I was reading in an article about "syncing or setting reverb times" to "reflect" the BPM of the song you're working on in order to keep the sound from getting "muddy." For example, the article said that using a delay time of 1/16 th note for example. I'm confused....Can anyone enlighten me on this, and give some practical suggestions or example?
Thanks in advance.....
Question regarding reverb
You can set a "pre-delay" on some reverb effects so that the reverb triggers(sounds) in sync with the song BPM - rather than just being on all the time. This does make the effect more musical and lessens the amount of "mud" in a mix.
Also useful is setting delay or echo effects times to sync with your song BPM.
Here's a little calculator to help you sync... http://www.analogx.com/CONTENTS/downloa ... /delay.htm
I'm sure there are many others too.
Also useful is setting delay or echo effects times to sync with your song BPM.
Here's a little calculator to help you sync... http://www.analogx.com/CONTENTS/downloa ... /delay.htm
I'm sure there are many others too.
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NystagmusE
Another handy utility like that is called SampleCalc: http://www.hitsquad.com/smm/programs/SampleCalc/
It has a nice tap-tempo meter for getting the BPM, and shows percentages needed to timestretch 2 different BPM's to match each other.
It has a nice tap-tempo meter for getting the BPM, and shows percentages needed to timestretch 2 different BPM's to match each other.
vst makes it possible to retrieve the bpm value from the host.
That way you don't need to do any calculation....
This little gadget may serve as an example:
http://home.planet.nl/~vrie8796/files/tape_delay.dll
My personal opinion is that linking reverb or delay times to bpm values makes sense in a musical way, not that much in a sound engineering way.
Best regards, Theun
That way you don't need to do any calculation....
This little gadget may serve as an example:
http://home.planet.nl/~vrie8796/files/tape_delay.dll
My personal opinion is that linking reverb or delay times to bpm values makes sense in a musical way, not that much in a sound engineering way.
Best regards, Theun
I tend to go with Theun about the subject, unless the project is a straight out Techno or the like.
I do those settings by ear and audition and tweak until I like what I'm hearing.
That takes the time involved of doing a lot of reference listening on your DAW speakers, something everybody should do.
Reference Listening is simply finding some good well mastered recordings of the genre and type you wish to record and mix and master yourself and putting them on whenever you are doing any other tasks in your recording studio. Put them on at low "conversational" levels, which ideally should be the level that you also use when mixing. This is because 1) anything and everything sounds okay when loud and 2) loud levels make the ears fatigue faster. When the ears fatigue, it is impossible to detect anomolies or any slight changes you made in the mix.
"Learn to Trust Your Ears"
Part of that is also taking the time to learn and practice the art and science of music.
If you see a term like "16ths" as mentioned in the post that started this thread, but aren't exactly sure what that is all about, use the power of the web and search engine to go find out.
Don't gloss over terminologies and techniques that you do not know, that is not ever going to be a shortcut. There are way too many variables in this business to reasonably expect to be able to get lucky when using this stuff.
--Mac
I do those settings by ear and audition and tweak until I like what I'm hearing.
That takes the time involved of doing a lot of reference listening on your DAW speakers, something everybody should do.
Reference Listening is simply finding some good well mastered recordings of the genre and type you wish to record and mix and master yourself and putting them on whenever you are doing any other tasks in your recording studio. Put them on at low "conversational" levels, which ideally should be the level that you also use when mixing. This is because 1) anything and everything sounds okay when loud and 2) loud levels make the ears fatigue faster. When the ears fatigue, it is impossible to detect anomolies or any slight changes you made in the mix.
"Learn to Trust Your Ears"
Part of that is also taking the time to learn and practice the art and science of music.
If you see a term like "16ths" as mentioned in the post that started this thread, but aren't exactly sure what that is all about, use the power of the web and search engine to go find out.
Don't gloss over terminologies and techniques that you do not know, that is not ever going to be a shortcut. There are way too many variables in this business to reasonably expect to be able to get lucky when using this stuff.
--Mac
Sorry, I forgot that one of MtStudio's Native effects, Echo, has more or less the same feature:Theun wrote: This little gadget may serve as an example:
http://home.planet.nl/~vrie8796/files/tape_delay.dll
http://home.planet.nl/~vrie8796/files/echo.png (an image)
Although I use MtStudio almost everyday this program still surprises me!
Have a nice day,
Theun
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NystagmusE
There's a really nice VST called "DeeLay" that does BPM-synchronized delays and has ping pong delay. It also has settings for resonant filtered feedback for some interesting effects. http://karmafx.net/
http://karmafx.net/deelay_full.jpg (image)
http://karmafx.net/deelay_full.jpg (image)
Am recalling doing some session work a long time ago with a really great Fender player who, when they hooked the echoplex up between his Telecaster and amplifier said, "Oh great. Now I can make mistakes and hear them over and over and over again!"
Of course, this was the same old fella who, when the studio unveiled their then new STEREO system with monitors in the control room, said, "Now I can sound bad in two places at the same time... "
Happy New Year!
--Mac
Of course, this was the same old fella who, when the studio unveiled their then new STEREO system with monitors in the control room, said, "Now I can sound bad in two places at the same time... "
Happy New Year!
--Mac
