I'm working on my first short film and I've been stuck trying to get my reverbs to sound right. I was honestly so happy when I found your 53 minute long video because nothing else had helped me yet. Now I have my answer. I wasn't panning my reverbs so they were all wide af. You saved me! Thank you so much for taking the time to go through all of this with us!
it's amazing how many times I can watch these videos and still get new tricks every time. the ctrl+cmd+click an insert's fader and then the minus key. sound friend crush.
Thanks for making this video. I always wondered how the convolution reverb profiles were captured. I would love to see the entire process of how it is captured and imported as a profile into a plugin, too, as I see some plugins allow you to do this.
Pretty awesome! Thank you so much for this! Surely I'll watch it over and over again but overall it makes me understand a little bit more about film audio fx. Great job!
Awesome video, thanks. Maybe I missed it but would love to know the Reverb / settings you used on the exterior of lady shouting after police. Sounded great.
How about ... I would like to know if there is any book with reverd techniques (to put it that way), or if there is any page where you explain more deeply or in detail. I would like to learn more about it, the way you explain it is amazing.
Nice video. Thanks for this great content. Do you have some links to companies that offer impulse responses? I use altiverb all the time and I'm happy with the factory presents. But sometimes I would love to have some different IRs and I found nothing with good quality on the web. Thanks
I have question about footsteps. Here you turned down the volume and increased the reverb. most of the time I do one thing more. I do some automation on Eq and bring down the HF a little bit while the character getting distance. what do you think about this?
I do not use prefader sends personally. In post they can be a bit of a pain when I try to solo tracks and end up getting all the reverb on top of my solo’d signal. I’m happy to automate the way I do already or manually print in reverb via audio suite if I need more control
@@jcjc8939 I dont usually comment to often on comparing computers because there are so many variables and preferences out there for different things but in GENERAL I'd say its not just about amount of ram and Ghz rating on your processor. Otherwise there'd be no need for benchmarks because you could just compare the numbers. The newer macs tend to be faster than the old ones and thats about as simple as it gets. The new mac mini i7 technically benchmarks faster even than the 8 core trashcan which is 3 times the cost. Now just waiting on m1 support from all the different companies to move there next.
Great stuff. Do you automate preset changes on your reverbs then per location? Also, if you want to send an effect made of many layers to the reverb, you have a send on each individual track that you automate it looks like? Could you or do you ever send a predub bus to a reverb? Or is there such a thing as a VCA for sends? Also also, do you know where I can find this stuff out without bombarding you with questions?!
Hi Matt! Thanks for the content, pretty helpful stuff! I'm working on a scene that takes place in a lab, and the whole background environment is made bit by bit. It's also being done in ambisonic, as I'm trying to scatter around this equipment ambience bed. I'm having a hard time figuring out what reverb setting I should be using on these background elements, as none of them has any natural reverb, so they're lacking a bit of depth and just general spatial cohesion. I assume a simple stereo reverb wouldn't work in this scenario. Do you have any idea what would be the best approach to fabricate such an environment? At the moment I'm using a 4 channel convolution reverb, which is okay, but there might be better solutions out there:)
Hey this is amazingly insightful. I have a question, what if we have say a bus for a cinematic reverb, sfx exterior reverb, sfx interior reverb, and so on - we seem to be creating reverbs that are shared throughout the whole project and that we then SEND to at a track level. I'm wondering say we have a scene in a treehouse another scene in a bathroom, another one in an airport, would we the need to create a new instance of a reverb on a submix and ALSO completely new sfx and dialogue tracks called "DX AIRPORT" , "SFX AIRPORT" and send them appropriately, since all the other dx and sfx tracks would be sending to say "exterior reverb" I sometimes feel it would be easier to just automate the actual reverb preset at a track level to avoid creating these extra lanes just for different scenes because that could quickly lead to a huge amount of extra tracks and reverb instances. I'd LOVE to know your approach and thoughts thoughts this.
