We often lean on reverb to enhance sonic qualities, but maybe just bringing up the level or enhancing the high frequencies is the ticket. It may even be that the effect you are trying to achieve with reverb is better suited to a different processor entirely. Not everything needs reverb, and when you reach for it out of habit, it's worth asking yourself why you’re using it in the first place. Do you want to make those handclaps sound like were captured in a church? How about outside, at a distance of about 20 feet? Maybe a small wooden cabin?īy blasting everything in your mix with a large, uncontrolled reverb, you miss out on the wonderful little details it can bring to your mix. Reverb allows us to transport a sound into a space, no matter whether real or abstract.
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Considered together, these decisions have a major impact on the quality of a mix. Want the repeat of a lyric to sound like it's being shouted from behind the lead vocalist? Automate the pre-delay higher to see if it brings the desired effect. Are reverb tails from chorus guitars carrying over to the verse and sounding sloppy? Ride the decay time to ensure a tighter transition. Need to start your song with a bigger bang? Automate a reverb swell that flings it into action. To elevate a mix beyond the demo stage, you must match reverb settings to the context and intensity of the music using mix automation. Automate reverb parametersĪll too often, a new engineer will dial in a single reverb setting and leave it as is, only to find themselves frustrated with the overall static feel of their mix when listening back to it. Things that are further away from us sound quieter, but they also sound more muted as the reflections are diffused and absorbed by things and people in the surrounding environment. This comes down to the way we perceive sound in real-life scenarios outside of a DAW. A bright reverb will sound up-front, whereas a darker verb seems to come from further back in the mix. Low-pass filters are also handy for introducing a sense of mix depth, a topic I’ve covered in detail before. Rolling off some highs on your favorite reverb plug-in prevents this from happening while preserving the overall reverb feel. On sharp sounds, like vocal consonants and clicking percussion, reverb can amplify the sibilant frequencies and introduce an unwanted ringing or slapping sound that floats over the mix. Listen to the difference between a reverberated signal before and after a high pass filter-notice the boominess each time the kick hits in the first clip? And the lack thereof in the second? These buildups are particularly noticeable on low-end content like kick drums and basslines, but it can happen with all instruments. Squeezing out some lows prevents a buildup of murky frequencies that take up unnecessary space in the mix. Many reverb plug-ins (like R4 from Exponential Audio) come with filters to shape the signal on the way in and out. This tip is arguably the most important for those who prefer their mixes drenched in ‘verb. Though there is no specific order to this list, because it is both easy to do and very effective. To keep those all-important details intact and still get a spacey feel, here are eight tips for managing a reverb-heavy mix. But piling on plug-ins without a gameplan can quickly turn your mix into a cloudy wash of sound. Please look at the pictures and message with questions and to confirm shipping rates.Some styles of music call for more reverb than others. The bass comes with a used gig bag and will be expertly packed for safe shipping. The pickups and electronics are all working properly and sound good. The other parts on the bass do appear to be original.
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The control back plate back cover is not original and is a homemade wooden replacement. There is a good amount of finish wearing away on the top from pick scratches and the whole bass has a good amount of nicks, dings and scratches. The bass shows fairly heavy cosmetic wear. The bass has been set up and plays really well with low and comfortable action or string height. The headstock has been professionally repaired. The bass has a nasty headstock repair at one time.
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The bass is a very good player and sounds good but has been though a lot so please look closely at the pictures and read the complete description. This bass was made in the USA by Gibson in 1992. This listing is for a Used/Vintage 1992 Gibson Les Paul Bass model LPB-1.