Cinematic Sounds & Tricks - Reverse Sound & Risers

 

Studio Pass with Joey Sturgis

 

Lesson Info

Cinematic Sounds & Tricks - Reverse Sound & Risers

Okay, next thing these are lead ins. Andi already kind of showed one of those and that's when I took the rifle, uh, sample and reversed it so it leads into the rifles hit I really like that one because it kind of sounds like the matrix or something like slow motion. Uh, these help you also I mean, they can help you with transitioning into actual sounds, but it can also help you transitioning into parts. I show you what I mean. So going into the verse, we have a reverse crash sounds like this. Okay, so I'm gonna play that within the song, theo, that part kind of already transitions pretty well because it has that that nice naral that happens, but I kind of felt like it wasn't enough. Um, so that's, why we have the reverse crash in there? I'll show you what it sounds like without it. So I mean, hopefully agree with me that just sounds kind of flat just sounds like a sparrow and then the part starts. So by adding this reverse crash and this additional crash, it just makes the transition g...

oing from that part into the verse way more exciting reverse crashes so easy, it's like the most basic thing ever you just start with a crack and extra crash hit that you've recorded, you could just literally tell the drummer hey, I want you to hit the crash and then you record him doing it and then you just saved that on your hard drive and you can import that into your sessions over and over again and then uh then you just drag it into your session put it where you want it to start and then I'm going to hold ault and drag it backwards which creates a copy, cut it off selected and then reverse it and that's how you get the reverse crash now with reverse crashes there is a tiny little part here right before well right where the transient of the drumstick hitting the symbol is and it kind of creates like a little bit of the silence you can hear it if that wasn't there, it would sound like this so that silence actually helps to make it a little bit more impactful first is the other way they're are going to be some situations where you wanted to be smoother, but I like to do for that is take the the crash itself selected and then choose like a tiny like maybe one hundred twenty eighth note or like a sixty fourth and click on move left so now that's moved it left once and then trim start right so when you do that it's like it's the equivalent of doing this sea so once you click that now your crash symbol cuts off the trains and just starts with crash instead of so now that you have that you just go about doing the reverse crash like you normally would like this and then when you, uh reverse it, it'll be a lot smoother like this thief you can experiment with different timings because the more you do it like the more it'll be different so this would be a thirty second note sounds like this it all depends on your goals what you're trying to achieve just experiment cause this stuff's fun anyway um reverse snares these air trickier I'm gonna show you some tricks on how to do the reverse nears better uh in key base so let's say you've decided that um I'll see if I even have any reverse snares in this song I don't think I do I'm gonna put one here I think alright cool so we have this big snare hit um all that really is it is just a snare room samples like this it's like just putting him like in a room and hitting a snare and then putting reverb and some distortion on it put a little bit of distortion to bring out the mid range sounds a little bit more scooped without the distortion of the distortion in give you a little bit more mid range and I've also taken out some for kay and then I ran it through a river just really simple reverb that's the snare bomb so if I want to reverse that, I'll show you how to do it start by duplicating the track, selecting all the events and deleting them. So now we have a copy of this track settings, but we don't have any audio in it and then I'm going to go to up here and go to the quantities mode I'm going to go to events, so this will make all of my edits stick to the events in the song and now that I've done that, I'm going to hold old and drag the snare sample backwards until it snaps like that so now it's snapped to the snare and then just reverse that you should get now one thing you'll notice is that the end of that reverse near there's kind of ah really troubling click sound um what what will happen often with reverse snares is that click sound will happen twice because it gets to the end of the reverse plays the click and then also gets to the beginning of the next near hit and plays the click and you get kind of a little flam sound it didn't really happen on here, but I'm going to remove the the effects and see if you can hear it yeah okay, you guys hear that flame sound so on every track and q base there's this thing that has a clock with two arrows next to it and you can move it left and right this is your tractor early so you can actually put you khun mainly put intractably phone put like six hundred that'd be six hundred milliseconds I believe notice how it came in much later that's because this whole track now is offset by six hundred milliseconds but you can also type in micro unit so I can put like a one or like a ten so if I do the zero which is you know no offset kind here that flam sound but if I type in ten that flame sound goes away because here that um so that's how I do reverse snares and what's cool is you can just do this it's for the whole track so as you continue to put additional reverse snares in the song as long as you're using the same snap to event thing that we did it'll all line up so it's were lining up the events and then we've got the offset take care of us on the flames and then we can listen to what it sounds like ah cool um reverse synthesizer you can do I like to do this a lot this is a cool trick so like this part just comes out of nowhere it just starts just right on the downbeat boom like tons of melody comes in you could preemptively have that that melody fade in with a reverse note which was which actually would be kind of cool for this song so what I'll do is I'll take this first sense note sounds like this I'm gonna just cut it out from the original performance and then I'm gonna duplicate it back here and then go reverse and if I find that in it sounds like this yeah so that's goes can not the best example ever um let's see if there's somewhere else where it makes sense okay perfect example so we're going into a chorus um we could make this transition even smoother by taking the first chord that's playing on the sense way take that we copy and paste that before the court comes in we reverse it fayed that in theo it's kind of cool um you can actually make these these kind of transitions can be made more impactful if you're using on pitch as well. So if I go into pitch envelopes I can actually, uh start like an octave lower and then go up to the active so it sounds like this so that'll sound like we're actually going into the next chord let me do you've got these tools here too at the top that ally to have different types of fate and shapes to get like here linear and then your parabolic shapes way sounds like that thx sound so then you just throw that in there and that will actually help the transition into the course court way make it like really loud so we can hear it see what I'm talking about theo I want to change the way that works there we go um I think it would sound better if it was the opposite of the shape something to go more like this ah wait I'm using the uh polly musical mode that's going to give you your best sound? I'm also using time correction because if you don't it'll make the sample longer so sound like this way don't want that way already defined how many bars we wanted to do so they keep time correction turned on on this is called a pitch envelope for the people who aren't familiar with it and it sounds like this and the song goes like this a lot times we actually call those risers you can actually build risers with many to you don't have to do it like this audio way that we just did it you khun literally take a cord like this from this many track here and then you just go into the pitch bend and do like a parabolic shape like this and then you just assign some kind of instrument to it so I could like send us to the the embrace or pad that we have on this ah and then typically the plug in will have its own controls for how you know what your pitchman actually means so for for this particular one let's see, we're going to change it yeah, it looks like this one doesn't have I don't see the options to do it but some plug ins tell let you say oh, I want my pitch been to control over two actives or over three octaves there just one um it looks like embrace it doesn't have that so just depends on what you're working with you could use a different scent to um what sea see what this sounds like ah pitchmen range so here's the knob right here if you like crank it up it probably was really low e don't like all that delay get rid of it so we're just building a riser now um all I did was I took the cord from the chorus and I put it in front of the chorus and then I added a parabolic pitch bend and then I'm going to just print this toe audio now sun is going to take like, uh my range selection cool and just slept like a little bit of area here hit the peaky what that does is it sets your locators to your selections of like you select something in hippie it's uh put your your locators there and I know this is going to ring out like, if you play it and you can hear that it rings out, so actually want to keep that so I'm selecting beyond where it ends so that that gets bounced out and then I'm just going to do a print and I'm gonna call it a monologue and then over here in your channel selection area is what channel you're bouncing something and just choose the monologue channel because that's, the only thing I want to bounce out and then I'm putting it back into the session folder, and I'm going to import into a track so it'll have its own track when it's done so there's my little riser sound, I'm just gonna get rid of the many now and remove the vsd, and I just had this little sample, and I think it sounds kind of weird, so I'm gonna put some sound effects on it to make it sound cooler, start with, like, distortion like to put distortion on sense a lot cold and there's kind of a weird I don't know what you call it. It was like a weird frequency at the end, I'm going to actually get rid of it with the cue, so this is the kind of crazy stuff that we do at four a m just looping these stupid sound and messing around with q so I'm just going to loop it's goingto be annoying for a minute and I apologize but that's part of all this stuff s so yeah, I like that. Better let's hear what? Sounds like in the song. I think that sounds really cool, especially in moderation. Just having it kind of tucked under there gives a little bit more energy and helps it rise into the course. And you could once you have that sound you can like, just use it wherever you want. I'm not even put it before a different part. Like, maybe before the breakdown or something before the riff I do nothing you could do is, um, base risers as well. Those are kind of fun. And I show you how to do that with sub destroyer. Uh, let me go put in a new sub destroyer. So destroyer is really cool because it has all the automation mode, so you can do these base risers by automating this frequency knob. As long as this is held down, it plays the bass frequency. So what you could do is like if I put this in right mode and I just hit play and I hold the button down where I want my base riser toe happen, then I can go back and automate the frequency, so I'll show you so I just basically held down the button where I wanted the base riser to start it doesn't matter if I get it perfectly on time because I could just move it afterwards, so I'm just going to move it back like this, and now I've got this thing that just plays bass. It does, but I can also automate this frequency knob. So if I go in and go to my frequent are my automation lane here and I click this plus sign, it adds an additional automation lean and then if I click on this parameter name here, I can choose what I want to automate someone to go into more. I'm going to go into sub destroyer and then I'm going to pick automate frequency. Now with automate frequency, I can start at any frequency and I can end it any frequency. So if I do like just a diagonal line like this, it will sound like this and I can do different shapes like this or like this so I like this one and this here it sounds like in the song goes a little bit too high so I can just lower frequency like this. Ah, that's, how you do based

