Ableton Live | 10 Ways Of Reverb

1. Introduction: Folks, welcome it. Ten Ways of reverb the purpose of the course. So just to demonstrate different techniques, he isn't able and stock reverb effect. I'm just trying to sparks of inspiration and your work for just give you some ideas and some new tools we have to care. That comes to writing your trucks. The concept and the idea is basically try and make use of what you're half in a project rather than just getting washed in your alike SOPA library patrol, guilty of doing that title. So hopefully this will help you break through but Create and Barrio and just come up with your all unique. So we'll go through reverse Reverb of good gated Reverb would be some fries reverb also do some, say Returns, some drum Reverb and also some Automation techniques. So there's quite a lot to take from the course of West, the project file or the description for you to pick up if you want to fall along your project, that they're taking something out just for you to implement in your own work, for your own projects as well. So hopefully you'll take some folks may be very questions at all. Just do don't hesitate to get in touch. If you can, if you can leave a review at the end of the course, should be really much appreciate that will help me out as well to grow. And so we didn't go home and at bookstores quite a bit to go through short hop on with it on or she is a phosphorylation 2. Reverse Reverb: Hi folks, saw the first technique we're going to explore as the reverse Reverb technique. I find this technique works best when you're recording like some old axons. It's a handy effect for doing like transition. Effects are, are like little texture. The complement sounds that are already there. We'll go through a couple of ways. They go about it and give you some ideas and hopefully spark some inspiration for you. So we've got the sound. I've got this more of axons here. We saw. Thank Nicole for that one. So what you want to do is just insert an audio track and do audio from whichever, whichever one you've got project files there for you to download. So if you wanted to know more than just play along, you can't do show should know that some Hornstein job, you switch them on an artery or arm. This track here, you can see the information is coming through here and the meter and the right-hand side. Go back and horn. I've got a Reverb on just long decay time. You get that long tail on the 100% weight on the reverb and then you just hit Start here. I'm just hit record. Now we go just Pula, I don't ever so slightly that if you're high weight, the whole clip PEC Command J or consolidator become bucket. Horse stall will switch of reverb off on. Let's open this up a bit. We've got this little part here, the ions. So what we'll do maybe picks up a couple, a couple of dB, give it more volume down. And I think this will, it starts to fade out or just knock off. That will just highlight that whole section. We've got rid of that fascia part. Then just drag it across here. The clip flesh doing the R button, NOT reverses it. Like I said, it's really handy for transitions because you've recorded the sound from a sound that's actually on the truck already, not makes it more cohesive and it just sounds more glued within the sounds of the throat. Latch. Here we're showing is like we just hear that will affect their arch. The anticipation. I was like there's something coming for our transition effect. It's either a little bit along reverb on it. Just stay slight tail coming into the final section where you can hear the difference it makes in the transition. So We'll do one more. Let's toilet or texture types shown. Let's right-click on this. Super the son does here. I'll right-click on and start audio track. Or are Mithras will be audio from EFM stubs 16. Seem again same reverb, 16 s, the key aren't 100% way. Then just hit record. Go see him again. Pure command J, consolidate, check the R button to reverse it. Back in here, switch to reverb off number 16. So the Quran odds about that just gives up a bit more cartoon showing this very much. Tick off. The same again, a little bit of reverb on it. Here it sounds like and I throw it will take these parts signs off because maybe too much texture. You heard MPO's have not shown to certain and embark. Cool. So there you have a universal Reverb Techniques or lots of eighth of an user could explore there. You might have some chord he chicken record. Just experiment on every single type by showing that you have in the throat until you find one that sounds perfect for what you're trying to achieve. Sometimes you find it mean, for example, you might have a different sound come in this section here. So let's say you've got cords coming in here, then record the user same technique on the chords that are coming in. So the haven't been heard yet. But once you record the chords that about Reverb, reverse the reverb sound and then not just anticipate the sound coming in. And then you can hear the chords command afterwards. What makes sense? So it's another tool for folks, and I'll see you in the next lesson. 