Top 10 Vocal Effects Tricks and How to Use Them
GET YOUR FREE VOCAL PRODUCTION CHECKLIST: 47 THINGS YOU NEED TO DO WHEN YOU PRODUCE VOCALS
The easiest way to make your vocals stand out in a song is the clever use of vocal effects to make the singer jump out the speakers.
Whether you’re looking for parallel processing tricks for larger vocals, cool slapback echoes, advanced double-tracking or aggressive megaphone effects, you’ll learn them in here.
1. Vocal Widening Trick
When: For subtle widening of vocals to add depth across the stereo spectrum.
How: Send the vocal to a bus, add a compressor and a stereo widener. Add in the stereo widening until the vocal starts sounding larger
2. Tape Slap
When: For a live-sounding studio feel. It makes the vocal sound like it’s recorded in an old-school studio with the instruments all around it.
How: I use the Kramer Tape plug-in and use the slap/delay section to add it to the main vocal without using it as a send. You can replicate this without the Kramer tape by using a slap echo and some analog saturation.
3. Advanced ADT and Depth without space
When: Use this technique when you want vocal depth without space. It’ll make the vocal larger and more present without adding any reverb tail that could clutter up the mix.
How: Send the vocals to a stereo delay with 21 ms on the left and 29 ms on the right. Then use a pitch-shifter to detune or pitch up the vocal about 10 cents. Add the send under the main vocal track until you’ve achieved the desired ambience needed. An advanced way to do it is with two mono delays panned hard left and hard right with one pitch shifter detuning the vocal 10 cents while the other pitches the vocal up 10 cents.
4. Diffusing Delays
When: Sometimes you want to soften up a delay and make the delay repeats sound smoother.
How: Add a reverb after the delay bus and add a shortish delay so that every delay repeat will get diffused by the reverb.
5. The Importance of Pre-Delay
When: Pre-delay can make the reverb sound bigger without getting in the way of the vocal because it’s essentially delaying the effect of the reverb by the number of milliseconds you choose.
How: Most reverbs have a pre-delay setting. Tweak pre-delay to 20 – 40 ms to hear how the reverb pushes back away from the initial phrases of the vocal.
6. Comping vocals for Perfect Doubles
When: Singers can’t always double their takes perfectly. If you have the ability through editing, you can make the vocal track stronger by tweaking the phrases to match exactly. This is especially easy with modern flex-time editing tools. You’ll end up with a perfect double instead of two vocal tracks that sound slightly out of sync with each other.
How: Depends on what DAW and what tools you have at your disposal, but the goal is to line up the phrasing exactly to the main vocal track.
7. Parallel Compression with EQ
When: If you want to retain the dynamics of the main vocal track but add thickness and punch, you can add multiple compressors in parallel to get the best of both worlds.
How: Send your vocal to two different compressors, an 1176 FET style compressor and LA2A Opto compressor for instance. Then blend the compressed vocals underneath to taste. The different compression styles will process the vocal differently so you might want more of one than the other.
8. Side-chain Vocal Effects
When: If you want a lot of space around the vocal, but you don’t want to clutter everything up with reverb you can side-chain the reverb and delay to duck out of the way whenever the singer is singing.
How: I talked about this technique in detail in An Advanced Vocal Production Trick You Need to Try.
9. The 100 ms Delay Effect
When: This is another vocal effect that’s more about adding depth than cluttering up the mix with too much reverb or too many delay repeats.
How: Add a 100-millisecond delay with one repeat. Add it underneath the vocal. Simple as that
10. Megaphone Effect
When: For that propaganda vocal effect!
How: Use a high-pass filter and filter out all the lows and the low-mids until about 3-400 Hz. Add a low-pass filter and filter out all the highs down to 2-3 kHz. Find a couple ugly frequencies and boost them. For an even more drastic effect, add some gentle saturation for some real grainy sounding vocals. This actually works surprisingly well on hard rock as an effect.
Get the Step By Step Vocal Effects Video Inside Mixing With 5 Plug-ins
Now that you’ve read the article on these top 10 vocal effects, it’s time to watch the video.
