Let's start with eight tracks. And listen. [MUSIC] I don't have any reverb on those tracks. In order to put reverb on one of them, I could just go to my insert, grab a reverb plugin, Set it for a play. And then adjust the wet dry ratio. Right now it's 100% wet. [MUSIC] That's 100% dry [MUSIC] About 11%, 12%, 13% would give me the impression that this has reverb on it. So let's open up a second track. [MUSIC] One is dry. One's wet. We'll copy that same wet reverb over to the second track. [MUSIC] We'll copy that over to the third track. And open up the third track. [MUSIC] We'll copy that over to the fourth track and open up the fourth track. [MUSIC] The fifth, the sixth, the seventh, and the eighth. Copying reverbs. I've got eight reverb units opened up. And let's listen to the reverb. [MUSIC] Now let's turn the reverb down. How do we turn the reverb down? We've to go to each individual unit. And make sure that we turn the reverb down or we could erase all the units and alter the volume of one and then copy it to all eight again. That is the absolute most incorrect way to do this that I can think of and I'm showing it to you to show you how CPU intensive it is because you have to open up many weaver of units. And how inconvenient it is because if I want to alter the weaver I now have to do it eight times. Another way to do this same thing would be to create a single fader. And we'll create, this is what I meant when I said the second fader, a stereo ox input. This ox input, which I've created on this track, will be called reverb or verb keep it nice and short on this fur track, I will have across my insert a re verb unit d verb and I will have a large plate the input to this track will be boss one two I will grab Bus 1 and 2 on my first vocal. [MUSIC] Now I've got reverb. And I didn't change the volume of the verb track, it stays at zero and if I want more reverb. [MUSIC] Or less reverb. [MUSIC] But the level of the vocals stays the same And it doesn't become more diffuse the way it did when the reverb was across the channel. When I played the reverb across the channel, the vocal, when it was 100% wet, was much too wet. And you could barely hear the original signal. I had to bring it down to like 11% in order to get and interesting reverb sound. The math of the this parallel processing revert. It's a little bit easier, I got more increments to work with. I'm at 11%, I can use my full scale representation on my fader to add or subtract revert. [MUSIC] Now if I want to add that revert to all of my tracks, I could copy that send over. Two, three, four, five, six, seven, eight, and open up all those tracks. All those tracks would have reverb. [MUSIC] You say, Prince Charles, let's have less reverb. I could turn the output of the reverb down, instead of doing it at each individual fader. [MUSIC] But hold on. I'm not through yet. [COUGH] Because this still is not the most efficient way to do this. Let's get even more efficient. The better way to do this will be to send all of the vocals to yet another fader in the case of multiple vocals like this. So we create a new Stereo, aux input. This would be BVGS. The input to this would be Bus 11 and 12. The output of my background vocals would be Bus 11 and 12. So output of these vocals is going to this input, and let's listen. [MUSIC] Now, I can take that combined fader and send it out to bus one and two, and put reverb on all eight vocals. [MUSIC] All at once, Prince Charles going to have less reverb? Sure. I don't have to play around with the output of the reverb. [MUSIC] I only have adjust the input to the reverb. I can pan these tracks. Let me mute this so you can see that the panning relationship will be mirrored in the BVG track. [MUSIC] And the panning relationship is mirrored in the BVGs bus. The reverb is mirrored. Let's create another effect in here. Track, new, stereo, aux input, create. The input to this track will be bus 3 and 4 Let's move it behind the verb track. Let's call it delay. Let's dial in a delay unit. And on our delay unit we will set the left side for a quarter note, the right side for a quarter note. Our tempo is 92 beats per minute. If I go to the front of the song, you'll see that it's at 92. We'll come back to 20. Let's go to our mix window. I'll open up a fader. It's going to send data out of bus three and four. So it's going to send the eight focal tracks that are going to BVGs out bus three and four, which will then hit this delay track, which will go into a quarter note delay. Let's see if we can hear what that sounds like. [MUSIC] I can extend the length of this track or the delay by giving myself some feedback on the delay unit itself, which will make multiple repeats happen, and I'm going to automate this in touch mode. And we going to start about bar 27 [MUSIC]. And i'll play it back from bar 27. That is an efficient use of time based effects. Another interesting thing about what I just did, if you look at my mix picture, all of my vocals are going into this track, to the BVG's track. The BVG's track are then sending all eight of those vocals to revert Through bus one and two. Bust one and two are appearing as the input of the reverb track and across that reverb track is my reverb. My reverb is 100% wet, It's always 100%. I never have to change that relationship. If I did I will be reintroducing original vocal on top of original vocal. So I never have to do that this will remain 100% wet. The vocals are also coming out of bus three and four hitting my delay unit through three and four, and then going into this unit and doing a bit of regeneration. The interesting thing is that if you listen to this regeneration [MUSIC] There is no reverb on my delays which could potentially give me a reverberant sound on my original vocal and a dry sound on my delays. I'm going to dial in a little bit of reverb on the delays also. Bring that up a little bit. Now, listen to the repeats To the ambient space that they're in. I'll exaggerate it on my second pass so you can really hear. [MUSIC] Now I'll exaggerate the delays. The tail's going into the reverb so you can really get a sense that something is happening to those delays. [MUSIC] I'll exaggerate it even more so you can really get a sense. [MUSIC] Eight vocals doing multiple processing, reverb processing, and delay processing simultaneously being aided by the parallel processing of an oxfader. And then the parallel processing of a reverb fader and a delay fader. Let's take a look at some more.