3. Gated Reverb: Welcome back folks. In this tutorial, we're going to take a look at the gated Reverb. So the concept behind the gated Reverb as basic way taking a larger, a much larger Reverb on the gate itself. Basically, it just cuts the reverb off, making it so much more fuller rather than having a long tail from the larger Reverb. So obviously the best way go about it. There's all just show you the steps, how you set it up, and everyone goes through the different parameters like in the reverb, etc. and over and get different effects and sounds and also rhythms as well, just by using this techniques or watches Caracol. So I think we're going to use the crop Sound. Saw the Keck, saw the percussion. Take these precautions like for now, just have the clock. So wet. The Audio Effects. Let's get our brush then we'll get you tell what you're going to boost the volume or bet on the week. Rob a Reverb on. If you grab the gait, you'll find out under Dynamics, navigate function. There we go. Let's switch again off for now. Let's listen to the co-op in its own booster, like five dB HL. That's all for now. We'll switch them off for no decay up. With Roy went down. Let's switch the, the gate on 47% and the dry weight, Let's switch the gate on. So as you can tell, what the gate basically does is it doesn't allow any of the son through. You have to use the threshold through the dial button. The threshold nausea can see, just went ahead, smart peak there in the Sound automatically shuts off. Once it reaches below the threshold. There we go. So we get just hello and 28, 30. So if you tweak the release button, makes it much smoother, I'll just smooths out the tail. If we open this up. Now if we use the side chain function, this will give even more precise control over, over the sound. And then you do the audio from, you want to take the audio from the club itself. So the co-op on pre effects before any of the effect. And what I wanted to do next, I want to experiment with the different rollers there, longer decay time and also the size and just watch it at the different tones and affects you get off the author Reverb. So let's try the filter. Now the diffusion network which switch these on and just wasn't how it changes the sound or the reverb will embark. Nebula simply when a mess all over the size, but it'd be play around with the side. The key again Let's just switch the gear off. You see how much control you have over the show just by using these different parameters. Remember the gate on. Let's try the pre-delay. This is the pre-delay and the reverb. This is basically the motor time it takes for the rhubarb, the Reverb to take effect. So you can't go right up. Let's listen a lot with the drums. Almost compliments the groove, so it gives us a slightly different fuel in the groove should be pooled. The pre-delay bark the way up. Pretty cool. You can just get really different. I'm interested and different textures and sounds. Or for VA, off despite mess around with the different parameters and the pre-delay. Here, the decay also tweak, unlike the release button on the, the gate. You could also try that through if we group the reverb and the get command G, then you can obviously control the amount that comes through. So if you click on this little button here, on the Click on their reverb gate, you press Command D, duplicate it out. No, we've got to to change. So the first one, if you delete the reverb, the week the gate. Basically what this means is it's an audio effect rack. So now you've got parallel process. And so now in this chain here, if we command rename the dry, that means only the dry signal is getting through. Now, if you use this button here, if you crank the dry wet, remember are currently dry wet and reverb to 100 per cent. So it's just the way that's coming through. Then you've now got control and the amount of reverb that comes through the effect. A cool. So there you go. Lots of gated Reverb. Like I said, just experiment on different sounds and the project it on the different stop signs and melodic Stubbs is where we can get some intuition like Q&A results on there. Obviously throw your different clubs sound. You can get like a liner line crop box really well, am just thinking about big ruler reverb effect on the sound. I'll see you in the next lesson, folks, to your 4. Frozen Reverb: Hi folks. In this tutorial, we're going to take a look at the frozen Reverb to function in Ableton is Reverb, I want to create a textured sound that rather than just do off of one sound. So I wanted to take like three the sounds and record some reverb from them using the frozen function. Then combine all three and a layer, maybe add some more effects to it. So we'll just get stuck in. What I wanted to do is you start one. We used Arte one. And what we'll use maybe the thought was she with this one as well. So we'll start off by the Swarm