Trance Reverb

I noticed in the Nitrous Oxide - Dream Catcher (Club Mix) -posted by Matt - that the relationship between the reverb of the pads and lead instruments is awesome.

My own pitiful attempts at getting this right seem to fall well short. I generally set up two different reverbs on sends - one long and one short. I will maximise the wet signal with zero dry. (The amount of send signal varies of course.)

Often though the relationship between my pads and lead is not the greatest, even if they share the same long reverb. Obviously the short reverb I use on hats and percussion.

Clearly I need to work on this and get a kind of sweet spot reverb for both lead sounds and pads. Perhaps I should begin by getting a great reverb on one or the other first?

Any advice here appreciated.

[FXMAN]

just did a reverb symbol splash matt. sounds okay to me ears, but thats my ears .. nice info guy's
thanks.

[Essence]

Found this thread interesting and really relevant right now. If anyone can give us tips on the link below for the vocal reverb on a ambient electronic track I'd be grateful.

MP3 Unsigned - The Best MP3's from New and Unsigned Artists

Sounds fine on my system and on Stu's (I've heard it myself) yet some peeps can't make out the vocals?? Need more advice please, if anyone will. Ta X

[Steven Silverthorn]

Originally Posted by Essence

Found this thread interesting and really relevant right now. If anyone can give us tips on the link below for the vocal reverb on a ambient electronic track I'd be grateful.

MP3 Unsigned - The Best MP3's from New and Unsigned Artists

Sounds fine on my system and on Stu's (I've heard it myself) yet some peeps can't make out the vocals?? Need more advice please, if anyone will. Ta X

Sounds lush - One thing you could try is keeping one dry vox track and having a wet duplicate- a bit like paralell compression - only paralell reverb if you will. This will retain all the fine detail of the original vox, and the reverb won't completely swamp the articulation - cos a lot of the transients get trampled. The dry channel should bring up the finer details.

I had this problem in a song I did with Amy Caldwell - that was the best solution I came up with anyhow!

This idea was inspired with this video - although the producer uses very little reverb - th principle is kind of similar if you think about it - except you replace the 'office' reverb with a dry signal!

YouTube

YouTube

[Matt]

Originally Posted by Essence

Found this thread interesting and really relevant right now. If anyone can give us tips on the link below for the vocal reverb on a ambient electronic track I'd be grateful.

MP3 Unsigned - The Best MP3's from New and Unsigned Artists

Sounds fine on my system and on Stu's (I've heard it myself) yet some peeps can't make out the vocals?? Need more advice please, if anyone will. Ta X

if the reverb is washing over the vocals too much but u want to keep the effect and tail strong and lush

make sure the mono:stereo is correct, vocal = more mono and reverb = more stereo this separation makes more clear and sounds much better

side chain the reverb to the vocal, so when the vocal is in its dry to however strong ur compression is but as the singer stops the reverb becomes strong again, very light compression is needed for the effect to work nicely, same with the delays~

i usually do this to the long tailed reverbs and maybe add a second reverb thats faint but short it still keeps the vocalist understandable because the reverb is short unlike the long tailed one that washes over

i applied these techniques into my Filo and peri remix~ u'll notice that wen the singer is singing its more dry but the breaks between her singing the backing reverb and delays become very strong making it sound like there is a lot more reverb then there actually is~

here is example
http://www.mp3unsigned.com/Matt2010/...ocal%20Effects

Read the Artist comment for more detail

[m4rt3z]

Originally Posted by Matt

vocal = more mono and reverb = more stereo this separation makes more clear and sounds much better

Yes on a stereo mix, but what happens when its played thru a mono system like a club? lots of bad a happening thats what! You are right though with sidechaining the reverb, best and easiest way to get the vocal reverb right.

[Steven Silverthorn]

Originally Posted by m4rt3z

Yes on a stereo mix, but what happens when its played thru a mono system like a club? lots of bad a happening thats what! You are right though with sidechaining the reverb, best and easiest way to get the vocal reverb right.

My way works also without the complexity of sidechaining. You can still paralell compress the vocal and experimenting earlier, I found that the dynamics are sweet my way - I guess both techniques are worth trying. I have submitted examples of BOTH techniques - lol

http://www.mp3unsigned.com/MoonTurne...ression&reverb

Mind you - Deb's voice was not difficult to mix.

[Matt]

Originally Posted by m4rt3z

Yes on a stereo mix, but what happens when its played thru a mono system like a club? lots of bad a happening thats what! You are right though with sidechaining the reverb, best and easiest way to get the vocal reverb right.

i not reccomending 100% stereo vs 0% mono on reverb

just that reverb should be more stereo then mono not 50/50

plus too much reverb on the mono side just sounds horrible to me

[Matt]

Originally Posted by MoonTurnedBlue

My way works also without the complexity of sidechaining. You can still paralell compress the vocal and experimenting earlier, I found that the dynamics are sweet my way - I guess both techniques are worth trying. I have submitted examples of BOTH techniques - lol

MP3 Unsigned - The Best MP3 s from New and Unsigned Artists

Mind you - Deb's voice was not difficult to mix.

i dont really get why you set the reverb to be stronger on the right vs left, kinda sounds weird on its own

[Steven Silverthorn]

Originally Posted by Matt

i dont really get why you set the reverb to be stronger on the right vs left, kinda sounds weird on its own

Yeah - I should not have panned both tracks full left and right - I didn't do that when I used the technique on Moving On - not that the reverb was so big anyhow. Still, the tecnique itself isn;t wrong!

I hope to change my name soon - to Steven Silverthorn - dunno if I will will write any more Trance - cos I so bad at technical stuff, clearly.