Reverb in a DAW

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En provenance du cours de Berklee College of Music

The Art of Vocal Production

173 notes

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Berklee College of Music

The Art of Vocal Production

173 notes

This course addresses recorded vocal performances and the technologies used to highlight and support them in modern record production and mixes. Most of us know that vocals serve as the focal point of modern recordings but many do not know the tools used or when the tools are used best in modern record production. The course begins with simple vocal placement in a mix, where you will also learn the fundamentals of compression and equalization. You’ll further study delays and reverbs before moving to advanced concepts in audio editing, synthetic processing, automatic & graphic pitch correction, time compression, time expansion, flex and elastic audio. Through analysis and/or hands on projects that the students will post for peer review, the student will gain an understanding of the many choices available to modern record producers as they record and mix with a modern tool set. You’ll see, in action, the Vocoder, Auto-Tune, Melodyne, Elastic Audio, Flex Time, VocAlign, tempo based editing and a host of other file modification protocols that are readily available on most Digital Audio Workstations. This course gives students a thorough look at the expanded choices that have risen in the art of vocal production as a result of these modern tools. The goal of the course is to help interested novices understand the recordings they are listening to, performers find an expanded language for their recorded voices and for vocal producers to be able to create musically artistic visualizations using singers as their paintbrushes.

À partir de la leçon

Artificial Vocal Design: How Vocal Producers “Sweeten” the Creation

In this lesson, we will lean less on the vocalist and more on tools that can be used to change the way we listen to vocals in music. You will now understand how delays and reverbs have been used in the music you love and their relationship to time and tempo. Your desire to try out some of these techniques will be piqued by the time you finish this lesson.

Introduction to Time Based Effects2:18

Time Based Effects in a DAW12:53

Introduction to Artificial Widening2:42

Artificial Widening in a DAW7:37

Introduction to Artificial Doubling1:20

Artificial Doubling in a DAW2:50

Introduction to Slapback0:59

Slapback in a DAW3:09

Introduction to Echo2:12

Echo in a DAW9:26

Introduction to Mono and Stereo Delays2:05

Delays in a DAW7:32

Introduction to Reverb2:46

Reverb in a DAW8:54

More Effects2:01

And More Effects10:15

Rencontrer les enseignants

Prince Charles Alexander
Professor
Music Production and Engineering

Let's start off with our single vocal again to orient ourselves.

"I wanna get to know much more than just to name."

We're in the phantom center.

I'm going to send to my delay unit,

my MonoDelay unit, a quarter note and it will send out of this fader right here.

"I wanna get to know much more than just your name.

Everything about you --" That doesn't sound like reverb.

I did tell you that a reverb is hundreds and hundreds of diffuse delays.

Let's pull this in tighter.

"I wanna get to know much more than just your name."

Still beating.

It's well above a 100 milliseconds so we're still a family of echo.

Let's come down to a 16th note.

"I wanna get to know much more than just your name."

We're still in the family of echo.

We're above a 100 milliseconds.

This is one reason why I wanted you to know the math.

I've run out of note choices and have to do a little bit of math.

We'll do 81.5.

"I wanna get to know".

That's starting to sound a little bit like a bathroom.

It is our slap back delay,

and if I had hundreds of them and some of them had different EQs from others,

that's what reverb is.

We're listening to just one vocal.

I'll pull that in even further to the 40 milliseconds.

"I wanna get to know much more than just your name."

And even tighter hall. So let's go look at reverb itself.

A new track. We'll make it stereo Aux input

and we'll hide this echo track and we'll call this reverb.

The input to this reverb track will be bus 9 and

10 and we'll create a send

that's going to send out of bus 9 and 10 and that's this fader right here.

That's looking at Bus 9 and 10.

Bus 9 and 10 is the input.

Across this fader, we will pick a reverb unit and

we'll look at a hall and add a hall reverb to this vocal.

As you see the reverb will be 100 percent wet.

I will never have to change that ratio because

the send to the reverb will determine how much I will see.

Four point five seconds will be the duration of this reverb.

And let's listen.

"I wanna get to know much more than just to name.

Everything about you.

Your joy even your pain.

I want to get inside" That's the decay time.

Let's listen to the church.

The church is 8.7 seconds.

"I wanna get to know much more than just your name.

Everything about you."

That was the decay time eight 8.7 seconds.

Let's listen to a plate, 1.6 seconds.

"I wanna get to know much more than just your name."

1.6 second delay.

Let's listen to a room, one second.

"I wanna get to know much more than just your name."

One second decay. At room 2,

which is 751 milliseconds.

"I wanna get to know much more than just your name."

751 milliseconds.

Ambient sound, 110 milliseconds. Let's check that out.

"I wanna get to know much more than just your name."

The shorter the decay time, the smaller the room.

This has a lot to do with how long it takes for sound to travel to

hit a surface and then to reflect off of the surface and come back to our ears.

Our digital reverb unit is mimicking real life.

Let's go to a non-linear.

Just 263 milliseconds.

"I wanna get to know much more than just to name.

Everything about you.

Your joy, even your pain."

All of these instances of reverb are occurring as soon as the vocal passes through them.

Let's go back to our hall.

The tempo of my composition is 92 beats per minute.

Ninety two into 60,000 is 652 and

there's nowhere on here for me to type in 652 milliseconds.

4.5 seconds is 4,500 seconds.

That's how long this decay lasts.

I can do a different kind of math.I could take 652, which is one beat.

Multiply it by a whole note,

which would be four beats and come up with

a different decay time which would be 2608 milliseconds.

So if I type in 2.6,

this will be a whole note at 92 beats per minute.

"I wanna get to know much more than just to name."

Two, three, four.

That's how reverb and the reverb tail.

The RT60 with a reverb time and the length of time it

takes for the output to drop by 60 decibels.

That's how you can determine the length and

the value of the length of reverb in a composition at any tempo.

Let's look at another concept using the same tempo-based concepts.

Six hundred fifty two is my quarter note.

I'll divide that by two.

That's an 8th note,

326 a 16th note,

163 a 32nd note is 81.5.

I can create a reverb pre-delay that will be in time by using

81.5 milliseconds as my pre-delay.

That will allow the articulation of my vocal to not be clouded by the reverb.

So my vocal will be stark dry for 82 milliseconds.

Then there will be reverb and the reverb will last for 2.6 seconds.

Let's listen up.

"I wanna get to know much more than just your name.

Every thing about you.

Your joy, even your pain."

Now let's listen to zero milliseconds on the pre-delay.

"I wanna get to know much more than just your name.

Everything about you.

Your joy, even your pain."

The reverb sounds tighter and closer to the vocal

at the point of contact when it's at zero milliseconds. I'll go to 82.

"I wanna get to know much more than just your name."

The great thing about knowing your 60,000 divided by

the tempo formula is that you can use it

not just for delay but also for the length of time on your reverb,

as well as the reverb pre-delay.

And that is going to keep you in time.

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