The video will show you exactly what to do, and in which genres certain effects work better in than others. This masterclass is a collection of ten different vocal production tricks I use in multiple different genres – folk, rock, and punk to name a few – that help me make vocals stand out and sound more professional.
It’s all available inside the bonus vault of Mixing With Plug-ins you can check out here.
Studio One: 'Heroes' Effects With FX Chains
Inspired by Tony Visconti’s famous gated room mic technique on 'Heroes', we look at how Studio One’s FX Chains can be used to set up complex dynamic effects.
Many people are familiar with producer Tony Visconti’s famous gated room mic technique, which gave the world the reverb sound heard on David Bowie’s ‘Heroes’ lead vocal. Visconti set up three mics at different distances from Bowie, then gated the two more distant mics such that Bowie’s voice only triggered the distant mics’ gates when he sang louder.
That was then. Now, you can just set up something like that right in Studio One, and that’s exactly what I’m going to do this month. Our virtual ‘Visconti machine’ substitutes digital reverb for the wonderful Hansa Studio acoustic reverb he had available, and involves three signal paths.
All signals go through the Room Reverb on the left, which is set to a tight ambience, basically just adding a bit of body and width. The middle signal path runs through a gate that does not open for soft sounds, and a reverb that is more or less a large room or small chamber size. The signal path on the right is set to only open the gate for loud signals, which then feed into a large cathedral reverb.
This kind of setup works well as a send effect on a vocal or solo that hits only one or two peak notes. If the large reverb in this version (for the loudest notes) were less extreme, one could get closer to Visconti’s ‘Heroes’ sound. (Alternatively, you can get closer still by buying Eventide’s T‑Verb plug‑in, which is designed as a one‑stop recreation of the ‘Heroes’ effect.)
In this example, I built the entire effect in the channel editor of a single FX channel, but it also could be built using three separate mixer channels, for greater control at the expense of more clutter. Studio One ‘hard‑wires’ bus and FX channels to the busses that feed them, so if you take this approach, you’ll need to have three sends on your source channel, rather than just one, as in my example.
There are a few high‑level issues to note at this point. First, I’m not going to lie to you: there are a lot of settings in this effect that need twiddling to get it to work smoothly. Some of that twiddling is for handling chatter right around the threshold. Setting gate thresholds is a sensitive business, and gate attack times may need to be lengthened to soften reverb entrances and exits. Likewise, reverb parameters, including reverb attack times and pre‑delays, must also be set appropriately for smooth entrances and exits.
In Screen 1 (above), two of the reverb outputs are compressed, something that tends to emphasise entrances and exits, but with the parameters set well, the transitions sound clean, resulting in a sound that has impact but nonetheless is smooth. (Of course, if you are actually looking for blatant and exaggerated entrance and exit sounds you should ignore all of these suggestions for smoothness!)
More Is More
Once you have the basic structure figured out, it’s easy to think of other applications for this sort of multi‑effect setup. For instance, Studio One has no bundled plug‑in that makes simple, precise, stereo delay easy to accomplish. In fact, while there certainly are plug‑ins well‑suited for this fairly basic application, a surprising number are so oriented towards wilder effects that it takes a few workarounds to set up two simple delays for image widening. Instead, I just reached for the wonderful Eventide UltraChannel, which has not only a stereo delay section that is easy to set to short, sweet delays, but also a micro‑pitch shift section that excellently performs one of the original Harmonizer’s most popular tricks: widening mono signals.
All signals pass through this initial stereo‑ising stage (remember that the whole chain is a send effect, to be summed back with the original). Medium to loud signals open the gate on the left leg that flows to a medium room reverb, heavy on the early reflections. Loud signals pass through the right leg as well, where they hit a rhythmic delay set to at least a quarter note of delay.
It only takes a few minutes of playing with either of these ‘Visconti machines’ to appreciate the impact of the signal dynamics on the success of the effect. Visconti’s idea worked so well on ‘Heroes’ because Bowie’s vocal started off pretty restrained and ended up, well, not so restrained. Signals that don’t have a lot of dynamics don’t work these effects in interesting ways, so think about feeding uncompressed signals to them and compressing elsewhere, if desired.
