12/16/2023 0 Comments Chase blissThis has become my preferred setup for recording, as it gives me a lot of flexibility. It's basically a wet-dry blend with two recorded tracks. This allows me to blend my no-reverb signal with the fully wet signal if I need it inside my DAW. Tip: I usually have the CXM 1978 or other reverb set to fully wet. Now I have total creative control over the reverb parameters and can record the performance. (While that's my intention, I always hit record in case something cool happens.) By monitoring the reverb's vibe, I can go back after I record and tweak the reverb in real time.Īfter my guitar or synth part is recorded, I have the same live send from the channel in Luna going to the CXM 1978. While recording guitar, I don’t intend to record the reverb. The CXM 1978 outputs then get sent into my API 312 preamps. (Unfortunately, not all reverb pedals can receive a balanced signal. On the record-enabled channel in Luna, I create a send out of my Apollo into the CXM 1978 either using a Radial Reamp or straight in, since the CXM 1978 can accept a balanced signal. This means my guitar or synth sound has no reverb. One thing I've been doing lately is to enable my primary signal into a UAD Luna. Setting the pre-delay to allow the attack of the dry signal to come through will enable you to add a healthy amount of reverb without losing the signal. Pre-delay is crucial to creating a big reverb sound without taking over your signal. ![]() It's not just slapping back your dry guitar signal-it’s slapping back your guitar signal through a room. It will sound different from a delay alone. You can create tremendous slapback effects with a short reverb and longer pre-delay. Pre-delay simply delays the reverberated sound. When you scream into a canyon, the sound is dry until you hear the echo. You can set pre-delay very short so that the reverb is heard immediately, making it sound like you are right in the reverb, to very long, which is like playing in a canyon. ![]() Pre- delay is the time it takes to hear the reverb after a note is played. The CXM 1978 emphasizes tweakability-without your having to menu-dive like with other reverbs.īut whether you're using the CXM 1978 or another reverb, let me review a few things about “playing” reverb that will apply to most reverbs, even if it’s hidden in the sub-menu. If you compare a LARC with the CXM 1978, you'll see a resemblance. The LARC is a reverb controller that lets you tweak all the parameters. But they’re usually not that accessible and not available as playable parameters.Īnyone who’s spent a lot of time in a higher-end recording studio has probably seen a LARC or similar controller sitting on the console. Some reverbs have deeper menus that let you tweak a few extra parameters. Tweaking frequency bands on reverb is not something most guitarists are used to having easy access to. ![]() Those interested in ambient sounds will appreciate the three-dimensional sounds that can be created by adjusting the length or prominence of different bands of frequencies and length in reverb. With the CXM 1978 you can set an infinite sustain on the bass frequencies only and set a different length for the mids or high frequencies. The CXM 1978 allows you to tweak the length on several bands of reverb. And some reverbs only have one knob for length. But expression pedals allow you to control only one parameter at a time. Some pedals will allow you to assign an expression pedal to length.
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