Audio editing tutorial (cool edit)-reverb parameter!

Audio editing tutorial (cool edit)-reverb parameter!

 

[Liupin] cooledit's audio editing software is really good. No wonder a software can support a large group of people. Now we have an open-source audio processing software, audacity. I am also a member of the feature development. This software also has many highlights. You can pay attention to it, more importantly, you can learn the source code. 

Reverb Hall 1 simulates the reverb effect of a large concert hall
Parameter value range description
Rev. time2.8s0.3-30.0s reverb time
High ratio0.80.1-1.0 high-frequency attenuation rate
Diffusion60-10 reverb Diffusion
INI. dly40.0ms0.1-200.0ms latency between direct and early reflection sound
Cut-off frequency of lpf7.0khz1khz-16 kHz and thru low-pass filter
Cut-off frequency of hpfthruthru, 32hz-8khz high-pass filter
Reverb Hall 2 simulates the variant of the large concert hall.
Parameter value range description
Rev. time3.2s0.3-30.0s reverb time
High ratio0.70.1-1.0 high-frequency attenuation rate
Diffusion80-10 reverb Diffusion
Delay Time between INI. dly38ms0.1-200.0ms direct and early reflection sound
Lpf6.3khz1.0khz-16.0 kHz, cut-off frequency of thru low-pass filter
Cut-off frequency of hpfthruthru, 32hz-8khz high-pass filter
Reverb Room 1 simulates a great deal of ECHO in the cement wall room * adds a sense of presence to the drum tone
Parameter value range description
Rev. time1.4s0.3-30s reverb time
High ratio0.80.1-1.0 high-frequency attenuation rate
Diffusion70-10 reverb Diffusion
Delay Time between INI. dly5.0ms0.1-MS direct and early reflection sound
Cut-off frequency of LPFTHRU1KHz-16KHz and thru low-pass filter
Cut-off frequency of hpfthruthru, 32hz-8khz high-pass filter

 

Reverb Room 2 room1 Variant
Parameter value range description
Rev. time1.8s0.3-30s reverb time
High ratio0.60.1-1.0 high-frequency attenuation rate
Diffusion60-10 reverb Diffusion
Delay Time between INI. dly17ms0.1-MS direct sound and early reflection sound
Cut-off frequency of LPF9kHz1KHz-16KHz and thru low-pass filter
Cut-off frequency of hpf80hzthru and 32hz-8khz high-pass filter

Reverb stage is similarProgram1, but more bright, more sense of presence
Parameter value range description
Rev. time3.4s0.3-30s reverb time
High ratio0.90.1-1.0 high-frequency attenuation rate
Diffusion80-10 reverb Diffusion
Delay Time between INI. dly45ms0.1-MS direct sound and early reflection sound
Cut-off frequency of LPFTHRU1KHz-16KHz and thru low-pass filter
Cut-off frequency of hpf70hzthru and 32hz-8khz high-pass filter

Reverb plate is a steel disc-type reverb system with wide adaptability, especially human voice, drum and percussion.
Parameter value range description
Rev. time2.4s0.3-30s reverb time
High ratio0.70.1-1.0 high-frequency attenuation rate
Diffusion80-10 reverb Diffusion
Delay Time between INI. dly16ms0.1-MS direct and early reflection sound
Cut-off frequency of LPF8kHz1KHz-16KHz and thru low-pass filter
Cut-off frequency of hpfthruthru, 32hz-8khz high-pass filter

Rev ambience 1 simulates the reverberation around the instrument, used for voice, chorus, and percussion
Parameter value range description
Rev. time1.2s0.3-30s reverb time
High ratio10.1-1.0 high-frequency attenuation rate
Diffusion80-10 reverb Diffusion
Delay Time between INI. dly19ms0.1-MS direct and early reflection sound
Cut-off frequency of LPF9kHz1KHz-16KHz and thru low-pass filter
Cut-off frequency of hpf45hzthru and 32hz-8khz high-pass filter

Rev ambience 2 variants of program 7
Parameter value range description
Rev. time0.8s0.3-30s reverb time
High ratio0.60.1-1.0 high-frequency attenuation rate
Diffusion80-10 reverb Diffusion
Delay Time between INI. dly0.1ms0.1-MS direct and early reflection sound
Cut-off frequency of LPFTHRU1KHz-16KHz and thru low-pass filter
Cut-off frequency of hpf56hzthru and 32hz-8khz high-pass filter