or in certain all your throat fact, we'll do down the bottom here audio track, functional group. And we'll duplicate it. I will do three. Let's just rename it extra. For the first one. Let's take Audio From called stub, which is the brightest star. We go. This one will take from FM. Number 18. This one take from 23. Threes, will start off with this one. Let's come over here. Here. We commit the brightest stub. We've already got reverb on it. The freeze function not here. So all you do is let's crank up 100% where you just freeze a certain part of the sound. Just make sure that don't hear the volumes coming through from this one here. So it just Record. Freeze, freeze off, reverb off. Let's just console or the start bar. Console with the alone. For Bosch. So we go Command J. So that one done. Then coming FMR stops to only be armed the second one. So let's get Reverb on parseInt way up the decay slate where the goal these off or decay. So command here. We'll just hit record. Again. Come on J. These two, unless the last one here, reason parked the truck. Freeze, Reverb on the K time these off. And the parseInt way Again, the weight and pure and get underneath here command J. Not just I get three different textures from the sides. Here. Shows the number of things you can do. The frozen Reverb, I mean, it's ideal for, let's say for example, we just have the current row which take all the mystic be melodic out. We'll just play the drums. So that's perfect for an intro. We put, let's see, you're playing a buck. Ideal for like an integral shown to rename and row shown here. Could do something with that, which tried pitching up. So we put up or down Shift and the upkeep 12 servitude. This one should all use that one. Which methylome? These two here. They're shown here. We could do something like expand the scare you, or for quick demonstration. A band pass frees up the 180, getting EQ. And then there's one lesson how it moves from left to right just by putting the fees up to 180. And then you just keep the ray. You can mess around with it if you want, but you turn the amount up in the LFO. We've just adds a nice move and can affection the background. Grew. So it's frozen Reverb. Experiment on the different, different sounds in the Projects. Again, just see what you can come up with. Remember it doesn't have to stop there on the Audio Effects. You can go in and add more movement Alexa upon the nail or falls on it. You can duplicate these, patch them up, pitch them down, endless things that you can do with it. So just experiment with them in half one. Okay, folks, cheers. 5. Sends And Returns: Hi folks. In this tutorial we're going to take a look at St. reverbs are saying Reverb will basically, you're saying this is your return trucks here on an Ableton. You can add any effect on these Returns, rocks, each each individual track. What you see here is your, how much, how much of that shape you want implemented into the sound. So it's basically parallel processing for you. Blame them. My son from from the return as opposed to like using a reverb straight on the, straight onto the sound. Because remember if when you put reverb straight on our sound on the truck, soon as you can cut the dry weight, you're losing part of the original signal. So sometimes you might not want that effect. So what you'll do is you'll set up at a time clock and just plain then the blending the effect or stock keeping the fuel original sound and talked. So I'll get three recount clocks here. The first one has a very short, short take. 20 size. Always make sure you're saying that 100% wet. This is basically a short reverb. Then for the second one, just slightly longer decay size at 100, again 100%. And it's just more like a medium reverb. In the final one, we've got a long reverb at 12 s. So this is good and Lake Powell effects and stuff, just like our atmosphere. Atmosphere anthrax, your short or Reverb. So these are more for like drum, etcetera. I'm going to do I drum Reverb demonstration later on in the course, you will avoid clumps for name. We'll just work on instruments. And I'll just show you a couple of handy tips and tricks. Rather than just show you how a shame the effect of a sound? Or should we a couple of more tricks to get like an interest? And again, Resampling like an interesting texture. And also how you can all meet the change in say to their truck, the odd then threshold. Let's just crank on. But I think what we'll do first is just basically sure you give you an example on how user and then a different styles of reverb, reverb that I've got here. So we'll just loop this part here. We've got shot Reverb. So if you just crank this up, short reverb Mixing showing more close. And you'd be a medium. It's more of an atmospheric tape. The final one is the long reverb. This is this one here. Crank that up, you'll hear the difference. So that's having the long tail is basically how you feed the actual shine buffer Returns up. If you right-click here, you can