Interesting discussion of the reverb. I love reverb as well, but definitely think that it can get overboard very quickly. A little trick that I've been using lately is syncing up my decay time and send amount to have variation while sending the drums to the reverb. It gives a neat pumping sound that turns it into more of an instrument than a static effect. When combining melodic instruments with a delay or reverb freeze (closing the input and setting
feedback to unity) you can build up nice harmonic textures. I got that
tip from Miller's book, thanks Miller! <br><br> I'm all for seeing more reverb and delay patches in Pd. Ableton Live has a ton of effects based on delay and reverb. I'd love to see more usages of pitched reverbs that generate chords and such.
<br><br>I think a neat effect-strument idea that I'd like to work on is combining fiddle~ with a simple reverb or delay configuration to generate harmonic 'chambers' that are based upon the incoming pitch. Of course, the transition between 'room sizes' would be the challenge. I guess I'd just have two or more such 'rooms' and cross fade one out of the mix before changing its size.
<br><br>~Kyle<br><br><div><span class="gmail_quote">On 12/8/06, <b class="gmail_sendername"><a href="mailto:padawan12@obiwannabe.co.uk">padawan12@obiwannabe.co.uk</a></b> <<a href="mailto:padawan12@obiwannabe.co.uk">padawan12@obiwannabe.co.uk
</a>> wrote:</span><blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">>On 12/8/06, padawan12 <<a href="mailto:padawan12@obiwannabe.co.uk">
padawan12@obiwannabe.co.uk</a>> wrote:<br>>> Personally I'd drop the freeverb. Lot's of people seem to put a reverb<br>>> on their synths then get to see it's really best without<br>>> it. Reverb is nearly always global effect in most cases, unless you're
<br>>> Phil Collins and want your drumkit to sound like each drum is in<br>>> a different room. If the synth is washed in reverb too much I think<br>>> you lose the focus of the sound, the sound becomes all about the
<br>>> reverb and not about the synth, so you lose control because you<br>>> cant really hear it anymore as you twiddle the controls.<br>><br>>I agree about dropping the freeverb from the patch, as it's really
<br>>better to let people choose their own (or no) effects unless it's<br>>truly integral to the synth's sound.<br><br>And it makes things more portable and usable on lower spec hardware<br>too.<br><br><br>><br>>However, I disagree about reverb being a global effect unless you are
<br>>Phil Collins. I think this depends on the genre.<br><br>Yeah totally. I was being a cock about Phil Collins, it's just<br>that late 80's "hey we can afford 10 of those Yamaha REV1<br>boxes so lets use them on everything" that grates on me.
<br>Some tracks use reverb totally disparately to create<br>a good effect, and honestly, there's no reason *not* to have a<br>synth patch or entire track based largely on reverb effects - I just<br>think it's a common mistake when building and composing with synths
<br>to begin with adding too many effects on each one, and ending up<br>with over-dense mixes. How much reverb and what kind? That's an<br>old favorite ;) ! I'm of the less is the new more school this week :)<br>Specific purposes are worth remembering, like you say, the difference
<br>in where you want the best replay sound , headphones vs a club PA is<br>a proper baffler, and as usual there's a happy compromise to seek<br>that defines your own style.<br><br>><br>>I make quite a bit of techno/house/electro/minimal, and to me reverb
<br>>is almost never a global effect. I usually use it (or a synced delay)<br>>on one or two sounds in a mix which need to have a sort of<br>>floating/wash feel and lay over the top.<br><br>I see, you target specific elements you want to have a reverb.
<br>I guess I do too, I mean being selective on the global reverb(s)<br>mixes, though the aim is often to "bind" things together that<br>want to be in the same space. I say reverb(s) because actually<br>I think the best result is obtained by using two processes, one to
<br>handle the early reflections, the "hardness and tightness" of the reverb<br>and one to handle the "wash", but they have to work together.<br><br><br>> But the key to getting nice<br>>and tight percussion, and very clean mixes that will sound right in a
<br>>a big room, is having most of your stuff totally dry with no effects<br>>at all, except compression of some sort ...<br><br>Yeah agree, that early detroit and NY techno was so powerful because of it, the clubs gave the sound it's life and you could pump it up big
<br>because it was dry.<br><br>>I might have 8 fx tracks,<br>>and just one will have reverb, and a second delay. This assumes one is<br>>making tracks that may be played on a club system at some point.<br>>Headphone/listening music would give one more leeway. But this
<br>>technique been working for me as my stuff is sounding quite good on<br>>those systems -- comparable to other stuff I've been playing out with<br>>my own stuff side by side.<br><br>>Note, I'm not saying put different reverb on each thing - but rather
<br>>use a single reverb, but only on one or two elements in a mix.<br>><br>>This being the case, you still wouldn't want the reverb built into the<br>>synth, as it needs to be applied in terms of the mix as a whole. Just
<br>>my personal opinion.<br><br>Good one. And I suppose it depends on your mixdown style and way of<br>working too. I have grown fond of jack-rack and leaving all those<br>processing decisions right till the last moment. Having said that
<br>there's probably room for a few more good reverb objects in Pd,<br>things like [vdn~] and whatnot, maybe some nice convolution.<br>Any thoughts?<br><br>best,<br>andy<br><br>_______________________________________________
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