Now to set up my fourth ‘sidechain’
reverb bus. After inserting a Space
Designer (with cavernous settings) first on
the aux, I place a sidechain-capable
compressor next in the chain, then key my
vocal track’s signal into the compressor’s
sidechain input. This will cause the huge
reverb to dip in level when the dry signal
plays – ideal for ‘swelling’ effects.7
From here, send your vocal to the four
aux returns. I like to automate these
send levels to suit different track sections- for example, you may want more close
reverb to suit a song’s intimate verse, then
more of the sidechained environment for
an epic chorus. Don’t forget to customise
the ‘swell’ of the fourth ’verb by tweaking
sidechain compression settings.
8
My last technique is handy for adding
width and texture to instruments or
synths, especially when you want to
thicken up the signal’s stereo image
without having to add extra layers. To
demo this trick, here’s a simple lead
melody from Logic Pro’s Retro Synth: it’s
the default Init patch with some subtle
filter enveloping applied.9
Create two auxiliary return tracks in
your DAW, then load ’em with identical
reverb plugins, with the same settings for
each. Once set up, pan one aux signal hard
left, and the other aux to hard right. Now,
to slightly differentiate the left and right
signals, alter the frequency content of
each aux reverb signal with an EQ plugin
placed after the reverb.10
Now you can start to send your source
signal to the two auxes. I like to vary
send amounts and sweep around EQ
boosts via automation, which will create
tonal movement and interest. If you’re
working with two mono sources such as
guitar signals, try panning them left and
right before adding the adjacent reverb to
each to create a ‘wall’ of stereo width.11
Using all of these tricks within one
production can be a little bit
overpowering for the listener, so it’s
important to choose your reverb
technique carefully. If you’re juggling
different reverbs in a project, EQing your
auxiliary reverb signals can help to get the
best of all three worlds: width, space and
separation.12
takingitfurther
Aseverytrackisdifferent,youmayfindit toughto‘gel’
multipleambiencesignalsintothemix.There’snoone-
size-fits-allsolutionhere– theonlywaytocreatea
smooth,naturalsoundistopractisethetechniques
describedandfindapproachesthatsuityourowngenre
andstyle.
Rememberthateveryreverbplugincomeswithits
owncharacterandtimbre:generictoolshavemoreofa
‘clean’sound,whilevirtualemulationsofclassicreverb
unitsoftensound‘darker’andmoreflavoursome.Thisis
whyit’sa goodideatotryouta rangeofdifferentreverb
pluginsandmakea mentalnoteoftheunique
characteristicsofeach.proCessing reverb
If all reverb plugins feature a dry/wet mix control, why
bother setting up fiddly auxiliary effects in your DAW’s
mixer? Well, aside from letting you send multiple signals
to the same unifying ’verb, you can place effects plugins
later in the aux chain to help customise the ambience
signal in isolation.
EQ is the most common way to process aux reverb, as
you can sculpt its frequency response – ideal for, say,
removing muddy low end. Alternatively, a dash of
analogue-style saturation can help bury aux reverb
signals into the mix; or if you need a ‘pokier’ reverb tone
that slices through competing frequencies, try a touch of
bitcrushing or guitar amp drive.ProtiPs
Sheaisa dancemusic
producerandtutorat
ACM,a leading
providerofcreative
industrieseducationSpotify:bit.ly/iklektix
Discogs:bit.ly/sheadiscogs
Instagram:
@sheastedfordShea Stedford
About ACM
Having trained musicians, producers,
songwriters, and entrepreneurs for careers in
the creative industries for over 20 years, with state-of-the-art
facilities and extensive industry connections, ACM offers
immersive programmes that develop students to their full
potential. Learn more at an ACM Open Day: http://www.acm.ac.ukJuly 2019 / ComputermusiC / 73studio strategies / make music now <
neXtmonth Multi-DAW efficiency