Abbey Road Reverb Technique - Into The Lair #128

hey guys by my dear friend Bobby Osinski Ranna up a piece in his blog Bobby olinsky's blog if you come up here and check out this this plug-in I'm about to show you it says Osinski so in case you forget it's right there go check them out I learned a lot from Bobby I'm gonna actually kind of show you a technique I learned from him it's called the Abbey Road reverb trick and it's actually kind of cool we actually all kind of do it from time to time but we've never named it and we've never done it like they do and I think it's important to know this technique that Bobby showed because if you understand it and know it you can you can expand on it and that's kind of what I've done a little bit here so let's start out I've got a Jill Scott record I chose it enough I've know I've used it for illustrations a few times but good lord what a great singer and I mean I just wanted you to hear her vocals now here's a vocal with essentially just a compressor on it you make me smile when I'm down for the purposes right this second of illustrating I'm just going to I'm just going to loop this little section here so we don't have to wait too long in between sections now what I've done is I've set up I originally printed this track with Abra caste but I want to show you this technique on a on a less expensive reverb now d-verb that comes free with Pro Tools gets a little bit of a bad rap but it's actually a pretty amazing plugin so let's listen to Jill with a little bit of d-verb honor what I like you what I like about you that's pretty good now my ear based on what Bobby told me was drawn by a couple of things now what they do in in England and what a lot of mixers do is roll the high and low end off of the reverb so let's let's start with rolling off the the low end I'm using a 12 DB per octave slope six might sound better but let's try this now listen to the reverb as I take some of the low end out you know what don't do that listen to how you feel let's not listen to the clarity what I like what am i know what I'm gonna turn this up just for the sake of illustrating so this is gonna be a little loud okay what I like about you what I like about you what I like about you what I like about you Oh what I like about you what I like about you okay I think that's kind of cool I ended up liking somewhere around 600 let's just put this in the track real quick without it like yeah turned it up a little bit now let's try it with it yeah that's kind of cool now if that sounds a little bit subtle to you don't don't don't be upset it just means that you haven't done this enough to hear certain things and I'm not trying to be condescending but the more you do this the more some of these subtle elements sound big to you so instead of trying to to hear every nuance the way that a guy that's been doing it for 20 years here is it just listen to the energy and feel and the emotion because you can understand that the first day you're a mixer so let me give you this illustration one more time without with okay now what I'm hearing is I'm hearing the same wit that made her vocal sound bigger but with that everything below 600 rolled out it felt like she was a little closer to me and it felt a little more intimate and it felt like I was hearing the nuances of her energy and her vibe okay so now we've seen how the other Lowen can affect our perception of how a vocalist sounds in the mix and enhance the energy let's play with the top in and roll that back there's a reverb I use a lot called the Eventide 2016 and on that reverb I rarely let anything higher than about 4 or 5 K come through we don't really need it's not really enhancing anything but let's let's see what happens when we do that so so let's solo up a solo up Jill here what I like about you what I like about you what I like about you what I like about you what I like about you what I like about you okay you can see what's happening let's try it in the mix the same exact thing let's start with I like it right here or so low but let's see what we're doing in the mix let's start full full whoa I like it a little higher in the mix because I like that breath enos in her voice so what I would probably do is during the verses I'd probably leave it a little bit higher to get a little emphasis on those breathy I don't know how to describe it that texture and her voice is enhanced with a little bit but probably in the courses it's not so we might ought to automate that let's this subtle it and see what we ended up with what I like about what I like so now I'm gonna take it a step further let's see what happens they will remember we're using a free reverb now Bobby showed showed us on his website that you can take a little bit of the mid-range out and actually enhance it watch this what I like about you what I like about you what I like okay so I took out a little bit at one point two K and watch what I like let me add it all back what I like about you you said it brings out some elements I don't like let's try it in the mix I'm exaggerated what I like what can you see what's happening we get a little bit of the sewer pipe effect now I'm adding a little bit of volume to this to make up but we get a little bit of sewer pipe when we add that 1.2 K this is a this is out so this isn't doing anything this now like I said earlier um one of the things I thought when I was I was watching this with Bobby was okay that's wonderful what if I turned the D verb into um you can see I'm on plate up here and it kind of gave me the the idea well some of the plates have tube electronics and remember we're affecting the input to the reverb not the output that's very critical if got to tell you that we're affecting the input so what happens if I add a little bit to beam us so I'm going to add a matter warm tube from from the Saturn by fabfilter which is rapidly becoming my favorite saturation plugin but you can use any plug-in you want you can use low Phi you can use anything that's going to give you a handsome of the harmonics I want to make sure that I had something cool so I cheated a little bit and I got this sounded good beforehand so I'm not going to do it in front of you but let's check it out here again it's a little bit subtle but if you focus and concentrate on what the reverb makes you feel what I'm doing is I'm I'm taking the reverb and I don't like the word distortion as you know and saturation that word confuses me it I keep thinking of in California when we have these fires and then the rains come in the mud the mud filled hills get saturated with water and I know that's a bad better for but can't help it Oh check this out with it uh without it what I like about you with it what I like about you what a sweet huh it's subtle I go light - its subtle but it's kind of cool now we can also put I'm using a pre delay of about 55 milliseconds we can do a lot of stuff we can do the high and low cut within the plug-in itself there's a lot of different things we can do the diffusion I've got sit where I like it okay I'm gonna show you something real quick before we go I'm going to show you just just the reverb I'm I'm pre on my sin and this is what the reverb sounds like so play with it there's a lot of different a lot of different things you can do and and and I was going for a more natural sound but you can do a lot of things on the way in to the reverb to give you sounds that the human ear is accustomed to okay experiment I'll talk to you by

Channel: Pensado's Place

Views: 267,315

Keywords: Drums (Musical Instrument), Mix, Pensado's Place, Dave Pensado, Audio Engineer, Music Producer, Audio Mixing (Film Job), Pro Tools, FL Studio, Recording, Recording Studio, Audio, Music, Music Production, Reverb, Abbey Road Studios (Building), Reverberation, Into The Lair, ITL

Id: X6L9oODAg6g

Length: 12min 24sec (744 seconds)

Published: Wed Nov 11 2015