Less Is Less
Taking things a step further, can it work the other way around, so that louder signals end up with less processing than softer ones? Yes, it can. As before, though, you need to spend some time tweaking settings to get this to perform well. What we want to do is decrease effect gain as source signal gain increases. This is a job for ducking, and that is what you see in Screen 4.
What you can’t see in Screen 4 is that the source signal is routed to the side‑chain inputs of both compressors, so that it triggers gain reduction. Very soft signals get reverb and delay, but the reverb falls off when the level rises above very soft. The delay hangs on until the signal is still louder and then finally gets its gain reduced. In case you’re wondering why the compressor is before the delay and reverb outputs and not after, I tried it both ways, and found that with the compressors after the effects, both effects were being fed by the source all the time, and the compressors were really just reducing the degree of chaos when both effects were going full steam. I was looking for something a bit less jarring than that, and putting the compressors before the effects produced a sound that was less responsive to the source signal, but had more seamless and musical transitions.
More Or Less
You can even take both approaches simultaneously, so that quiet passages trigger one effect and loud signals another. In Screen 5, the signal gets split to two Groove Delays set to different rhythms. One delay has a gate on its input, so its echo rhythm only appears with louder signals, while the other has a ducking compressor on its input, so that its rhythm recedes when the level goes up. This ends up feeling something like velocity switching between the two delay rhythms. Setting gate and compressor thresholds and attack and release times defines the amount and nature of overlap of the two rhythms. Even more interesting phrasing can be added using the filtering available on each of the taps of the Groove Delay to basically make each tap a distinctive tone.
Still looking for another option? Rather than setting the delay plug‑ins to complementary rhythms, one delay unit could be set longer and more open for quieter signals, with a tighter room reverb that kicks in on loud signals.
The idea of effects that respond to dynamic changes in the input signal has been around for a while, but few single products have fully exploited it. There are a lot of cool things you can do with these structures, but the down side is that they typically require some fine‑tuning in order to make them pay off. Fortunately, there are two particularly convincing reasons to build dynamic effects in Studio One. First, Studio One bundles some very good effects that provide plenty of interesting creative opportunities when used in this fashion, and second, an entire effects ecosystem can be built in a channel editor and saved as a single FX Chain, to be grabbed and modified the next time you want a dynamic effect. It’s really a pretty cool idea, so the next time you see Tony, don’t forget to thank him.
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How to record vocals with Studio One
In recent tutorials, we’ve walked through the basics of composing, mixing, mastering, and Studio One’s built-in instruments, but there’s an important process that we’ve yet to cover: recording. Let’s spend the next few tutorials helping you better understand how to record using Studio One, from the basics to some intermediate and advanced setups that’ll help get the best out of your drums, guitars, pianos and more. This month, however, we’re kicking off with an instrument a little closer to home: the human voice.
To set up and record vocals, you’ll need a microphone. There are many low- and high-quality microphones out there, ranging in price from as little as a tenner to tens of thousands. There are many kinds of microphone, and they all work on vocals, but the four main types to consider are: dynamic mics, condenser mics, ribbon mics and USB mics.
Each of these microphones can handle vocal recordings but, for the purposes of this tutorial, let’s focus on low-cost, high-quality dynamic and condenser mics. For vocals, it’s generally best to use a condenser as they are more sensitive and capture detail and nuance; however, some singers might need to take hold of a mic to give their best performance or might simply want a grittier sound. In both cases, you’ll want a dynamic mic.
Condensers and dynamics typically feature a cardioid pickup pattern, which means the mics mostly pick up sounds in front of the capsule, and reject sounds coming from their sides and rear. Some condensers have options like multiple-pickup patterns (figure-8, omnidirectional and hypercardioid), high-pass filters, and even pad switches to reduce the sensitivity allowing you to record louder sources. These options provide loads of flexibility in the studio.
Experiment. Listen. Choose what sounds the best for each singer.
