Instead of adding a brand new sound, I am going to use the vocal to create a pad. I would like to add some kind of underlying atmosphere. I am starting here with a basic loop including drums, bass, and vocals: For example, creating an atmosphere based on the vocal you use. One trick you can use to add cohesion to your tunes is to create pads and atmospheres based on other elements in your tracks. Your pads, piano, arps, and vocals might sound great in isolation, but somehow they don’t gel together. One issue you might run into when writing tracks is that the elements feel disjointed. A dry drum loop with no processing Drums with the room reverb trick 3. Finally, low-cut everything below roughly 200Hz and blend to taste with the dry signal. This is why vocal recordings will take place in dedicated vocal booths or with isolation shields:Īt this stage, you can add your favorite stereo shaper plugin to add some width to the reverb. Processing vocals is possibly the most common use of reverb.Īs mentioned previously, natural reverberation is present in any room you record in. Now that the basics are covered, let’s get into different ways you can use reverb creatively: 1. When processing through a send channel (more on that later), you should always set your Mix to 100%. 275ms delay Mix (Dry / Wet)įinally, as with most plugins, a Mix or Dry / Wet knob allows controlling the amount of effect applied.Ġ% will leave your signal dry of any reverb, while 100% will only leave the effect and remove the dry signal. Delay introduces some separation between the source and the effect: No delay vs. However, keeping the long decay time but increasing the size gives a more natural sound: DelayĪlso called “Pre-delay”, this setting introduces a short pause between the initial sound and the reverb. You can hear an unnatural and unpleasant ringing. In the following example, I’ve used a 5s Decay time (which is very long), but a very small Size: If you are going for a natural-sounding reverb, avoid increasing the Decay too much while keeping the Size low. For example, the bigger the space, the longer the decay will be. If you’re recording something live, such as a podcast, it’s also far simpler to turn down the volume on a physical gain dial than it is to figure that out later in your recording software.In the real world, Decay and Room Size usually go hand in hand and are adjusted in tandem. It’s helpful if you’re switching from a boisterous speaker to a soft-spoken one, say, or from a lullaby to an aria. In-mic volume (gain) control: This feature gives you more control over the volume from the microphone as it’s feeding into your computer.Without this addition, you have to plug your headphones into your computer, and the resulting slight delay (due to the processing the analog-to-digital converter uses as it encodes your voice) can be infuriating if you are trying to match a beat or narrate over a video, or if you just don’t want to discover after your recording that all your P’s were popping. Headphone jack on the mic: A zero-latency headphone jack helps you hear exactly what the mic is sending to your computer without any distracting delay.The more switches and knobs there are, the more overwhelming a mic is to use, and the tougher it is to dial in perfect settings. Ease of use: A great microphone should offer options for those who want to fiddle, but those options shouldn’t make things complicated.In our latest round of testing, however, we did test a couple of more-expensive microphones just for comparison’s sake. Many of those pricier options offer high-definition audio recording, but according to our experts and our tests, most people can’t tell the difference in the results. Some microphones made for voice and music professionals cost more than twice that. Among the models we looked at, a majority of the microphones with our desired features, the highest recommendations, and broadly positive reviews fall between $60 and $100. Price under or around $100: Because a USB mic exists in the realm between built-in recording and the expensive world of studio-level microphones, the price should be in that middle range, too.
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