From the course: Real Recording School Weekly
Turning any sound into sonic wash - Pro Tools Tutorial
From the course: Real Recording School Weekly
Turning any sound into sonic wash
- [Instructor] In many mix sessions, there are sounds that need to be morphed into what I like to call sonic washes, keeping their harmonic elements intact, but losing any attack or temporal form. For this experiment, I decided to take a rock song and turn the bass and the main guitars into washes and see what I ended up with. First, I'll work with the bass. Here's how it was recorded initially. (bass music) Just a very clean, straight, normal bass. Now, the first thing I'll do is put a compressor on it. I want to flatten out the notes a little bit. High ratio. (compressed bass music) Alright, the next effect I'll apply is the echo, and I'll do a really fast echo, where there's lots of quick repeats. I'm trying to mimic what happens with real reverberation in a room where it's a bunch of small echoes that happen when the sound bounces off the walls. (echoing bass music) Set that around 50% wet, lots of feedback to make this splatter around. Then, I want to compress that again, flatten out the notes once again, and bring the volume back down a notch. (compressed bass music) Alright, then I'm going to use a plate reverb plugin, a little plate. This is set to 100% wet right now. (reverberant bass music) Now, we're building up some lows, especially, there, you can hear, so I'll do a cut around 100 hertz, (distorted bass music) get some of the rumble out of there, because that's going to just take over the whole mix. Now, a long echo, you see it's been tapped out here to long, 47 BPM. More wet than dry, a little bit, lots of feedback. Further obscuring, and then to smooth it out at the end, one more plate reverb, turn that on, and this one, I'll always kind of try to figure out how much of the mix, do we want it dry, do we want to leave some of that last long delay, full on wet starts to obscure everything quite a bit. How long-- (distorted bass music) and really start to change. (distorted bass music) So, you're retaining all the harmonic content, changing it in time, let's hear that back in the mix with everything. (rock music) Turn that up. (rock music) Super interesting. Let's try the same thing on those guitars. As you could hear, they're very straight, (guitar music) you know, pretty clean, doubled up, left and right. We'll start here with the compression like we did on the bass track, high ratio, once again, kind of really attack-y on those hits. Now, we'll do the fast delay. (delayed guitar music) So now it's a little bit faster. There we go. (delayed guitar music) Really obscure the rhythm of it. Now we'll compress that again, clipping the volume back a little so we don't just blow everything out, high ratio, once again, then we're going to go in the first plate reverb, how much do we want to go? (reverberant guitar music) This step, I usually go really deep, more wet than dry. Maybe not too long, though. This will be where we will go into stuff where it never stops regenerating, so that's a little bit too much, you know, in most cases. Now, the long echo, you can tell we're usually going to tap it out, something around 50, instead of 47 before, and go a little more wet than dry. Lots of regeneration, playing with the different types of tape that are on it, I can change the sound. (distorted guitar music) And then a final plate reverb here, turn that one up. And this one, I always try to figure out how much, like we did with the bass. (distorted guitar music) Starting to sound more like a movie soundtrack, right? Let's hear that in the mix. (distorted rock music) Crazy. You know, sure, there's some great sonic space creating plugins that'll do this with one plugin and a couple of presets, but with a process like this, you can create sounds that are uniquely your own, and that's really the goal, isn't it?
