SAMPLEY.
ME Copyright © 2023 by Kevin Schroffenegger
Generated for #5277 paulo renato macpaulo26@gmail.com
REVERB CHEAT SHEET COMPRESSOR CHEAT SHEET
REVERB TYPES
ROOM CHAMBER
BASICALLY, A COMPRESSOR IS NOTHING ELSE THAN A
SMALL ACOUSTIC SPACE HALLWAY, THE REVERB IS ONE OF THE MOST USED EFFECTS AS IT
(GOOD FOR DRUMS) STAIRWELL TYPE CREATES ATMOSPHERE AND SPACE. IT SIMULATES THE FADER THAT YOU CAN PROGRAM SO THAT IT WIGGLES
REVERBERANT SOUND OF DIFFERENT SPACES LIKE DRUM AROUND IN REAL-TIME. I TAKE A VOCAL RECORDING AS AN
EXAMPLE OF HOW A COMPRESSOR WORKS. SO IN A VOCAL
PLATE SPRING ROOMS OR CONCERT HALLS FOR EXAMPLE.
RECORDING, YOU HAVE DIFFERENT SIGNAL LEVELS
ARTIFICIAL SOUND, VERY UNIQUE, MOST PRODUCERS LOVE REVERB. BUT IT IS ONE OF THE
HEAVILY USED BY GOOD FOR
PLUGINS THAT PEOPLE TEND TO OVERUSE AS IT CREATES (DYNAMIC RANGE). SO SOME WORDS OF THE VOCAL
THE BEATLES VINTAGE GUITARS
A VERY NICE SOUND INITIALLY. BUT IF YOU OVERDO IT, MIGHT BE QUIETER THAN THE OTHER ONES. WHAT A
YOUR TRACK DOES GET MUDDY AND WASHED OUT. BUT IF COMPRESSOR DOES IS TURN DOWN ("COMPRESS") THE
HALL AMBIENCE
VERY NATURAL,
USED WISELY, REVERB CAN BE THE GAME-CHANGER FOR LOUDER SIGNALS IN AN AUDIO RECORDING TO MATCH
GIGANTIC
GOOD FOR WIDENING YOUR MIX. THEM WITH THE QUIET SIGNALS.
CONCERT HALL
REVERB MONO TRACKS
CONTROLS DEFINITION SETTINGS
CONTROLS DEFINITION EFFECT THE POINT AT WHICH THE COMPRESSOR
THRESHOLD DEPENDS ON INPUT SIGNAL
BEGINS TO REDUCE VOLUME.
WAIT TIME; THE SET A SMALL PRE-DELAY FOR SMALL ROOM REVERBS AND SET HIGHER PRE-
PRE-DELAY TIME UNTIL THE
REVERB STARTS
DELAY TIMES FOR LARGER ROOM REVERBS.
Percussion: 15ms
DECIDES HOW HARD THE COMPRESSOR WORKS ON
LIGHT [1:1 - 4:1]
RATIO
Vocals: 30ms
MED. [4:1 - 8:1]
SIGNALS THAT ARE OVER THE THRESHOLD LEVEL
CONTROLS HOW HIGH [8:1 - 20:1]
DECAY
THE DECAY TIME IS THE TIME UNTIL YOU CAN’T HEAR YOUR VOICE OR THE
LONG IT TAKES THE REVERB OF IT ANYMORE. LOW DECAY IS GOOD FOR DRUMS, LONGER DECAY IS
GOOD TO CREATE A LARGE ROOM ATMOSPHERE.
REVERB TO DIE OUT FAST [0ms - 15ms]
THE ATTACK DETERMINES HOW FAST THE
CONTROLS WHICH BY SETTING A HIGH CUT (LOW PASS) AT 8KHZ FOR EXAMPLE, THE FREQUENCIES
ATTACK COMPRESSOR REACTS IN REDUCING THE GAIN
MED. [15ms - 50ms]
LOW/HIGH CUT FREQUENCIES ARE
AFFECTED BY THE REVERB
ABOVE 8KHZ WON'T BE AFFECTED BY THE REVERB. THIS IS PARTICULARLY
HELPFUL WHEN TRYING TO MAKE YOUR REVERB SOUND DARKER.
SLOW [50ms - 200ms]
SO THE MORE YOU SET IT TO STEREO, THE WIDER YOUR REVERB WILL SOUND. FAST [0ms - 15ms]
CONTROLS STEREO THE RELEASE DETERMINES HOW FAST YOUR
WIDTH RELEASE
THE MORE YOU SET IT TO MONO, THE NARROWER YOUR REVERB WILL SOUND.
MED. [15ms - 50ms]
SETTING REVERB TO MONO IS A GOOD WAY TO ADD SPACE WITHOUT COMPRESSOR STOPS WORKING AGAIN
WIDTH DESTROYING THE MIX SLOW [50ms - 200ms]
THE DIFFUSION CONTROLS THE DENSITY OF THE REVERB. IF YOU SET IT TO A LOW
CONTROLS DENSITY
DIFFUSION
VALUE, THE REVERB WILL SOUND LIKE IT WOULD HAPPEN IN A TIGHT SPACE. THIS TRANSITION FROM NO COMPRESSION TO FULL
RESULTS IN A MORE DISTINCT AND THIN REVERB. A HIGHER DIFFUSION CREATES
OF REFLECTIONS MORE REFLECTIONS, RESULTING IN A MORE OBVIOUS AND BIGGER REVERB.
COMPRESSION
HARD [0dB - 2dB]
SOFT KNEE (COMMONLY USED FOR VOCALS OR PIANO)
AMOUNT OF
THE DRY/WET KNOB ALLOWS YOU TO ADJUST THE BALANCE BETWEEN KNEE GIVES A MORE NATURAL SOUND TO THE TRACK
MED. [2dB - 5dB]
MIX (DRY/WET)
THE DRY (UNPROCESSED) AND WET (PROCESSED) SIGNALS. TURNING
UP THE WET KNOB INCREASES THE INTENSITY OF THE PROCESSED HARD KNEES CREATE A SIGNIFICANTLY MORE INTENSE SOFT [5dB - 25dB]
REVERB SIGNAL, CREATING A STRONGER REVERB EFFECT. AND NOTICEABLE EFFECT
