#16
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First : put both reverbs on the one single bus track That way the amount you are sending from the audio/guitar track to the bus track, will be the same hitting both plugins ( which BTW should both be set to 100% wet) because you are controlling the amount of wet vs dry by the amount of send level and or the amount of bus level . Then all you need to do to compare, is toggle the bypass button on one, then the other, plugin GUI it self.
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Enjoy the Journey.... Kev... KevWind at Soundcloud KevWind at YouYube https://www.youtube.com/playlist?lis...EZxkPKyieOTgRD System : Studio system Avid Carbon interface , PT Ultimate 2023.12 -Mid 2020 iMac 27" 3.8GHz 8-core i7 10th Gen ,, Ventura 13.2.1 Mobile MBP M1 Pro , PT Ultimate 2023.12 Sonoma 14.4 |
#17
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As for reverbs, it's true there are MANY choices and I've moved from one to another to another etc. over the years as this list of reverbs I own demonstrates: 2016 Stereo Room Abbey Road Chambers Abbey Road Plates AIR Non-Linear Reverb AIR Reverb AIR Spring Reverb Altiverb 7 Black Spring Blackhole D-Verb Fission Little Plate Seventh Heaven Seventh Heaven Pro Space Studio Reverb Tverb UAD CS-1 UAD DreamVerb UAD EMT 140 UAD EMT 250 UAD Ocean Way Studios UAD RealVerb-Pro UltraReverb Valhalla Plate Valhalla Vintage Verb That said, as you gain more experience with them, some will start to stand out. For myself, the first reverb I used a lot was RealVerb but at that time I didn't have a lot of choices in my arsenal. I moved onto the EMT 140 for a while but I found that difficult to dial in. For a time, TVerb became one I'd reach for a lot but it wasn't always the right choice. Valhalla Vintage Verb calmed my reverb buying for a pretty long time ...at least until I saw someone selling an Altiverb license for a great price. Altiverb was something I'd read about often but the price kept my interest in check. I got it cheap enough that I could resell it and not lose a dime, so I grabbed it and wow... what a great tool that is. More recently I purchased Seventh Heaven and I'm using that more than anything right now, but the other favorites still find their way into things because sometimes they're the better fit. But the key to figuring out what you like is trying them out and training your ears to focus on the various aspects that make up a reverb sound. One way to do this is to load several reverbs on your buss track, optimally adjust each, then A/B/C them. You really want to hear them back to back to evaluate them both in and out of the mix.
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Jim 2023 Iris ND-200 maple/adi 2017 Circle Strings 00 bastogne walnut/sinker redwood 2015 Circle Strings Parlor shedua/western red cedar 2009 Bamburg JSB Signature Baritone macassar ebony/carpathian spruce 2004 Taylor XXX-RS indian rosewood/sitka spruce 1988 Martin D-16 mahogany/sitka spruce along with some electrics, zouks, dulcimers, and banjos. YouTube |
#18
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Okay, I adjusted the "send" to be the same value. You may have to refresh your browser to hear the change.
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Barry My SoundCloud page Avalon L-320C, Guild D-120, Martin D-16GT, McIlroy A20, Pellerin SJ CW Cordobas - C5, Fusion 12 Orchestra, C12, Stage Traditional Alvarez AP66SB, Seagull Folk Aria {Johann Logy}: |
#19
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The second is still quite a bit louder. That said, I think the reverb on the first one sounds better but I'm not all that fond of what it's doing on the low end. I'd probably roll off a fair bit of that.
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Jim 2023 Iris ND-200 maple/adi 2017 Circle Strings 00 bastogne walnut/sinker redwood 2015 Circle Strings Parlor shedua/western red cedar 2009 Bamburg JSB Signature Baritone macassar ebony/carpathian spruce 2004 Taylor XXX-RS indian rosewood/sitka spruce 1988 Martin D-16 mahogany/sitka spruce along with some electrics, zouks, dulcimers, and banjos. YouTube |
#20
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As jim1960 said, still a mismatch between levels. That said, I lean towards the second one as it seems more integrated. With the first one, I hear a discrete early reflection that sounds a little like a slapback echo. That causes me to hear it as a separate effect.
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-Gordon 1978 Larrivee L-26 cutaway 1988 Larrivee L-28 cutaway 2006 Larrivee L03-R 2009 Larrivee LV03-R 2016 Irvin SJ cutaway 2020 Irvin SJ cutaway (build thread) K+K, Dazzo, Schatten/ToneDexter Notable Journey website Facebook page Where the spirit does not work with the hand, there is no art. - Leonardo Da Vinci |
#21
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TBman, are you putting a meter of some sort on your master bus to check the level of each version before you bounce the files?
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Jim 2023 Iris ND-200 maple/adi 2017 Circle Strings 00 bastogne walnut/sinker redwood 2015 Circle Strings Parlor shedua/western red cedar 2009 Bamburg JSB Signature Baritone macassar ebony/carpathian spruce 2004 Taylor XXX-RS indian rosewood/sitka spruce 1988 Martin D-16 mahogany/sitka spruce along with some electrics, zouks, dulcimers, and banjos. YouTube |
#22
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Duh. I'll have to figure that one out. Give me a few hours,
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Barry My SoundCloud page Avalon L-320C, Guild D-120, Martin D-16GT, McIlroy A20, Pellerin SJ CW Cordobas - C5, Fusion 12 Orchestra, C12, Stage Traditional Alvarez AP66SB, Seagull Folk Aria {Johann Logy}: |
#23
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It's my understanding that Adobe Audition comes with the tc electronic loudness radar plugin in the box. Here's a video tutorial on how to use it:
Hope this helps! |
#24
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If you don't have a useful meter, the Klanghelm VUMT is a good one and it's inexpensive.
A meter doesn't change the sound of your track in any way. It just gives you feedback on the levels you're hitting.
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Jim 2023 Iris ND-200 maple/adi 2017 Circle Strings 00 bastogne walnut/sinker redwood 2015 Circle Strings Parlor shedua/western red cedar 2009 Bamburg JSB Signature Baritone macassar ebony/carpathian spruce 2004 Taylor XXX-RS indian rosewood/sitka spruce 1988 Martin D-16 mahogany/sitka spruce along with some electrics, zouks, dulcimers, and banjos. YouTube |
#25
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Audition has a cool loudness match feature as well that works pretty well. It matches overall volume levels, so the perceived level can be matched, not just peak levels. If the tracks are very different, its tough to totally nail this, but for two similar samples, it works very well. You also don't have to actually have it do the adjustment, you can just see how different two examples are.
Here's a screen snap. I just threw 2 random files in. LoudnessMatch.jpg I can hit a button and it will adjust the levels of the 2 files to match.
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#26
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Thanks. I'll work on this. I tried the match loudness, but it didn't work out that great... I'll keep working on this. It would be good to learn how to monitor and adjust overall loudness so all my recordings going forward would be consistent. Here's what I came up with so far. I enabled downloading for these two files in case anyone wanted to take a shot at it. Voices from the Past: Great Hall:
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Barry My SoundCloud page Avalon L-320C, Guild D-120, Martin D-16GT, McIlroy A20, Pellerin SJ CW Cordobas - C5, Fusion 12 Orchestra, C12, Stage Traditional Alvarez AP66SB, Seagull Folk Aria {Johann Logy}: |
#27
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#28
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Apart from the mismatched levels to my ears the reverb on the top clip sounds mid-low heavy and the bottom clip sounds too trebly. The compromise might be to apply the Abbey Road Reverb trick (low cut and high cut to focus the reverb in the middle) on both clips.
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#29
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I like the subtlety of the 2nd one.
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