In this lesson you're going to learn about natural reverb and among other things, these important concepts:

• Reverb field

• Early reflections

• Reverb tail

• Reverb time

What kind of magic allows us to reproduce this natural effect with electronics? Here you'll learn how spring reverbs work, which will allow you to grasp how to translate natural effects into artifical ones. We'll also discuss two elementary concepts for everything that comes later, which are dry and wet signal.

In this lesson you'll get introduced to the digital and convolution reverbs, how do they work and how they differ with each other.

Here we'll use a simple digital reverb in order to understand the following parameters:

• Mix

• Pre-delay

• Reverb time

• Size (specific to this reverb)

• Damping

  
  

Now that we learned about the digital reverb's parameters, it's time to put them to use in a simple example. You'll also learn about another extra parameter:

• Stereo width

Here we'll check Waves' Rverb in order to understand how a more complex reverb works helping ourselves with the graph it has, and you'll also learn and understand the underlying principles of:

• Size (the general purpose meaning)

• Diffusion

• Decay

• E/R gain

• Tail gain

In this lesson we'll put Rverb to use in order to achieve a specific result with a guitar. As a plus, we'll use a spring reverb to check out that classical-sounding effect on guitars.

Here we'll ask ourselves this basic question: Why should I use a convolution reverb instead of a regular digital reverb?

In order to tackle the concept of convolution reverbs, we're going to start working on some drum tracks after choosing the correct impulse response.

In this lesson we'll analyze the impulse response graph, which is key in understanding what kind of reverb you can expect and also how parameter changes will influence this graph.

After learning about the graph, let's now take a look at the parameters. They are many and each controls a key aspect of the impulse response. Some are specific to this convolution reverb but you will possibly find equivalences in other ones:

• Pre-delay

• Length

• ER/LR X-over

• Fade out

• Shorten with stretch

• Stretch with pitch

• ER/LR mix

• Crossfeed

• Crossdelay

In this lesson we put what we learned into practice by using a convolution reverb on drum tracks.

In this lesson you're going to understand what EQ does to a signal.

Here we're going to present the main types of EQ commonly available and key concepts associated with each type such as the Q factor. They are:

• Graphic EQ

• Parametric/Paragraphic EQ

• Shelving EQ

Now that you know about the different EQ types, we'll have a quick, introductory discussion on when it's best to use each.

In this lesson you'll learn how to use a graphic EQs while following an example.

In this lesson we're going to cover working with different parametric EQs, which are the most important EQ types.

Finally, you'll learn how to use (and also when not to use) shelving EQs.

Here you'll learn what filters are and how they differ with EQs.

Here we're going to understand what low/hi cut and band pass filters are, as well as learn important concepts such as:

• Cutoff frequency

• Bandwidth

In this lesson you're going to learn what low/hi pass and band cut filters are. We'll also summarize some differences in the usage of filters vs EQs.

Here we're going to work with filters to accomplish a couple of things:

• Remove unwanted instrument sounds from drum tracks

• Create an FX for a guitar

Here you'll learn the basics of delay and the different delay types commonly available. We'll also discuss important concepts such as:

• Delay time

• Feedback

Here we're going to work with a basic digital delay, focusing on the main controls such as delay time, feedback, etc.

In this lesson we're going to discuss important concepts related to mono and stereo signals. Then we're going to use a stereo delay in a track and have a workaround for using stereo delays in mono tracks.

In this lesson you'll learn about ping-pong delays in a practical example, and we'll keep discussing about mono/stereo tracks related to stereo FX.

Here we're going to work with a multi-tap delay. We'll discuss its usage, the different modes of operation in a practical example.

In this lesson we're working with a Tape delay plugin, and we'll also learn about specific concepts related to real tape delay hardware such as the material of the tape. We'll also go into more detail with some concepts such as:

• Slapback

• Feedback

In this introductory lesson we'll discuss some things and check out the state of our project while we choose a reverb to start working with.

Here we're going to use a digital reverb to work with the main vocals, as well as discuss some important considerations related to mixing with FX.

In this part of the session we're going to add reverb to the relevant drum parts, after discussing what is best to leave without reverb.

Here we add reverb to the guitar and explain some routing issues related to the piano.

Because of the complexity of the situation, we're going to use envelopes, a new reverb and more.

Here we're going to EQ the bass drum to sound more 'electronic' as well as making the snare drum gain some character.

Now it's the turn of the hihats and the overheads. In this case we're going to treat overheads as just 'cymbal microphones'.

Toms are particularly important in this song, this is why we're going to give them a lot of attention.

Here we're going to try both EQing a line bass and using an amp simulator to test what works best for the project.

Now we go for the keys and also discuss what to do if equalizing doesn't feel necessary.

We're going to take extra care with the main vocals, which actually sound good enough. Also, we're going to equalize choirs differently in order to add more variance to their sound.

We need to add delay to the main vocals at certain points. However, it's not a very simple thing to do. Here we're going to try some envelopes and talk about the issues we find.

Now that we understand the issue, it's time to find solutions! Here we're going to work with a time-consuming but easy way to overcome it.

Now that what we tried works, we keep testing ideas in order to end with the vocal track.

We have worked with a lot of things, so it's easy to lose perspective. Now we're going to take a listen to the whole song and make modifications whenever necessary.

Something doesn't add up, and we're going to solve it. We're also going to discuss something important about working time and hearing and mental fatigue.

We'll start working on the mix by trying a convolution reverb for the vocals.

Now we're going to work with a digital reverb on the vocals, and then decide which one works best.

After having settled for one of the choices, we add reverb to the drumkit.

Here we're going to add reverb to the guitars and also discuss some important considerations regarding how much reverb is enough.

Now it's the turn for the choir, since the main vocals were already done at the beginning.

Finally, all we have left are the piano and synths.

Now that everything sounds a lot better thanks to the reverb, we're going to start equalizing. We'll start with the bass drum.

After working with the bass drum, we hear the snare drum, find out the character we want for it and start working accordingly. We'll try some shelving EQ for the hihat as well.

Here we're going to equalize the toms following the same criteria for all of them to achieve uniformity in their sound.

In order to finish with the drums, we need to EQ the overheads. We also discuss a couple different approaches.

Since this project has distorted and clean basses, it's a great opportunity to provide a distinct equalization to each one.

Being a rock song, guitars are key, and there are a lot of them in this project. We need to decide carefully what to do and how to add personality to each one while making the whole set sound homogeneous.

There are also piano and synth sounds which have to make sense with the rest of the instruments and just like the guitars, we need to add them personality while preserving the overall sound.

Since the song has a solo, it should be treated as the main vocals, that is, give it a special treatment because it needs to be distinctive enough.

Finally we tackle the vocals, which need to really shine, especially the main vocals.

After some consideration it's necessary to use a more sophisticated delay FX for the solo, this is why we are going to work with a multi-tap delay to create a 'bigger-than-life' delay feeling.

Would the same delay work with the choirs? We decided not to, because it gave them too much presence. This is interesting to learn that not always the best sound for a track is the best sound for the whole project!

At this point volumes are already set in their correct zone, but that is something that is constantly evolving with changes we make, so we work a bit on that. Also, we need to detect what is causing the clipping.

In order to solve the clipping issue, we discuss some options as well as trying to find the culprit/s. Then we work until we get rid of it!

It looks like we're done, so let's listen to the full project to check out how we're doing so far. With this, we complete the basic mixing and are able to continue with more advance mixing issues in the next stage.