Space Designer Reverb Essentials in Logic Pro X | Tomas George | Skillshare

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Space Designer Reverb Essentials in Logic Pro X

teacher avatar Tomas George, Music + Audio Production Instructor

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

4 Lessons (27m)
    • 1. Welcome to this Class

      0:40
    • 2. Space Designer Overview

      19:59
    • 3. Space Designer - Part 2 : Create your own Impulse Response

      6:17
    • 4. Thank you for Watching!

      0:12
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About This Class

In this class, you will learn an overview of the main functions and features of the Space Designer Reverb in Logic Pro X.

This class is for Logic Pro X users, who would like to learn the essentials of the Space Designer.

In this class, I also show you how to create your own impulse responses.

So join me in this class, to learn the essentials of Space Designer today!

Meet Your Teacher

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Tomas George

Music + Audio Production Instructor

Teacher

Hi, Tomas here. I'm a UK Music Producer, Audio Engineer and Composer I've been producing and writing music now for over ten years. 

I have a MMus Masters Degree in Music Production and a BA(Hons) in Music Composition.

I really enjoy creating and editing all types of music, but I especially love teaching it online.

 

See full profile

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Transcripts

1. Welcome to this Class: Hi there It's Thomas George. And this class is all about space designer reverb in logic pro temp. So the space designer is a convolution reverb and also allows you to add your urn audio signals. So in this class, I'm going to show you how to use the space designer user interface. And in this class, I'm also going to show you how you can add your own impulse responses into the space designer reverb. So this class is for logic pro 10 users who want to learn more about mixing on the space designer reverb. So I don't recommend this class if you don't use logic Pro. If this class is really for logic, pro users you want to learn more about mixing on the space designer reverb, so join me in this class if you want to lend how to use the space designer reverb today 2. Space Designer Overview: Hello and welcome to this lecture where we're going to be looking at the Space Designer River. So let's actually go over to the audio effects on, then go down to reverb on, then space designer on stereo. So if you've used river before, we do have a few similar parameters. Except from this space designer reverb is actually a convolution reverb, a convolution reverb allows you to produce riel acoustic environments rather than simple size reverb. So here we have some bold IR on synthesized ir. So on the space designer, we have a choice between the sampled impulse responses or their synthesized impulse responses. So the way of convolution reverb works is actually loads impulse responses. So if you record a room of a microphone and a speaker, you can record this impulse response will record this room on, then load it into this river, which basically recreates the room recorded it in. There is a way of actually recording your own room in spaces, either, so if you click on here, we can go on to the I R utility, says the Impulse Response utility. But for this we will need at least one microphone on the speaker to capture the sound. We're not going to be going for this in this lecture. However, there are a load of different Bruce sets to be confused as well. We've got loads of different spaces to choose from. So do you recommend going through a lot of these presets before you actually record your own room? Okay, so normally, I would use this on a orcs track so I would bust the signal over to the arts track. But just for this example, we're going to have the reverb straight on the track just so we can blend the dry signal with the wet signal. Using this on the orcs track can be useful because you can use the same reverb on multiple instruments which allows you to save on CPU. Power on also helps you improve your mix. Also, you may not have as many presets is may. I've got quite a lot of different ones here. And if you don't have as many presets on you want to download some more presets for space designer. I recommend going on logic pro 10 in the top left. Then go to sound library and then open the sound library. manager and then go down to where it says re verbs and you can download some more here. So this actually allows you to download more space designer impulse responses. Okay, so you can load the impulse responses through the preset menu here. Or you can click on this button in the middle and go to Load IR, which will load some impulse responses as well. And this will actually load this under library audio impulse responses apple. And then we can choose the different spaces. And then from there we can cheese some of the impulse responses here as well, if you wish. Okay, so let's go down and have a look at some of the settings here. So the first thing you notice is this window in the middle where we have this wave. Then we have this blue line. If we have volume envelope selected. If we are filter envelope selected, it will change to yellow density. Envelope will change the green on output. EQ. You will open up in the queue here. Let's first have a look at the volume envelope. This is basically the volume off the river, so it's quite a visual way of editing in space designer so we can actually drive these different dots around on. When we dragged these dots around, you'll notice it may take a second or two for