Studio One set-up
Now you’ll need a solid mic stand and stand mount. Stand mounts are available in a variety of shapes and sizes. The best option is a suspension mount, which should minimise noises coming from the mic stand itself. You’ll also need a pop screen (known also as a pop filter) to reduce plosives such as P and B sounds, which sound terrible and can ruin otherwise excellent vocal performances, and to stop spit from hitting the mic. Fix your pop shield approximately five inches from the front of your microphone.
Connect your mic to an audio interface and feed your signal into Studio One. Having someone sing through a song or just practise scales or warm-ups while you make adjustments will help when it comes to setting the gain of your mic at the interface. Once you’re satisfied that the input levels aren’t peaking at the preamp, it’s time to get into Studio One.
Studio One’s varied toolset should help you get 90 per cent of the way towards great vocal recordings. Open the DAW and create a new audio track. Switch it to mono and label it ‘Vox – Lead’. We can choose a preset at this stage, too. PreSonus provides some excellent starting points for vocal tracks and allows you to get started quickly. Just tweak to taste!
Before recording, make sure your vocalist has a good headphone mix. In Preferences > Song Setup, add a new stereo output and name it. Tick the Cue Mix box next to the output name, creating a Cue Mix in the mixer. Now go to the mixer and you’ll see cue sends at the bottom of each channel. Their faders will be set to the same mix as the channel faders. Moving these sliders will unlock them and allow you to change the mix if, for example, the singer wants less drums and bass and more guitar in their headphones. Changing cue-mix faders adjusts the level of each track in the headphones, while your mix remains the same.
Click the outputs toggle to open the headphone output. Here, you can turn on and adjust the volume of the headphone mix or turn on and adjust the click for the headphones only. You can also add a reverb send to the vocals if your vocalist needs some sweetening in their headphone mix.
With a suitable headphone mix, make sure the performer is positioned properly. The mic should be 6 to 10 inches away and at least 2 to 3 inches above the singer’s mouth. User your ears and see what sounds best. And always be in record – even for rehearsals. You never know when a singer will strike gold.
For backing vocals, try a different microphone or rotate the mic’s axis. This can change the tone enough to keep the lead and backing vocals from competing for acoustic space.
For group vocals, try a figure-8 or omnidirectional mic setting. With omni, you can have singers circle the microphone. Experiment with moving louder vocalists further from the mic and softer singers to the fore. For figure-8, have singers in front of and behind the microphone and experiment with distancing.
These are just the basics of vocal recording. Experiment. See what works for you.
Recording vocals with Studio One: step-by-step
1. Before beginning a session, make sure your mic is attached securely to a mic stand using a microphone stand mount. Suspension mounts such as (a) and (c) are the best options.
2. Place a pop shield in front of the microphone and, if there’s too much room noise, place a reflection filter behind the mic.
3. Place the pop shield about five inches from the microphone capsule, which should keep plosives and saliva from sullying your recording.
4. Position your vocalist between one and six inches from the pop shield, depending on the amount of room tone you want in the recording. The further they are from the mic, the more of the room you’ll record.
5. Open Studio One and create and name a new mono audio track. You can also choose a track colour, preset and input at this stage.
6. Studio One’s presets offer a helpful leg-up for everything from instrument channel strips to mixing and mastering chains.
DYNAMIC MICROPHONES There are innumerable high-quality dynamic microphones on the market, making it difficult to know where to start. Excellent choices include industry standards such as the Shure SM58, the Sennheiser e835, the Electro-Voice RE20, and the Miktek PM9. These dependable mics should be within the reach of most budget-level recordists.
7. Once you’ve created your track, select the Inserts drop-down and choose a preset.
8. A preset inserts a processor chain into the inserts section, with settings already applied. Pick one of these and tweak them to fit your vocalist.
9. You might want to record your vocals with effects such as compression. You can do so by adding the effect on the Input. Click the Inputs button to get there.
10. Adding effects here will print your vocals with effects – you won’t be able to change them later unless you re-record them.
