Hi - Can someone explain please what an “ambience” patch (a kind of reverb) is? Surprisingly, I couldn’t find a nice article/review about that per se on line.
I recently read a reference for a possible vocal treatment in an exposed piano/voice song to be two sends as above: one send to a reverb with a shortish tail, and one to an ambience patch.
Does anyone know how to do that, or how to set it up? I’d like to experiment, but I don’t really know where to start. Pre-delay, length of tail, etc.
I had actually read that one, and the Part 1 the month before, before posting. Unless I did miss it , I was actually asking for how the esteemed forum members who track and produce vocals might use this technique if they do (very short ambience, and a longer verb, both sent to by the vocals). I’m looking at a solo voice/piano ballad, like Adelle Someone Like You, or Elton John here or Billy Joel here.
Someone wrote about using the two together in that fashion, without further details. So I was just wondering how the people in the know might do it, to give a few starting experimenting points for me.
One question I have is: Do most people have the verb delayed a bit so the ambience (defined here as early reflections only, almost no tail) has a chance to complete itself … or do both go on simultaneously?
I’ll be getting to that point in the song soon (though not at the rate I haven’t been able to get to the DAW for the last 2 weeks), so any experience sharing would be welcome!
Why don’t you just try things and see what happens? It’s not like you can’t go back to where you were before you started experimenting. Why the fear? Do you really need someone to tell you it’s okay before you do it?
Most of the fun in this whole deal for me is the experimentation and the unexpected. Try it, you just might like it.
Thanks, Scab Pickens, I do plan to experiment and see what works best. As a newbie, it helps me a lot to start experimenting from a preset of sorts, sorry if I didn’t make it clear that is what I was asking for.
Any help from you or anyone else with experience processing vocals like that is much appreciated - thanks!
Thanks, Bredo. It’s a very personal-sounding emotional song, I guess something between this http://www.youtube.com/watch?v=J2e4NlnLr28 (maybe a tad more reverb than I’m looking for, but maybe OK too)
Thanks so much, Bredo, going to look at Fab’s vid now.
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Edit: This was my dream answer, thanks, Bredo, I am so excited to go and try things out now.
I’ve not used my Reverence much before, but I think I recall there I’ll be able to make something like “The Ofiice”, i.e., something with early reflections only.
His second one, “Hall” was 85% tail, 15% early reflection. I’ll have to see whether Reverence let’s me choose a balance. It did answer my other question - he is overlapping the early reflections from these two verbs (albeit greatly reduced in the second one, “15%”).
He also eq’d the output of this verb, just a 5dB drop at about 600Hz, Q 1.2.
His last one was “Long Verb” which was 100% tail. Compressing on the way in to the verb.
Thanks again, Bredo, here’s my “preset” I can use as a jumping off point for my own song.
Well I couldn’t quite understand what he said when he waved his arms a lot and said some French-sounding stuff, but I might guess he thought the source vocal was too dynamic to yield as level a reverb tail as he wanted without compressing it first?
(Or because the Sonnox people told him to, and he wanted to get paid? )
, I was actually asking for how the esteemed forum members who track and produce vocals might use this technique if they do (very short ambience, and a longer verb, both sent to by the vocals). I’m looking at a solo voice/piano ballad, like Adelle Someone Like You, or Elton John here or Billy Joel here.
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