this wave to update behind this bar in the middle with the DOT. This allows you to control the divide between the attack on the decay time. So here we can actually change the decay. You can even change the numbers or drag this dot around, and we can also change the attack by driving this bar around. And we also have the initial level at the start. So this is similar to attack and decay on the synthesizer envelope. So I've just thrown up a piano loop that's dry apart from this space designer. Let's just have a listen to that now. Just pull dry all the way down and let's just have a listen only to this wet signal now. No way, Dr. So we could create a kind of swelling with this dot here, Germany speaking, you probably won't have this. If you want to create natural sounding reverb, Oliver for special effects or a gated effect, this might be quite useful. So you notice when we actually make a change. It just take a second or so for this wave to actually updates. The reason it does this is because this is actually based on a riel audiophile off a riel impulse response. Okay, let's go back to the preset menu here. Let's go on recall Default. Let's now have a look at this filter envelope. So this is an envelope that controls the filter. You noticed the parameters have changed. Here. We will have to actually enable the filter by turning on. And when we enable the filter, you'll notice this yellow line appears so this allows us to actually filter out some material. So, for example, if we didn't want and if the low end in the filter, we could change this filter, type two ah high pass So high pass allows the high frequencies to pass on the low frequencies to be contact. Let's just change this back to a low pass. So if you did want to filter out some of the frequencies, it's probably more likely going to be the high frequencies rather than the low frequencies for a filter must have a residence control here. Jamari probably wouldn't use that we want to create a natural sounding river. We also have a band pass the never low pass as well. We do have a reverse button here. Wouldn't be that useful if you're trying to create a more natural sound. However, for Sam designed, that kind of thing can be a lot of fun. Okay, let's go over to where it says I put you Q. So with this river, we actually have a Nick you Bill Tim. So this allows us to actually e que the signal once it's been processed. So say we want to scoop out a lot of the highest. We can use this filter type here. This low pass filter. I'm sure you can hear a lot of these highs of being scooped out. And with the high pass, I just cut out some of the low signals there. We have a couple of different shelves as well, and we have two different bands here. Standard e que controls here frequency gain on a cube second shoes where you want to attenuate or based, and the tightness off this boost with the Q Standard e que controls here just saved you, adding another e que after the spaces. I know. Let's just turn off the output you queue. For now, let's have a look at the synthesized impulse response. So instead, off rheal impulse responses. Oh, sampled impulse responses. We can use synthesized impulse responses, so this creates a river based on the settings we create. We also have this additional setting, which is density envelope, so the density envelope controls how many reflections we have. So let me adjust. The settings will adjust in real time behind as well. So when we pull it up, we would get more reflections. And when we pull it down, we will get less reflections. So if you want a bigger full of sanding reverb a recommend dragging this lineup, and if you want less reflections, you can drive this down. We also notice when we go back to sampled impulse response. The length is 1.3 seconds, and when we go to see emphasized impulse response, the default is free second, so this will sound different when we swap between. Sampled involves response on synthesized impulse response. We can also reverse their synthesized impulse response okay, and we have a few more settings just to adjust the density here, the initial density, the ramp, time en density on the reflection shape. Okay, let's just go down to quality. So here we have four different qualities. So if we select Lo Fi, this will create a more grainy sanding reverb on all the way up to high, which will create the smoothest on the cleanest sounding river. Let's just try Lo Fi, probably here that's quite grainy. Hi. So the settings do change when we swap between synthesized impulse response and sampled impulse response. However, they are the same dials and knobs down here when we get back to quality. If we choose a lower quality, well it's doing is it's lowering the sample rates off the reverb. Okay, down here, we have inputs. So this is the input slider for how space designer processes the input signal. The top one here is stereo. So this means the signal is processed on both the channels left and right channel. The middle one here is mono. So this means that signal is processed in mono on the bottom setting here is across signal , So this means that signal is inverted, so the right channel is processed on the left on the left Channel is processed on the right . We can actually go in between these And here we get mixture off the different settings. In between here, this will be a mixture of stereo and mono on below. Here will be a mixture of mono on the cross settings. But now I'm just going to leave this on stereo. Okay, One more thing up here is actually the I r offset said impulse response offsets on this allows you to choose the starting point off the impulse response stample. So if we just drive this