You cant share a bus reverb, because if you need the stems you end up having dial reverb on Music or FX. Make two or three or whatever reverb buses for each bus,
Hi Matt, as always awesome video with great insights! I would like to pick your brain on a couple of things: First is do you find yourself using Pre-Fader sends in your mix? Yes, no, why? (I noticed all send in Post-Fader). Second is You mentioned the “boom” term in your template setup, Can I ask if it is possible you record a video going over your workflow for the LFE channel and what and how do send stuff to that channel? (E.g. do you create a mono send and control the LFE in a separate track? Or do you just go about using the LFE fader in the 5.1 Panner window? Last but not least, I noticed you work certain tracks in Trim mode, can I ask a bit about how do use trim mode? Sorry for the many questions and again, great video.
Te contesto algunas, por tu nombre asumo que entendes español. El pre fader lo usas para hacer un envío que no queres que sea modificado por la automatización del volumen. En mi template el beep a -20dB va pre fader a los canales de grabacion. No quiero que por error se baje el volumen. Para el LFE creas un sub path en cada uno de tus buses (dial, fx, mus) lo haces desde el I/O Setup. Después creas un bus para cada uno y asignas las salidas a cada bus (dial, fx, mus le insertas una eq con un hi cut en 120hz o usas algun plugin que te de harmonicos y que ya recortan hz). Para usarlos haces un envío en cada canal al bus que corresponda. El modo trim no soy de usarlo pero fijate que hay un video en este canal que habla de automatización y lo mencionan.
Which monitors would be a good option for starting out? Like something which I can use for the next 5-10 years. I was using the dd770s till now, but got diagnosed with tinnitus. So, planning on switching to monitors. Any help is highly appreciated, thanks a lot.
It seems like pro tools is an industry standard, but I have a question related to premiere. I've been trying to bring different audio plugins into premiere and they are often crashing my projects. For example, I can't run Izoptope in premiere without it crashing. Is this a common thing? Is there any work around and do you think it would work better in audition? I am definitely interested in protools, but my company uses adobe products. Any insight would be greatly appreciated. Thanks!
I do not. I find that the 5.1 reverb is enough for me with my music tracks. Though one thing I could try would be to use Spanner to bring the rears a little into the sides but that would be identical signal from the rears and sides which would mostly just mean more volume. The slapper delay/reverb unit you saw for my exteriors is a 7.0 though
Brilliant. There really isn't enough content on sound design out there. Very underrated craft. Thank you!
Been working as a sounddesigner for over 15 years and I can tell you... this is gold right here
I can't get enough of Matt's tutorials on sound design! Thank you, Matt
I'm working on my first short film and I've been stuck trying to get my reverbs to sound right. I was honestly so happy when I found your 53 minute long video because nothing else had helped me yet. Now I have my answer. I wasn't panning my reverbs so they were all wide af. You saved me! Thank you so much for taking the time to go through all of this with us!
it's amazing how many times I can watch these videos and still get new tricks every time. the ctrl+cmd+click an insert's fader and then the minus key. sound friend crush.
I see you have quite an elaborate I/O setup, it would be nice to see a video showing how you set it up!
These vids are golden, hope you can make some in depth toturial about dialogue mixing! (also maybe how to match ADR)
@Holden Maximus Yea, been using instaflixxer for since december myself :)
@Holden Maximus Definitely, I have been using instaflixxer for months myself :D
@Holden Maximus yea, have been using InstaFlixxer for months myself =)
@Holden Maximus yea, I've been watching on instaflixxer for since november myself :)
Magnifiscent! Thank you so much for your time and simple explanation! Means a lot!
Thanks for all these tutorials about sound design. Its precise, concrete and inspiring ; great job!
These vids are so informative and essential. Keep posting please
Nice lesson! Useful. Thanks!
