Benutzer:Zyirkon/Gated reverb

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Gated reverb on a snare drum, produced by a plugin.

Der Gated Reverb oder auch Gated Ambience ist ein Effektgerät das einen Reverb mit einem Noise Gate kombiniert. Der Effekt wird gewöhnlicherweise dazu genutzt Schlagzeugen einen kraftvollen Klang zu verleihen, während der Gesamtmix sauber und transparent klingt.

1980s pop inspired instrumental track with gated reverb on the snare.

Als einer der auffälligsten Effekte in vielen Britischen Pop- und Rocksongs der 1980er Jahre, wurde es 1979 durch Produzent Steve Lillywhite und Toningenieur Hugh Padgham während der Arbeit an Peter Gabriels gleichnamigem dritten Soloalbum bekannt, nachdem Phil Collins in den Londoner Townhouse Studios Schlagzeug ohne Becken gespielt hatte. Auffällig ist dies insbesondere in Collins Hit "In the Air Tonight".

Entgegen vielen Hall- oder Delayeffekten emuliert der Gated Reverb nicht einen Hall, der in der Natur vorkommt. Gelegentlich wird der Effekt nicht nur auf Schlagzeugen, sondern ebenfalls für Gesang genutzt.

Geschichte

Producer Steve Lillywhite claimed he first experimented the "ambience thing" on drums during the recording of Siouxsie and the Banshees' album The Scream (1978), when drummer Kenny Morris played without using cymbals on several songs. Lillywhite explained to journalist John Robb: "When you listen, you can hear elements of this gated room sound, big compressed room sound that I did on the Banshees." He also listed his production's work on Psychedelic Furs's single "Sister Europe"; this was "all done before the Peter Gabriel album". Lillywhite recognized that the gated reverb drum sound first really showed its head in that form during the recording of the Peter Gabriel album with engineer Hugh Padgham.

Lillywhite's and Padgham's work on Peter Gabriel 3 was bookended with their work on XTC's Drums and Wires (1979) and Black Sea (1980). In this period they perfected their technique on Terry Chambers' drums, which can be heard most distinctively on Black Sea (particularly the songs "Respectable Street", "Generals and Majors" and "Love at First Sight").

At Townhouse Studios in Shepherd's Bush, Lillywhite and Padgham famously applied gated reverb to Phil Collins's drum timbre when Collins played without using cymbals on Peter Gabriel's song "Intruder" at Gabriel's request, on Gabriel's eponymous third solo album. Padgham claimed he discovered the sound accidentally when he opened an overhead mic, intended to be used as a talkback channel, above Collins's drum set when the pair were working on the track. The microphone was heavily compressed as well as using a gate.

Collins then used gated reverb extensively, both in his solo work as well as working with other artists. He used it notably on his hit song "In the Air Tonight", produced by Collins and Padgham. Other examples from Collins' own music also include "Against All Odds (Take a Look at Me Now)", "I Don't Care Anymore", "I Wish It Would Rain Down", and "You'll Be in My Heart" and the Genesis songs "Mama" and "No Son of Mine".

Gated reverb was used on countless drum tracks during the 1980s, to the point that the sound became a defining characteristic of that decade's popular music.

In the 1990s, many bands went back to more natural sounding drums. American rock band Haim used gated reverb on Danielle Haim's drumming for their debut studio album Days Are Gone (2013). By 2018, several contemporary artists began incorporating the effect in some of their rhythm tracks including Lorde and Beyoncé.

Bildung

Live-Raum Methode

Die älteste, meist "natürlichste" Technik kann mit minimaler elektronischer verarbeitung erreicht werden:

1. Es werden mindestens zwei Mikrofone aufgestellt: Eins um den Schlag selber aufzunehmen und ein Ambience Mikrofon für den Raumklang. Oftmals ist auch ein Stereopaar Mikrofon aufgestellt, um das Stereobild oder die Becken zu erfassen.
2. Das Schlagzeug wird lebendigen Raum (d.h. mit einen großen Nachhall und frühen Reflexionen von Wänden, Decken und Böden) aufgestellt.
3. High-gain compression is applied to ambience mic(s) to capture the quieter details of the reverb sound. (optional)
4. Ambience mic(s) are fed through a noise gate with separate external key input.
5. Close mic(s) are used as an external key for the noise gate.
6. Hold time of noise gate is set to half a second or so (this would be a real duration of hit sound), followed by a fast release time. This causes the gate to allow only the first half-second of reverb to pass through after each drum hit, before closing again.
7. close mic and ambience sounds are mixed to taste.

This results in a very live-sounding drum that is rapidly cut off with none of the overpowering secondary reflections associated with reverb.

Effektprozessor basiert

When using a hardware reverb unit, echo chamber or digital emulation of either, it is possible to replicate the classic scheme:

1. Whichever piece of the drum kit is getting the effect will need at least one microphone set up close to it. Ambient microphones are unnecessary but can be used if desired. The sound can be achieved in acoustically "live" or "dead" rooms, since all reverberation will be done inside the effects unit processor.
2. The close mic sound is fed to the reverberation unit, then optionally to a compressor, and then to the noise gate's signal input.
3. The same sound from the close mic is fed to the noise gate's key input.
4. The "wet" and "dry" sounds (which is to say the processed and unprocessed sounds, respectively) can be mixed to taste.

This setup does not require a "live room" to achieve the enhanced reverberation of the drum sound and therefore the effect can be reproduced at concerts without great difficulty.

Literatur

• White, Paul (June 1996). "Canyons of The Mind: Psycoacoustics of Reverb". Sound on Sound. Archiviert vom Original am 10. März 2005.
• Effects & Signal Processors. Archiviert am 11. Januar 2014.

Einzelnachweise

Kategorie:Tonbearbeitung Kategorie:Musikalisches Effektgerät