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Joined: Dec 2006
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Journeyman
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Journeyman
Joined: Dec 2006
Posts: 474 |
It would be wery interesting and valuable for me to hear how a professional master of the art of recording would aproach the following question(s).
The realtracks in BIAB is recorded with some reverb, and as far as I know, it is not possible to remove it.
So, if we are mixing midi (and vocal) with the realtracks and want the "whole thing" to sound like everything is recorded in the same "studio" room, I guess we have to use a reverb that blend in with the realtracks.
What cind of reverb do you sugest? and how would you set it (for a start)?
I also think it would be helpful to a lot of people out there if it is possible to use the reverb that we allready have in PT as a start, then everyone out there could be able to experiment with something they already have.
Best regards
Tono
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I'm not Harvey but I think I recall Peter stating that they indeed used the PG Reverb to make the real tracks for the reason you stated.
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Journeyman
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Journeyman
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Posts: 474 |
I have not been able to find out what cind of reverb they use, but like I said it would be wery useful for a hobby engineer like me to know how the pros fox the problem.
Best regards
Tono
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Apprentice
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Apprentice
Joined: Dec 2007
Posts: 235 |
I wish we had the ability to add our own reverb to the drums - the snares are a little too wet sounding for my taste. For example, when I record drums, I'll put some plate reverb on the snare and the toms during the mixdown session, but I'll keep the kick and the overheads dry.
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Well, there's nothing to prevent someone from applying one overall reverb overtop of the stuff that's already there.
The single biggest problem with use of reverb plugins lies in the frequency domain.
Often it is best to have the reverb applied for only the frequencies of around 700Hz and up, to prevent muddiness and such.
Some plugins do that automatically, others, it may be necessary to place an instance of EQ of some sort in front of the reverb plugin and set it like an electronic crossover, cutting everything below about the 700Hz mark on down, with 6dB per octave slope being considered the most "musical" sounding.
This will mimic what was done in the old analog echo chambers and plate reverbs.
Amount of reverb is also a problem for the neophyte.
I teach a simple method for starters, after getting the above situation down pat, I tell the student to turn the reverb up until they hear it. --And then cut that figure by one half.
--Mac
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Joined: Dec 2006
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Journeyman
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Journeyman
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Thanks a lot to all of you.
very usefull advices (Like allways)
Best regards
Tono
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Quote:
I'm not Harvey but I think I recall Peter stating that they indeed used the PG Reverb to make the real tracks for the reason you stated.
Boy if this is true that PG decided to put effects on drum tracks - it's quite a shame. RealTracks should be as dry as possible from a processing standpoint - at least as an option. I realize some folks may need to have all their tracks effected for them, but I would prefer to do it myself.
Many sample libraries provide just such an approach - I would hope that RealTracks would be the same.
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It's more of a room sound than 'reverb' on most realtracks
never been intrusive here yet
I do not work here, but the benefits are still awesome
Make your sound your own!
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Apprentice
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Apprentice
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It's primarily the snare that I have a problem with. If the reverb were cut back 3 to 6 dB, it would sit better in a full mix when the vocals were added in. The snare dry level is fine, just the reverb level of the snare.
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It would be nice to have them dry .. but then any reverb you put on the snare would be on all the drums since they are mixed down!
I do not work here, but the benefits are still awesome
Make your sound your own!
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Quote:
It would be nice to have them dry .. but then any reverb you put on the snare would be on all the drums since they are mixed down!
And therein lies the issue with having only a stereo mix of a drum track on hand.
This has always been my 'beef' with using loops and pre-done tracks for drums in particular. It's the reason I love using drum software that is realistic like BFD and Jamstix. I can mix in the amount of overhead mic, room mic, individual dry level, etc. Also can route each drum's mic to individual audio outs for individual processing.
I have a pretty large library (bought all at one time) of BetaMonkey drum loops that rarely get used because of this aspect.
Tono - here's how I would handle the situation:
Route the realdrums output to multiple sends.
On those sends put a selective EQ as best you can to isolate kick from snare from cymbals.
After those individual EQs, then you can put different reverb settings, on the kick, put nothing,
Then you can mix those 3 outputs to your liking.
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By multiple sends, in this case, you would use either AUX sends, or the subgroup routing offered by the program. This requires a checkbox in preferences, then assigning tracks (or AUX sends) to the subgroups before finally mixing them in with the final mix
I do not work here, but the benefits are still awesome
Make your sound your own!
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Ask sales and support questions about Band-in-a-Box using natural language.
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