Rev live room 1 simulates the reverb effect of the on-site room, which is stronger than the recerm room.
Parameter value range description
Rev. time2.4s0.3-30s reverb time
High ratio0.80.1-1.0 high-frequency attenuation rate
Diffusion70-10 reverb Diffusion
Delay Time between INI. dly0.1ms0.1-MS direct and early reflection sound
Cut-off frequency of LPF7kHz1KHz-16KHz and thru low-pass filter
Cut-off frequency of hpfthruthru, 32hz-8khz high-pass filter

Rev live room 2 variant of program 9
Parameter value range description
Rev. time2.2s0.3-30.0s reverb time
High ratio0.50.1-1.0 high-frequency attenuation rate
Diffusion60-10 reverb Diffusion
The delay time between INI. dly12.0ms0.1-200.0ms and early reflection.
Cut-off frequency of lpf4.0khz1.0khz-16108khz.thru low-pass filter
Cut-off frequency of hpfthruthru, 32hz-8khz high-pass filter

Reverb vocal used for voice and chorus reverb
Parameter value range description
Rev. time1.9s0.3-30.0s reverb time
High ratio0.50.1-1.0 high-frequency attenuation rate
Diffusion60-10 reverb Diffusion
Delay Time between INI. dly16ms0.1-200.0ms direct and early reflection sound
Cut-off frequency of lpf12khz1.0khz-16108khz.thru low-pass filter
End frequency of hpf100hzthru and 32hz-8khz high-pass filter

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Chorus reverb
Parameter value range description
Mod. freq0.8hz0.1-20Hz Modulation Speed
Mod. depth40 % 0-100% modulation depth
Mod. dly1.3ms0-24ms delay time before initiation of modulation
Rev. time2.4s0.3-30s reverb time
High ratio0.70.1-1 high-frequency attenuation rate
Diffusion70-10 reverb Diffusion
Delay Time between INI. dly30ms0.1-139ms and early reflection sound
Lpf6.3khz1khz -- 16 kHz, the cutoff frequency of the thru low-pass filter
Hpfthruthru, 32Hz -- cut-off frequency of 8 kHz high-pass filter
Rev. depth24 % 0-100% reverb depth

Flange reverb
Parameter value range description
Mod. freq1.4hz0.1-20Hz Modulation Speed
Mod. depth22 % 0-100% modulation depth
FB gain 45%-99 -- 99% returns erratic gain after processing signal
Mod. Delay Time Before Dly13ms0-15.5ms start Modulation
Rev. time2.4s0.3-30s reverb time
Diffusion80-10 reverb Diffusion
Delay Time between INI. dly26ms0.1-MS direct sound and early reflection sound
Lpf4.5khz1khz -- 16 kHz, the cutoff frequency of the thru low-pass filter
Hpf45hzthru, 32Hz -- cut-off frequency of 8 kHz high-pass filter
Rev. depth30 % 0-100% reverb depth

Delay L-C-R left, middle, and right channels independent delay
Parameter value range description
Dly l250ms0.1-661ms left channel delay time
Dly r500ms0.1-661ms right channel delay time
Dly c125ms0.1-661ms central channel delay time
Level C700-100 central channel latency volume
FB. dly500ms0.1-661ms latency before feedback starts
FB. gain 40%-99 -- 99% signal after processing returns the gain of latency
High ratio0.80.1-1 frequency modulation attenuation rate

Monodly-chorus single-channel delay followed by stereo chorus
Parameter value range description
Delay400ms0.1-618ms Delay Time
FB. Gain 32%-99 -- 99% signal after processing returns the gain of latency
High ratio0.80.1-1 frequency modulation attenuation rate
Mod. freq0.4hz0.1-20Hz chorus Modulation Speed
Mod. depth10 % 0-100% chorus modulation depth
Mod. dly0.1ms0-24 Ms latency before the chorus starts Modulation