Thanks again, enjoying these videos. Would love to check out one on foley as well as one on dialogue as someone else mentioned.
I've just stumbled on this channel - Excellent stuff...👍
great information in here thank you so much for the tips
Awesome! Thank you
This guy is a genius.
Thanks for making this video. I always wondered how the convolution reverb profiles were captured. I would love to see the entire process of how it is captured and imported as a profile into a plugin, too, as I see some plugins allow you to do this.
They play a sweep from 20hz to 20khz through a PA system in the location, recorded it and with some app they extract an impulse.
Great stuff! Thank you so much =)
Awesome mate!!
Thanks for making this video Matt
Brilliant. I enjoyed this very much and learned a lot from it. Thanks for creating it.
So great! Thank you!!! 🙏🏾
Pretty awesome! Thank you so much for this! Surely I'll watch it over and over again but overall it makes me understand a little bit more about film audio fx. Great job!
Love your tutorials! Thank you for this.
Thank you this videos.
Awesome video, thanks. Maybe I missed it but would love to know the Reverb / settings you used on the exterior of lady shouting after police. Sounded great.
Good job! Thanks!
How about ...
I would like to know if there is any book with reverd techniques (to put it that way), or if there is any page where you explain more deeply or in detail. I would like to learn more about it, the way you explain it is amazing.
Nice video. Thanks for this great content. Do you have some links to companies that offer impulse responses? I use altiverb all the time and I'm happy with the factory presents. But sometimes I would love to have some different IRs and I found nothing with good quality on the web. Thanks
The only one that I'm specifically aware of is the exterior IR library by BOOM. www.boomlibrary.com/sound-effects/outdoor-impulse-responses/
I have question about footsteps. Here you turned down the volume and increased the reverb. most of the time I do one thing more. I do some automation on Eq and bring down the HF a little bit while the character getting distance. what do you think about this?
Thank you so much
Do you ever use the reverbs in prefader? I find it easier to control the wet/dry signal, like you showed in the scene when the woman walks away.
I do not use prefader sends personally. In post they can be a bit of a pain when I try to solo tracks and end up getting all the reverb on top of my solo’d signal. I’m happy to automate the way I do already or manually print in reverb via audio suite if I need more control
Great insights, thank you! What computer you use to run these big sessions with so many convolution reverbs and other plugins?
2018 Mac Mini i7! Works like a little beast! A ton of people are using them because they’re efficient and relatively inexpensive
@@Myocum93 How would you compare your 2018 Mac Mini i7 to a 2012 5,1 Macpro dual 3.46Ghz with a Radion RX 580 8GB GPU with 98gb ram (6 x 16gb sticks)?
@@jcjc8939 I dont usually comment to often on comparing computers because there are so many variables and preferences out there for different things but in GENERAL I'd say its not just about amount of ram and Ghz rating on your processor. Otherwise there'd be no need for benchmarks because you could just compare the numbers. The newer macs tend to be faster than the old ones and thats about as simple as it gets. The new mac mini i7 technically benchmarks faster even than the 8 core trashcan which is 3 times the cost. Now just waiting on m1 support from all the different companies to move there next.
Amazing
Great stuff. Do you automate preset changes on your reverbs then per location? Also, if you want to send an effect made of many layers to the reverb, you have a send on each individual track that you automate it looks like? Could you or do you ever send a predub bus to a reverb? Or is there such a thing as a VCA for sends? Also also, do you know where I can find this stuff out without bombarding you with questions?!
what's the difference between, let's say, BG2's bus and BG2's VCA? they're right on top of each other but I do not know the purpose of the VCA
Hi Matt! Thanks for the content, pretty helpful stuff! I'm working on a scene that takes place in a lab, and the whole background environment is made bit by bit. It's also being done in ambisonic, as I'm trying to scatter around this equipment ambience bed. I'm having a hard time figuring out what reverb setting I should be using on these background elements, as none of them has any natural reverb, so they're lacking a bit of depth and just general spatial cohesion. I assume a simple stereo reverb wouldn't work in this scenario. Do you have any idea what would be the best approach to fabricate such an environment? At the moment I'm using a 4 channel convolution reverb, which is okay, but there might be better solutions out there:)
How do you judge/know when to use an algorithmic reverb vs. a Convolution?
