Reverb just for sibilants?
- Thread starter kubeek
- Start date
TerraMortim
New member
send the reverb to an aux, but insert an eq before the reverb...taking out the low frequencies. ALso if your reverb has a low cut setting that would work too.. it's basically any way that you can take out all of the low frequencies in going to the reverb. DOn't do this on an instert though, or it will take out the lows on the voice and not just the reverb.
Massive Master
www.massivemastering.com
There's a rather big reverb on the whole (vocal) thing.
But sibilants are rather gigantic blasts of level -- They're going to blast into the reverb unit (or plugin) also if they're not under control on the way to it. De-essers can attenuate 12-18dB without correcting the problem enough.
Nothing really unusual though -- Most verbs are sensitive to such things.
But sibilants are rather gigantic blasts of level -- They're going to blast into the reverb unit (or plugin) also if they're not under control on the way to it. De-essers can attenuate 12-18dB without correcting the problem enough.
Nothing really unusual though -- Most verbs are sensitive to such things.
Freudian Slip
New member
Alot of software verbs have adjustable damping/output eq as well.
I agree with massive though, that it's libal to seem that way anyway because of the nature of the beast. Even if compression is used to even out the track sibilants cut through the mix.
I pretty much always dampen the lows on vocal verb as a rule of thumb to keep the vocals from getting muddy. I dampen the hi's also to some extent for the reasons we are talking about here.
F.S.
I agree with massive though, that it's libal to seem that way anyway because of the nature of the beast. Even if compression is used to even out the track sibilants cut through the mix.
I pretty much always dampen the lows on vocal verb as a rule of thumb to keep the vocals from getting muddy. I dampen the hi's also to some extent for the reasons we are talking about here.
F.S.
Massive Master
www.massivemastering.com
I should have mentioned -- Excessive sibilance control always sounds unnatural. But I'm not a fan of the "Giant S" from reverb either.
An easy fix is to overly-correct sibilance on the way *to* the reverb (in line before the reverb on that aux mix). That way, you get a nice, steady, consistent verb without the exaggerated esses.
An easy fix is to overly-correct sibilance on the way *to* the reverb (in line before the reverb on that aux mix). That way, you get a nice, steady, consistent verb without the exaggerated esses.
I hear fairly prominent sibilance, but the verb on chee' sounds. (pc speakers though.) Is that what you meant?
Perhaps the 'esses could be effected some what -short/brite delay?
I was half expecting 'Andy Williams' verb... Now there's an example of intentional 'S-verb.
http://www.andywilliams.com/andy_williams_branson_002.htm
Perhaps the 'esses could be effected some what -short/brite delay?
I was half expecting 'Andy Williams' verb... Now there's an example of intentional 'S-verb.
http://www.andywilliams.com/andy_williams_branson_002.htm
Freudian Slip
New member
If you want to trigger an effect only off certain parts of a track (which can be cool) All you need to do with a DAW is to copy the parts you want to trigger the effect to a seperate track. Leave the original track intacked.
Then place the effect you want on the track you copied words/triggers to.
adjust the effect totaly wet so no dry signal gets through and walla. Your original track provideds all the content except for the effects you want to trigger and they can be adjusted in volume by the second track.
This also allows you to do things with delay that could never be done on a single track.
Got to run.
F.S.
Then place the effect you want on the track you copied words/triggers to.
adjust the effect totaly wet so no dry signal gets through and walla. Your original track provideds all the content except for the effects you want to trigger and they can be adjusted in volume by the second track.
This also allows you to do things with delay that could never be done on a single track.
Got to run.
F.S.