insert Returns Clark, so you insert a town. He dropped an effect on reverb or whoever, whoever you're using for this tutorial, we're obviously using Reverb. So to throw up our all, then you'll just feed. Designed this button here. So let's do something different. Names, certain audio track. I think we'll do is we'll take all the melodic, everything that's inside that melodic lot of grip. We're going to feed it through their Reverb. We're going to record audio from the actual Reverb. So we'll use the long reverb, this one. So with this audio track now, if right-clicked, although your truck audio from long reverb set or the truck know everything that's getting fed through the reverb send now gets fed just, just a signal, just 100% weight signal from the reverbs from all that different tracks will get fed into this track here and we'll just record a new texture. Mesh that over. So if we solo lot X and then go a, B, C, or in compressor PC in this crank up 100%. Not sure I, this is going to show him, but we'll find out. Click on here and then just hit record Now we've got this texture here. If you're watching to, you'll just hear the reverb effect. You won't hear any of the any of the shameless pool the same box switch off. Its comeback and he saw that one. And display your free do you want put you up complex Pro. So obviously not set in line with what was recorded. He or she watched twice starting to see the name bar mark the week. But I'm just going to play should be square half in the section to section. Here is actually the record apart from this section. So what's, you know, what sounds like with their shown ego is just an or another texture, another shown coming from everything that's been everything that's already in the truck is just giving you something else to play with, something else to experiment with. By all the more affectionate, like a shape pitch up, which it down reverse shape and duplicate it out. She could do with that. But that's just to give you an idea. So one more thing, I'll show you the change in sends And Returns as Automation soup when you're doing the drawings infarct. Hd cow, switch off. All these will just keep their texture showing gone. So what I like to do as well, just to add some ear candy, if you're an arrangement view and you're thinking right, what can I add here? And sometimes you'll go and take out a son, but you don't really need to go sound. What you can do is use the signed and returned to automate certain Hetch. It just gives up. But something else like another bit of your candy, just the progress or like a section of our thorax. So we come into this part here. We've got so we've got this bright shown here. This one. Wet. If you come in to be reverb, you can experiment with different. If you click this button up here, or a pore here opens up automation lanes. If you come in here, just make sure you click on the shan't and crank up. Not much of a threat coming off there in the medium swash, do the long, in the long and then boost up. You go. You could do on the clock maybe here. We stop. Keeps. You can oxygenate the end here because I want the percussion. Then we do one for lash. Precaution. We do say and if you the torque on the wane, just be the percussion, open up. A warm garbage showing better. Doesn't really sound exciting. Notch all getting along Reverb. On the bootstrap. We get the idea not to change And Returns. Super easy just to blend the sounds. Here. Reverb effect, like I said, I'll do a drum Reverb tutorial later on. So just giving you a couple of ideas and how you use Automation insane the recurrence when you're an arrangement or than some your candy and also sending more than one sound to the reverb. And then record and not reverb on our audio track. Something more Viet play with, like I said, just experiment without twist it, push it up, pitch it down, flip it Live, flip that right, Just do it. You won't have FUN. Folks. I'll see you in the next lesson. 6. Drum Reverb: Embark folk shock. They were going to take a look at drum Reverb on how odd, like Reverb steel drums. There's a number of ways you can obviously do this show will just get through a couple of different ways that you can go about it. For example, group, we've got a group percussion. You can drop some reverb on here, we'll do assigned. There will maybe try a different, two or three different types of reverb from the different elements in the loop. Just to give you an idea, if I go about it short. Just saw the tech and percussion. Let's switch off. The melodic. Won't maybe keep one of the textures in there. What will switch? Will keep the texture is off. We'll just focus mainly on the drums. What's open them up? While loop, it bars Command L. We've already got some some reverb on leaves the club, which turn off the gated co-op flange. None of these, this has got reverb on it. Turn it down. Park was tone it down to all my check. So for the first demonstration, I think we'll quickly grab a week and audio effects reverb. And