The Reverb Character section includes some nice-to-have, though not essential, features. Finally, Width is used to set the stereo width of the reverb signal at anywhere between zero percent (mono) and 100 percent (full stereo). Diffusion controls the extent to which the reflective and absorbent qualities of the surfaces within the simulated space disperse the sound. The Time control is equally self-explanatory, adjusting the duration of the reverb tail (in milliseconds). Another way to control the perceived size of a space is, unsurprisingly, to alter the Size control, which alters the spacing between the early reflections. A sufficiently long pre-delay can also help you separate out the source sound from the reverb sound, which helps to keep your mix clean. Increasing the PreDelay value makes the space feel larger, as it mimics the effect of soundwaves travelling further before we hear the first reflections. The five dials across the middle that make up Roomworks' Reverb Character section give you some control over the most crucial reverb parameters. Since SX3, Cubase users have had, in Roomworks, a much better and more versatile reverb plug-in than previously.When we hear a sound, we perceive it as having three separate stages: the direct sound that reaches us before any reflections, the early reflections (the first few reflections coming back from nearby surfaces), and the reverb tail (the wash of sound made up of myriad complex reflections that have bounced off multiple surfaces before reaching our ears). As higher-frequency reflections tail off before those lower down the spectrum, rolling off the high end is also a good way of pushing the sound further 'back', to get a greater sense of depth. The high shelving filter is similarly useful if, say, you have a particularly sibilant source sound: adding reverb can exacerbate sibilance problems, so cutting high frequencies can help to avoid out-of-control 'S' and 'T' sounds in a mix. It is often a good idea to filter out some of the lower frequencies, for the same reason that low-frequency instruments such as kick drums are rarely treated with much reverb other than a short ambience: to avoid your mix sounding muddy and clouded. The Input filters allow you to apply high or low shelving EQ to the signal coming into the reverb. The plug-in is helpfully divided into five sections, each with a descriptive title. When you're first confronted with Roomworks, there appears to be a bewildering number of controls, but they're actually quite straightforward. Since SX3, Cubase users have had access, in the form of Roomworks and Roomworks SE (the latter is a cut-down version of the former), to much better quality reverb than previously. In this article, we'll look at Steinberg's bundled reverb and delay plug-ins, and how best to exploit them within the Cubase mixing environment. But although it is easy to slap a reverb on an individual track and make it sound nice, getting reverb to work in the context of a mix is another story. So, although we often record vocals or instruments dry to avoid capturing an undesirable room sound, we usually add ambience back in at the mixing stage using reverbs or delays. When these clues are removed, as in a dead room or anechoic chamber, the results can be disconcerting. Close your eyes, and your ears will tell you plenty about the space around you the sound might be bright or dark, washed in echoes or dry - or anywhere in between. Reverberation is crucial to our perception of the spaces we inhabit. We explain how to get the best from Cubase's bundled plug-ins. You can get access to Nectar Pro, along with dozens of other mixing and mastering plug-ins, with a free trial of a Music Production Suite Pro membership.Reverb and delay are vital tools for mixing. Nectar Pro is a vocal polishing powerhouse that has every processor we’ll be covering built into it. It’s totally fine to reorganize your vocal chain to what works best for you.Īlso, while most DAWs come with stock versions of the processors I’ll be highlighting below, I’m going to be using Nectar Pro to explain each step in the vocal chain. We will go through each step in the order I have found works best in my vocal production, but keep in mind that depending on your style, genre, and preferences, you may decide to switch up the order-or exclude certain processors altogether. In this article, we’ll take a look at the processors commonly used in a vocal chain and learn how they work. Each processor is like a link in a chain, and your vocal will go through each processor in order to come out on the other side sounding golden. Dry vocals are your vocals without any effects or processing applied. A vocal chain is simply a series of processors that your dry vocals run through before getting added to your final mix.
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