Transcripts
1. Introduction: Hi, welcome to another basic guides. Today I'm going to talk about reverb. And with these basic guides, I'm really going into the basics of all common effects when producing music. So let's start with the most basic question. What is reverse? Well, reverb is the existence of sounds after you've produced to sounds. So for instance, if I clap in this room, you only hear it it clap. That's because this room is treat as you know, there's all kinds of acoustic panels. But if you go to a bathroom and if you clap your hands, there will be reverb sounds that is coming from the clamp is going into different directions. And it's it hits surfaces and gets back to you. And that's, that's the lay of the sounds. That is reverb. It's the continuation of energy of a sounds after the instance of the sounds. And you don't, you shouldn't confuse it with echo because would echo, it's a very clear and distinguishable reflection of a sounds. If you're shouting something in a well, for example, you get a almost exact instance of that sounds reflected back to you, but would reverb. There's so many surfaces, it gets indistinguishable. It's kinda, it's kinda of a mesh. So that's what reverb is. Now if we're talking about music production, or it's actually two kinds of reverbs. You have to algorithmic reverb and you have the convolution reverb. And the algorithmic reverb is being used to most. And what it is, is while it's being, let's first talk via, Let's first talk about why algorithmic reverb is being used more than convolution reverb. Algorithmic reverb is much easier on your CPU. And because reverb is being used on almost all, all of your instruments, except for maybe the base or something. It's really handy to use a reverb that's not too CPU intensive. Convolution reverb is a bit heavier, but nowadays with hardcore CPUs widths, I don't know, eight cores, 16 cores. It's definitely possible to throw convolution reverb on all your instances of sounds.
2. Algorithmic reverb: Okay, so what's algorithmic reverb? So algorithmic reverb is a simulation of what sounds would do in a certain room. You can see it as like a mathematical simulation of a fake room. So when you have a sound and you feed it into some kind of reverb effects. You set all these parameters, like the room size, the amount of surfaces, the decay of the sound energy traveling throughout that fake room, and all those parameters change what that room is looking like. So in this instance with fruit of reverb to, you can actually see an actual room and you can change the size of it and those kind of things we're at, we'll go over that in a couple of minutes. But yeah, you create a fake room for your sounds to sit in and you alter what that room is looking like, and therefore altering how the sound is bouncing around and data is changing the reverb. So that's algorithmic reverb. It's a mathematical equation. Lot of back-end stuff going on. What we should focus on is the actual settings. So let's now starts the most basic reverb plugin units there is. So there's all sorts of parameters here, and we're gonna go through them one-by-one. So we have this clap sounds. And we have the reverb unit right here. With the standard settings. You can already hear the reverb going on.
3. Parameter 1: reverb: And of course, the most important parameter on this plugging unit is this one. It's the amount of reverb you want to apply. It's pretty basic, I know. But funnily enough, this parameter and the reverb amounts parameter is difference in, in, in different plugins. If we open up for HA vintage where for example, you can only play with the mic's, not with the actual amount of reverb you once you apply, if we open up air sea 24, you can see here that it has a wet setting or a mixed setting as well. It's also There's no amount sitting or something that same widths are freer from waves. It has some kind of it has some reverb thing right here, but also a wet, dry and it's complicated, I think. You know, an actual knob, an actual parameter for the reverb amount. It's actually pretty rare. So I'm glad it's on here because I find it very handy. Again, that knobs, that parameter is pretty basic. You know, if you increase it, you get more reverb.
4. Parameter 2: dry: The DRI is also pretty basic I think, But still I'm going to explain it. So when dry is at 100%, it means that your sounds is getting for It's true. The effect, the units, the reverb units for 100%. So you can 3D here to clap. But if I decrease this, the dry sounds will get less and less. So if you want only the reverb effect, for example, you take out the dry sounds completely and you just hear the reverb. This is like the same as it would a wet, dry, not only here, It's mix it little bit difference in all reverb parameter and a dry parameter.
5. Parameter 3: decay: So next up is the decay. The decay is it's how long you want the, the reverb of their sounds to still have energy. If you put this higher, the energy will go through the fake room for a longer time. So it's just as widths a, like if you have a sample, Thank you. Play with the decay thing. It's data, not for clap sound, but sort of reverb sounds. It's exactly the same.
6. Parameter 4: high damping: Then we have to high damping NOP. So the high damping knob is, imagine you have this fake room, you just create, as you know, in an actual room, there's always people around. You know, there's maybe some furniture there or maybe there's a painting on the wall or maybe, you know, your mother is doing the dishes or whatever. All those things alter how the sound is getting reflected. For example, in this room, there's all kinds of acoustic panels. And it's those panels influence the which frequencies gets reflected and whatnot. So the high damping is how much high frequencies are getting reflected back to you. You can really hear, it's, especially if we take out the dry sounds, can really hear it in the high frequencies. So you shouldn't confuse this with the high cuts. The High God is the actual cutting a frequencies, but the high damping is the distribution of high frequencies. So cutting means removing the frequencies and high damping is just distributing the frequencies. I hope that makes sense.