Contents
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Fixing clicky electric bass6m 15s
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Finding kick drum articulation5m 30s
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Identifying bad drum edits6m 50s
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How small rooms affect drums5m 31s
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Dealing with snare drum ring8m 57s
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Taming hi-hat bleed6m 49s
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Stopping hollow kick drum sounds4m 29s
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Taming boomy acoustic guitars3m 29s
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Fixing boomy upright bass4m 44s
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Mid/Side or XY drum mics?4m 51s
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Problems with multiple mics on guitar amps5m 34s
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Too much room sound on the vocals4m 14s
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Vocals with proximity problems7m 12s
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Vocals with close reflections6m 15s
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Snare compression6m 29s
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Clicky upright bass4m 44s
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Identifying bad vocal edits6m 45s
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Different overhead drum mics4m 30s
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EQing overhead drum mics2m 23s
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Drum room ribbon mic angle2m 27s
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Connect the vocal notes1m 38s
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Bass in higher registers1m 28s
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Adjusting bass definition5m 7s
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Drum overheads or front-of-kit mics?4m 32s
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How to end vocal phrases2m 11s
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Listening to different snare mics4m 4s
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Drum bleed on toms with different mics6m 32s
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Damping snare by hand during tracking2m 43s
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How to support long vocal notes2m 9s
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Two bass amp mics to audition3m 2s
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Damping drum ambience or not?5m 38s
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Roving microphones on drums6m 6s
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Stereo vs. mono drum overhead mics4m 45s
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Cardioid or omni mono drum overhead mics3m 48s
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Blumlein vs. X/Y drum room sounds4m 9s
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Quick tip on recording snare drum3m 7s
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Drum overhead compression4m 4s
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Omni or cardioid drum room mics?2m 52s
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Do different kick drum sizes matter?5m 42s
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One electric guitar tracked stereo3m 55s
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Tracking one guitar with two amps: Splitting signal3m 49s
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Tracking one guitar with two amps: Ground hum5m 30s
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Tracking one guitar with two amps: Polarity5m 58s
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Creating snare gate with compression4m 27s
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How to locate vocal plosives3m 41s
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When to set delays off tempo4m 22s
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Duck echo effects with compression4m 57s
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Automate EQ on fake strings3m 3s
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Sum to mono your low end4m 56s
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Turning any sound into sonic wash6m 1s
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Drum room mics as overheads6m 23s
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Adding spring reverb to guitar parts4m 16s
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Bass sidechained from kick drum3m 23s
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Kick drum sidechained from bass3m 35s
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Unique way to boost drum overhead mics5m 6s
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Creating sonic wash with modulation4m 39s
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Cymbal ambience and drum editing4m 48s
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Distortion pedals and bass DI3m 17s
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Drum high end in the mix3m 3s
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Kick drum low end in the mix3m 13s
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Dark bass amp with bright DI box3m 10s
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Parallel track drum edit trick2m 50s
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Bass amp and mic distance3m 6s
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Mixing with single handclaps6m
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Reamping vocals with travel speaker2m 33s
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Reamping instruments with travel speaker4m 58s
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Changing vocal sounds with real tape4m 50s
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Changing instrument sounds with real tape4m 34s
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Reamping vocals through headphones2m 55s
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Reamping instruments through headphones3m 34s
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Reverse vocal polarity while singing1m 49s
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Ribbon or dynamic mic on bass amp2m 29s
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Separate rhythm and solo guitar for mixing3m 52s
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Mixing mono electric guitar in stereo6m
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Parallel gated snare drum4m 42s
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Short delays on snare drums2m 12s
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Using Auto-Key to find a song's pitch3m 19s
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Fixing fades on an entire mix1m 14s
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Do not Auto-Tune your vocal doubles2m 46s
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Let artists control their headphone mix2m 1s
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Boosting snare hit pickup3m 2s
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Parallel vocal compression2m 36s
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Parallel vocal compression with low EQ2m 43s
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Parallel vocal compression with midrange EQ2m 19s
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Pro audio rack gear as stompboxes3m 9s
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When DI electric guitar tracks work3m 32s
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Stereo track or mono5m 6s
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Mid-side mics on acoustic guitar3m 40s
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Cardioid and figure 8 mics on acoustic guitar1m 39s
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Using a listen-back mic1m 29s
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Vocal breath edit fade tip2m 16s
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Use delay to fix percussion2m 16s
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Kick drum and bass guitar bus mix glue4m 15s
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Recording one-person handclaps3m 7s
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Speaker mic on kick drums3m 27s
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Checking mixes: Left minus right2m 49s
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Checking mixes: Mono2m 10s
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Using the console as a keyboard5m 32s
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Moving mics while reamping5m 6s
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Moving speakers while reamping3m 11s
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Real doppler drum effects2m 32s
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Moving mics around speaker reamping2m 3s
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Creating wider sounds through reamping2m 51s
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Reamping via tweeters only4m 33s
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Reamping via woofers only3m 58s
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Room reamping for echo returns6m 14s
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Reamping the whole mix for fade-out3m 7s
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Using input sheets1m 49s
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Mic’ing electric guitar for pick sound2m 36s
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EQ stereo sends to plate reverb3m 30s
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Delay before plate reverb3m 36s
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Mic’ing electric bass for pick sound3m 33s
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Using a speaker mic on bass amps3m 20s
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Tambourines all sound different1m 25s
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Monitoring on different speakers2m 55s
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Doubling guitar octaves3m 4s
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Panning vibraslap by hand1m 1s
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Percussion in stereo2m 22s
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Keeping your talkback on track2m 1s
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Foam windscreens affect sound3m 26s
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