So make sure to solo a highly transient source like a snare drum and A / B the results with a compressor and transient controller as you are playing with your next mix . Obviously make sure to listen to the results in a full mix context as well . For highly intricate settings ( like a jazz setting perhaps ), the application of a transient controller to keep a snare drum sounding a bit more under control without needing to overly squash things might be just what the mix calls for .
SOMETHING IS “ IN THE AIR TONIGHT ”:
Referred to as ‘ Gated Reverb ’ or sometimes as ‘ Gated Ambience ’, this effect combines a lush full reverb with a hard gate . If you like 80s pop , you probably dig gated verbs . Developed in 1979 by producer Steve Lillywhite and engineer Hugh Padgham , the paradigm example of this effect is likely Phil Collins ’ hit song “ In the Air Tonight ”. There is a great article in MIX Magazine ( Robyn Flans , 2005 , available
here ) about the trendsetting methods used on the Face Value album , noting that the studio ’ s brand-new SSL console and its reverse talkback and readyat-hand compressors and gates combined to create a new sonic palette for Collins to explore . Just as that classic Face Value album had Allen & Heath gear in the signal chain ( creatively applied on the vocal track ), we can turn to A & H here to get of a sense of a gated verb
via the internal dLive Gated Verb plugin ( what a clever name !). As an accurate emulation of the traditional gated reverb effect plus ‘ panned ’ and ‘ powerbox ’ variants and controls to shape the envelope , adjust diffusion and width , and filter the sound , the Gated Verb can be heard
here . It brings the 80 ’ s effect right up to date with a visual representation of the gate time domain envelope .
Aside from the obvious application of Gated Verb when emulating an 80s-centric mix , a more subtle gated verb can be a nice way to fatten up just about any snare or percussive transientheavy signal without leaving behind an unwieldy reverb ‘ wash ’ in its wake . I can imagine quite a few scenarios where a subtle gated verb is the way to go with drum set toms instead of a wide-open standard reverb for instance . Mixing and matching reverb techniques and tools — perhaps a more general reverb on overheads with gated verb on toms and snare — is probably a good starting point for many contemporary worship settings .
Live sound engineer Mike Bangs ( Aerosmith , Eric Clapton , Katy Perry , Tom Petty , Kid Rock ,
Lynyrd Skynyrd ) had this bit of guidance to add when it comes to how we might think of gated reverb : “ All reverbs are ‘ effects ’ but we usually don ’ t want to ‘ hear ’ them explicitly . A gated verb is generally used to augment a sound in a conspicuous manner . The effect is clearly audible as a defined manipulation of the sound . Using a reverb more as an instrument to take stage as a featured ingredient , as opposed to subtle seasoning . Get creative with it !”
Have fun out there trying out these oftenoverlooked audio effects in your mix ! Remember that the key to a good mix is often knowing just how much is too much , though . A subtle gated verb and a little transient control here and there can take your mix from good to great . Any effect that is taken to its extremes or used in a heavy-handed manner can start to distract from the performance and get you into trouble . This holds whether we ’ re talking about a straightforward reverb or compression or more advanced specialized effects . I think that Goldilocks is probably our best guide here , not too much and not too little . We all want to mix up some audio porridge that is juuuuust right . Happy mixing !
Jeff Hawley A 20-year music industry veteran — equally at ease behind the console , playing bass guitar , leading marketing teams or designing award-winning audio products . He currently heads up the marketing for Allen & Heath in the US .