Reverb

Diffusion and density.

The speed of sound is constant.

This is your friendly reminder that your microphone comes with reverb.

Stereo width is not one thing — it can come from microphone placement, processing, or panning. Fields vs. flashlights: two mental models for how width works in a mix.

They say monsters aren’t real, but I’m not so sure.

Your reverb has a job to do.

Whether you call it a bus or whether you call it a send and a return, the utility of running effects like reverbs and delays in parallel rather than in series is more than just a matter of resource management.

When you place reverb on a channel, does it sound different than when you put it on a bus?

Those of you who are making risers in your music are going to want to have a listen to this.

"Pre-delay is about more than just the time between the original sound and the onset of reverb, as you may have heard." Most people assume that reverb time is the factor that tells you how large a space you’re simulating, but actually there’s a lot more going on.

You have what’s known as an echo threshold.

Within the lexicon of recording and mixing, the concepts of phase and polarity are similar enough.

If you go to school to be an audio engineer one of the things they’re gonna teach you about is speaker delays It’s because of the legs so here’s the thing sound travels at roughly 1100 feet per second that works out to about 1.1 millisecond per foot my front gate.

Before we begin to discuss delay, echo, and reverb, let’s take a second to talk about the Haas effect.

Room acoustics for home studios: standing waves, bass traps, absorption panels, the mirror test for first reflections, speaker placement, and how to treat a room on a budget.

Reverb explained: predelay, RT60 decay time, diffusion, density — plus room, plate, hall, and spring reverb types compared, and why reverb goes on a send, not an insert.

Chorus, phaser, flanger, tremolo, and distortion explained — how each modulation effect works, the difference between saturation and clipping, and when to reach for each one.

When you first begin to learn about rhythm, you’re taught to think like a metronome.

Leveraging the polar pattern on a microphone isn’t always as straightforward as you might think.

First, let’s start with the obvious.

Why sending a stereo source to a mono reverb return often sounds better than stereo reverb on everything — and how it keeps your mix focused.

After the onset of the original sound, the anatomy of a reverb occurs in three distinct stages.

Jack Nietzsche used to say, "Reverb is like garlic." You can never have too much.

One thing that tends to confuse new engineers is the difference between phase and polarity.

Reverb. I am brimming with things that I want to say about reverb. There’s no way I can put this into 60 seconds, but effects mixing and synthesis starts next…

A producer today is like an island and to me nothing epitomizes that more than the topic of automation.

This little unsung hero is part of my workflow in Logic and it’s called Create Track.

You could imagine the way this space sounds.

The flutter echo is created when you have two parallel surfaces.

Feeling stuck when you’re working on melodies and phrases, there are lots of home remedies for this, but they usually involve the same thing, which is to somehow kickstart your process and get you doing something new.

So the challenge is to make something every day and not worry how it comes out.