[DyVision Works Reverb Remover VST 10
Jamar Lizarraga
DyVision Reverb Remover can remove reverb from an audio signal, and also has de-essing and background noise reduction capabilities. It is designed to be used as an insert effect on stereo or mono audio signals.
This tool is awesome! I made a track some years ago of which the sequencer's project file broke just before mastering. the track had a lot too much reverb to it and this plug-in was the first really high quality sounding reverb remover I demoed. The track afterwards sounded absolutely dry! I was honestly amazed. ........................................................................................................................................................................................................
Being on board audio needless to say its shit, I need to get rid of a slight echo, and some background buzz, as well anything I can do to warm up the voice itself would be beneficial. I am pretty new to Premiere and in the spirit of trying to master the software I am trying to figure out my problem using adobe software.
Thanks Angelo, I do not necessarily only need to do this entirely through premiere, Work just got us on the CS6 cloud so I have access to the adobe library of software. I am a FCP guy thats making the switch so I am somewhat unfamiliar with whats available. So if there is a better way I would love to hear it.
Although Angelos advice is good for working only with Premiere, i would send the audio clips to Adobe Audition through Dynamic Link, it has better tools to work with audio than Premiere and with Dynamic Link the workflow is really fast and efficient.
After reading thread after thread discussing the impossibility of removing reverb from an audio file, I stumble on this. The Zynaptiq plugin works flawlessly with Adobe Audition and completely removed the room echo from what would have been an unusable interview.
For example, I guess the timing of the whole intro section to the album, the neutral tension in the high strings hanging right at the start of the record, or that short glimmer of hope that takes over in New Seeds near the end of the track.
They have said that they subtract a lot from their music. I think this means they start with something complex and then remove items to make it simpler. But, I could be wrong. I have found in trying to replicate their music that I first start with something complex but I always end with something very simple. For example, I may think there are more notes than there actually are and in subtracting some from my composition, I can come closer to replicating theirs. Or, I often start with a very complex synth setting but find later that I have subtracted almost all of the complexity out of it to get their sound.
They made their sounds using recording equipment such as tape machines. The sounds are dirtied with noise and other artifacts of the recording process. The hiss, dropout, wow, and flutter of tape can be heard throughout their music in the leads and background sounds.
Analysis:
mic inside a rotating ice-cream tub = Goodhertz Trem Control or Phase Motion by Audiothing? I have used GoodHertz Trem Control effectively to get a ping-pong stereo effect. TAL-DUB-X is a good echo for this as well.
recording extended jams to tape on anything from a Tascam MSR-16 reel-to-reel to an old Revox recorder to a Grundig machine to an ordinary cassette. = Reels by Audiothing? Also add in here Vinyl Strip and Space Strip by Audiothing? Reels works well as does the Super VHS plugin by Baby Audio. Try also the Dyvision VHS effect as it works quite well.
resample parts using cheap ghettoblasters or cassette decks with internal microphones = I used Goodhertz Lossy to get this type of sound (experiment with their presets 3AM Supermarket and Ghost in the MP3, and change the parameters to suit you). Another outstanding one to get tape saturation is Toneboosters Reelbus.
make it really rough, maybe sampling it in at 8-bit, 22kHz = DAC by TAL (I find that I like the EMU II emulation at 27kHz and a moderate amount of jitter and a low input signal level. Lossy (see above), Vulf Compressor (up the phase amount to about 70 and you can get a good back and forth modulation of the sound), and WOWCtrl by Goodhertz.
Left side of below is what I think that they (Boards of Canada) do in hardware and analog methods. Right side is what I would do in a modern DAW and with plugins instead of hardware to replicate what they do. I could be wrong on some or all of this.
Another technique that they use is to reverse parts or sometimes whole tracks. Geogaddi seems to work well playing the whole album backward. Maybe this is a whole overlooked aspect of their music. If you are trying to replicate the sound, but the sound is backward, you will naturally have a difficult time unless you also work with backward sounds.
