If you’ve ever played a large venue like a sports arena, you know that reverb is a completely different animal than what the audience hears. You hear your instrument primarily, and in the spaces between your playing, you hear the reverb coming back at you from the reflections. It might seem that reverb pre-delay would produce the same kind of effect, but it doesn’t “bloom” the way reverb does when you’re center stage in a big acoustical space.
This week’s tip is inspired by the center stage sound, but taken further. The heart of the effect is the Expander, but unlike last week’s Expander-based Dynamic Brightener tip, the Expander is in Duck mode, and fed by a sidechain. Here’s the Console setup.
In the audio example, the source is a funk guitar loop from the PreSonus loop collection; but any audio with spaces in between the notes or chords works well, especially drums (if the cymbals aren’t happening a lot), vocals that aren’t overly sustained, percussion, and the like. I deliberately exaggerated the effect to get the point across, so you might want to be a little more tasteful when you apply this to your own music. Or maybe not…
The guitar’s channel has two sends. One goes to the FX Channel, which has a Room Reverb followed by an Expander. The second send goes to the Expander’s sidechain input. Both are set pre-fader so that you can turn down the main guitar sound by bringing down its fader, and that way, you can hear only the processed sound. This makes it easier to edit the following Room Reverb and Expander settings, which are a suggested point of departure. Remember to enable the Expander’s Sidechain button in the header, and click the Duck button.
The reverb time is long—almost six seconds. This is because we want it going constantly in the background, so that after the Expander finishes ducking the reverb sound, there’s plenty of reverb available to fill in the spaces.
To tweak the settings, turn down the main guitar channel so you can monitor only the processed sound. The Expander’s Threshold knob determines how much you want the reverb to go away when the instrument audio is happening. But really, there are no “wrong” settings—start with the parameters above, play around, and listen to what happens.
This is a pretty fertile field for experimentation…as the following audio example illustrates. The first part is the guitar and the reverb effect; the reverb tail shows just how long the reverb time setting is. The second part is the reverb effect in isolation, processed sound only, and without the reverb tail.
This is a whole different type of reverb effect—have fun discovering what it can do for you!
When you play an acoustic guitar harder, it not only gets louder, but brighter. Dry, electric guitar doesn’t have that quality…by comparison, the electrified sound by itself is somewhat lifeless. But I’m not here to be negative! Let’s look at a solution that can give your dry electric guitar some more acoustic-like qualities.
How It Works
Create an FX Channel, and add a pre-fader Send to it from your electric guitar track. The FX Channel has an Expander followed by the Pro EQ. The process works by editing the Expander settings so that it passes only the peaks of your playing. Those peaks then pass through a Pro EQ, set for a bass rolloff and a high frequency boost. Therefore, only the peaks become brighter. Here’s the Console setup.
The reason for creating a pre-fader send from the guitar track is so that you can bring the guitar fader down, and monitor only the FX Channel as you adjust the settings for the Expander and Pro EQ. The Expander parameter values are rather critical, because you want to grab only the peaks, and expand the rest of the guitar signal downward. The following settings are a good point of departure, assuming the guitar track’s peaks hit close to 0.
The most important edit you’ll need to make is to the Expander’s Threshold. After it grabs only the peaks, then experiment with the Range and Ratio controls to obtain the sound you want. Finally, choose a balance of the guitar track and the brightener effect from the FX Channel.
The audio example gets the point across. It consists of guitar and drums, because having the drums in the mix underscores how the dynamically brightened guitar can “speak” better in a track. The first five measures are the guitar with the brightener, the next five measures are the guitar without the brightener, and the final five measures are the brightener channel sound only. You may be surprised at how little of the brightener is needed to make a big difference to the overall guitar sound.
Also, try this on acoustic guitar when you want the guitar to really shine through a mix. Hey, there’s nothing wrong with shedding a little brightness on the situation!
You never know where you’ll find inspiration. As I was trying not to listen to the background music in my local supermarket, “She Drives Me Crazy” by Fine Young Cannibals—a song from over 30 years ago!—earwormed its way into my brain. Check it out at https://youtu.be/UtvmTu4zAMg.
My first thought was “they sure don’t make snare drum sounds like those any more.” But hey, we have Studio One! Surely there’s a way to do that—and there is. The basic idea is to extract a trigger from a snare, use it to drive the Mai Tai synth, then layer it to enhance the snare.
Skeptical? Check out the audio example.
ISOLATING THE SNARE
If you’re dealing with a drum loop or submix, you first need to extract the snare sound.
TWEAKING THE MAI TAI
Now the fun begins! Figure 3 shows a typical starting point for a snare-enhancing sound.
The reason for choosing Mai Tai as the sound source is because of its “Character” options that, along with the filter controls, noise Color control, and FX (particularly Reverb, EQ, and Distortion), produce a huge variety of electronic snare sounds. The Character module’s Sound and Amount controls are particularly helpful. The more you play with the controls, the more you’ll start to understand just how many sounds are possible.