7. Parameter 5: color: So next up we have to color and parameter. And this is just to give your sounds a difference. Twist. You know, you have the bride swiss, you have a bride or twist. And if we just play as you can hear the difference, you know, it's kinda like presets for your reverb. So it's minor things, I don't use it. And most reverb units don't have a nub like this. So don't pay too much attention to it. It's, it's just to give you our reverb sounds, a slightly different tone.
8. Parameter 6: diffusion: So the next parameter is diffusion. And I find this one pretty hard to understand myself, but if I understand it correctly, your sounds as being plates, it goes true to room and it hits a surface. The higher the diffusion, the more waste it splits up. If your diffusion is low, it only splits up one direction and not a multiple directions. So if we play it. So if you increase the diffusion, this means you get like a richer reverb sounds. And if we lowered the diffusion, It's more like an echo. I think. That's what diffusion is. To be honest, I always have it at 100s in any reverb plugin because I haven't found one use for a diffusion, low diffusion setting.
9. Parameter 7: room size: So next up is room size and room size is the most important thing in a reverb unit, I think, because this actually results in how your reverb is going through sounds. If you have like some kind of, if you're making some kind of epic track width, string stamps and stuff, you want the room size to be sounding big as well. You know. Same goes the other way around. For example, with clap sounds or percussion sounds, drum sounds in general, you want a small room size because, you know, if you have a cleft, you want your grump sweet sounding tides, of course, but you do also want to give them some kind of room to sit in so it doesn't feel super dry. You wanted it to feel lively as if the music is being played in the room with you. And if you take a really big room size for a clap sounds, it's going to make your track really messy. So with drum sounds, you want to go really low, I think. So a small dk. So I will do something like this for maybe a drum sound or something, maybe even less. So that's what the room size is. You know, if we go back to pretty reverb 2, you can see that if we increase the size, we increase the actual fake room. And I think this is the most, the most easy way to really understand what reverb is. Just always imagine that fake room inside your heads. It will make it so much easier to understand what's different knobs do and what kind of reverb you actually want for your sound.
10. Parameter 8: predelay: Pre-delay is how long it takes for the between the instance of your sound. So it's an actual clip ends the first reflection of your sounds. So if we increase is, you will hear that it takes a while before the reverb kicks in. And personally, I don't use this as well. I always just have it at 0 MS. You know, if I want like an actual echo or delay IQs, that's, you know, but maybe you can find a use for it. I don't know. And then last we have high costs and low costs and I think this is really basic, but still I'm going to explain it. If we open up a fab filter. If we think it's all dry. And we put the riverbed 100th. So if we alter the high cuts, it will take off the frequencies on the high end of the spectrum. So now it's off. You can hear it in the sound is running. You can also see the bids in the equalizer. The same goes for low clouds, but it's the other way around. So it starts here. And it's exactly the same as if you do this with just a reverb sounds really basic stuff, but still, this is a basic guide, so I'm explaining everything. So that's elbow ripping reverb. I noticed a lot of producers like the use of a HOLAP series. And I have to agree It's a really low CPU. Great plug-in with all sorts of presets as well. And you know, it it has everything. The color is here. And like I said, not a lot of reverb plugin units, half the color setting, um, but this one has so, and it's cheap as well. And right here you can see the same parameters as we hads in the fruity Reverb one, but they're just named slightly different genome. There's a modulation feature here as well. Modulation is a whole our video I think. But you know, all the basic stuff is here as well. You have to pre-delay if that makes you have to decay. This is the damping section. This is the room size section. This is the diffusion section. Habit spit up into parts while with the modulation. And then we have the high carbon and the low cards. So yeah, basically we've covered all the basic reverb units.
11. Convolution reverb: So next up is convolution reverb and truly come over. I think it's called yes, is a convolution reverb within FL Studio. And convolution reverb is interesting, I think, because we'd convolution reverb, you can go to an actual room like a church or a, a music hall or a club or whatever you can records. The reverb, it's called impulse responses. And this right here is a impulse response. It's an actual recording of a room. And what you can do with the answer is that you can play your sounds as if it is in that room. So if I go to my Effects, the apps, impulse responses right here, there's a ton of different rooms, like big rooms, like an arena. I have all kinds of impulse responses. And if I throw those in here and play the sounds, this is what's reverb sounds like in that specific arena to federal. And you can almost instantly here. Yeah. This could be played in a cathedral or a hall. You know. I only use it's for real life instruments of things that I actually once to kind of feel like they're being played in an actual room. You know, if I want something to be realistic, I use convolution reverb. But most of the times it's algorithmic reverb. And I'll show, I think a lot of parameters on here are, you don't really use it that much. You know, if you want to change the decay of bits, you can do this. But this is different on every convolution reverb plugin units. So I'm not really going to go over death. But yeah, I think I've explained it's almost everything there is about reverb. It's one of the most important tools in your toolkit as a producer, you use it on almost every every instance, every South instance. I could sell bit more about the different modes you have. If you have a vocal, for example, your, you, you'd rather use a played for the verb then the hall reverb. But I think that's up to interpretation. You know, it's up to you what kind of reverb you actually want to use. I'm just here to explain the parameters to use so you can actually know what you are doing. So yeah, that's it. I hope you learned something and I hope to see you again in another video.
Mr. Belt & Wezol, DJ/producer duo from the Netherlands
