KVR Members Attemps:kilroy's Original Post wrote:First, create three auxiliary channels in which to place your FX. Choose a multi tap delay line you like, and place it in the aux 1 channel. Place a reverb in the aux 2 channel, and in the aux 3 channel, place a nice clean chorus. Turn the wet/dry balance in the delay, reverb, and chorus plugins to fully wet. On the source channel, set aux send 1 to the delay to "pre-fade". On the delay line auxiliary channel, set the send to the reverb to pre-fade. On the reverb auxiliary channel, set the send to the chorus to post-fade.
Now, to begin with, mute the reverb and chorus channels, and send some source signal to the delay line. Adjust the panning, filtering, and times of the taps until you get something you like, and use the fader on the delay auxiliary channel to get a pleasing balance.
Next, unmute the reverb channel, and send it some signal from the delay line channel. If you want to bury the delays deeper into the reverb, lower the fader on the delay line channel.
Unmute the chorus auxiliary channel, and send it some signal from the reverb channel. Use the channel fader on the chorus auxiliary to balance the amount of chorus in the overall effect. The chorus is largely responsible for creating a huge lush wash. I prefer to use a chorus that allows you to actually pan the individual chorus elements...if one is available.
The signal level sent to this whole setup is controlled by the delay send on the source channel. Once you get an overall blend of the FX that pleases you, lowering the level of the source channel fader will sink the dry signal deeper into the ambience. I usually assign the FX auxiliary channels to a master buss so I can control the level of the FX chain while preserving the overall balance of the mixed FX. Soloing the FX channels can be helpful in fine tuning the chain, and I will very often EQ different elements to achieve the character and density/clarity I desire. Depending on the circumstances, I will sometimes set up a second aux send in the source channel and throw a wee bit of post fade source signal to the reverb for a little extra fill and thickness.
It will take a bit of patience to set this whole thing up, and of course, a bit of messing round to familiarize yourself with this, but once you get used to it, you can take the basic idea and go to even greater ambient extremes.
Hope this is a better explanation...and here is a *very* ambient example of this processing on a bit of an acoustic guitar part.
Processed: www.headroomproductions.com/Audio/DeepSpaceGuitar.wav
Unprocessed: http://www.headroomproductions.com/Audi ... oustic.wav
Zircon: zircon-universe.mp3 || Original Post
Gsoto: gsoto_epbox_dry.mp3 || gsoto_epbox_wet.mp3 || Original Post
My attempts:
Unprocessed Flute
Processed Flute
Unprocessed Pad
Processed Pad
Helpful Hinst:
1. Take the processed guitar that kilroy processed. Take the last strum, cut it out, paste it in its own track. Fade in that strum and process it into your reverb chain. Now you have a huge reverb tail going through your reverb chain. This is your reference now. Play the reverb tail from Kilroy's processed guitar so you get your reverb chain going with its own reverb tail. Stop the playback of kilroy's tail and see if your own reverb tail sounds good without kilroy's tail going through the chain. Ack, it's hard to explain.
2. Delays should conpensate for reverb tails not being long enough by having a high feedback.
3. Delay should not have a filter on.
4. Reverb would benefit from its own internal modulation. If you reverb has no modulation parameter, you'll have to do more expirimenting than I did.
4. When you leave a reverb tail to completely dissipate (which will take like 15 seconds) it's good to modulate the volume of aux 3 downard so that the tail doesn't sound chorusy at the end, but more smooth and realistic... unless of course your setup makes the entire reverb tail sound good. For me, I should do this.
5. For the pad, I sent source signal directly into Aux 2 and did a send effect to Aux 1. The pad is therefor fully wet reverb with source going to the delay.
