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01 -- Ø§Ø®ØªÙŠØ§Ø± Ø¨Ø¹Ø¶ Ø£ØºØ§Ù†ÙŠ Ù„Ø¹Ù…Ù„ÙŠØ©
First up youâ€™ll need to focus on a specific audio part to process. Here I am using a vocal clip as I find that these effects work very well with vocals. My part is in total isolation so everything is nice and clear but of course if you are working on a project you can complete this process on one part amongst many.
With your audio selected make sure itâ€™s soloâ€™d and playing in total isolation. Now is a good time to check your audio for any faults, clicks, pops or overs. The last thing you need here are any imperfections being amplified by the processing... So make sure your audio is super clean.
ÙŠØªÙ… Ø¹Ø²Ù„ Ø§Ù„ØµÙˆØª Ø¨Ø´ÙƒÙ„ Ø¬ÙŠØ¯ ÙŠÙƒÙˆÙ† Ø¹Ù„Ø§Ø¬
The vocal we are going to process is isolated:
[Ø§Ù„ØµÙˆØª Ù…Ø¹Ø±Ù = "6187"]
02 -- Ø¹ÙƒØ³ Ø§Ù„ØµÙˆØª
Next open your audio file in your DAWâ€™s audio editor. Record now features a more fully featured editor and has quite a few options for processing, one of which is the reverse function and this is exactly what we are after here!
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Once the audio is reversed play it back to check everything is present and correct. Also double check your levels at this point and ensure that you are working with plenty of headroom, youâ€™re going to need it when the processing is applied.
Ø§Ù„ØµÙˆØª Ù„Ø¯ÙŠÙ†Ø§ Ø¹ÙƒØ³ Ù…Ø³ØªØ¹Ø¯
The vocal is reversed:
[Ø§Ù„ØµÙˆØª Ù…Ø¹Ø±Ù = "6185"]
03 -- ÙˆØªØ·Ø¨ÙŠÙ‚Ø§ Ù„Ù„ØªØ±Ø¯Ø¯ Ø£Ùˆ ØªØ£Ø®ÙŠØ±
For the purpose of this tutorial I have decided to show the effect with both delay and reverb, so I have set up two send / returns in Recordâ€™s mixer. I have used Recordâ€™s excellent RV7000 Advanced Reverb to produce a very large reverb and a dedicated delay based Combinator to pump out a tape Echo pre-set in the other.
ØªØ¶Ø§Ù Ø§Ù„Ø¢Ø«Ø§Ø± Ø§Ù„Ø¹ÙˆØ¯Ø©
Ø¢Ø«Ø§Ø± ÙŠØ±Ø³Ù„ ÙÙŠ Ø®Ù„Ø§Ø· Ø§Ù„ÙˆØ«Ø§Ø¦Ù‚
The reversed audio with reverb added:
[Ø§Ù„ØµÙˆØª Ù…Ø¹Ø±Ù = "6186"]
... ÙˆØ³ØªÙŠØ±ÙŠÙˆ Ù…Ø¹ ØªØ£Ø®ÙŠØ± :
[Ø§Ù„ØµÙˆØª Ù…Ø¹Ø±Ù = "6188"]
Ù…Ø¹ Ø§Ø«Ù†ÙŠÙ† Ù…Ù† Ù…Ø¬Ù…ÙˆØ¹Ø© ØªÙ„Ùƒ Ø§Ù„ØªÙˆØµÙŠØ§Øª Ù…ÙˆØ¶Ø¹ Ø§Ù„ØªÙ†ÙÙŠØ° ØØªÙ‰ ØªÙ…ÙƒÙ†Øª Ù…Ù† Ø§Ø±Ø³Ø§Ù„ Ø§Ù„ØµÙˆØªÙŠØ© Ù„Ø¯ÙŠÙ†Ø§ Ø¹ÙƒØ³ Ù„ÙƒÙ„ÙŠÙ‡Ù…Ø§. Ø§Ù„ØªØ£Ø«ÙŠØ± Ø§Ù„ØªÙŠ Ù†ØªÙ„Ù‚Ø§Ù‡Ø§ Ù‡ÙŠ Ø¨Ø§Ù„ÙØ¹Ù„ Ø®Ø§ØµØ© Ø¬Ø¯Ø§ ÙƒÙ…Ø§ ÙŠÙ…ÙƒÙ†Ùƒ Ø£Ù† ØªØ³ØªÙ…Ø¹ ÙÙŠ Ù„Ù‚Ø·Ø§Øª Ø£Ø¯Ù†Ø§Ù‡. ØØªÙ‰ Ø§Ù„Ø¢Ù† Ù†ØÙ† ÙÙŠ Ù…Ù†ØªØµÙ Ø§Ù„Ø·Ø±ÙŠÙ‚ Ù†ØÙˆ Ù…Ù† Ø®Ù„Ø§Ù„ Ø§Ù„Ø¹Ù…Ù„ÙŠØ© ÙˆØ¹Ù„Ù‰ Ø¨Ø¹Ø¯ Ø®Ø·ÙˆØ§Øª Ù‚Ù„ÙŠÙ„Ø© Ù„Ù„Ø°Ù‡Ø§Ø¨ Ù‚Ø¨Ù„ Ø£Ù† Ù†Ù†ØªÙ‡ÙŠ.