11. Once you’ve tweaked any effects on your track (or input), store the effects chain, which will allow you to easily recall it later. Click the drop-down arrow and select Store FX Chain.
12. Here, name your preset, give it a meaningful description to help you remember its purpose, and pick a subcategory to make it easier to find.
As with dynamic mics, there are many reliable and reasonably priced condensers out there – but many of them will land you in the poor house. Top-notch options include Røde’s NT2-A, the Aston Origin, Blue’s Baby Bottle SL, Neat Microphones’ King Bee, and Warm Audio’s WA-47jr.
13. If your vocalist wants some reverb in their headphones, add a send to the vocal chain. This isn’t recorded directly, so the original vocal will remain dry, meaning you can still apply effects later.
14. Create a cue mix so the vocalist can hear in the headphones. Go to Preferences, then Song Setup.
15. Click the Output tab, add a stereo output and rename it something like ‘Vox mix’ or ‘Headphones’.
16. Revisit the mixer and you’ll see the vocal mix listed on each track under the Cue Mix label.
17. Initially, the cue mix volume will be the same as the main fader for each track, but adjusting them will change the headphone mix without changing the main mix.
18. Hit record. Make sure that you’re getting a good level, and that your recording isn’t peaking. If it hits the red, you’ll be in for some unwelcome digital distortion.
For more PreSonus Studio One tutorials and workshops, check here.
A few common vocal effects:
1. Gate - clamp down on ambient noise
2. EQ - HP filter is a must over hear to get rid of some rumble/low end info, then EQ to taste
3. Compression - even out the volume
4. De-esser - most vocals get a little bit to a lot depending on the track/singer/microphone, this gets rid of the hard "ess" sounds
5. Delay - sometimes
6. Reverb - usually on a buss, not always
7. Modulation (chorus/flange/ADT/slight pitch changes) - on rare occasion I might put some modulation on a vocal
8. Tuning - I generally don't pitch correct vocals, but Auto-Tune and Melodyne are common
9. Vocoder - Computer voices/synth voices/etc
Not quite "vocal effects" but often on a chain:
10: Console simulation, tape simulation, other saturators - like salt, these are ubiquitous here and added to taste
One vocal effects studio
Descargar Musica Creative Vocal Effects In Presonus Studio One Gratis.
Learn how to create creative vocal effects using Presonus Studio one 5
✅ Have Matty Mix and Master Your Song: mixandmastermysong.com
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Matty Harris is a music producer, mixing, and mastering engineer from Boston. As a young musician, he won several awards, most notably, the best drummer in New England. He toured with jazz, blues, and calypso bands, playing bars and clubs at the young age of 14. After High School, he attended Berklee College of Music where he studied Music Production and Engineering. Learning from some of the most accomplished producers and engineers in the industry. Since then, he has worked on countless records with such artist as; Atlantic Records, RCA Records, WB Records, Kelly Clarkson, Sammy Adams, A$AP Rocky, Logic, Lil Yachty, Cam Meekins, Just Juice, Action Bronson, Danny Brown, Fat Joe, Styles P, La Coka Nostra, and many more. He worked on the Grammy Award-winning song “Stronger” by Kelly Clarkson and won the 2008 Boston Music Award for Best Hip-Hop/R&B Producer. He now lives in Los Angeles where he works with artists from all over the world helping them to realize their dreams.
Matty started his online mixing and mastering company, mixandmastermysong.com, with the vision of helping new artists get the same quality mixes and masters as the major label artists he works with. After realizing the advancements of technology, he knew it was time to launch his online mixing and mastering company when he no longer needed the effects of a “big room” studio to achieve high-end mixing and mastering.
