Glad it was helpful! Thanks for the comment. 🙏

Thanks for commenting. Glad that you could hear the concept in action!

Thanks for watching & commenting!

Glad it was helpful!

Of course! Thanks for commenting!

Thanks! Keep an eye out on Friday, I have a part 2 to this video that will help you understand this even more if you're interested.

Thanks for the critique! I appreciate it.

Of course! Glad you found it helpful. :)

Thanks for commenting! Glad that this cleared up this concept for you.

Thanks! Glad you found value in this.

Thank you! And I think it could be nice to learn and understand what's happening with your reverb, but not a "must" for a plugin. I've seen only 1 that had this feature, although can't recall which that was....

@@dinosaurdogstudio I'm not sure if I got what you mean but, if you're talking about an oscilloscope to observe two or more tracks simultaneously I suggest you Psyscope - it's free and the paid version is really cool. And it will cost you less than a McDonald's poisoning... ...ops, "meal".

I was confused about this concept, so I made a video to help the "younger me" side-step this challenge. Glad that you never had this issue. Also, longer pre-delay = closer.

Side-Chain doesn't eliminate the reverb altogether, and pre-delay would still impact the signal and your perception of the reverb. Although I would use plate reverb as a vocal effect to avoid early-reflections entirely.

@@dinosaurdogstudio Thanks for your response Tyson. Maybe I am sidechaining too heavily? I usually sidechain so that reverb is only clearly heard between words/phrases (not during actual singing). As per your suggestion, I will compare plate reverbs vs other reverbs with pre-delay while still sidechaining. I am always experimenting to find ways to use reverb more effectively - like a lot of producers, I think I have spoiled mixes with misuse of reverb.

For now, yes.

Great question. There are a few answers that add up: Most of my credits are mastering - and mastering credits are the last to go on the record, and the first to be forgotten. Also, I have done the bulk of my work (99%+) for independent artists that aren't well-known. Most of the "credit" for my work is under the company names that I've worked for: Dinosaur Dog Mastering and Nightowl Music Group (and Nightowl Studios). I have never truly taken the time to ensure that my credits are uploaded anywhere. Usually engineers take the time to upload their own credits to AllCredits and other similar sites... I'm happy to send a few references your way if you're curious to hear some of my work.

100%. 🤘

You can hear early reflections as a "slap back" in a canyon: aka echo. It depends on the size of the space. These are inherently the same thing, we just say they are different due to the common use cases. Also, the logical discrepancy in your comment is that everything is anchored to the Early Reflection as the "timeline". Everything is anchored to the Direct Sound - then early reflections indicate the location in the room (aka: distance). Direct sound would hit you in less than 1ms if someone is making noise in your ear - but the early reflections would take longer to reach you.

@@dinosaurdogstudio i stand ny ground. The human ear will interpret any perceived 'direct' sound as an echo if its predelay exceeds 30 ms. To make my original point again, the closer the direct sound the shorter the predelay & the longer the predelay, the further away it appears to be. Canyon or not, with L to R location being much harder to discern over distance. But in a recording of a band, who would want to position the drummer a mile away, Lol! So I think we can safely stay within 30 ms of predelay & paint the sound canvas with volume, microtonal adjustments & panning. When creating sound effects for movies & surround sound we can push all boundaries. But for those of us recording songs, we only need to observe a 30 ms limit. The faux pas made in the presentation is that the closer the direct sound, ths less the predelay, not the longer.

Very few producers utilise Haas but the interesting thing is that you would leave the pan pot at the 12 o'clock default & then dial in up to - 30 ms (L) or +30 ms (R). There is no volume loss using Haas as opposed to panning. Observe the stereo buss output to see this.

He breathes every 3 seconds.

Thanks for the suggestion.

Everybody does that. Yes it is nauseating. . " Monstrosity " is a bit extreme however

Yep! You're right. Singers generally sing about 6-12 inches from the mic. And yes, you're also right about the floor, assuming you don't have thick carpet that is absorbing the bulk of those reflections.