Chrous-dly l c r stereo chorus followed by left, center, right audio channel independent latency
Parameter value range description
Mod. freq0.8hz0.1-20Hz Modulation Speed
Mod. depth24 % 0-100% modulation depth
Mod. dly5.9ms0-24ms delay time before initiation of modulation
Dly l26.4ms0.1-618ms left channel delay time
Dly r33.2ms0.1-618ms right channel delay time
Dly c13.1ms0.1-618ms central channel delay time
Level C600-100 central channel latency volume
FB. dly40.5ms0.1-618ms latency before feedback starts
FB. Gain-48%-99 -- 99% the signal after processing returns the gain of latency
High ratio0.10.1-1 frequency modulation attenuation rate

Delay-chrous two-level latency followed by stereo chorus
Parameter value range description
Dly 1250ms0. 1-618ms1 Delay Time
Dly 2500ms0. 1-618ms2 Delay Time
FB. dly500ms0.1-618ms latency before feedback starts
FB. Gain 33%-99 -- 99% signal after processing returns the gain of latency
High ratio0.70.1-1 frequency modulation attenuation rate
Mod. freq1.2hz0.1-20Hz Modulation Speed
Mod. depth25 % 0-100% modulation depth
Mod. Delay Time Before Dly10ms0-24ms start Modulation

Karaoke Echo 1 karaoke Effect
Parameter value range description
Dly l220ms0.1-332ms left channel delay time
FB. Gain l 40%-99 -- gain returned by the signal processed by the left channel
Dly r223ms0.1-332ms right channel delay time
FB. Gain R 40%-99 -- 99% gain returned by signal after right channel processing
High ratio0.40.1-1 frequency modulation attenuation rate

Karaoke Echo 2 karaoke Effect
Parameter value range description
Dly l220ms0.1-332ms left channel delay time
FB. Gain l 44%-99 -- gain returned by the signal processed by the left channel
Dly r180ms0.1-332ms right channel delay time
FB. Gain R-55 %-99 -- 99% right-channel signal return gain after processing
High ratio0.20.1-1 frequency modulation attenuation rate

St. pitch change two-part stereo pitch changer, there are independent audio and video parameters
parameter value range description
Pitch0-12 -- 12 pitch coarse tune
fine 1 10-50 -- 50 changers 1 pitch fine tune
fine 2-10-50 -- 50 variable 2 pitch fine-tuning
out. LVL 1 100-100 -- output volume of 100 variable 1
out. LVL 2 100-100 -- audio and video of 100 Transformer 2
Pan 1l100l100--r100 transformer 1
Pan 2r100l100--r100 Transformer 2
FB. gain 1 28%-99 -- 99% signal after processing returns the gain of mutator 1
FB. gain 2-28%-99 -- the signal after processing 99% returns the gain of mutator 2
FB. dly25ms0.1-223ms latency before feedback starts

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" male
vocal "male voice, emphasize mid-bass g 1db 2db
f280hz1.8khz5khz
q3oct3/4oct slope
"female
vocal" female voice, emphasis on high moderate sound G-1db 1db 2db
f220hz2khz7khz
q slope 33o3oct
chrous voice chorus g 1db 2db 5db
slope
q3oct3/2oct slope
"male
annoucer" male speech, added definition G-3db 2dB-4dB
f100hz4.5khz7khz
q1oct3oct slope
"female
annoucer" female speech, emphasis on audio G-3db 3db-1db
f200hz2khz8khz
q slope 1oct slope
"telephone
voice" analog phone sound, reduce high-bass G-15db 12db-10db
f500hz1.1khz9khz
q slope-like 2oct3/4oct
"Notch
4 kHz" filter at 4Hz to reduce the feedback of small G0db0db-10db
f80hz2khz4khz
q-slope 3/2oct1/6oct
"Hum
reduce
50Hz" filtering at 50Hz to reduce buzz G-9db-10db0db
f50hz160hz10khz
q1/6oct1/6oct slope
"Hum
reduce
60Hz" filtering at 60Hz to reduce buzz G-9db-10db0db
f60hz180hz10khz
q1/6oct1/6oct slope
"W. noise
reduce "reduces high frequency noise for tape sound G0db0db-13db
f80hz2khz16khz
q slope 3/2oct slope

 

Recipe for mixing
Use of Compressor:
Compressor is often used for sound mixing. In addition to keeping the overall volume within a certain range, compressor can also make sound more powerful. However, poor use may also cause the following problems.

