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Everbeatz 18th November 2009 02:48 AM

Mixing/constructing virtual ambiance
In one thread before I read a post from Gregory UBK about mixing and constructing virtual space/ambiance and to start mixing from there first.


Most recent: mixing the ambience rather than the sounds. Building up a coherent holographic 'space' by pushing and pulling faders until it goes from 'nothing' to 'solid enough to touch'.

It's a delicate balance, until it isn't. Some guys will know what I'm talking about here.

It'll work for sampled/electronic arrangements as well, you just have to use two or three reverbs to construct the virtual space, then use your sends and pans to place your element in that space. Then you mix the spaces.

Gregory Scott - ubk
I recently started experimenting with that and I really like that approach as it differs from standard one where you add reverbs after. Helps establishing depth better IMO

Any thoughts and maybe more details ? Does any of you approach to it this way?

aaeronn 18th November 2009 05:39 AM

I don't know if you are looking for musical examples as well as tips, but Steve Roach lives in those spaces (literally) - imho he's one of the masters of this type of sound

and Thomas Koner

Thomas K├Âner

and Stars of the Lid

Stars of the Lid

and Pete Namlook (FAX label)

FAX +49-69/450464

I use a KSP8 running 2 - 4 independent stereo reverbs (4 x stereo in , 4 x stereo out via optical) of varying sizes and depths - and don't forget the EQ . Usually mixing 100% wet ( little or no original signal) to begin building the space. It does take a lot of experimentation and critical listening to keep the layers independent - very easy to have it wind up a big muddy mess. I find that most of the work is in setting up the reverb programming ( and EQ'ing - on both the input and output side) and delays to keep them distinct. Panning and volume are just as important to get that multi layered deep and wide sonic signature. UBK nailed it - much more eloquently than myself.

Everbeatz 18th November 2009 07:21 PM

thanx for your input aaeronn!

It seems easier to do than it actually is, as you said - you can get mess quite easily

I think it should be a nice balance between mono and stereo verbs and the amount you feed verbs with various sources - certainly takes time to practice

I really expected more feedback on this thread, but what can I do..jummpp

u b k 18th November 2009 09:10 PM

Try 3 mono verbs, panned LCR. Use different algos/units for each verb, & make the side verbs darker and longer.

Gregory Scott - ubk

Everbeatz 18th November 2009 10:19 PM


Originally Posted by u b k (Post 4797556)
Try 3 mono verbs, panned LCR. Use different algos/units for each verb, & make the side verbs darker and longer.

Gregory Scott - ubk

Thanx for the input Greg!! Much appreciated.

I think I have to work on this as I suck at using verbs in a way they blend nicely with the track. I assume finding right combination of algos, eq-ing them differently, placing sounds in that virtual space, mixing them so they don't sound like having too much verb on is a skill that have to be developed over time. I tried this way and I really like how it sounds - tracks are glueing better and overall it sounds a bit warmer. It gives me more ideas how to manipulate those sends/returns in different sections of the song as well

u b k 18th November 2009 11:19 PM

It's a great technique, I think it allows you to get top-shelf level verb using plugins or hardware that is otherwise just 'okay' sounding.

It can also be helpful to have all 3 verbs returning on their own buss, so you can compress/eq and automate/fade them as a single entity.

Gregory Scott - ubk