Photo by John Benitez on Unsplash
We all suffer from G.A.S (gear acquisition syndrome) from time to time. I'm sure you have an endless wish list but we all have the reality of budgets to deal with and we need to be responsible. For all of the good that plug-ins have brought to live audio mixing it is also a black hole of endless options. Plug-in manufacturers are constantly releasing new effects that promise all kinds of mixing magic. It's easy to get caught up in new toys but chances are you are not using your current audio effects to their full potential. Here are four ways to re-imagine your current audio effects. These techniques will work on consoles that use plug-ins as well as consoles that have their own built-in effects.
Some digital reverbs can sound flat or sterile, and if you've been working with the same reverbs for a long time you might just be tired of the same flavors.
Compressing Reverb
I use this often and there are two distinct approaches here. One method is more technical, with the goal being to exaggerate the reverb trail at the end of a vocal line. Listen to most records these days and you will find that the lead vocal is rarely bathed in a constant reverb. However you will notice reverbs and delays that trail on at the end of a vocal phrase. This effect is often automated in a studio mix, but the same result can be achieved live by putting a compressor on the reverb channel. Start by setting the reverb compressor with a fast attack, a medium release, and a ratio of 2:1. The goal is to see the compressor knocking back 4–6 dB while the vocal is being sung but when a vocal line ends you should see the compressor open up. When the compressor stops working the reverb will be more apparent in the mix giving you these nice trails at the end of a phrase. These settings will have to be tweaked to fit each vocalist and even per song in order to get the trails sounding right.
The second method adds more character to the reverb. Some digital reverbs can sound flat or sterile, and if you've been working with the same reverbs for a long time you might just be tired of the same flavors. Because different compressors can add harmonic distortion, they can bring a new color to the same digital reverb sound. A good example of this is the Waves CLA–76 and CLA–3a plug-ins. They are design to emulated vintage transistor and tube-based compressors. Each one brings its own flavor to the table. Lately I've been putting the CLA–3a on my vocal reverb and setting it in such a way that it is always compressing my reverb by 3–4 dB. I find that it brings an added warmth and depth that I really enjoy. Experiment with the compressors that you have available to you to find what works in your mix.
If one reverb is not enough, try stacking reverbs on top of each other.
Stacking Reverbs
If one reverb is not enough, try stacking reverbs on top of each other. This may mean stacking plug-ins, or if you are on an analog desk you may need some extra channels. By compiling two sounds into one you are creating your own room sounds and the sky is the limit. I often find that stacking a longer reverb on top of a shorter delays works best, but there are no rules here. Typically I start with plate or room reverb with a pre-delay of 5–10 ms and a decay set between 1–2 seconds. I'll then use a hall reverb with no pre-delay and a longer decay of 4–6 seconds. Keep your ears on high frequency content, because it can get too bright too fast. With the right EQ and mixture of the two reverbs sounds, you can take a few mediocre-sounding reverbs and create something really cool.
On every studio project I mix, and every live console scene I use, you will find a channel that has a delay with a reverb stacked on top.
Distort Everything
Saturation plug-ins are really popular right now but the goal isn't for an overt distorted sound. Many of these tools are based on tube- and tape-based tools that create desirable harmonic distortion. Sources like bass, snare, and vocals often do well with these type of saturation tools. This isn't a new technique by any means - I would often use the distortion effects setting on the Yamaha PM5D to have a distorted bass channel. Blending a clean and dirty bass channel is a great way to get a bass sound that has the low end you need with a nice midrange growl. There are a lot of plug-in options with these tools, but I've used outboard gear for this application in the past as well. A few years ago while on a Crowder tour I wanted to add some color to David's vocal. I was little bored with all of my typical plug-in-based options, so I grabbed a few pedals off my guitar pedal board that I use in the studio to do some experimenting. I ended up settling on the JHS Colour Box and used it as an analog insert. With only the slightest amount of gain, it added the extra edge that I was looking for. If you are trying this technique for the first time it's a good idea to duplicate channels to practice blending both a clean and a saturated signal. Listen for phase issues that may pop up. Remember, anytime you add a plug-in or take a channel in and out of the console there is a chance for the phase to change.
Delay + Reverb = Sonic Bliss
On every studio project I mix, and every live console scene I use, you will find a channel that has a delay with a reverb stacked on top. It's one of my favorite techniques create some unreal depth on the vocal. I put the delay on a very long feedback setting, the longest setting you can achieve before infinity or the delay starts to oscillate. I also make sure I can tap the delay time with a physical button. The delay then goes into a longer hall-type reverb and I'll set the mix somewhere between 60–80%. This makes the delay quite washy with an “endless reverb” type quality. When using this effect I tend to always keep a hand on this fader because I'm constantly mixing this in where it feels right. If I want the end of a vocal line to trail on I just push this fader up and then slowly bring it out. It's very musical and creates an amazing texture to any ballad type song.
Editor's note: This article was originally published in August 2016, but still contains great advice today.
