Transcripts
1. Introduction: Welcome Ama Robin
of recording too, which is an online, transformative music production and sound engineering platform. Welcome to my course
on Skillshare. Basically, this course is an introduction to
reverb in Logic PX. Basically, what your unas
reverb will be defined. Also, I will be using the
unit called Silver Verb, which is a stock
plugin in Logic PX, also going over the parameters
such as the prettily, the wet and dry elements and
also the size of the reverb. I'm using a vocal to teach this and also you'll
see it applied professionally at least with some application to some degree. Yes. This is good to know in
order for you to understand your signal processing tool in this music production and
sound engineering environment, whether you're instructor
or you want to teach this, you want to apply this
as an engineer or you're just an independent
recording artist like myself. Yes. I'm Mac Robin
and I love music, and I was trained in music production and
sound engineering. So let's proceed with this. Additionally, as a little bonus, you have the introduction
to the compressor. The compressor will be
explained or defined. Also, I'm using one of
the SAC compressors in Logic prox explaining some of the parameters such as
the threshold, ratio, makeup gain, and either
one or two others, likely one or two other
parameters in this session. I hope that you understand
this and this can enable you to become better at
understanding your tools, be more efficient and effective. Thank you.
2. Compression: Welcome. So I'm going to
show you compression, right? So, this is a compressor. This is a star compressor
in Logic Pro x. It's the platinum digital
compressor. There's a variety. As you can see, studio VC, FET, classic VC, vintage VCA, vintage FT, vintage UT. So I just have here my platinum digital that I just choose for a basic explanation of a compressor in some
of the basic forms, just go through a few
things. So here it is. So basically, I'll just start a compressor it is a signal processing or
technological device in music production or the will of audio
engineering that is used to alter or change the dynamic
range of an audio signal. So basically, to alter the dynamic range of an
audio signal, dynamic range, I mean, basically the
difference between the loudest and softest
parts of your audio signal. Right? And what that can do is when it is your compressing, it can make the soft nuances be perceived as
louder and louder, parts of your truck or
your sound seen as softer, giving you a more
consistent consistent, sounding performance. You know, it can smooth things out and this type of thing. So just going through, here, I just want to show
the threshold. So the threshold is
the point at which you tell the compressor to
start to work, okay? So, for example, if you
set it here at -20, DBO Dsibels when it is the
signal, crosses the threshold. It tells the compressor
when to start to work. So when the signal crosses -20 to start to compress, okay? So the ratio, basically, it portions out the compression. So, for example, two to one
for every two DBs of input. One is output. One,
is rendered, okay? So that's your
difference in your range there in your in your orange. And then you also have
your makeup gain. You could make up, meaning compensate for what was lost in terms of when you do your compression or
in your perception, you can raise back
up what you hear and your knee can
help you to know, sorry, help you to aggress aggressively compress or
gently compress, right? I adjust your level of aggression in the
compression, right? So your attack is
how fast you want to compress the audio signal. When it crosses
the threshold and your release is so fast or slow, you want to stop compression when it drops
below the threshold, okay? And then you have your
distortion here going to soft and hard clip and
these types of things, how much you want to mix, your output gain, your input gain. The output and input gain is very important
for you to have a linear uh, representation
during compression. So what I mean by linear, basically your input level, matching your output level, you understand and
this type of thing. So, for example, here, D, done. You can see my then
input output, right? 44, 45. So that's reasonably linear input almost
matches the output, right? In that case. 25, 25,
77, right, right? And in some cases based on the performance
might be equal or a little off on this
type of thing. You know, you have your graph here showing you what is occurring during
your compression. Okay. And in your meter. When you drop this, you see your needle going in a
little more and squeezing down the signal more
and this type of thing. Okay. Okay, so that's
it for this video. This is just a basic
introduction on what a compressor is and some of the things that it can
do. Okay, so thank you.
3. Reverb : Welcome. The topic is reverb. This is Mark Robin
and I thank you for enrolling in this course to enhance your knowledge or get a different perspective
on this knowledge. So the topic is reverb. I have a vocal here. Vocal performances on a truck. Okay? Sold. So let's
listen to that. Down, down, down. Need you to approve of me. Good of me. Darn, down. Okay, so that's that. So let's look for a reverb unit. Virtual unit. So you come down. Click. Let's use
the Silfb Alright, so to go through a few things
here that we at least need. So this is the silver b, silver verb correction unit found as a stock
plugin in Logic prox. Just a side note
to get Logic prox. As far as I know,
you have to have an Apple computer
to download it. The last time I paid
F it was about I likely got it in a I
maybe got it in a bundle, but if you want to
buy it on its own, it's estimated 200 US. Okay, so back to this so
self verb type of reverb. So reverb is that
washy type of sound, you know, that you hear
in the background that, you know, drenches the
sound either pleasing, harsh, or however you
adjusted it to operate. And it's basically reverb is a combination of multiple
delayed reflections. Alright? Okay, so let's proceed. So we have here on Silva verb. We have pretty e, okay? That's what I'll be
talking about pretty Le. And we have the size of the
revub as well to mention, and we have dry and wet. So let's just put on the revub to hear
what's going on, okay? So signal without
reverb, meaning dry. Down downturn. Signal with the
revub meaning wet. Down downturn. So you hear that cave like Why sound or some type
of a how to say it? Trenching of sound around the original sound
that I'm playing here. Okay? So just a few parameters to talk about. So
let's go basic first. Dry is basically the
original signal, okay? With no reverb. Wet is when you
add the effect of the reverb and you can
balance between the two by operating this adjuster here on the left or the right. So let's go and play it
and listen, okay? Dry? Down, down, darned. Net you? It sounds like the original
even though it's on, okay? Because I haven't added
any effect in the wet. Down, down, dan
Let's go up at 10%. Down, down, dan. Net down, down, da. Down down. Gain something there.