up, this means we're starting from, say, one second notice. We don't actually have the entire impulse response anymore. So if you start a lot later like this, he would get very different sounding impulse response. Let's just drag this back to the start of the impulse response right to the end of 1.83 seconds for this impulse response. Okay, let's now have a look at this little section here. The pre delay the length on the size. So the 1st 1 is pretty delay. You will get this on a lot of different river herbs. So this is how long is it between the dry signal triggering on the reverb tale starting? So just for this example in the crank, although up to nearly a whole second. So it's almost a second before the reverb tale starts after the dry signal start. So let's just pull up this dry signal here so we can hear. The difference on there will be about second between the dry signal playing so the piano sound on the reverberated sound. Obviously, that doesn't sound very natural. US. Ally wouldn't have the pre delay that Hiatt all but let's just pull the pre delay down to somewhere a bit more realistic. Eso The pre delay is the amount of time between the original sound on the early reflections and reverb tail. So, for example, if you shouted in a large hall, then there would be a small delay before you heard the first reflections off your voice. Thes would normally be the closer reflections, such as the ceiling I'm floor in front of you. Adjusting the pre delay allows you to change the size of the room that the reverb is emulating. Also changing the pre delay will add some space between the original signal on the reverb off that signal. The pre delay can also be switched to a musical tempo by hitting this note here. So this will match the global tempo that you've got selected and logic pro eso You can swap between milliseconds on musical no time outs here. Okay, Going across, we have length. So this allows us to choose the length of the river you'll notice As we actually change this, the numbers here will actually change as well. So this goes to faulty matches up here because it's set to 44.8 milliseconds. If we increase this obviously these numbers against change on this graphic display will change as well. Obviously, for a longer reverb, increase a lamp for a shorter reverb decreased limp on, then we have size. This allows you to change the perceive size off the river by widening or narrowing the room . So it will sound a little glitchy when you're playing the instruments or your audio in logic pro. And you're adjusting these settings in real time because we are adjusting riel sampled impulse responses. Okay, going across, we have this spread section, so this is a stereo spread effect and is controlled by this cross over dial here. So in real acoustic environments, the lower frequencies tend to linger around a lot longer and actually spread over the place a lot more than the higher frequencies. So normally the higher frequencies tend to just go in one direction on the lower frequencies tend to spread more, so this cross over frequency dial here. This allows us to determine what frequencies are spread across the left and the right channel, so this allows to keep low frequencies from building up in the centre mixed with our reverb . So if we just pull this down to, say, 200 hertz so all frequencies below 200 hertz will be spread to the left and right channels where everything else above 200 hertz will be more in the center. Let's just pull this up to 16,000 hertz, so this means anything above 16,000 hertz will be spread, so you're gonna get a lot more highs with this spreading effect if you do this so if you want less high spreading, learn it down a bit. Normally in real life acoustic situations, lower frequencies will spread more than higher frequencies on the high frequencies will generally stay in one direction. Okay. And going along, we have thes dials here, which allows us to set the whiff off, though spread on the high spread. Then of course, we have the dry amount on the wet amounts. Like I said, you would normally use this on a knocks channel on that free bus. Your signal over to this reverb. But for this example, I'm using some dry signals. Well, but normally you do want to separate the wet and the dry and also allows you to send multiple instruments to the same reverb units. Okay, Going up. We have this card here which allows us to reset selected envelope. So you noticed there I just dramatically changed the envelope and we'll reset with this car here. We can also reset all envelopes. You can also reset the EQ You if we wish. And I notice here on the EQ you just made some changes. Let's just go back to the volume envelope. We're going hear Reset CQ go back to UK. Obviously this has resets. Then going down, we have a Layton, see compensation. So space designer actually uses data of 128 samples to do its processing. So if we turn on this late INSEE compensation here, so this will actually add late INSEE or delay to your sessions. So when we hit the space bar, there be very slight delay of 128 samples, so this isn't really that noticeable. However, if you're recording audio, I definitely recommend to have this checked off. But if you're mixing a do you recommend having Layton see compensation checked on below this Here we have volume compensation. So the whole point our volume compensation is to actually match the volume off the different impulse responses here. Some of these different impulse responses will be quieter or louder on what the volume compensation will do is just turn up the quiet ones and turned down the loud ones. Space designer does have a built in reference level, so it's