BUT WAIT…THERE’S MORE!
If the snare is on a separate track, then you don’t need the Pro EQ or FX Channel. Just insert a Gate in the snare track, enable the Gate’s trigger output, and adjust the Gate Threshold controls to trigger on each snare drum hit. The comments above regarding the Attack, Release, and Hold controls apply here as well.
Nor are you limited to snare. You can isolate the kick drum, and trigger a massive, low-frequency sine wave from the Mai Tai to give those car door-vibrating kick drums. Toms can sometimes be easy to isolate, depending on how they’re tuned. And don’t be afraid to venture outside of the “drum enhancement” comfort zone—sometimes the wrong Gate threshold settings, driving the wrong sound, can produce an effect that’s deliciously “right.”
Graham from The Recording Revolution is primarily a Pro Tools user recently got ahold of a copy of Studio One Pro. After some quick Skype tutorials with Rick, he was good to go! Here he demos how quickly you can enhance your mix at the beginning, a concept known as Top Down Mixing, all with Studio One stock plugins!
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When Harmonic Editing was announced, I was interested. When I used it for the first time, I was intrigued. When I discovered what it could do for songwriting…I became addicted.
Everyone creates songs differently, but for me, speed is the priority—I record scratch tracks as fast as possible to capture a song’s essence while it’s hot. But if the tracks aren’t any good, they don’t inspire the songwriting process. Sure, they’ll get replaced with final versions later, but you don’t want boring tracks while writing.
For scratch drums on rock projects, I have a good collection of loops. Guitar is my primary instrument, so the rhythm and lead parts will be at least okay. I also drag the rhythm guitar part up to the Chord Track to create the song’s “chord chart.”
Then things slow down…or at least they did before Harmonic Editing came along. Although I double on keyboards, I’m not as proficient as on guitar but also, prefer keyboard bass over electric bass—because I’ve sampled a ton of basses, I can find the sound I want instantly. And that’s where Harmonic Editing comes in.
The following is going to sound ridiculously easy…because it is. Here’s how to put Studio One’s Robot Bassist to work. This assumes you’ve set the key (use the Key button in the transport, or select an Instrument part and choose Event > Detect Key Signature), and have a Chord Track that defines the song’s chord progression.
Figure 1: Choose the Bass option to create a bass part when following chords.
The bottom line: with one take, a few clicks, and (maybe) a couple quick edits—instant bass part (Fig. 2).
Figure 2: The top image is the original part, and yes, it sounds as bad as it looks. The lower image is what happened after it got robotized via Harmonic Editing, and amazingly, it sounds pretty good.
Don’t believe me? Well, listen to the following.
You’ll hear the bass part shown in Fig. 2, which was generated in the early stages of writing my latest music video (I mixed the bass up a little on the demo so you can hear it easily). Note how the part works equally well for the sustained notes toward the beginning, and well as the staccato parts at the end. To hear the final bass part, click the link for Puzzle of Love [https://youtu.be/HgMF-HBMrks]. You’ll hear I didn’t need to do much to tweak what Harmonic Editing did.
But Wait! There’s More!
Not only that, but most of the backing keyboard parts for Puzzle of Love (yes, including the piano intro) were generated in essentially the same way. That requires a somewhat different skill set than robotizing the bass, and a bit more editing. If you want to know more (use the Comments section), we’ll cover Studio One’s Robot Keyboardist in a future Friday Tip.
This isn’t a joke—there really is an envelope-controlled flanger hidden inside Melodyne Essential that sounds particularly good with drums, but also works well with program material. The flanging is not your basic, boring “whoosh-whoosh-whoosh” LFO-driven flanging, but follows the amplitude envelope of the track being flanged. It’s all done with Melodyne Essential, although of course you can also do this with more advanced Melodyne versions. Here’s how simple it is to do envelope-followed flanging in Studio One.
As with any flanging effect, you can regulate the mix of the flanged and dry sounds by altering the balance of the two tracks.
Note that altering the Pitch Deviation parameter indicates an offset from the current Pitch Deviation, not an absolute value. For example if you drag down to -10 cents, release the mouse button, and click on the parameter again, the display will show 0 instead of -10. So if you drag up by +4 cents, the pitch deviation will now be at -6 cents, not +4. If you get too lost, just select all the blobs, choose the Percussion algorithm again, and Melodyne will set everything back to 0 cents after re-detecting the blobs.
And of course, I don’t expect you to believe that something this seemingly odd actually works, so check out the audio example. The first part is envelope-flanged drums, and the second part applies envelope flanging to program material from my [shameless plug] Joie de Vivre album. So next time you need envelope-controlled flanging, don’t reach for a stompbox—edit with Melodyne.