Let's go even higher. 50. Down, down, turned. Let's put wet alone. Damn. That's the
effect alone, okay? So dry is the original signal. Wet is the effect of
the verb applied, and it can put your portions or your
mixture of it accordingly. Right. The next thing
is your pretty. So basically, your pretty lee is an adjustment made with
respect to time, okay? So let me just show you
what's going on here. Let me show and I'll explain. Down down, don't you
to put it on 80. Down, down, don't you
to approve of me. Downtown tournament. Near you. Okay. So at zero. Down down tournament. Down down tournament. Down down tournament
initially at your verb, as soon as the signal is played. Down down tournament. Immediately, right? When you go up, let's go up 102. Down down tournament. Okay? Down down, Down down tournament. Let's go more. Down. So I'll just play
one part so it won't be confusing. So,
listen to this. Down, down. Right? So it kicks
in afterwards. Hear this. Down. It
kicks in immediately. So basically what it
pretty la means is that it's delaying it's delaying the reverb so that you can get some of the
original signals. So, for example,
if you don't want your vocals and your words to
be drummed out immediately, you can delay it by
a certain amount by adjusting this
time adjust a year so that you can get more clarity in your vocal performance, the sound of more clarity and coming in at a
later date or time, more precisely so that you
could have a proper blend, because if it is you have
it immediate, it drugs out. Listen. Done. But if
you put it late, D. It's done. Done. D. D. One time. D. One time. Done. Immediate, Dan. And it echoes meaning it
was made later, okay? And the thing is you
don't want to have your pretty lys set at
a wrong time, like, immediately because it can make your lyrics not heard properly, and it can song unprofessional. It could song a little too muddy or distorted, maybe, you know, in terms of not in terms of the um the concept of distortion with respect
to head rim and thing, but in terms of it's not as clean sound and as
you would like, Okay? So this is very important
to delay your initial, um, you need litial reflections in order to provide
clarity and so on, right? And let's do the size as well. So let's put it at
30, more like 50. Down, down, down,
down, down, demand. Near you. Down, down. Down, down, demand. Just your size of your.
Listen. So let's go down. Raise it a bit 40. Goo. Down, down, demand. Near you. Down down, demand. Near you. Okay? Up. Down, down. Turn and hunt. Down, down. Turn on. Need you to approve. So here, it's stretched. It's it's more
concentrated and so on. So that's basically the reverbs. Let's put in a
simple blend here.
4. Reverb concluded: Alright, so let's
ensure it's on default. Okay. All right. So let's add some reverb professionally. So,
listen to this truck. Down, down, don't. Need you to approve of me. 'Cause I'm me. Down,
down, dat. Need you. Okay. So it's saying don't
you to approve of me. Alright. So let's see
how we can enhance that. Okay? So let's listen
and add some reverb, okay? Let's add some reverb. The thing is, we don't
want reverb to be drowning with the great
size I have here. But you want a blend. Let's listen and
adjust according. Down, down, dt. Need you to approve
down, down, dt. Done. Down down, dt. Need you to approve of me. Just now. Okay, so the wets up. Right? It's on. Let's go. Down, down, D. Need
you to approve of me. So that's a lot of reverb.
Let's drop it a bit. Add some reverb to
hear what's going on. Down down, D. Need you. Alright. So I don't want
to drown like that. Let's go more to 100. Down, down, D. Need
you to approve of me. So compare that. Let's go. Up down. So let's listen. Down, down, Dan. Down, down, Dan. Need you too. It says dragging on too long. It's too concentrated, so
I won the other Alright. And we took the suit. And
let's remember with Okay, let's stick with this. Size? Down, down, d. Need
you to approve of me. So for the type of content, I will leave it at 100 because it's a
singing type of song, and you don't want it drowning out, get a good balance there. It's not a rap, cause for rap, I might go lower to
about 40, you know? Down, down, Dan. You know, to catch
the quick woods and dive down quick
enough and so on. You know, sadly,
we're at 100 there. So let's manipulate the pretty layer bit.
Listen, add zero. Down, down. Turn. Down, down, turn. Down, down, to. So let's go. Dump, down. Down. Right? So right, love. Okay, with 200, add
zero. So let's go. D. D, D, down, down. Done. Done. Done. So it's later, and I
reckon it's at 200. Yes, it is. So let's
bring it in a bit. Down, downturn. Need you to approve of me. Down, downturn. You could also drop here a bit, as well. So about 7:15. Down, downturn. Need you to approve
of me. Use a me. Alright? D, D, don't. Need you to approve
of me. Gouse am me. Okay, so that's basically it. That's it for the basic
class on RevobTday. Uh stay tuned, follow, and subscribe to this
platform and my channel. Have a good one and
later. Alright? And nice.
5. Outro : You very much for this time
that you spent here so far, and I appreciate
you encountering this reverb and compressor
class to come again.
Mark Robin
