[Spanish language music]
Hey guys, David Glenn of davidglennrecording.com, and theproaudiofiles.com.
We're going to continue our path on automation tips and tricks.
Today I'm going to talk to you about adding sub-frequencies
with reverb, to your Tom's.
I've used this for Tom's, I've used this for, kind of, b-production
kicks, or "boomy" kicks, meant to give impact.
We've got a ballad, it's called "Me Amas".
We used it on the vocal tutorial, it's from Samantha
Encarnacion, and shout outs to them.
We're going to jump right into the show.
I'm going to hit it from the beginning, so you guys can hear it, and
then we'll explain what we've got going on.
[music]
Very cool.
So, beautiful song.
I really love those strings.
Back to it.
[laughs] We've got the Tom's here.
You can see I've created an aux track -- a bust -- called Tom's sub.
The tom's sub is going out to my [ollie] effects.
We'll go after that in a future video.
But I've got old trusty deverb, of all the things to put on it, I
chose that.
Crazy 17-second decay.
It's a [ascend], so we've got it all wet.
And I mean, jot down those settings if you like the vibe and what it's
doing.
But, if you heard it -- let me solo through just the...this looks
like rack two in the floor Tom at the beginning.
Let's solo and see if you guys can hear what this is doing.
It's more of a weighted feeling that you get whenever this comes in.
[drum beats]
Nice.
So, the whole point of this, for me, was, if I bypass this, whenever
I was mixing the song, I felt like it just kind of felt empty with the
Tom's, and I'm not a big fan of letting the Tom's ring out, with just a
"dooooon" kind of vibe.
So, I wanted to create that sustain from a reverb.
I wanted it to just kind of trail and and give this impact for a sustaining
feeling.
Let's listen to that without the reverb, without -- actually just
soloed for now.
[drum beats]
So, you hear the room that I'm sending it to.
I've got the Bricasti close room.
The large, wooden room.
I've got this going to a snare play.
I mean, this is going to all kinds of stuff.
I tend to mix with my ears, not my technical knowledge there, or lack thereof.
Now, let's open that back up one more time.
[drum beats]
You see, you hear that just decaying.
And I really love the vibe.
So, let's hear it in the track.
Here's without it, in the track.
[music]
Right, so the Tom's, you hear them.
They sound good.
I like the Tom-tones, and they do their thing, but I wanted to create
that kind of, just, that feeling.
You see me just moving my hands.
That's the best way to describe it, right there.
Such a...let me see here.
I'm making fun of myself.
Don't take yourself too seriously.
So, now, in the track, with the tom-sub, so you can feel it.
[music]
Awesome.
So, to check my settings, if I remember correctly, I did, yeah.
I cut out just about all the highs out of that
d-verb.
I EQ'ed this reverb, and I sucked everything out that was above
154, and -- let me see if this will let me.
I'm going to show you.
I don't even know what to say to that.
I'm boosting 33 hertz, by 10 dB.
So, I'm doing that there.
36 hertz by 6 dB.
And then, let me see, is there another one?
So, those two frequencies, I'm boosting like crazy in the sub-frequencies,
but it doesn't sound bad, and I think you'll hear that it definitely
added some character to it in the low end, to kind of give it that warm...I
mean, anyways, it speaks for itself.
I'm blabbing about it, but I hope you guys liked that.
Try it out.
Feel free to send me emails.
David[at]davidglennrecording.com When you try
these things out, man, I really want to hear what you guys are coming up
with.
A lot of you guys are sending me stuff.
I love listening, and by all means, I'll continue to give you guys tips,
tricks, and all that good stuff, so be sure to check us out, theproaudiofiles.com.
And we'll catch you on the next tip.
[Spanish language music]