 

1) if you make a comprehensive compress of the mix, the difference between the maximum and minimum sounds will be much reduced, the performance of the whole voice may lose the original dynamic because of the peace of mind.

2) If the highest peak level of compressor is set to approximately the same as the highest peaklevel before compression, the average level of the result will certainly increase. Subjectively, music is more energetic. However, a voice may feel louder, usually compared with a lower voice. Therefore, when compress is too large, it is dangerous to make the music sound more vocal.

3) When compressing the mix, the attacktime of compressor is usually longer, prompting instant sounds such as a percussion instrument to increase the punch, which is more powerful. This really needs to be judged by ears. Of course, what is the best setting will vary depending on the situation of each music. In addition, it should be noted that not all types of compressor can be used in the overall mixing.
Usage of exciter:
Exciter is often used in sound mixing. The principle is to synthesize harmonics based on the original signal to catch the deficiencies in the mix. Generally, such a result will make the sound more beautiful. In addition to the spectrum relative to dynamicsignal, the advantage of this function is to make the instant sound have a higher resolution, and to make the sound more standout in broadcast systems (such as broadcast and television. However, such as compressor, exciter is often abused. It must be noted that, if there is no right decision, do not use exciter at will during mixing.
Usage of the monitoring system:

In addition, different listening systems should be used for testing before finalmix is completed, including car audios and home audios. Many people prefer to use large listening speakers for sound mixing. Such volume and momentum are indeed charming, but they are not a good method. At least they must not be the only choice. Because large listening speakers are easy to mislead, such low frequencies are completely ineffective in average people's car audios and home audios. Therefore, it is best to use different listening systems for testing. In addition, avoid mixing in high decibels, which will affect your judgment on the sound, because the response of human ears to high frequencies at high decibel volume is not the same as that at low volume. In fact, the average person's habit of listening to music is usually below moderate volume.

About the use of DE-ESSER:
Compressor's intensity of input signals is an average response, whether it is a low-frequency sound or a high-frequency instrument. This is a general compressor, but sometimes we need to perform more powerful compression for a specific frequency. "De-Esser" is generated under this requirement. It is mainly used to remove or reduce the lip noise in the voice signal.

Lip and tooth sounds usually occur between 2 K and 5 K. If we find this frequency, we will increase it by 10 dB, and compressor will compress this frequency so that the number of databases at this frequency is much lower than the remaining 10 dB frequencies. This is how "de-Esser" is used to reduce lip noisy.

How to find this frequency? Here I provide a tip. You can increase the number of DBS in the high-frequency band (generally 2-5 kHz) by 10 dB, and then increase the central frequency of the knob in the high-frequency band, it is used to determine the central frequency of the EQ band in the EQ process, from the lowest frequency to the highest frequency (or vice versa). If we encounter a frequency point, you will know that this frequency is what you are looking.
If you think the mixing result is not satisfactory, you can check it using the following methods:

1. Return to the original equilibrium state, remove the EQ and effect generator, start from the beginning, and use a single channel to determine whether the State has a phase offset, and pay attention to whether the acoustic direction is correct.

2. Are there too many things at the same time? Are these things necessary? If you want them all, is there something that can reduce the volume?

3. Is the mix a little messy in the intermediate frequency or mixed with the low frequency? If yes, using EQ to make these sounds thin, it may be a bit strange for them to listen separately, but it is often appropriate in mix. For example, you can try to use EQ to take some low frequencies into consideration, so that the intermediate frequency of the mix can be improved and cleaned.

4. If you still think there is a problem, re-adjust the balance between the drum and bass, add the voice, and then add the main instrument to see if there is any improvement.

5. Be cautious when using the effect tool. In many cases, people often use too many efficient devices, or add too many reverb devices, so that signal loss or sound blur.

6. Sometimes the use of exciter in final mix improves the definition and smoothness of the sound.

7. If you still cannot solve the problem after trying the above methods, you have to repeat them several times!

8. Sound mixing is not a panacea. Sound Recording and preparation are the fundamental conditions for sound mixing!