Creative Vocal Effects In Presonus Studio One4,999 192 kbps9.77 MBLearn how to create creative vocal effects using Presonus Studio one 5 ✅ Have Matty Mix and Master Your Song: mixandmastermysong.com ✅ Get my FREE Mixing Template: bit.ly/2HKTFEH 📱 Chat with Me...DownloadDownload mp3
How to use Effects and Inserts in Studio One55,953 192 kbps15.59 MB obedia.com/presonus-studio-one In this video, OBEDIA trainer Jeff gives you an overview of how to use Insert Effects in PreSonus Studio One. If you want to learn PreSonus Studio One in real...DownloadDownload mp3
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Note FX in Studio One12,797 192 kbps6.13 MBNoteFX are a very powerful feature for anyone working with MIDI. In this video, PreSonus Software Specialist gives you an overview of these powerful effect processors included in Studio One...DownloadDownload mp3
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Mixing In Presonus Studio One - Vocal Reverb2,160 192 kbps9.52 MBIn this video, I look at the fantastic inbuilt reverb in Presonus Studio One called Room Reverb. This reverb can cover all of your reverb needs, it just takes a little time to get your head around...DownloadDownload mp3
Start-to-Finish Vocal Production in #StudioOne92,685 192 kbps28.5 MBThis is one of Joe's presentations from NAMM 2020. CONNECT WITH JOE: YouTube: youtube.com/user/HomeStudioCorner Instagram: instagram.com/joegilder Twitter: ...DownloadDownload mp3
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Learn how to create creative vocal effects using Presonus Studio one 5 ✅ Have Matty Mix and Master Your Song: mixandmastermysong.com ✅ Get my FREE Mixing Template: bit.ly/2HKTFEH 📱 Chat with Me and others on Discord: discord.gg/wCBFpg3p —————————————————————————————————- 🦶 Follow Me! Instagram: instagram.com/mixedbymatty Twitter: twitter.com/mixedbymatty Facebook: facebook.com/mixandmastermysong —————————————————————————————————- 🎙️ My Studio Gear Crane Song Avocett IIA: [ bit.ly/37UXIMG] McDSP APB 16: [ bit.ly/3o0bymA] Dangerous...
How to use Effects and Inserts in Studio One
obedia.com/presonus-studio-one In this video, OBEDIA trainer Jeff gives you an overview of how to use Insert Effects in PreSonus Studio One. If you want to learn PreSonus Studio One in real time with a digital audio professional, give us a call today: 615-933-6775
Mixing Vocals with Stock Plugins
You can absolutely get a great-sounding mix with stock plugins. Joe Gilder shows you how to use the stock ProEQ2 and Compressor plugins in StudioOne to mix a vocal track. WATCH ALL STUDIO ONE WITH JOE GILDER VIDEOS: youtube.com/playlist?list=PLnQ-ztvjHMioRaVjc_TqWQrmUiMq10Dfx STUDIO ONE: presonus.com/products/Studio-One PRESONUS SHOP: shop.presonus.com/software/Software-Line--Studio-One #Mixing #Vocals #StockPlugins #JoeGilder #StudioOne #StudioOneWithJoeGilder
Vocal Thickening Trick in Studio One - Warren Huart: Produce Like A Pro
Sign up here to get free exclusive videos and content producelikeapro.com/recording-mixing-goodies In this video, Produce Like A Pro Academy member David Mood shows how to do Warren's vocal thickening trick using Studio One. Here's the Pro Tools Vocal Thickening Video:- youtube.com/watch?v=IwIZ35CAA5Y Learn this vocal thickening trick in Cubase: youtube.com/watch?v=9XBpxdp6r2Q Produce Like A Pro is a website which features great tips to help the beginning recordist make incredible sounding home recordings on a budget.
Note FX in Studio One
NoteFX are a very powerful feature for anyone working with MIDI. In this video, PreSonus Software Specialist gives you an overview of these powerful effect processors included in Studio One Professional. _____________ WATCH MORE TUTORIALS FROM GREGOR: youtube.com/playlist?list=PLnQ-ztvjHMiqSmQW_pQ3jvPy2IUIEVhlB WATCH THE STUDIO ONE MINUTE: youtube.com/watch?v=E3b6z6p43P0&list=PLnQ-ztvjHMirXduQiIwOMMy0uKCjg8gWd LEARN MORE ABOUT STUDIO ONE: presonus.com/products/Studio-One BECOME A PRESONUS SPHERE MEMBER TODAY: ...