Class Description


Joey Sturgis is the producer behind some of the biggest names in metalcore, including Asking Alexandria, Of Mice & Men, and I See Stars. His style is one of the most sought after sounds of the last decade and in Studio Pass he’ll show you how he produces it.

There is no magic bullet to Joey’s sound. It’s simply the combination of a million little decisions that add up to something incredible. In this class – for the first time ever – Joey will demonstrate his entire process: pre-pro, engineering, mixing and mastering, from A-Z. You’ll learn:

  • Writing and arrangement tips that take a song from good to great
  • Recording, editing, and mixing tips for guitars, vocals, bass, drums, and synths
  • How to get stuff to sound loud, super clean, and tight

Joey is a hands-on engineer – he’ll talk about how he works with bands to develop their writing and ideas so they are working with the best possible raw material. He’ll show you the specific signal chain he uses for mixing guitars, vocals, bass, drums, and synths. And he’ll give extra focus to vocal tracking, editing, tuning, compression, and effects.

If you want to transform your recording and engineering process, don’t miss your opportunity to learn from chart-topping metalcore producer, Joey Sturgis.

Reviews

Adam Train
 

I'll be honest, I'm not a fan of the bands Joey records. The only reason I bought this class was because I enjoyed the Periphery one so much. Joey takes modern production techniques to the absolutely extreme. He takes punch-ins and editing to a level where it's not even funny any more. If you're looking for tips on recording and mixing in general, this class is not for you. If you're looking for editing tips to see how far you can possibly push the strive for perfection, this is pretty spot on. If you're a beginner, don't take this class to heart - Joey's workflow is borderline psychopathic - go and get the Periphery session instead. If you've been recording for a while and you're looking to see how far editing can take you, it's worth a look.