Tag: plugin

Basics of Mixing – 9.1 Harmonics and Saturation

Hello, I’m Jooyoung Kim, an audio engineer and music producer.

Today, I’d like to talk about two crucial aspects of sound: harmonics and coloration. As audio engineers, we know from experience—and from measurements—that the audio signal changes when it passes through hardware or plugins.

For example, why do sounds processed through vacuum tubes and tape machines end up so different from each other?

It’s a topic worth considering for anyone involved in sound production: how exactly does the signal change, and why?

Of course, if it sounds good, that’s all that matters. But if we take that approach, we could say the same for EQs and compressors—if it sounds good, it’s good enough, right?

That said, this chapter will focus on explaining the devices that introduce coloration to sound.

When an analog audio signal passes through analog devices, harmonics are generated due to the non-linear behavior of these devices.

OP Amp
Vacuum Tubes

For example, when components like transistors (such as OP Amps) or vacuum tubes are part of the circuit, they create non-linear responses in the output, which results in harmonic distortion.

Legendary Marinair Transformer used in Neve Hardware (Photo from AMS Neve)

If you’re a fan of hardware, you’ve probably heard the term “transformer.” When you insert a transformer like the one shown above at the input or output stage of hardware, it creates non-linearities that result in harmonics.

This is why different components alter the character of a device, and why those who modify gear often swap out transformers, tubes, or transistors!

Why do non-linear behaviors generate harmonics? We could explain this through Fourier analysis, but I’ll spare you the math to keep things interesting.

(If you’re curious, look up non-linear systems and functions.)

Harmonics

If you’ve studied music, you might recall learning about harmonics and harmonic series in class. Generally speaking, even-order harmonics sound more harmonious and pleasant, while odd-order harmonics tend to create dissonance and can sound harsher.

So, if a device emphasizes odd-order harmonics, it will sound sharper. On the other hand, if it emphasizes even-order harmonics, it will blend more smoothly into the mix.

Now, are there analog devices that exclusively boost even or odd harmonics? Not really.

UA 1176LN Legacy Plugin that boosts only odd harmonics

As shown above, you’ll find this kind of control in plugins, but not in analog hardware.

Additionally, because of non-linear responses, the levels of second, third, fourth, and other harmonics also vary in non-linear ways.

So how should we understand these devices? Do vacuum tubes and transistors have unique characteristics?

We’ll continue exploring these questions in the next post.

Basics of Mixing – 8.3 How to Use Reverb?

Hello, this is Jooyoung Kim, music producer and audio engineer.

Last time, we explored the history and types of reverb. Today, we’ll dive into the practical ways to use reverb in your mix. Let’s get started!

When you first open a reverb plugin, the numerous settings can be overwhelming. But in reality, you only need to focus on three key parameters:

  1. Pre-Delay
  2. RT60 (Reverb Time)
  3. Type of Reverb

Pre-Delay refers to how much time passes between the original sound and the reverb effect. If the listener is close to the sound source, a larger Pre-Delay feels natural, while a smaller Pre-Delay is ideal if the source is far away.

RT60 measures the time it takes for the sound to decay by 60dB. While the decay time can vary depending on the frequency, you can generally think of it as the time for the reverb to fade out.

Reverb types are crucial because they give your mix different atmospheres depending on the choice. Knowing these basics should be enough to get you started!

Understanding Reverb Parameters
Here’s RVerb, a basic digital reverb plugin from Waves.

Time represents RT60, but what about Size? Size controls the virtual space’s dimensions, affecting the initial reflections and how the reverb tail forms.

Diffusion varies across plugins. It manages whether the reverb tail is formed by the direct sound or by the reflections. Lower values make the tail clearer and less cluttered, while higher values create a fuller sound.

Decay isn’t always present, so we’ll skip that for now. Early Reflections control how strong the initial echoes are. Smaller rooms produce stronger early reflections, while larger rooms have weaker ones. Wall materials can also affect this.

Reverbs like Shimmer add pitch modulation, Plate and Spring reverbs adjust materials, and Chamber reverbs may let you adjust mic and speaker positions.

With IR (Impulse Response) reverbs, drastic changes to settings like Pre-Delay can feel unnatural, so if you’re not satisfied with the sound, it’s better to switch to a different reverb entirely.

Reverb EQ

There’s a reason why many reverb plugins include built-in EQs.

When applying reverb, EQ is key. Think of a live concert venue like a club in Hongdae. Outside, you mostly hear bass, while the vocals are hard to make out, right? This is because low frequencies travel further, while high frequencies lose energy faster in the air.

To simulate the natural acoustics of a real venue, especially for orchestral performances, applying EQ to the reverb can help create a more realistic reverb effect. Additionally, reducing some lows and mids from the reverb will help prevent the reverb from muddying up your mix, allowing for a clearer sound.

Reverb Compression & Saturation

What happens when you apply compression to reverb? Compression reduces dynamic range, which gives the illusion of a longer reverb tail, making it feel like the reverb lasts longer.

You can also add tonal color through hardware or plugin saturation to alter the feel of the reverb. For example, sidechaining the reverb to a vocal or lead instrument can reduce the reverb when those elements are prominent, and increase it when they are not.

Gated Reverb

By using a gate, you can tightly control the reverb to match the groove of the track. Using sidechain techniques with gates or envelope followers, you can craft tight, precise reverb effects. This technique works wonders in genres like funk, but it can feel out of place in ballads—so choose carefully!

Various Reverb Uses

It’s common to use more than one reverb in a mix. For instance, a UAD Precision Reflection Engine can add artificial ambience to dry tracks, while you might apply a Plate Reverb specifically to the snare drum.

For consistency, you might apply a Hall Reverb across all elements in the mix. And don’t forget to adjust your Send Panning for spatial accuracy.

That’s about it for reverb usage! While theory helps, there’s no substitute for hands-on experience. Keep experimenting, and I’m sure you’ll get the hang of it.

Until next time, see you in the next post! 😊

Excite Audio Lifeline Modules Plugin Sale (until 9/30) and Review Part 2: Lifeline Expanse

Hello, this is Jooyoung Kim, a music producer and audio engineer.

Following the previous review on Lifeline Console, today I’ll introduce you to the plugins included in Lifeline Expanse.

Purchase Lifeline Expanse at Plugin Boutique

(If you purchase through the links above and below, I receive a small commission, which helps support the blog. Thank you! ^^)

As I mentioned in my previous post, these plugins are not resource-heavy on your computer. They’re affordable, high-quality, and come with a clean, intuitive UI, making them a solid option if you’re considering basic third-party plugins.

Lifeline Expanse is also being reviewed with NFR (Not for Resale) codes provided by Plugin Boutique.

Let’s dive into Lifeline Expanse!

Lifeline Expanse includes five modules: Format, Dirt, Reamp, Width, and Space.

The Lo and Hi options in Expanse are simple cut-off filters, so I’ll skip explaining them.

The waveform on the left shows a de-esser-like effect where high frequencies are attenuated based on the incoming signal, while the shield in the middle acts as a limiter.

Unlike Console, Expanse doesn’t add various types of saturation, but even with the filter range maxed out, it still introduces tonal changes. Now, let’s take a closer look at the individual modules.

Format

click image to buy Lifeline Format

The concept of Format is “digital distortion.”

This plugin adds a characteristic digital distortion to your source.

In the Advanced window, you can split the frequency range into three bands, adjust their volume, and even add noise. The Smooth option can make the changes less harsh.

Other key controls include Crush, which adds the distortion, and Tone, a tilt EQ centered around 650Hz.

There are four modes:

  • Degrade: Reduces the bit depth of the incoming audio, creating digital distortion.
  • Resample: Lowers the sample rate of the audio, adding digital artifacts.
  • Washed: Simulates the sound of a degraded, low-quality MP3, creating an underwater-like effect.
  • Flatten: Combines gating and bitcrushing, reducing the resolution of the audio.

Let’s take a closer look.

This is Degrade mode, where reducing the bit depth makes the waveform appear choppy in the oscilloscope.

In Resample, harmonics reflect back at the Nyquist frequency, and those oscillations can be seen on the scope. It’s constantly in motion due to added frequencies.

Washed mode just smears everything.

Flatten shows harmonic reflections, indicating a resampling effect, combined with reduced bit depth, resulting in multiple distortions.

Dirt

click image to buy Lifeline Dirt

The Dirt module focuses on “analog distortion.”

You can choose from four types: Tube, Tape, Rectify, and Fuzz. The controls are the same as in Format, so I won’t repeat the explanation.

All four modes emphasize low and mid frequencies while cutting highs. As the name “Dirt” suggests, pushing the Drive knob can make it act almost like a compressor or limiter at higher levels.

Re-Amp

click image to buy Lifeline Re-Amp

As the name suggests, Re-Amp is designed to simulate re-amping.

You can re-amp through small electronics, guitar cabinets, monitor speakers, or cassette recorders, with two speaker options in each category to choose from.

True to the re-amping concept, it allows you to adjust the distance of room and close microphones, and blend their sounds together.

Increasing the Age value causes the highs and lows to gradually roll off, eventually introducing wow and flutter effects.

The Drive knob adds harmonic distortion, while Bass Through prevents distortion from affecting the selected low-frequency range.

Width

click image to buy Lifeline Width

The Width module adjusts stereo imaging.

You can select from Haas, Mid/Side, Detune, and Mono modes.

The Haas effect, as shown in the image, uses time delays to create a stereo image. Mid/Side enhances the side channels, Detune creates a wider image through pitch modulation, and Mono narrows the stereo field, gradually converting the sound into mono.

The Stereo knob enhances these effects, and Bass Mono ensures that frequencies below a set threshold are converted to mono.

I’ll skip further explanation, as the rest of the parameters are the same as in Format.

Space

click image to buy Lifeline Space

Space is a reverb module.

You can choose from Hall, Plate, Spring, and Slap reverb types, all offering solid digital reverb sounds.

Slap, in particular, has a delay with a significant amount of feedback, making it quite versatile.

A unique parameter here is Duck, which reduces the reverb based on the incoming input signal. Other parameters are typical for reverb plugins.

Each of these modules is priced at just $11, making them very affordable. Plus, if you purchase any plugin from Plugin Boutique, you’ll receive either the Pyros distortion plugin or the Bloom Vocal Aether Lite plugin for free.

Thanks for reading, and see you in the next post! 🙂

Basics of Mixing – 7.1 What is Delay?

Hello! This is Jooyoung Kim, an mixing engineer and music producer. Today, I want to delve into the time effect known as delay.

Shall we get started?

So, what exactly is delay?

It’s simple, really. Delay is an effect that repeats the same sound with a time difference.

Why would we use this effect, though? There are several reasons, which can be summarized as follows:

  1. Using only reverb can sometimes create unnatural reverb tails.
  2. The feedback feature allows for the creation of very long reverb tails.
  3. It can add an artificial groove to a source.
  4. Special delay effects can be applied to instruments (especially common with electric guitars, and can also be used with short delays).

Effectively using delay can create a rich and natural reverb. If you’ve only been using reverb to add space to your mix, try incorporating delay as well.

I personally favor UAD’s Precision Delay because it lets you set the delay time in seconds rather than adjusting it via feedback. By setting the delay time similarly to RT60, which I’ll discuss in the reverb section, the sound can fade naturally.

Using a delay plugin to set the pre-delay instead of the reverb plugin’s pre-delay can also be effective. Especially if the reverb plugin doesn’t allow synchronization of the pre-delay time with the BPM, you can achieve a precise pre-delay using a delay plugin that does.

Setting a very short delay with minimal feedback and then filtering out high and low frequencies, while adjusting the volume, can create a subtle groove that wasn’t originally show in the source. This can add a sticky, rhythmic feel to percussion, which is particularly useful in genres like R&B and hip-hop.

Using historical replica delays can also help recreate the vintage sound of old-school or retro music.

There are countless crucial aspects of mixing, but I believe that handling reverb effectively is one of the key factors that define the quality of a sound. However, this is an area that’s hard to explain solely with words. You really have to experiment with various delay and reverb plugins to grasp it fully. It’s a challenging aspect, even for me.

Today, we’ll wrap up with this brief overview of delay. See you in the next post!