I recorded a concert which was divided in two sets.
So I have two sets (15 tracks) of wav-files.
I’m working now on the first set( and I must say my mixing skills become better and better )
Each track I recorded has it’s own reverb bus where I can simply add reverb while mixing (it’s not necessary to work with the reverb plugin !) I assigned each track and it’s reverb-bus to a group.
Now, I’d like to save a group as a template, which isn’t possible ,
so I have to save both track and bus separately!?
We come to my actual scenario. I’ll be ready with mixing of the first set soon and obviously the second set has to be mixed. As everything in the next project (mixing set 2) will be the same (number of tracks and number of busses) I’d like to to something like this:
o save the set1-project under another name.
o Open this new project and replace the set1-wav-file in each track with the set2-wav-file.
Don’t know how to do this (maybe it’s not possible).
Maybe another method (which I don’t know) will work (better?).
That’s not how you typically use reverb. You create a single reverb bus. Every track has a send to that bus. Less CPU, and more realistic unless you actually want each track to exist in a different “space” (defined by the reverb parameters).
I made a big reply, but my browser ate half of it …
So, in short, each suggestion is welcome and will be considered
on my way to become a good (amateur) mixing engineer
As Paul said, it’s typical to use a common reverb bus.
The way that reverb (and delay and some other effects) work is that it is a “parallel” effect in that the reverb is applied on top of the original signal. These are often called the “wet” and “dry” signals, with the “dry” being your original track, and the “wet” being the added reverb.
So, as long as you want all of the reverbs to sound like they are in the same “space”, you set the reverb plugin up with the parameters you want, and then control how much reverb is applied to each track by adjusting the send level to the reverb bus. Each track can have a different send level which results in a different amount of “wet” signal for that track.
If you do want different spaces, then you can have different busses, but I wouldn’t have too many different reverbs as you can lose the cohesiveness of the mix.
I would have thought for a recording of a live performance, you would, specifically, only want a single “space” and, thus, a single reverb bus.
So correct me if I’m wrong, but basically you just need to copy and paste the set #2 audiofiles/regions into a new project that was derived from your set #1 mix/edit?
Well, I might be getting ahead of myself, but if that’s the case, then yes, this is 100% possible, and you’re in good luck :
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I am currently building a fully-fledged ‘copy/paste’ script for pasting audio regions (stereo/mono) between sessions/projects/snapshots, and I just posted a ‘beta’ version over there. You can try it out also, and let me know if it helps, or if there are any problems.
(Also, I included a feature where you can literally manually-redirect files to use during pasting (-i.e. copy a file and then paste it using a different source (…as you somewhat suggested)). -But this features only really makes sense if you’re redirecting to files that are basically the same in nature (-e.g. the same length, same sample rate, same recording, etc., -just in a different location). Still, it can be experimentally used however anyone wants to.)
Anyway, I’ll put-out the non-beta version in like 2-3(?) days on the forum here.
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→ But, uh, you can also just duplicate the project, delete the regions, then re-import/embed exported files from set #2 and then place those on your tracks. This is relatively simple and easy, especially if your recordings are single, long takes that don’t have any envelope automation, etc… But I don’t know your exact situation. You decide.
Have you tried saving the first project as a template, then create a new project using that template and importing the second set of files?
You can also just import the send set of files into the project you already have. Since they were recorded at the same time, presumably a lot of the settings, plugins, etc. will be the same between the two sets. Is there any particular reason you want the second set as a second Ardour project instead of just part of a single project?
It might depend on how the recordings were made: if they are all close-miked, then one might want separate reverbs to push some of the tracks “back” in the space. I see this kind of setup more frequently in orchestral mockups, where the percussion and brass sections need to feel “further away” from the listener than the woodwind or string sections.
One work around is to send instruments to different intermediary buses then those to all to same reverb bus with predelay set to zero.
instrumentA → Delay BusA (with their own delay ms based on pref) → Reverb Bus (with predelay set to zero)
instrumentB → Delay BusB (with their own delay ms based on pref) → Reverb Bus (with predelay set to zero)
Hi thanks for all the tipps, I think the best way will be to duplicate the project and (re)import …
I will have a look on GhostsonAcids lua script. To the reverb discussion: All tracks are derived from
the inputs of the (hardware)mixer. So there’s nothing else on track (like the reverb we gave our singers).
It’s something like reamping instruments to get back (or have) the live feeling. My intention in this project is to create/extract songs from the live concert as public had heard it. No edits no cleaning of mistakes. It’s just to have something, the band can hear and discuss about (for becoming better and better …)
Sure you are right, that one reverb channel for all would be a good solution, I try to learn and each comment has an impact on what I do.
Best regards
Harry
If the singers had locally applied reverb, then you may want to add a similar reverb to just the vocals before applying a global reverb to simulate the performance space.
For the performance space, you might want to look at convolution reverbs, and you may be able to get some Impulse Responses that work for you.
An alternate way to do that is have separate busses for early reflection generation for close/medium/far distances, and a single reverb bus with the reverb send level providing distance cues (more reverb, less direct sound for farther away perspective, more direct sound less reverb for closer perspective).
Using predelay on sends would do 95% of the setups I’ve seen using multiple reverbs for “deep” performance spaces: the only thing I think you might add to that setup is differing EQ on your front-end busses.
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