Sure.Like this https://audiosex.pro/threads/reverbs-plugins-presets-from-all-companies.24090/#post-189336

 

@Producer much love thanks =)

 

Are you? You're framing this like it's some household term that everyone should know. If you're talking about just filtering out unwanted shit before it hits the reverb then a) duh and b) this is exactly what I was talking about in my original point about filtering ("EQing") frequencies out. But if you're saying that those frequencies are necessarily called omnidirectional sound then I don't know wtf you're talking about and neither does google.
https://www.google.com/webhp?source...spv=2&ie=UTF-8#q=omnidirectional+sound+reverb

You and me both

edit: btw @Producer if your sig is quoting Dre, I think the line is actually "my life is like a soundtrack I wrote to the beat"

 

Last edited: Sep 5, 2016

The (light,not 10:1 ratios of course) compression after the reverb allows you to make reverberated sounds more intense for example,or increase or not the beginning,etc. You can get better the sound you want,interesting results.

Otherwise if I ask you how you do,that's to learn different ways which are used that I haven't thought.
Everybody learns with others,I don't only do what others do.

 

I think all three of as were saying the same thing from the beginning.As i said, it's hard to describe sound with letters.That's were we got confused.

 

Yep, hoped we were. Sry 4 confuse!

It is. And now u do =)

Filtering is kinda adding another process, wherever & whyever u do it. I just asked why u need this added complicaton 4 sound that u can cut out entirely, b4? Just don't send *shrug*, or do. Guess it's ur choice, if u find it easier!

Well, I'll give it a go, but compression has always seemed liek a quite blunt, silly tool 2 me, even the idea of it. I just prefer (even) using (ie) LFO / direct control, 2 control things.

 

I like the amount of control over the sound afforded by putting a parametric EQ before a reverb (or after I guess, but when I was learning I usually saw it done before, so that's what I stuck with)
A lot of the time, especially if it's a natural source like vocals, or a source that spans most/all of the frequency spectrum like a lot of synth basses, I'll remove a hell of a lot of frequencies from the reverb so it doesn't make things feel too crowded. So it's EQs for me.

It's something that's mostly done in dance music AFAIK. Dunno what your genre is, but it's not meant to give a natural sound. It's more about making things feel 'big'. Sometimes people will also compress the shit out of source + reverb (insert) so you get dry-ish sound and then a huge tail that just springs up outta nowhere

 

Altiverb

 

All is a question of subtlety

 

Can't help myself but this conversation reminds me of this - "In the beginner's mind there are many possibilities, in the expert's mind there are few."

If you are making music to make art (to express a feeling or idea) then the techniques and tools you use should be secondary to the message you are trying to get across. I think the reason that most electronic or computer assisted music making is not worth listening to is that it allows people to organize sounds into something that doesn't have the same feeling or meaning in it that someone conveys when they sit in front of you and play an instrument in real time.

I think if you are actually expressing an idea or feeling or message none of the questions I keep seeing on here would even come up. I think this is a by product of a break in the chain of person to person communication in music. Now it is at least two generations of people operating in their own bubbles isolated from an audience or collaborators reaction.

Also it is highly unlikely that one person would be a gifted musician and a talented engineer/producer. It is a case of being ok at one or two of the three and not great at any of it. That is what is leading to the decline in music and the place of music in society. In the past musicians only had to be good at one instrument, maybe sing also. Now everyone has to do everything themselves and we have suffered for it. Compose, perform, produce, mix.... there is no way everyone can be a Prince.

It is a one inch mistake.

If you are just one inch off course and you travel that path for years and years you will eventually be hundreds of miles off course.

We are.

This is what happens when you don't get the feedback from an audience in realtime to confirm that you are doing something worth listening to. Also the audience forgot how to listen as well.

Just my observation of this conversation.

 

Last edited: Sep 6, 2016

The two different signal chains will sound different. It is good to know what each sounds like so you can use them in the different situations that will come up on your creative path through life. Being creative is all about making choices... blue instead of black or square instead of pointy. Once you have some experience and tools to use then the whole process is about setting up situations where you just prefer one choice over another.

It seems kind of strange to me that people would always do things just one way forever without experimenting or modifying the approach. Most of the fun of music making for me is finding new combinations of processors that make sounds I have never heard before.

On the subject of compression... In my opinion it is much more dramatic to use it on sounds that you record with a microphone, and not quite as interesting on samples and synths.

If you use Serum you should try the Xfer OTT compressor plugin on it. That will give you a great example of how fun and exciting compression can be.

 

I really like the way you think man.blue-black, square-pointy.That's how i think too.Not in the ordinary way of opposites (black-white,square-round)

 

I didn't learn music at school,my parents didn't make or loved music.I make music since 15 years ago,and I experiment since that.I have learnt a lot of things,and every day I learn new things and tips.That's what I like.I'm not ashamed to ask somebody how he does something.Then I try,and I decide myself.
Even if you are very good,you allways have something to learn.

