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I A/B’d it a bunch and ultimately decided not using the plugin. As a whole, though, I couldn’t just leave it on for the whole clip. It sounded slightly different and better in some places, slightly different and worse in others. The process was simple: I played the audio and clicked “learn,” then I played the audio with the filter engaged. As I mentioned earlier, early reflections have been tough to remove. The actor who played Jim recorded himself in a closet ridden with early reflections, so I was eager to see what Acon’s early reflection reducer could do with it. I wanted to try something a lot more challenging, so that meant bringing in Jim, a character for a narrative podcast I was working on. Of course, in a situation where I was trying to combine two microphones, the latency would cause phasing issues, but these days I’m doing that less and less and usually opting to choose a single track and work with it. It was very impressive, especially when you consider its incredibly affordable price - $79.99. The parameters are all fully automatable and easy to use, and the algorithm feels very natural. The plugin added virtually no latency (just a few samples), so my single-channel audio track was ready to go. Then I had control! I dialed it up a little (adding back some of the reverb), and in about two seconds, it sounded great. Weird…until I noticed that you need to click the little power button. I also noticed that the echo had been removed, but the voice was feeling a little artifact-y, so I tried moving the “reverb level” around to reduce the amount and noticed that it didn’t really have any effect on the voice at all. I threw it down on the track and right off the bat noticed a nicely designed and simple-looking interface. I put Acon DeVerberate 3 on a track and tried it with an echo that I had been able to deal with using other de-reverbs - a little project for a big company. More recently, as computers have gotten faster, and spectral and AI-powered plugins have really taken off, de-reverbs have gotten more and more powerful and clean-sounding - but they usually come at a hefty cost, both in terms of pocketbook and processing power. There were a few plugins that claimed they could reduce echo, but for the most part, they were either ineffective or added so many artifacts to your recording that you were better off not using them at all. Not too long ago, it was impossible to do much of anything with a voice that was recorded in a reverberant room (other than, of course, try to cover it as best as possible with music or expanders/compressors and EQ). The facility’s unique design and clever ingenuity allows for a creative process that is not only worry free, time sensitive, and productive, but also eminently enjoyable and memorable.Cory Choy: DeVerberate 3 open as a VST 3 in Reaperīefore we get into the product itself, let’s talk a little bit about the idea of de-reverb in general.
#Silver sound studio how to#
Whether recording original material, engaging in sound design, scoring, or archiving, United’s technically gifted staff understands how to get the most out of their vast array of timeless analog gear and state-of-the-art digital equipment. Each studio features equally legendary consoles that, for decades, have captured melodies that have sold over a billion records worldwide. From Frank Sinatra, Nat King Cole, Ray Charles and Eric Clapton to contemporary artists like Green Day, Radiohead, The Red Hot Chili Peppers and Alabama Shakes, United Recording has played host to generation after generation of music legend. Located on Sunset Boulevard, the magnificent studios at United Recording have attracted the biggest names in recording history.
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With his uncompromising standards, technical brilliance and unparalleled knowledge of acoustics, he built studios that sound like no other. Bill Putnam opened such a place in 1958, quickly becoming one of the most legendary recording facilities in the world. Some studios carry an indescribable magic, an enchanting aura, as if the spirits of sessions past carry on to bless those to come in the future.