Vocal Reverb Vst Free Download
Sam Eich
This will give you infinitely more control over the reverb and allows you to utilise many of the tricks listed below. For example, adding separate EQ to the reverb along with saturation on side chain processing.
Playing with the Pre-delay time allows you to preserve more of the dry vocal before the reverb becomes audible. This helps keep the vocal more pronounced in its upfront perception and can help to place the vocal in front of the space.
Adjusting pre-delay in this way tends to sound better when using the same or similar reverbs to that employed on other instruments. It's also a useful trick when used in conjunction with a number of others.
The idea is that neither reverb takes the centre position. Therefore, neither adversely affects the centre perception of distance. Depending on how you set up your different reverbs, they can create the illusion of movement behind the vocal, like bouncing off a wall that's on one side of the vocalist and then into a much larger space on the other.
Careful use of the pre-delay here will help create the illusion of reflections moving from one side of the stereo image to the other. Like many of the tricks here, you can't consider this anything other than a fake or hybrid reverb, but that doesn't make them any less valid or exciting.
A great delay for this is SSL's X delay, in which you can set up a number of different short delay times and then feed the output via another aux to a separate reverb unit. More about expanding on this idea later!
It's a trick that live sound engineers have been using for some time as it helps to control a reverb and keep it focused within and behind the vocal range rather than letting acoustic conditions of the environment or reverb type take over.
Halls and chambers tend to have issues in the lower mid frequencies, while room and plate reverb issues tend to be more in the mid to high frequencies. Just remember this trick works on many different instruments as well as vocals.
For example, you could take the original uncompressed vocal take and use it to compress or even duck a buss reverb, giving it the illusion of the original dynamic performance. Or perhaps you could consider a pitch-shifted parallel vocal track used solely to generate the reverb.
You can't beat a liberal use of echo and delay when it comes to big vocal sounds and harmony parts. There's a wealth of plugins available now for emulating all manner of echos from tape echo to analogue and digital delay units.
For those larger-than-life sounds, just check out plugins like the CLA Epic from Waves. This all-encompassing sub $40 plugin has four delays and four reverbs, all of varying flavours, which you can use to build epic-sounding spaces and effects.
Just remember, all those eureka moments in music production originally happened when someone tried something out of the ordinary; how else would someone stumble across gated reverb, for example? Ultimately we are conveying a vibe or an emotion, and that is our mission. Good luck with your eureka moment.
I don't get Clean and crystal Reverb effect on Logic Pro X. I need the reverb for monitoring to my headphone while I record the Voiceovers and other vocals like songs..and after the recording also I have to add those reverb effects.. now when I add reverbs like Space designer i get very bad effects.. its not at all clean and clear.. when I record without reverb effect the recording is very clear.
It's a challenge to help you without seeing exactly how you're recording your audio and how you're inserting the reverb into your signal chain. It's possible that you are sending too hot a signal to your reverb and causing distortion on the input of the reverb, but that is just one possibility of MANY.
Having said that, if you want to hear reverb while you're recording, I would NOT insert it as a plugin into the channel that you're recording onto. In other words, if you are recording vocals on Audio Channel 1, do not insert Space Designer into Channel 1. Instead, click on the "Send" field (directly below the plugin insert field) and choose "Bus 1". That will create an AUX channel in your mixer--scroll to the right on your mixer page. Insert Space Designer into that newly created AUX channel. Go back to Channel 1, and to the Right of the "Bus 1" Send that you just selected is a rotary knob. Rotate that to increase the signal that you send from Channel 1 to the reverb. That way you can control how hot a signal you are sending and reduce your latency in that channel.
Eh, you should also hear the reverb when it is inserted directly into the channel strip you are recording into. Putting it on an aux does not change that (although that is generally a good idea - to NOT have each individual channel have a reverb, but to send it to an aux, as this makes it a lot easier on the CPU).
When it comes to vocals, reverb and delay can add that final touch that really sets things over the top. A great vocalist is a great vocalist. But a great vocalist wrapped in the ambience of the perfect reverb? The romance really comes alive then.