Different Ways To Apply Effects In Studio One
In this free tutorial, Paul Drew explains how to use Event FX in Studio One 3.2.
How to Record Through Plugins in #StudioOne
WATCH ALL STUDIO ONE WITH JOE GILDER VIDEOS: youtube.com/playlist?list=PLnQ-ztvjHMioRaVjc_TqWQrmUiMq10Dfx STUDIO ONE: presonus.com/products/Studio-One PRESONUS SHOP: shop.presonus.com/software/Software-Line--Studio-One #JoeGilder #StudioOneWithJoeGilder
DIY Vocoder in #StudioOne
WATCH ALL STUDIO ONE WITH JOE GILDER VIDEOS: youtube.com/playlist?list=PLnQ-ztvjHMioRaVjc_TqWQrmUiMq10Dfx STUDIO ONE: presonus.com/products/Studio-One PRESONUS SHOP: shop.presonus.com/software/Software-Line--Studio-One #Melodyne #JoeGilder #StudioOneWithJoeGilder
Mixing In Presonus Studio One - Vocal Reverb
In this video, I look at the fantastic inbuilt reverb in Presonus Studio One called Room Reverb. This reverb can cover all of your reverb needs, it just takes a little time to get your head around the controls. The Studio Rats are core band members Paul Drew on guitar/production/mixing, drummer James Ivey and Dan Hawkins on bass. They collaborate with singers and musicians to produce radio-ready songs.
Start-to-Finish Vocal Production in #StudioOne
This is one of Joe's presentations from NAMM 2020. CONNECT WITH JOE: YouTube: youtube.com/user/HomeStudioCorner Instagram: instagram.com/joegilder Twitter: twitter.com/joegildermusic Facebook: facebook.com/joegildermusic #JoeGilder #StudioOne WATCH ALL STUDIO ONE WITH JOE GILDER VIDEOS: youtube.com/playlist?list=PLnQ-ztvjHMioRaVjc_TqWQrmUiMq10Dfx WATCH STUDIO ONE-MINUTE VIDEOS: youtube.com/watch?v=E3b6z6p43P0&list=PLnQ-ztvjHMirXduQiIwOMMy0uKCjg8gWd STUDIO ONE: presonus.com/products/Studio-One PRESONUS SHOP: ...
How to do awesome Tape Stop / Start Effects #S1withGregor
Thanks to the brand new Timestretch “Tape” algorithm in Studio One 5, you can achieve some awesome-sounding Tape Stop effects, and more. PreSonus Software Specialist Gregor Beyerle shows you how it’s done. WATCH MORE TUTORIALS FROM GREGOR: youtube.com/playlist?list=PLnQ-ztvjHMiqSmQW_pQ3jvPy2IUIEVhlB WATCH THE STUDIO ONE MINUTE: youtube.com/watch?v=E3b6z6p43P0&list=PLnQ-ztvjHMirXduQiIwOMMy0uKCjg8gWd LEARN MORE ABOUT STUDIO ONE: presonus.com/products/Studio-One GET STUDIO ONE TODAY: ...
Turn Your Voice Into a Keyboard in #StudioOne
WATCH ALL STUDIO ONE WITH JOE GILDER VIDEOS: youtube.com/playlist?list=PLnQ-ztvjHMioRaVjc_TqWQrmUiMq10Dfx STUDIO ONE: presonus.com/products/Studio-One PRESONUS SHOP: shop.presonus.com/software/Software-Line--Studio-One #JoeGilder
Haas Delay effect in Presonus Studio One
In this video I explain what is the Haas effect and how easy it is do this effect within Presonus Studio One and with no additional plug ins For mixing quotes visit my new website at vowlume.com Vowlume Productions - vowlume.com Presonus official website - presonus.com Studio One mini website - presonus.com/products/Studio-One Thanks for watching Ilias Gogakis
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I removed my hand from the clitoris - I brought her to orgasm, further movements would only bring her pain - and. Continued to lick only the nipple. Zhenya was in a full fever.
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Let's wait. - Pronounced me on the phone. Okay, see you then. I got up from the bed.