![]() Secondly, use the Filter page to change the colour of the reverb over time, usually as a means of attenuating high frequencies over time.Īnother interesting quality in the reverb is relative density, which distinguishes between the reverb heard as a series of discrete echoes, or a more cohesive tail. Firstly, you can choose to apply a static EQ setting using the EQ page, which changes the reverb colour irrespective of time. When it come to colour, Space Designer has two options. ![]() One key point that’s overlooked is the relative colour of the reverb – contrasting between a darker setting that lets the reverb recede in the mix, and brighter settings that have a shimmering quality. Sending different parts of the mix at varying proportions will then allow to define the ‘front to back’ perspective in your track, letting some parts positively swim in a larger hall setting, while others simply gain a sense of a ‘wraparound’ acoustic space, without a noticeable reverb tail.īeyond the basic size and duration of the reverb, there’s plenty more to think about in terms of tailoring the sound to your mix. Rather than use multiple instances of Space Designer on a per-track basis, the best strategy is to create a range of three or four key sizes – starting from a small room, and ending up with a larger hall setting. Sounds that are less percussive – like a string pad, for example – tend to work best with longer reverb settings, which also have the effect of placing the instrument towards the rear of the soundstage. Although there are no hard-and-fast rules, shorter, more percussive sounds tend to suit smaller reverb times, mainly to avoid the reverb masking the rhythmic qualities of the source material.Ī drum kit, for example, tends to sound best in one of the Small Spaces settings, using a reverb time between 0.5 and 1.5 seconds. Matching the reverb to the source material usually starts by exploring the size of the virtual room, or to put it another way, the length of the reverb tail. Although the Synthesized IR lacks the acoustic realism of the sampled version, it does have a few additional parameters that we’ll explore later on. Don’t be confused, though, as the Synthesized IR still uses the convolution process, and indeed, whenever you edit an aspect of the Synthesized IR, Logic will need to re-render the Impulse Response file that it uses for convolution. To make Space Designer even more interesting, it also includes a ‘Synthesized IR’ option that lets you create your own Impulse Response from scratch. The process of convolution effectively combines the original dry source with the Impulse Response file, resulting in an output that sounds like it’s been recorded complete with a room’s acoustics. The reverb in Space Designer is created using short Impulse Response (or IR) files that are acoustic snapshots of either a real physical space, or a vintage reverb unit. While the other plug-ins create their reverb synthetically, Space Designer is powered by a technique called convolution. Logic Pro X includes a number of different reverb plug-ins, but it’s Space Designer that’s the real star of the show. In this workshop, therefore, we look at the intricacies of Space Designer, from the basics to its more creative applications. You're guaranteed to get pleasing sounds right from the get-go.An experienced Space Designer user understands how different sounds can work with reverb and how relatively simply controls – like pre-delay, or the tail’s EQ setting – can be exploited to best effect. Next time you use Logic, open it up and see for yourself. If you haven't quite wrapped your head around what the different synth types do, then don't worry, there are tons of presets that you can click through for a quick start. And Sync is used for aggressive leads and basses. Wavetable, on the other hand, produces clean digital sounds. The Analog engine, for example, is perfect for classic synth leads, pads, and basses. Under the hood, there are four synthesizer engines that you can use: Analog, Sync, Wavetable, and FM. ![]() ![]() It looks modern, is logical to navigate, and creating sounds is easy to do without much knowledge of what each knob does. In other words, you can choose the waveform using the top section, and shape the sound using the bottom section.Ĭompared to synthesizers like the ES 2 (which we will look at later), Retro Synth is far less intimidating. Retro Synth is laid out in two main sections with the oscillator and filter on top, and the filter envelope, amp envelope, and LFO on the bottom.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |