Ableton Live Ultimate Course 18 - Reverb & Delays Video Lecture | Become the Master of Music Production: Ableton (English)

sup guys this video is all about the
reverb and delay effects the time-based
effects in Ableton
so we have our sound here not too
exciting kind of boring but we're gonna
get some cool stuff in there we're gonna
drop in our reverb so the first thing
about these kind of effects is it's
immediately split into a dry and wet
mode right and you have your wet/dry is
a mixture between wet and dry so dry is
nothing is happening it's just going
clean right through the plug-in in and
out and 100% wet is it's completely the
wet signal so it's completely the reverb
alright so the trick is just to find a
balance so ya round here okay so we have
the the original sound and the reverb
and it's put in there parallel ish and
it sounds good that way but you can do
it every one so there's a few parameters
on here that I want to bring your
attention to you have your post filter
so you can select okay I don't want this
plug-in to process any of the low-end
which makes a lot of sense to listen to
that now right and that is it's just a
pre-filter before the effect so think of
it as like adding a filter before the
effect spin is part of the reflections
we'll get into that later we have our
quality here economic mid and high
economic this is just CPU intensive
stuff it sounds different so economic
sounds like this and high would be
different different sound slightly this
is the size this is the room size of
your virtual room so if you want to go
recording room like a or like a shower
or if you want like a massive Cathedral
right you have that I'm actually going
to turn that off all right
another thing I want to bring you to is
the pre delay and this is the sound kind
of view clapped in a gym
this sound would take a while for it to
bounce off the wall get back to you and
that's basically what this is doing you
can hear that no take a while for the
sound to bounce the wall and come back
to you and that's it pre delay our decay
time is the amount that the sound is
bouncing around in the room with so a
shorter decay time it's kind of you know
you can't really hear it very long decay
time 5 6 7 7 8 2 seconds this is good to
make you know cool transy stabs and such
your diffusion this is a filter for how
the sound is bouncing around so you
don't want like full-on diffusion that's
all well and good if you want to kind of
high-pass it you only want the high end
to be bouncing around and that kind of
simulates maybe a very dense room with
like a shag carpet like a very large
gymnasium that's all shake carpet I'd be
kind of weird or if you have a low-pass
it would be you know a room that has a
hardwood floor and shake carpet all over
the walls right so so yeah this is a
conventional reverb there's different
kinds of reverbs that aren't in Ableton
like plate reverb spring reverb
convolution reverb is in Max for life
but we're not using that convolution
reverb is more like a roux modeling it
simple impulse response yeah so you have
different options for your reflections
which is sound bouncing off your
diffusion this sound kind of fading away
scale controls the coarseness of the
diffusion yeah makes sense and density
controls the diffusion networks density
all right yeah we have another thing
that's freeze and what this does is this
say if you had a room and law the laws
of physics were different and your sound
it didn't you know bounce around
interfere with each other the sound just
stayed bouncing around the room
forever and ever that's what freeze is
you have to turn off a flat in cut
alright so that'll look that your law
that will continue forever
and that is freeze and that basically
freezes the reverb and it's a really
interesting effect ok that's your basic
reverb now let's go simple delay alright
so this is you two and this is kind of
it's taking the sound and then repeating
it at a time afterwards so right now
it's a quarter bar we can have it a half
bar and you know words we can have the
top part right here is left and the
bottom here is right you can link them
so this is like a simple delight and the
feedback is the amount of time for that
sound to reach zero again so if you have
a very long feedback you can have like a
feedback delay line ninety five isn't
very long a hundred percent would be
like you know you just constantly
overdubbing stuff in let dry and wet
acts the same way you can sync them or
you know you can have a custom time
which would be like a freerunning delay
so like 17 milliseconds kind of sounds
like that right sounds kind of robotic
and has a simple delay we have next
ping-pong delay this is this is kind of
the same deal but when you when you're
delaying it bounces from left or right
so it's a stereo delay but that we have
a field there so you can hear it now
right so you hear it in the center
channel and then it goes left right
right this is a good way to get like
very a very wide sound you can you know
you can filter it out so you only get
there the delay for the higher frequency
content or the lower frequency content
but you want to do this say if you have
you know a base that has you know some
high-end fanciness and you don't want to
you know have the low end bouncing
around then you do it this way and then
again you can freeze the delay you can
offset it so say if you have like an ARP
and it's going along and if it's synced
it'll kind of cancel some of the notes
out and they'll overlap so if you kind
of offset this it'll play a little bit
before a little bit after and I'll try
to give you an example then I know
that's playing right at the same time a
little bit before a little bit after
33.3% and you get you know a neat little
effect doing that and that's ping pong
delay the same as simple delay but you
alternate left and right okay filter
delay looking at my notes here so this
is more of uh it's three simple filters
each with its only input so we have left
input only and it kind of acts the same
way we saw the same delay time we can
sync it but it's only going to the left
we can whoops didn't have it
oops we can have just the left signal go
to both signals or we can have the left
input go to the right
and you can get some weird sounds if you
have a very heavily kind of stereo it's
sound so we have left and right here and
there each kind of doing their own thing
they're gonna have a different kind of
psycho acoustic effects going on here
different delay times very neat this is
our volume here and our feedback so just
three independent filters both with
different inputs and then we have our
centered one which is left and right
going to our center here you get a very
complex delay force a trans lead or
something else so it really kind of
spice this up and we have our dry and we
don't have a wet we won't have a wet dry
we just have a dry and yeah I hope that
makes a lot of sense to you and the last
one is our grain delay now this really
isn't a delay but it has a delay on it
where is it there it is we have our
delay down here with our wet dry so what
this does is it takes the signal and
splits it up into sections or grains and
then mixes them around in a weird way
and we have our pitch in let's bounce
off so spray is it does that it's like a
scattering effect it's very scary so
this is this the grain size amount we
also have the the size and duration of
each grain so we can have very small
[Music]
large in Hertz so that's under one times
a second we have our pitch here we can
pitch the grain size down and we can
randomize the pitch this is a
randomization amount
kind of kind of easy to overdo but you
can get some really weird scary textures
feedback is the you know the delay
amount and we have a wet/dry here you
can sync it right really really weird so
each of these has its own kind of XY
controller and we can see when we move
this around we are altering two of these
at once
very neat so we can have a spray and
pitch pitches the bottom our pitch is
horizontal and spray is vertical right
or we can simply have feedback or are we
gonna have wet dry and feedback I get
some really interesting effects that way
kind of kind of not really a time-based
effect but you can get really weird
stuff out of it and that is the grain
delight and that is effects over time
typically in my opinion it's delay and
then reverb so what happens is the delay
accentuates no well the reverb
accentuates the delays reflections right
so we have the the the delay is more it
bounces around and then the reverb kind
of enhances it
right or you can do whatever you want
but typically I go delay and then revert
alright well that is a reverb and delay
time-based effects
hope you learned stuff and have a good
one