Pre-delay values ranging anywhere from 5ms to 60ms are fairly standard. This quarter note value can then be further sub divided until a suitable pre-delay time is achieved. Milliseconds per minute / Project Tempo = milliseconds per beat (quarter note) This can be achieved using this simple formula: timed pre-delays can help us to blend more reverb into the track without it being as noticeableįor this tutorial, we will focus on syncing our reverb to tempo in order to help it blend into the track and work more naturally with the groove.can be set to fit in time with the tempo of the track to enhance the groove.Can be used to create a distinct slap-back type reverb/echo.Adds separation between the direct sound and start of the reverb.Keeps parts sounding up front, even in a large space.Helps to add clarity and intelligibility.The pre-delay can do a whole lot more than just define the dimensions of a given space, it also has a range of other uses which can be more easily understood when visualised. Therefore the early reflections are always going to be the driving factor for creating a sense of the dimensions of the room. There is no real life space that would have late reflections without early reflections. Whilst the late reflections do play a part, they also have a lot to do with other elements such as the shape and surfaces of a room. The reason for this is because the early reflections coupled with pre-delay, are the parts which define the dimensions of a room. Whilst Late reflections do play a part, they also have a lot to do with the shape and surfaces of a room. Because the early reflections coupled with pre-delay are the parts which define the dimensions of a room. This will help in some ways, but it’s actually much more logical to use the pre-delay and early reflections wisely before touching the late reflections. Many producers will instinctively reach for the reverb decay time when trying to create a large space. Late reflections are generally thought of as a much more diffused sound that blends together in a way that it feels like one unified sound as opposed to hundreds of distinct echoes. Think about standing outside a nightclub and hearing the kick and bass from outside and this will become more apparent When simulating larger spaces, rolling off the high frequencies of the late reflections can lead to a more realistic and natural sound because higher frequencies are more prone to dissipation over a distance due to having much shorter wavelengths, whereas lower frequencies carry further due to having more energy and longer wavelengths. These characteristics let our brains know the difference between clapping our hands in a tiled bathroom or a cathedral. How the sound reacts depends on the shape and size of the room, types of surfaces and also what is inside the room. The sound may reflect, dissipate (be absorbed and lose energy) or diffuse (split and spread in different directions). Longer early reflections that are spread out indicate a larger space such as a hall.Īfter the initial early reflections, the sound will carry on bouncing off the surfaces within the room. Generally speaking, tightly packed reflections indicate a small space. The nature of this cluster such as how many reflections there are, how tightly packed they are and their frequency content will depend entirely on the shape and size of the room as well as the location of the sound source and listener within the space. They will come in a small cluster (one for each wall or surface). Early ReflectionsĮarly reflections are the first set of distinct echoes caused by sound waves bouncing off of nearby surfaces and room walls. ![]() This answer can then be multiplied by 1000 to move the decimal place 3 places which converts seconds into milliseconds. ![]() but if we have an idea of the size of our room (the distance) then we can transpose this formula to get the pre-delay time in seconds T=D/S We as producers may not know the pre-delay time. The longer distance travelled means that there will be a slight latency or time delay. The pre-delay is going to take longer to get to the listener’s ears because it has to take an indirect route via one of the walls of the room first. In this case the distance is the time it takes the sound to reach the closest wall and then bounce back to the listener.
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