then if you go a room, you'll find Drums Room. Droplet on the percussion group. At 100% way. We set out to 50. So obviously, this is your aim, is no part of our process and you get 50%, 50% of the wet. So if you get the decay, There's quite a warm want to be pulled the key right down there. Tom's to the power of the co-op and the heart alone, 593. Even though it itself certainly, I mean, it sounds okay. Again to what you can do here. Command G on the drums room, open it up, duplicate out. She'd get to change, command, rename dry. You'd be a parallel processing. Take the a on the dry one, tick the effect off, and then put 100% and No.2 basically, it's basically I'll send and return on a group down. So now you get the full signal and then you just blame them. Using the volume button. Below. Minus nine dB. Sounds nice. So that's one way of our than like drum Reverb on a dramatist the glue them all together. You can also insert a new return truck Right-click at the bottom and start return track. Could want the percussion and what we'll do is we'll drop this effect grok on here, just to be lazy. Committee here, ungroup it, and then command shift in G. Then I'll show you get your drums room. Then you can obviously displaying the percussion N to D, a, B, C, D. Best way to do it, just make it extreme fast and then just dial back abs. Awesome space. So let's go one step further. Let's say you've got your percussion, you've got your, your heart. Let your lower percussion sounds and you want make each with slightly longer. I mean, you might want to have the heart There are quite short, but you want a big RTO on there. See the mid part and then the law parking want another shot or can I tell or vice versa. So we'll do we'll do three different types. We've got thrombus room. Let's return truck, let's have three Returns trucks and then we'll rename this one law and rename it med. She or thinking about it in terms of frequency ranges so warmer than high, she would recommend the law. Law sound is your tom. These two percussions here. So we come in here, then just hold down the Option key on a mark, click and drag the med, drop it in there. See him again, click and drag. Drop it in here. Will keep all the settings the same except or crank up the decay slightly on the different ones will make them slightly longer. The high. Maybe make it to maybe. So for the war, that's gonna be the main percussion group. And we commit the term, which is not one. You might want to make up a bit longer. Wonder can make one a bit longer. Def. This experiment the through the, through the different sounds with a different lengths of reverb on each individual can sometimes affect the groove and who we change up a groove. You go straight up the for drum Reverb. So like I said, on the percussion group, you can throw up on the phenyl group and affect all the drums and the same way with the same, the same a reverb decay time. You can do different labs of reverb and are them at different elements. And you can also do like our fuel send and return Reverb today to the same, to the same group. For example, the pocketbook. We're done with the percussion here. One more thing I'll say is when you come on the boiling to do with reverbs as all other EQ on and just roll off anything below 150, not just stops any information coming through. There's going to interrupt your low-end. For when it comes down to the mixed own face, It's always good practice you should drop an EQ on, especially in the longer reverb, for example. So you can still have some reverb and a base, but you want it really, really tight so you don't want to get it too much of our tail on it, but I'll CIDR, so that's drum Reverb. It's quite handy, is great. It can really bring out drum still-life ulama compression and stuff. But that's another, another editorial itself compression. So it's something I'm gonna do during the wane as well. I'm gonna do our ten days of compression which could use that, use the effect of reverb and use the compression as well and pop it out just to show you how you can glue, glue a whole drum loop together. So hope that makes sense. Folks aren't experiment with the different ways that I showed there aren't seeing the next lesson 7. Reverb Modulation: Hi folks, on this tutorial, I want to look at Modulation reverb. By Modulation Reverb, what I mean as we get hybrid, use the hybrid Reverb. And what I mean is I want to use modulator LFOs. And we're going to mop the hour for different parameters here. We'll just see which ones work. Because what I've gotten my head is like I wanted to modulate the tail of a Reverb, say from the sound is going to sweep up and change and evolve just for the, a couple of bars. And then it's going to sound out. It's almost like a Q&A, but it's something films in this space here and just stops before. Like onshore comes in. What makes sense? Okay, So let's show this report section. Crank up. How about with fish? Let's use definitely caught up the decay. More feeds