Hey this is amazingly insightful. I have a question, what if we have say a bus for a cinematic reverb, sfx exterior reverb, sfx interior reverb, and so on - we seem to be creating reverbs that are shared throughout the whole project and that we then SEND to at a track level. I'm wondering say we have a scene in a treehouse another scene in a bathroom, another one in an airport, would we the need to create a new instance of a reverb on a submix and ALSO completely new sfx and dialogue tracks called "DX AIRPORT" , "SFX AIRPORT" and send them appropriately, since all the other dx and sfx tracks would be sending to say "exterior reverb" I sometimes feel it would be easier to just automate the actual reverb preset at a track level to avoid creating these extra lanes just for different scenes because that could quickly lead to a huge amount of extra tracks and reverb instances. I'd LOVE to know your approach and thoughts thoughts this.
You cant share a bus reverb, because if you need the stems you end up having dial reverb on Music or FX. Make two or three or whatever reverb buses for each bus,
I'm interested to know what's your preset for exterior reverb?
Hi Matt, as always awesome video with great insights! I would like to pick your brain on a couple of things: First is do you find yourself using Pre-Fader sends in your mix? Yes, no, why? (I noticed all send in Post-Fader). Second is You mentioned the “boom” term in your template setup, Can I ask if it is possible you record a video going over your workflow for the LFE channel and what and how do send stuff to that channel? (E.g. do you create a mono send and control the LFE in a separate track? Or do you just go about using the LFE fader in the 5.1 Panner window? Last but not least, I noticed you work certain tracks in Trim mode, can I ask a bit about how do use trim mode? Sorry for the many questions and again, great video.
Te contesto algunas, por tu nombre asumo que entendes español. El pre fader lo usas para hacer un envío que no queres que sea modificado por la automatización del volumen. En mi template el beep a -20dB va pre fader a los canales de grabacion. No quiero que por error se baje el volumen.
Para el LFE creas un sub path en cada uno de tus buses (dial, fx, mus) lo haces desde el I/O Setup. Después creas un bus para cada uno y asignas las salidas a cada bus (dial, fx, mus le insertas una eq con un hi cut en 120hz o usas algun plugin que te de harmonicos y que ya recortan hz). Para usarlos haces un envío en cada canal al bus que corresponda.
El modo trim no soy de usarlo pero fijate que hay un video en este canal que habla de automatización y lo mencionan.
Which monitors would be a good option for starting out? Like something which I can use for the next 5-10 years. I was using the dd770s till now, but got diagnosed with tinnitus. So, planning on switching to monitors.
Any help is highly appreciated, thanks a lot.
Which Console do you use? I'm thinking about getting and AVID s1.
It seems like pro tools is an industry standard, but I have a question related to premiere. I've been trying to bring different audio plugins into premiere and they are often crashing my projects. For example, I can't run Izoptope in premiere without it crashing. Is this a common thing? Is there any work around and do you think it would work better in audition? I am definitely interested in protools, but my company uses adobe products. Any insight would be greatly appreciated. Thanks!
Do you upmix your 5.1 reverbs to 7.0 or keep them in 5.1? Thanks again for this brilliant video!
I do not. I find that the 5.1 reverb is enough for me with my music tracks. Though one thing I could try would be to use Spanner to bring the rears a little into the sides but that would be identical signal from the rears and sides which would mostly just mean more volume.
The slapper delay/reverb unit you saw for my exteriors is a 7.0 though
Can barely hear what you're saying
Daw!?
Digital Audio Workstation (Pro Tools, Logic, etc)