mics. Absolutely lovely!
That delay on the reverbs is a cool trick. Very schnitz and sniggles. Me like!
I´m going to try it right now!
Fantastic
Wowwww that verb plugin is just... damn sexy!
Thanks ever so much Kevin!
I love it Shows how easily you can use something so simple to provide cohesion and adding depth. A perfect demonstration the K.I.S.S. Method.
Yep, I do this. Set up one reverb I like on a single bus and send varying amounts to it from individual channel strips. Have not found a need to stack up other reverbs doing it this way so far. Shout out to the musicians as well btw - great track!
Wow thats an incredible trick
Thanks ever so much Mark!
This is pretty much my favorite way to use reverb to make it sound like the instruments were played in a specific space. You nailed it. One extra thing I like to do is adjust the volume up of the reverb based on which instruments or individual drums would be more dynamically responsive, you could also try panning the reverb sends to help create the sense the instruments are coming from a different area in the room.
I started in the days of limited FX, but never knew this trick. Thank you for sharing!
Thanks ever so much James!
Yes, that was it... at Westworld Recorders (Sherman Way and Van Nuys---gone now) we had a single plate, an RMX16, an old Yamaha reverb I never used much, and a real tape delay. That was it.
We had 3 Lexicon delays that we would use to set different pre-delay times on different sends: usually 1) lead vocal; 2) snare; 3) everything else. If using the AMS unit on the drums, I think that knocked us down to only 2 different pre-delays available for the plate. It was a patching thing, but I can't quite remember where the limitation was... console or patchbay.
We got a lot of mileage out of all that, and it seemed quite normal. This was mid-80s.
My type of mixing. Excellent. Sounds right.
Dang, I like the drums just as they are, no compression needed. I think that's because the drummer is really good!
Weird. Sounds so much more unnatural when completely dry. That bit of verbs really brings it to life. Great technique. Thanks for sharing
Thanks ever so much!!
I always thought that was the obvious way to apply reverb for a natural live sound but didn't know that it was a old school trick. Nice!
Always learn so many little things from Produce like a Pro!
what a great exercise to get students to understand the effect of predalay
in the mix itself. Thanks!
Absolutely!!
Wonderful video. I will definitely give this a try!
Thanks ever so much
Thank you again Monsieur !
Thanks ever so much
Thank you Warren this simple trick has completely opened out my mixes and given them breadth and depth
.
You’re very welcome
Eveytime I hear this it makes me smile sounds so good, sounds like a record made in the 70s..👍
Hahahaha, I love it. ALL the monitors lol.
Ah this is one of the best PLAP videos yet, so informative on a fundamental level, top banana!
I was practice mixing using one of the Cambridge multitracks, and I was getting there with the mix, but wasn’t totally happy. Implementation of this trick totally put me in the happy place. The track I was mixing was live recorded too in 1 take. This technique works a treat for that type of material
absolutely the best 18 minutes on recording/mixing techniques on youtube!! thanks a ton for sharing this ..it actually answered some question for me! thx again and cheers!!!
Wow, I just started doing this last year, figured it out myself... To hear from a pro like you that it's "how it's done" is a great feeling! Love your videos!
I used to do that exact thing back in the day, pre-SSL, when we were recording/ mixing in the early 70's.
I love this technique. A lot of the complex reverbs really draw CPU power. Having one with bus delay is so simple but yet never would have thought of that.
That's a real trick. I hope my next mix will sound marvelously well.
What a cool technique for utilizing a shared reverb - sending different groups or instruments with different amounts of predelay! absolutely amazing thank you Warren!
Cool! That was fun....sounded very organic and natural
Thanks ever so much
Think about standing in a church. The choir in the back is hitting you at the same time as the reverb surrounding the direct signal. The person sitting in front of you chatting away has a direct signal which hits you first, followed by the sound of the room following after a short delay for the signal to hit the walls and come back.
In fact in an acoustic room a pre-delay would suggest that the person is closer to you. No pre-delay would suggest that the person is further away. This explanation is great but exactly backwards if the intention is to push the singer towards the front. In this mix the drums sound closer to you than the vocal, but the effect is still pleasing, and the one room verb is very effective.
Something so simple yet sounds great .
I've never actually done this. Will definitely try it out. Thanks Warren.
Thanks ever so much!!
In my default setup, I have an SSL-Bus-comp, a chorus, a doubler, a gated, a short, a long reverb and a delay. If I need something special, it'll get loaded up as an insert usually - this setup also ensures a faster workflow with new material. I has serverd me very well. But these are usually enough.
WOW, Surprised with The Spring. Thanks again Warren. My Brain is Struggling with all that you have trained and have Educated us on. Ha, Ha,
Thanks ever so much Donnie! Fantastic!
Thank you for this lesson, I geeked throughout the entire pre-delay process! 70's magic in its intuitive simplicity✨🙏🏽
Thanks ever so much
This is exactly how I like to apply Reverb to a track and I love that you said it's an old school way coz I love the old school. Great video thank you very much for 👍🏼