PS: I don't use a compressor on every reverb I use.On my last track,I don't have a compressor on my reverb.That was an eventuality.
I don't understand peoples who hate compressors,that's just an automatic volume fader,that can be usefull and nice when good used.

 

Last edited: Sep 6, 2016

Stopped listening there >__>

Well, maybe i didn't stop listening =) but I agree. I don't rly have enough time 2 do both @ high level. Or intermediate. Or low :D But I try 2 do everything I can 2 give me as much time doing the creative shit. I get the feeling that some ppl must like fiddling with eq more than they like playing?

Yes, yes they will. I mean, honestly. It seems crazy 2 me that ppl would use eq 2 chop out some / most / all of a sound / harmonics / whatev that they don't wanna send 2 (ie) reverb. Guess that's their choice. I'd rather record music than mess around, tryn 2 make kicks less muddy. That wasn't v zen, I know :P

Another, more accurate, way would be that you experiement in order to find the most efficient way - sometimes u might have 2 even choose *gasp* "good enough"? Topic threw up one wrinkle, in that I never thought 2 use reverb as a creative effect, rly. I always left that 2 delay fx, because of better control, so good work guys.

Hmm, yeah, I'm always experimenting, so I'll give this a go!

I think of compression a bit liek autotune, y'know smtimes; ur bluntly "fixing" teh interesting bits!

 

famouslut, do you happen to go by the pseudonym Sergeant D. by any chance?

 

@PopstarKiller Only when I wanna be rly annoying! Nah. But.... that's prolly what Sergeant D. would say:



Or would he?

 

Compression is one of the most important tools in the arsenal. If you aren't loving working with compressors I recommend watching some videos with Andrew Scheps. He works at the top of the food chain (terrible corporate music, but he is an excellent engineer and mixer) and has recently decided that he can do great work both inside the computer or on his vintage Neve console with the outboard gear of the gods. He has a lot of interesting ideas about compression and specifically parallel compression and parallel processing in general. You could learn more listening to him talk about a mix for 45 mins than you probably could figure out on your own in 5 or 6 years. There are several full length seminars on youtube that are really worth the time.

 

I hadn't rly heard of Scheps, I think he's teh Particles guy, rite? But I broadly agree with much of what he says & how he does things. I mean, ima coming @ things from the "right end" as producer, rly; his perspective is 2 fix things after. If I want a thicker / noisier kick (I usually want opposite, tbh) I would simply select one 4 the purpose, or engineer one 2 suit, or choose from million better option! U know? As far as parallel compression goes, that's making the best use of it, I suppose. But when even fans of ("always use!") compression say that the idea is borked & u have 2 use it "in reverse", u gotta stop & think about 1st principles. It seems a bit like using an effect cos it's always been used since beards o'clock; rather than finding moar creative / precise / less noisy ways of doing it better with teh tech of today, imo. I also wish I had the guts 2b liek that Big Band guy he mentions, who doesn't use eq or compression, just does everything with levels & soundspace. I agree with kinda "order" of instrument importance he lists, also.

I wouldn't say that u rly learn anything (I mean he just went over entry-lev stuff) mainly because he agrees with much (most) of what I do already =) mainly thru (accidental / coincidental) laziness! But he has interesting perspective. And is pretty agreeable, despite beard. I strongly disagree w/ making drums brown, which is just wrong, tho :D I mean, things liek reasons 2 (not) always use same eq on all channels and "random shifting" were food 4 thought. Ima not sure my ears can stand listening @ high volume all teh time - I like my ears too much! But I always do that thing he does 2 listen @ super quiet vol. He also doesn't seem 2 say one of the interesting "tricks" 4 ears, which is 2 listen 2 mix from outside / even well away from the room it's being played in, as well as on lots of different speaker types. Like I said, tho, I'm not an engineer don't wanna b, I just kinda try 2 find quickest route 2 cleanest sound, which is good enough.

Anyway, this is way OT, it's supposed 2b about reverb, not compression or whatev!

 

Yes, the discussion has shifted around a little. A lot of guys like Sheps and such, those that have been around for ages have their own way to work and their process has developed over many, many years. People like him were lucky because there used to be such a thing as being an apprentice, working under and learning the business/art of producing and mixing from seasoned professionals. That unfortunately is now a very rare occurance. Now watching something on YouTube might have to suffice in lieu of working in a production environment and learning how-to with your hands on, eyes focused in 3D and your ears tuned to the sweetspot of conversations between artists and performers and producers and engineers.

 

TAL-Reverb. Free and AWESOME!