On the far right, the usual Dry and Wet faders adjust the ratio between the reverberated signal and the original (dry) audio at the output. You’ll find your standard Attack and Decay time controls which determines the onset and duration of the reverb reflections, as well as your standard Size and Density controls which further alter the room model choice. You can toggle the dancing rainbow of frequencies on and off with the small particle button on the bottom right hand corner of the Damping EQ’s graphic display.Īlong the bottom of the Main panel you’ll find a series of what we will refer to as the Front Panel Controls for now. While it’s definitely a little more flashy than it needs to be (the particle effect isn’t particularly useful in any technical terms as far as I can tell), it is a great way for pros and beginners alike to grab a visual of a particular reverb damping curve and customize it with a few clicks and drags. Those bright colors are analyzing the frequencies of your reverb response, allowing you to customize the tone to taste.įor example you might want to ditch some of the low frequency reflections in your reverb sound to clean up the overall mix and open-up the top end. The large Damping EQ with those bright bursts of color allows you to essentially carve out the reverb tone on your tracks just like any other traditional EQ. These are accessed through the large pop-up menu in the top-center of the UI above that un-mistakable graphic EQ/filter. So while it might not offer up as much customizable rooms as Space Designer in this regard, there is a wealth of options available here for both standard spacial processing and more creative indulgences. You’ll find everything from traditional options like rooms, chambers and halls to more unique spaces like digital, bloomy, and strange room. You can think of these as the overall sound or tone of your reverb. The entire interface is basically split into two sections: Main and Details (both of which are selectable from the top right hand corner of the UI).įirst let’s take a look at the various reverb models available. You’ll find all your basic reverb controls here from a basic envelope and distance settings, to more interesting features like an extra long decay/freeze setting and the incredibly simple to use graphical filters. Its powerful IR based spaces (think sampled room tones/conditions) and time-based filtering can make from some insane ambience and even chaotic noise, but ChromaVerb is about as rock-solid and easy to use as it gets. Space Designer has always felt a little overkill for musicians just trying to setup a solid reverb Send for a mix. ChromaVerb certainly isn’t as advanced or complex in its functionality as something like the Space Designer, but therein lies its strongest features. Last time we took an in-depth look at the new multi-effects units built-in to Logic (Step FX and Phat FX), and now it’s time for the new ChromaVerb.Īfter the considerable amount of work gone into the Space Designer reverb plug-in over the last number of years, we really didn’t expect to see a new flagship reverb like this. Apple’s flagship music production software was the recipient of a massive new (and completely free) update a couple weeks back with loads of new features and gear. Play around with the curve and the different dials and effects in the popup window.This week on Logic Pros, we are continuing our deep dive into all the latest new features in Logic Pro X v10.4. In our example, we named it “snr vrb” for “snare verb”.Ĭlick on the plugins section and add reverb. Click on it, and select “ Bus > Bus 2” to create an auxiliary. In your mixer, above “ St Out” and beneath your plugins is your bus section. Add effects, transpose sections, whatever your artistry compels you to do.ĭon’t forget to relabel “Audio Track 2” at the bottom of the mixer. Once they’re on your new channel, you can play around with them. Then we selected all sections with a snare by clicking on them whilst holding shift and clicked and dragged them to our new channel. In our tutorial, we decided to add reverb on the snare in the sample.įirst, we created a new channel by clicking on your existing channel and hitting “ Cmd+D”. Now that your sample is cut up, you can separate instruments into different channels. Hold Ctrl and click on the first eight or sixteenth in the channel strip of your sample to divide it by 8ths/16ths.ĭelete sections that don’t have anything in them. With your channel selected, hit “ T” on your keyboard to bring up the tool menu, then hit “ I” to select the “ Scissors Tool” You can create a much sharper sound by deleting parts of the sample.
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