Old film and television clips can be heard sporadically in their songs creating an atmosphere. In many cases, this atmospheric sound is not just a track in the background but is attached to every note played as you can hear the background repeating with the successive notes. This is done by using a sampler and I verified that by using a sampler and it sounds the same. They said they spend a lot of time sampling sounds of music they play and other noises by using samplers. One of their favorite samplers is the Akai S1000 samplers (as they said in an interview).
Main riffs and tunes are simple and are usually only 5-7 notes (at most) repeated over and over. They use simple chord progressions in groups of 5 instead of the usual 4 found in pop music, and melodies backed with lush sounds of ambient noise or more chords from vintage synths.
You can also try playing an interval or dyad (2 note chord) of a perfect fifth or perfect fourth. I also hear sometimes a diminished seventh or major sixth (9 semitones) in their music as a counterpoint to the normal fifths, and I hear this more than I do the tritone mentioned earlier.
See the video below that is played with the actual sample from Stone in Focus. I sampled the original and then applied it to the correct keyboard positions for each note in order to understand the song structure.
I think Satin can offer a lot of versatility in getting the BoC sound and this can be done in the delay section of Satin. I made some presets for getting that Boards of Canada sound out of chorus and reverb effects made using the tape delay in Satin.
Keeping with the Satin chorus effect put it in first and then pan back and forth with another effect (not sure if Satin could do both but that would be cool). This is surely a BoC sound used often. I can usually use Satin on a channel as a chorus (Juno 60 Chorus setting works really well),
What I am doing now with the tape effects is in my master channel where I run two or more of them in series. This simulates having a recording of a recording as BoC is rumored to have done. In effect you get a wow and flutter effect on top of another and it produces a really good effect. I use, for example, Reels first then Wow Control. Ahead of these two, I place DAC, so I have a sampler feeding a reel-to reel deck that is feeding into another reel-to-reel deck.
Drums are crunchy but not EDM-type. They have a great groove feel. I sliced the drums out of some of their songs and replicated in my own style using Nerve. BoC uses real drums for a variability that they believe cannot be replicated with machines.
I do not hear a lot of layering on the drums. Not drums on top of drums. Rather I hear the drums ran through the Akai samplers (S1000 or S3200) they are reportedly using. They also supposedly may use a Roland VP9000 sampler, but it, like most other information, cannot be confirmed.
The highs are warm in their music and this is likely a product of the normal analog equipment they undoubtedly used. You could use a saturation plugin on the high portion only. This could be Fabfilter Saturn or an equivalent that allows per-band saturation.
Possibly they also use tape for distortion, but the desk distortion and the Akai sampler distortion come through more. I used DAC on the various sampler settings, but in particular, the S1000 worked well.
Definitely, the pattern makes some sense and has the BoC vibe to it, but I tried other patterns and the drums still sound like BoC very well. So it is not the pattern that holds all of the magic. The drumkit itself has the right sounds.
Believe it or not, I have had some success using Glitchmachines stunning plugins to achieve the Boards of Canada drum sounds. Their plugins are fantastic for mangling sounds and are wildly intimidating and complex. Rich effects from subtle to other-worldly can be made of the Glitchmachine plugins and are well-worth trying.
Sample Science used to make a drum machine called Pine Forest Drums and it aimed directly at recreating the Boards of Canada drum sounds. Fortunately, you can find it again after a long while being gone.
Roland SH-101 is used. The LuSH-101 virtual synth by D16 and the Bassline 101 by TAL are both virtual synth (vst) replicas of the SH-101. Diva by U-He can be used and is very effective and realistic. Serum by Xfer can also be used to recreate the synth sounds of BoC but is not very effective. The SH-101 straight out of the LuSH-101 does not sound like BoC.
Using the TAL Bassline 101 has a better effect and sounds similar to Boards of Canada. I can get exact sounds of BoC from the TAL Bassline 101 emulation of a Roland SH-101. I suggest if you concentrate efforts on any synth, it should be this one.
Although it is only rumored to be used, a Crumar synth was identified as the synth they used in a concert by one guy who said their logo covered the Crumar logo. This synth was reportedly misidentified as a Yamaha CS-80 when in fact it may have been a Crumar.
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