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!