![]() ![]() I also like to send the high end, the middle range and the low end to separate reverb and panning settings. And then you can adjust by the volume of each track just how much they will contribute to your final sound. For example, a softer piano, a harsher piano, etc etc. Second, I layer it across a number of piano tracks representing different settings. This may not apply in all cases, but for me it's an important part of my creative process for this specific track. I experimented a lot with piano tracking recently and below are some of the things I would offer as my observations.įirst, and crucially in some tracks, I actually play the piece - not only include the note bricks in the piano roll but playing it (without quantizing in my case) captures velocity and other nuances that makes the track more human. ![]() Hi! Let me share you what I do (and in effect this is what I am doing for my next single, which is exclusively piano). This would mostly only apply if you’re mixing someone else’s track, though, because if it’s your own you can just pick a better sounding piano patch. Since you’re trying to simulate a missing part of the instrument’s internal tone in this application, you would want the reverb to get panned with the instrument. The only time I’d throw reverb straight on a piano track is if it were an incredibly brittle and artificial sounding source that’s lacking the piano’s natural internal reverberation. Putting it on an insert results in you panning the reverb along with the instrument tone, which is not what you want almost all the time. It allows the reverb to produce more realistic reflections, too, because the elements are point sources (or two for panned stereo instrument tracks) within a full width stereo reverb. Doing it this way lets you place your song’s elements within the same “room”. It only outputs a wet signal and you do wet/dry by adjusting the send level from the original track. Reverb should be on a send where you don’t adjust wet/dry in the reverb. ![]()
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