out there and hear what she sounds like when we bought their feedback. Let's keep the rate law school. He had shot a slightly different tone to the top of the sounds. Quite nice. Let's duplicate. And let's MOP mode. A bit more slower. Duplicate it. Again. Let's mop the School for the Shi'is, but in the size, mystic a return 1.5 depth. Okay, Now you're getting somewhere, so let's take our foot off much. All we were highway. You see there? Let's keep me calm down. One more thing. Eq. Just got an hour for duplicate it again. In this time we'll mop frequency. Command Z naught is not my thought. One, smart number two frequency. So it moves to and then duplicate it again. This time mop again. No, it's going to move Twice. You can hear how it changes over time. She from the Keck. Once you go, we get the idea. It's just more joy in different parameters to come out. Odd movement to the tail is just a very simple demonstration. But when you could try that on almost anything, you guys have been thrashed and introduction, speech, affection results format. To be Command G. Let's take off. The horn stopped, just stops there. But if you have some fake my question I sound that you have a can just add some more foe in the gaps. Which sound. Also on the second stop. The court's job on we're here. I work to do yet lucky cubic centimeter. You get the idea of space quick, stop you from taking a sample library. Try find that sound, but you can just mess around with these different parameters and stuff. Use these LFO's on sounds that you already have and you can just add something else there to progress in your truck. So experiment and all the different ones, like all the different hats, throat and percussion, right in the web styles if you'd want it. But just like I said, it's all about experimentation. So we just go through what we are sound and C we can come up with you can always, if you like that sound, as a star, you can always crockpot the 100% set up an audio track and then record the sound. Then, just like we've done before in previous videos. It's just another way, another way or another I've texture is something else. Vm SLA muscle. Makes sense, folks are not seeking the next lesson. Cheers. 8. Filter Sweep Reverb: Hi folks and welcome back to this tutorial. We're gonna do something like full or Sweep, like reverb effects using their reverb and follow along with them more for more than the autofill are the modulate our four, devise. Sure. If you insert a return track on the first thing we're going to grow up as our reverb throw up on 100% where the care around 15 s maybe take the full or off cooler so of spin off. And if you grab all of you are also on the full proper own, which show the will switch off. Most of them award extra texture noise that we created earlier. Let's show the clop. Clop. So we send that 100 per cent the way here. So as the reverb or possibly you want to do is select this button here to morph bar. You pull the frequency bark. They are resonance up. And we'll just mark the more water it changes. Right down. Whoops, lately. Then we put just before the then we'll get one more reverb off the underperformed what? The context of the drop. Also choose the speed of the more you can have it just wore. White, the number two. You could also add like an echo shown the nearshore has got an echo drop on after the Reverb. I'm just going to limit our drop on the end. Just to be sure. You can tell us just coming off the co-op. I mean, I'll just pull new depth to the truck. Doesn't just have to be the clock. We can go to the oscillatory, the part here. And it may just give off a different sound, different feel. To get. Another thing you could add, maybe overdrive just before we pull it down. Shirt, we don't Another tool from bar, right in the heart. Nice. As you can imagine, you give me, you can actually automate the command for alike. Switching this button here. You might just want to use that type of effect for the likes of open right up there, which drop it down to Automate and open up. Overthrown session affects. Got a couple of more of the pod zone, zone. Maybe open up a bit more. Get the idea. You can just automate and make transition effect with the effect story. Straight one of them, a lot of axons destroyed in this one a week Automation from there. Swung of reverb already. Tonal this hybrid Reverb For now. Let's crank up unless you sounds like the reverb or delay your start as well. We come in here, switch off, not reverb, just crown coupon, the effect. Nice. Want your font, it'd be hard. There. Won't be gain Reverb, EQIP, some of that Medallia, the muddy region, user overdrive the autofill, have its Sweep and have the reverb sweeping through the air. The waterfall are followed by some more reverb, then a bit of echo at the end. And remember modulate the Morph button here to have that Sweep through and watch how you get the effect of different sweeping, sweeping sound effect. So a font, it'll be hard their experiment going through