Every good mix uses effects to enhance the audio and smooth over the sound. Some mixes require heavy adjustment, while others require minimal effects, depending on the genre of the music and the mood of the artist. Below we will discuss the precise parameters and settings for two vital sound effects, but the first step of learning specific dynamic audio effects is experimentation.
For each parameter, try adjusting the setting to one extreme of the spectrum, and then the other, so as to hear every aspect affected by that particular parameter. Reading their technical definitions below will help explain the specific science, but the key is to learn by ear.
On ProTools software, the compare button found at the top of the plug-in or Audiosuite window will undo any changes made by the producer, resetting the effect back to it’s default position; pressing compare again will restore the changes. Use the compare button to experiment with all ranges of the effect.
The Basics of Digital Reverb
Reverb is a wonderful and versatile sound which can range from providing unique, ambient effects— i.e. slap delay or echoes— to simply “taking the edge off” of harsh audio such as percussion without being even slightly evident. While reverb is less complex than other effects, it cannot be learned overnight; there are countless combinations between the various settings on ProTools reverb (dubbed “d-verb”) effect:
- Mix: The combination of and balance between the unaffected and effected audio signal.
- Algorithm: Refers to preset reverb sound types such as Hall or Ambient, each of which has a unique character.
- Size: Secondary to the algorithm, the size adjusts the amount of the overall reverberation space (think of this space as an echoing room).
- Diffusion: Refers to “echo density” and effects the overall thickness of the reverb effect.
- Decay: Time taken for reverberation to fade after the original audio signal stops.
- Pre-Delay: Sets the time between the original audio signal and the onset of the reverb effect.
- Hi Frequency Cut & Low-Pass Filter: These settings work together to create the high-frequency contour of the reverb (not the original audio signal).
There are many ways that reverb can improve a mix. For instance, try putting a reverb plug-in on the Master Fader with a Non-Linear algorithm, and then setting the mix somewhere between 1 and 10%. This has a very subtle effect of “rounding off the edges.”
Also, you can send an audio track to an Auxiliary input and put a reverb plug-in on the Auxiliary input, thereby doubling your control over all aspects the mix of the reverb, such as volume and panning. Try setting the Left/Right Pan of the Auxiliary input differently than that of the audio track, thus placing the audio signal at a different place in the mix than its reverb. Creating an Auxiliary input is also effective with compression:
The Basics of Digital Compression
Compression serves to set parameters on the “dynamic range” of the selected audio. In other words, it limits the length of time of the input signal, as well as the sonic spectrum of the audio. This can result in a uniquely muffled or muted sound, or at minimum, will simply eliminate clipping or distorted audio peaks. Let’s go over the technical definitions of the ProTools Compression controls:
- Threshold: The level at which the audio will trigger the compression effect. 0 db results in no effect.
- Ratio: Sets the level of compression; in x:y, x = input level and y = output/compressed level. The higher the ratio, or the greater the difference between x and y, the more compression is applied.
- Attack: The length of time for the compressor to reduce the gain of the input signal after the audio surpasses the threshold, conjunctive with release (see below). The faster the attack, the more rapidly compression is applied to the signal.
- Release: The rate at which compression is deactivated after the input drops below the threshold.
- Knee: This sets the speed at which full compression is reached after the input signal breaches the threshold. The knee controls whether the onset of the compression effect is gentle or abrupt.
Compression can add an extremely unique effect to monophonic sounds such as lead guitar, saxophone, bass, or vocals. It is most often used as a limiter for the rhythm section, in order to both consolidate the the density of the song's core and also to solidify the dynamics of the drums and percussion.
For more experimental genres such as hip hop or electronica, try adding compression to the entire song, although this is not recommended for live-band performances that require a true, organic quality. If your sequencer software has automation, try automating the compression to increase and/or decrease at key points in the song, such as solos or drum breaks.
Isaac Darnall - I've made my home in Franklin, Tennessee as a writer/musician/photographer. I focused on fiction for about five years, and while it is my ...
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