hollywoodending
New member
When I want to add some slight reverb and delay to my vocal tracks, is it better to insert the delay before or after the reverb is added? thanks.
Vocals and Reverb
- Thread starter hollywoodending
- Start date
SouthSIDE Glen
independentrecording.net
Think about it a sec.
Really, I'm not trying to be a smart ass or anything like that, but just think it out for a minute and the answer will pop out.
Do you want to throw a delay on the reverb or do you want to throw a reverb on the track?
G.
Really, I'm not trying to be a smart ass or anything like that, but just think it out for a minute and the answer will pop out.
Do you want to throw a delay on the reverb or do you want to throw a reverb on the track?
G.
hollywoodending
New member
my logic is that if you put in the delay after the reverb, you would get more of a reverb and thats not good. likewise, if you put in the reverb after the delay I guess i would get my desired sound but wouldnt the reverb sound unnatural?
Winding Road
New member
Hmm, weird question. My mind is telling me that it shouldn't matter that it would create the same effect but I'm not 100 percent sure. It's like a trick question.
MessianicDreams
New member
Winding Road said:
wrong. if you put the delay first, you'll have a delayed voice with verb on it. if you put the verb on first, you'll have some sort of delayed reverb. they will sound very different.
hollywood---|> why don't ya try it out and see which you like? i would put the delay on first, i think that would be the standard thing to do..however, you might not like the standard thing, so try it out..some of the best effects are made by just fuckin around with things in ways you wouldn't normally...
hollywoodending
New member
thanks for your input everyone.
Jack Russell
I smell home cookin!
I think I'm missing something here. ???
I've always thought the best way is to run delay and reverb at the same time but separately. They should both work on the dry vocal track, then their effects should be mixed together later. You definitely don't want the delay return feed being effected by the reverb return feed, or vice versa. Unless you want to 'wash out the effect sound'. If that is the case, just choose a more washed out reverb sound to begin with.
I've always thought the best way is to run delay and reverb at the same time but separately. They should both work on the dry vocal track, then their effects should be mixed together later. You definitely don't want the delay return feed being effected by the reverb return feed, or vice versa. Unless you want to 'wash out the effect sound'. If that is the case, just choose a more washed out reverb sound to begin with.
Jack Russell
I smell home cookin!
A tangent and possible thread topic...
I used to put lots of reverb on my own crummy vocals, because well, I suck.
Then one day it hit he: Maybe reverb isn't necessary for good singers?
I mean, duh!, you can use it to sort of enhance an otherwise mediocre performance, but, in the best situation, with the best singers, is reverb to be avoided entirely?
I used to put lots of reverb on my own crummy vocals, because well, I suck.
Then one day it hit he: Maybe reverb isn't necessary for good singers?
I mean, duh!, you can use it to sort of enhance an otherwise mediocre performance, but, in the best situation, with the best singers, is reverb to be avoided entirely?
Bone dry might be just the ticket but some space is nice, maybe more often than not? But I would thing that would be a matter of serving the production or song style.
However, the stronger the performance the more latitude you have to build on it, and right up front becomes an option.
Options Vs damage control mixing.
However, the stronger the performance the more latitude you have to build on it, and right up front becomes an option.
Options Vs damage control mixing.
R
RAMI
Guest
Also, they don't have to be in series. You could have a track that has delay on the dry signal, and reverb on the dry signal, with each effect not affecting the other one.
If you are putting them in series, then I would usually put the delay ON the reverb, but turn off the reverb signal, so that you have a delayed reverb...It makes sense, but I probably didn't articulate it very well. I guess I'm trying to describe a pre-delay on the reverb.
If you are putting them in series, then I would usually put the delay ON the reverb, but turn off the reverb signal, so that you have a delayed reverb...It makes sense, but I probably didn't articulate it very well. I guess I'm trying to describe a pre-delay on the reverb.
MessianicDreams
New member
Jack Russell said:
well, totally bone dry could sound slightly strange. ever been in an anachoic chamber?? you know how it feels rreeeeaaal weird in there?
it's cause every day of our lives we've heard each and every noise with natural reverb. so when you hear a sound with no reverb at all, it sounds weird.
FajitaTone
New member
kid klash said:It was pretty popular 20-30 years ago to run a single, short delay after the voice but before the reverb, so that the reverb wouldn't smear or step on the clarity of the vocal. To my ears, it still makes a lot of sense.
increase the predelay on the reverb unit.
Jack Russell
I smell home cookin!
MessianicDreams said:
That's a good point. The rooms I've recorded in are....uh....not exactly without echo, although I'm still working a vocal booth.
Jack Russell said:
It depends on the genre, the overall production style of the project, and not to sound like a worn out record here, but whether reverb helps or hinders the vocal from emoting. I definitely don't view reverb as bondo for bad vocals. It's more about creating the space where that vocal is coming from, and to a lesser extent supporting the mood of the vocal. That can run the gammit from no reverb to dripping wet, though todays production styles have moved more towards the dry side. Also, don't view it as a set it and forget it thing. A powerful effect can be to go wet on a vocal cressendo, and then come right back to a more immediate dry space on the following line.