Quote:
Originally Posted by KevWind
To clarify The studio that became "Abby Road" started in 1931, EQ's were in use on recording consoles as early as the 50's, as were analog plates and chamber room reverbs . Given Lexicon didn't exist until 1971 and the 480L wasn't released until 1986. I suspect Lexicon may have simply emulated something apparently in practice for many years. Certainly Lexicons emulation by itself, lends no credence to the belief Abby Road didn't originate the specific technique being described in the Video
And while Abby Road may or may not have originated the practice of EQ'ing reverb, per se , seems to me the point of the name "Abby Road Reverb Trick" and the video are the specific types and specific frequencies being EQ'ed -- i.e. pass filtering @ 600 and 10k, and dipping at 2k. Not to mention the fact that in the video he states that it is called that because Abby Road uses it, not whether or not they "originated' it. Just to clarify.
And of course the reason "they" (whoever they are) "don't tell you" about possibly setting up a "different mic" and sending, or simply splitting the signal off the console and sending it to an analog plate or chamber with a speaker and return mic , would seem obvious, because it is totally irrelevant as to whether or not that signal is also EQ'ed. Just sayin'
I agree compression on reverb is fun to play with. But I am curious what would the purpose be of ducking the vocal reverb under the vocal, or are you referring to ducking other instrument or room verbs under the vocal ?
|
Yes, the Lexicon was much later than Abbey Road. Just stating that this technique been around for a while in one form or another. I actually first learned it in the studios at Berklee while I was a student there...I ramble.
Ducking can be done so many ways on vocals. If it's a particularly wet 'verb then ducking the main 'verb from it's source could be useful (think that big '80s vocal 'verb). It all depends on what you have and want you want to get out of it. In general I find that sidechaining a compressor is just so useful in so many ways.
I mentioned the 2nd mic trick to point out that there is no "secret sauce" to this stuff. Just because you have info on a technique or the same equipment used on some great recording doesn't mean you'll get the same results. These are all the sums of many smaller decisions.
Not that the whole thing isn't a really good idea. I've always EQ'd my reverb return - even in the analog days. It's just one piece of a much larger puzzle. Which is where the fun is...putting the puzzle together.