In recording a demo of different stuff I might do as a solo act, I've noticed that different tunes sound better with different amounts and types of vocal reverb. When it comes to playing live, I don't have the luxury of using a different vocal reverb for different tunes so need to set the PA's onboard FX on one reverb patch and at one level for the whole night.
My preference is a plate style ... if you are playing indoors, and a hall style if outdoors. But it also depends greatly on what else is going on. I'd probably use more reverb if I were doing only a vocal mic and guitar as opposed to doing a full band or with backing tracks.
I never really thought about using a different verb depending on whether you're indoor or out, but it makes sense. There are probably some crappy rooms in which you wouldn't use ANY reverb as the room itself is so lively.
Turn that crap off. There's way too much 'verb used everywhere. It's unbelievable how many "lead singers" insist on super wet vocal fold-back monitors, which cause nothing but feedback. I want to hear if I'm singing in tune, not how "pretty" your voice sounds with the Grand Canyon patch. Gearmanndude is right.
Chamber reverbs are similar to room reverbs as they deliver a lush, ambient sound but retain higher levels of clarity. Engineers can use these effectively to add an extra boost of energy to a track as they sound great on all types of instruments including vocals, drums, and strings, and have been used on various recordings from The Beatles to Led Zeppelin.
Similar in style to a chamber or room verb, but feature a much longer decay. The reverb is passed through a noise gate which cuts off the effect well before it would naturally fade out, causing an abrupt stop to the effect which can sound unnatural but punchy and bright at the same time. The effect was popularised in the 1980s and created punchy snare drum sounds and made tom drums pop through the speakers, popular with artists such as Peter Gabriel and Phil Collins. In recent years, the effect has seen a resurgence with synthwave artists such as Gunship and The Midnight using them within their music.
Gated reverb has proved to be a useful tool for audio engineers, and is very popular for producers and musicians creating music, coming in the forms of plugins and pedals. While in the studio, producers will often use sidechain compression which will help add another element of movement to a project they are working on. Sidechaining is a very helpful tool as it can bring together different tracks in the mix, acting as a noise gate and helping regulate the dynamic range. It is a process that allows producers to control the volume of instruments in a mix, for example, drums against the vocals, helping them remain in the dynamic range that is set so as not to overpower the other instruments used.
Our vocal chain presets package can help you with some of the plugin steps covered in this article. By downloading our vocal chain, you can instantly import specific preset settings into your DAW project and get that polished vocal mix we would use on your track through our mixing and mastering service.
Most reverb plugins have a wet/dry or mix dial, meaning almost all reverb is already being used in parallel since the plugin itself is splitting the signal. That said, you may want to insert reverb on an auxiliary track since it lets you process just the reverb.
Saturation helps control dynamics and make a vocal sound fuller - if you use it before reverb, the plugin is going to have more to draw from so to speak. In other words, the increased low-level details of the vocal will be loud enough to cause reverb reflections.
One reason why this vocal trick works so well, is because it emulates the sound of reverb that is naturally in a room when recording. The microphone will pick up the reverb that is present. Lots of modern vocal recording techniques use absorption panels to deaden this natural reverb sound to make an artificially dry vocal recording for processing.
Something else to watch out for is that your reverb will now be affected by the amount of compression you are using. I personally find that when putting reverb first in my plugin chain, I do so very lightly and let the compressor pull the reverb out more.
My problem is that I want to add Reverb & Echo on my vocal I record in Logic.
I select FX Send, send it to my Software Playback, click 'Loopback' and everything is fine.
When I record and listen to it afterwards in the programme I also hear the instrumental with the same effects.
When I mute the instrumental in Logic, everything works.
I'm used to monitoring myself singing with the reverb of a lexicon mx200. Is there a way to use the lexicon mx 200 somehow with my babyface old gen? I mean adding the lexicon reverb on my voice in my headphone but recording my dry voice in reaper ?
I have a behringer xenyx 1204fx mixer and I plug my monitor into the channel one, jack plug socket I get my backing track on turning up the aux control knob (the monitor volume) and can get vocals on turning up that channels aux knob (the monitor volume) but I cannot get any reverb on vocals to my monitor, and the sound without reverb is flat,channel 2 is labeled fx but I cannot get any sound from my backing tracks or mic channel on channel 2.
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