04 -- ØªØ£Ø«ÙŠØ± Ø§Ù„Ù…ØµØ¯Ø±Ø© ÙÙ‚Ø·
We need to export the results of our processing, and there are really two ways to go about this. You can export the whole thing, in other words the audio and effect, or you can export just the effects.
In this case I exported just the effects stream as Iâ€™m a firm believer that this method gives you much more control over the finished product and a more balanced sound in general.
Record offers some really great features for exporting very specific parts of your mix (an area from which other DAWs could learn a thing or two!). Once you have accessed the â€˜Bounce mixer channelsâ€™ area you can actually home right in on the specific effects devices and just render their outputs.
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With the isolated effects exported they are ready to be brought back into the project and mixed with the original dry parts to create the final effect.
The reverb effect in isolation:
[Ø§Ù„ØµÙˆØª Ù…Ø¹Ø±Ù = "6190"]
[Ø§Ù„ØµÙˆØª Ù…Ø¹Ø±Ù = "6189"]
05 -- Ø¥Ø¹Ø§Ø¯Ø© Ø§Ø³ØªÙŠØ±Ø§Ø¯ Ø§Ù„Ù†ØªØ§Ø¦Ø¬ ØŒ ÙˆØªØØ±ÙŠØ± ØŒ ÙˆØªØ²Ø§Ù…Ù† Ù…ÙŠÙƒØ³
The bounced fx streams can now be imported into a couple of new audio tracks. Once this is complete you can go ahead and reverse all of the audio so everything is technically playing in itâ€™s original state.
Ø¹ÙƒØ³ ÙˆÙ…ÙˆØ§Ø¡Ù…Ø© Ø§Ù„Ù…Ø³Ø§Ø±Ø§Øª
The newly imported (and reversed) effects audio will now need to be moved around so that it works nicely with the original dry parts. To do this I would strongly advise you to switch off any snap mode. This will allow you to be extremely accurate with the placement and give you a better chance of getting things right.
I generally use any obvious transients to get things in line. Although the effects have often masked much of the dynamic signature you should find this pretty straight forward and the effect files are usually pretty forgiving, so you donâ€™t have to be mathematically correct here!
Ø§Ù„Ø¢Ù† ÙŠØªÙ… Ù…ØØ§Ø°Ø§Ø© ÙƒØ§ÙØ© Ø§Ù„Ù…Ø³Ø§Ø±Ø§Øª
Once the files are all in place you can mix their levels to strike a good balance between the dry and effected files. What you should be left with is a great reverse reverb (or delay) effect. As you have all the files you also have complete control over levels, pan and any further processing you might want to apply.
ÙŠØªÙ… Ø®Ù„Ø· Ø¬Ù…ÙŠØ¹ Ø§Ù„Ø£ØµÙˆØ§Øª Ø§Ù„Ø¢Ù† Ù„Ø®Ù„Ù‚ ØªÙˆØ§Ø²Ù† Ø¬ÙŠØ¯ Ø¹Ù…ÙˆÙ…Ø§
The reverse reverb effect is mixed with the original vocal:
[Ø§Ù„ØµÙˆØª Ù…Ø¹Ø±Ù = "6191"]
ÙˆÙŠØªÙ… Ø®Ù„Ø· Ø£ÙŠØ¶Ø§ ØªØ£Ø«ÙŠØ± Ø§Ù„ØªØ£Ø®ÙŠØ± :
[Ø§Ù„ØµÙˆØª Ù…Ø¹Ø±Ù = "6192"]
06 -- Ù…Ø²ÙŠØ¯ Ù…Ù† Ø§Ù„ØªØØ±ÙŠØ± ÙˆØ¥Ø¹Ø§Ø¯Ø© Ø§Ù„ØªØ¯ÙˆÙŠØ±
Although the effects already sound great you can always take things a step further if you like. You can cut your effected files up, reverse sections, add automation and even more effects processing if you like. All this can be done without effecting the original files.
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In this case Iâ€™ve automated the pan on the delay channel and added some modulation effects to the reverb. The result is a trippy collage of sound that really enhances the vocal phrase. Now go and create your own reverse effects and see what you can create!
ÙˆØ£Ø¶Ø§Ù Ø£ÙŠØ¶Ø§ Ø¢Ø«Ø§Ø± Ø§Ø¶Ø§ÙÙŠØ© Ù„Ø¯ÙŠÙ†Ø§ ØªØ±Ø¯Ø¯ Ø¹ÙƒØ³
The final result with the extra effects and automation:
[Ø§Ù„ØµÙˆØª Ù…Ø¹Ø±Ù = "6193"]