Print

Please login or register.
1 Hour 1 Day 1 Week 1 Month Forever
Login with username, password and session length

[M. Erik Matlock]

A Minimalist Approach: Effectively Using Just One Effect In The Mix
Minimizing the setup down to its core, utilizing the bare essentials to get the job done efficiently and as quickly as possible.
By Ales Stefancic • March 14, 2019

I like using spatial effects to create interesting moments in the music coming from the stage. A well-chosen reverb that supports the mood and the message of the musical content is the one “magical component” I’d have the most difficult time giving up if forced to restrict my workflow or gear options.

Reverb is also probably also one of the most qualifying distinctions between digital consoles. Getting EQ to translate from one console to the other is usually a much easier task than mimicking a reverb setting from one desk to another.

When I have time and the situation allows it, I provide myself with a palette of various spatial colors – drum room, snare plate, long drum verb, vocal plates and halls, tap tempo delays and slapbacks – that are all carefully chosen, equalized, sometimes dynamically processed and with their parameters linked to controlling encoders with meticulous deliberation.

I like prepping parameters of these spaces for songs with scene/cue/snapshot recalls and then manually adding them to the mix, following the flow of the song, the response of the room and the energy of the performers and the audience. But what happens when I don’t have the time to set it all up?

Continue reading here: https://www.prosoundweb.com/channels/live-sound/a-minimalist-approach-effectively-using-just-one-effect-in-the-mix/