all the different layers, not just in here, but in your own productions as well. You should come up with some interesting results. Okay, folks, CIO 9. Convolution Reverb Pro: Hi folks. In this tutorial, we're going to take a look at the convolution Reverb on there. We're just going to basically use a sound from, from the actual project itself. We're going to create that space inside the convolution Reverb. And we're going to feed it through various instruments just to show you another way to come up with interesting textures and just watching how it glues like a loop together just by using this technique. So the first thing we're going to grab as the convolution Reverb Pro. We're going to grab that and throw up on here on this one. So if you haven't gotten a ton truck, just insert retired truck by here by pressing this button and then just throw up on the convolution Reverb and then repeat it 100% wet. And we commend here. We've got this shown here. So I'm going to grab this sound. I'm going to higher weight that little section drug over here by holding the Option key and then just dropping it here, hit Command J, control where they can come back and they're convolution Reverb, drop N here where the sample is. Now it's been a decay down. Around seven to 100%. Boost some of the frequencies and the higher region maybe drop back down. So it'd become less toyed with the club fast. So E, then a, B, C, D, each. This one here, Clark all the way up or saw the clap. And then we just listened the tall it comes through. So now you've got the sound, that space not shown there is no bouncing off the clock pet school position. You've got other options here positioned where you can move around. They're still new field income forward. I'm just keeping the Center for no mood. I'll just add more. Reverb. The shape. You can reverse it changes according to the sound. Let's keep it at 100. The gain up. These tanks roof would be reverb off. The fruits. Just makes a huge difference in the depth of the thorax, which throat and another shameless color stops here. Let's just crank all the way up. Barack Obama. So as you can imagine, you get some really interesting results just by using that technique. Using a certain from the formula, track the convolution Reverb and just try it out in different, different hedge, different sounds. The point your percussion hits. Even take the percussion head itself, Sound, record the sound and throw up our convolution Reverb are so many different avenues you can go down. And just like endless possibilities of households will work together and how old jails together. So that's good font. Experiment, like I said, and I'll see you in the next lesson, folks 10. Hybrid Reverb Automation: Hi folks and welcome back. So in this tutorial, I will demonstrate just a few Automation techniques. Just felt like a transition effect or may in different parameters inside of the hybrid Reverb, enabling swatch, grab, hybrid on other stroke here. This is just thought texture recorded. I've just stretched the Switch looping over 10 bar, I think. Now I've just pulled out some thrombus is just for the collateral introduction group. So we're just going to automate a few parameters in here, just Our then thrashed over time. We get to this point here. The first thing you're going to do is create. This changed the algorithm, the shimmer. Let's crank a blend right up, driveway up debris, 60% shimmer, zero and that's what was put up the heroes sounds like it's all the way. Shimmer. Now let's shaman up particular pitch down. Like, I like caveat sounds. Cool part there. So what I'm gonna do here is Command E. Now just separate it. And then just hit Command D and we'll just play it out part right through to this point here to the throat for data science cabal. Let's listen to again. Think what we'll do. Second part, we'll all meet the patch. To come up. So much. Maybe like three. Last part here. Crockett, right up to 12th. Just before like a you section like a transition effect. This shimmer. Let's try automating it down and up there. Just duplicate across Command D. I think we'll keep the shimmer per say they're smashing open the damping ratio loss. Take up Panopto 15, 16%. Whites try the size. How does the sorry Sound? We take it during the way I give a cool, it will move. Ticker. It's almost like a tape stop. The size, the patch, the shimmer. Stick the mode or disorder a little bit more movement and let me come right up over time. Maybe put a slight cabinet, hold down the Option key. Then the feedback Let's take the feedback. Cup. Crump down. Girl, I got. So without the effect, would know much can own, but let's heat up from there. Much here it sounds, will just drag this Automation over and assorted a rise African effect. What's the reason parked our reverse? Moon? Just take school for Lumiere. No effect. No effect. Let's play it through here. A bit more exciting. In this shows here. A bit more convolution on the core plugin. So it's just a few Automation techniques. You just see how much about different. So I can make just on a bit more excitement. They are coming into the transaction and dropping it in the next section. So hope you learned something from that. Also. I mean, you could also check out these different my fork, which toy out one last time you must go. Plate. Plate was put on more than ACO play or something. A totally different space. Bar blind, slightly different, like.org. So you go to Automation techniques using the hybrid Reverb just to add transitions and also all kind of movement and bold start a bit more excitement in your thorax or experiment, as always, folks have found with that. And then I'll see you in the next lesson. 