just going to match these impulse responses to this reference level. Okay, the next setting is showbiz ear handles. So what this will do is just add some handles here, which allows us to actually change the curve amount. So if you want to go in and change the curve of this, we can add some busier handles, okay. And the last thing we're going to look at is the definition which is only available under the synthesized IR tab. So this allows us to defuse the reverb tail. So have reverb. A lot of the density will happen in the front of the tell not towards the end of the tail. What definition allows us to do it? Just make the tail end of the reverb a bit more diffused. So basically, you may lack a bit of clarity in the reverb tail if this is, say, under about 50% but generally it's not going to make that much audible difference. So if you have this around 50% you won't hear too much tone difference and it will save on a bit of processing power. But normally I will have this all the way to 100%. Okay, in this lecture, we've gone over all the main features in this space designer reverb. In the next lecture, we're going to be looking at actually creating your own impulse responses by dragon Go over your own audio clips. So thank you for watching. And I'll see you in the next lecture. 3. Space Designer - Part 2 : Create your own Impulse Response: Hello and welcome to this lecture all about creating your own impulse responses. So in space Designer, we can actually drag in our own audio clip and use this as an impulse response. This can be grateful ambient sounds or sound effects. It's really simple. Or we need to do. Is Dragon Audio clip into this main window here? We can actually drag audio directly from Logic Pro. We will have to bounce out of logic pro and then drag it into this window. So I've just played in a C major chord using alchemy synthesizer on a path sound. And I also have a compressor on this as well. Okay, let's just export this So we just go on right click, then go down to exports and then exports as audio file for this. I'm just going toe put it on my desktop for this example. The safe formats. I'm going to choose a wave I'm going to choose 32 bit float for, but that I'm not going to bypass the effect plug in because we have a compressor on here. However, I am going to include the audio tell because as you could hear, there was a lot of tell on that. Andi. There is no avoiding more pan automation. But if you do have any volume or pan automation, you could slept this normalize. I'm going to turn off because it wasn't clipping on guns here. Exports. Okay, let's open up. Space Designer now just going to meet the spot. Let's open up. The space designer became just going to go to my desktop now and find this fall and then just drag it into space designer. You can see hits loaded that already we have the name which corresponds with the name and logic pro, and I'm just going to make sure drives all the way down and let's play the spot now way off slipping. So I'm just going to turn went down. Okay, let's blend this with the dry signal. This river does have some tone ality to it, so it does work best of notes in the same key. So if I pause this now, I'm just going to change the key off this pillar part to see Major Okay. And let's have a listen to this piano partner on it. Should feel a bit nicer with this impulse response. Of course, we can still change their filter envelope and also the output peaky. So for this, I'm just going to roll out some of the base for the output UK. Just make it bit steeper. I'm also going to decrease this length as well, and you can hear their when I decrease the left. You can hear more of these notes, and if we increase the Lemp, you'll hear less of these notes, and it's Sam Morva drone on a bit more ambient. That's makes us with joy. So this could be called as an effect. Is a background sound as a drone? Just remember, when you imports one of these audio clips, it will keep that tonality. So it only really use audio clips that are in the same key viel song. But that's how you can import your own impulse responses. There is another way of actually creating your own impulse responses in the IR utility. However, with this we will need a speaker and a microphone set up. I'm not going to go into this a moment idea. Recommend starting with presets because there are absolutely lows of them in logic, pro for space designer and of course, If you want to create some more wacky, weird sounds, I do recommend creating our own impulse response. Also, you do have warp space is so if you go down to the preset menu here, we do have walked effects, and here we can choose drone tones, and this creates some interesting sounds as well. So I'm just going to choose one of these heavy air. I'm going to bring the dry all the way down and gradually increase the Web. Let's try and wait. Just be careful, though, because if the wet is too high, it can clip. Uh, wait. Do you have a few more as well? Ghost ribbons? Yeah, so in spaces Aina, it can get some really creative effects as well. So, like I said, you can import your own impulse response, or you can go down to some of these presets. The walk defects have some really cool ones. I've used them in my own music quite a few times, especially for intros out trolls, that kind of thing. So thank you. What's this lecture? I hope you found it useful, and I'll see you in the next one 4. Thank you for Watching!: okay. At the end of this class, I hope you found it useful. And I hope now you understand the basics of using the spaces I in the river and also how to import your own impulse responses. So thanks again and I'll hopefully talk to you soon.