11. Reverb Mixing Technique: Hi folks, welcome back to the final clash. And the next one, it's gonna be more of our mixin, Mixing reverb to track reverb park. Just to keep, keep in mind for when it comes to Mixing down your tracks for from when you rather than space to their, to the sound. So basically, we're going to match the BPM of the project to the reverb decay time that we've got on the same she'll have created for, for return tracks. Then just throw up by utilise a factor, we get an EQ and just drop the CQ on here, command C and Command V naught. Just make sure there's no on a low-end information coming through after it's been fed through. So I've got another drum loop PR, something I felt that we'd, because we've got a lot going on and not lost Projects are the site that pool of us went up there just demonstrate with estimate was like cleaner drums and there's not much processing on at all. So I've just grouped up named original. So we're going to duplicate a tech Command D. And then this one, we just rename it to reverb. The original with just switched off, on off. If you don't know how a group, you just highlight them all. The clicker taught one, hold the Shift button at the bottom and you just right-click and then your group thorax. I'll just groups in a group we can switch it off and I will just focus on this one then we can a be the end of it. The first thing you're gonna wanna do is once you've got your Returns and all that, shape up, what you need to do then as you come in, I've got I've got this form here, which I downloaded it from online. I can leave out in the description for a pickup is basically giving you the tempo of the truck. Then you've got the starting point of the decay time. One-to-five for this one is 120, one-twenty BPM. So E122, a 16th note was 125 milliseconds on the decay time. So not just starting point for the decay time and then you double it up so you could 2.5D for the eighth than 500, then you go 1,000, 2000, 4,000, 8,000, and so on. The K times and not tempo, you can always half that. If you wanted to go like our sixth, sixth note would be through your 25500, you'd be seven-fifths. So there's a lot other interesting sounds out, but we'll keep it simple. We'll just double up every time for different sound source start off at one to five. Switch their lip. Let's start with the heart. Switch all these off. One more comment, the first reverb here, we'll start off. The launch. They decay tangles is 200 milliseconds swatch to 51 to five times two. Clock dry, wet right up. Row one. This one. Quite like the little shuffle it start. I'm going to duplicate our nice tight, tight reverb for the height. Reverb. They've got high cut off. Let's keep the pre-delay. Two-fifth devotional complicated, so I'm heartbeat without alike, how tight your shoulders to what box lately. You know what's going to clubs. Start off with this one. The second. Return. What 500 lush double up there are thousand. Yeah, go for that. Go with that. Next. Let's try this rockstar up here. We'll go for a long one. He architects want me a couple of hits and the Sound store here Utah bubble up from 1,000, 2000. And our C double up again, Let's go 4,000. Happy with that. Star up to this one, we'll just go for two frozen at half of the other stub. We frozen up. And then let's try the Columba. For this one. This one I think we'll try the B, that's 1,000. Yeah, let's go for B. The two frozen sounds nice. Which he lived from start. No effects. Here are more glued together when I turn on their affect. The depth. More 3D. You go lots Mixing with Reverb times. It's just a handy starting point for your air. They get used to like marching, marginal your different sounds to the BPM. For the reverb tail a bit to be marched to the BPM of the rocks or really helps your mixdown. I'll just depth the earth rock on a disk, glues everything together, the Projects. So that's the last lesson in the course books. If you can't please leave a review. If you've any questions at all, Just give us a shout and I'll do my best to help more content coming soon as well. So just keep an eye out for that. Much. Appreciate IT, folks. Thanks for thanks for watching. And I hope you've learned something from it to take in your own workflow. And all seen the next course. Cheers folks.