how do i add reverb when hearing my self in the headphone while recording

hi everyone, how do i add reverb while hearing my self recording on the mic. i know its called monitoring, i own tacam us22l (interface). is there a way to ad reverb from sonar to go to my voice while im recording

thanks dude,i been recording 2 years with no reverb and i just learn how to do it thanks to you. thx

Great tip! Hadn't crossed my mind before!

Sven

josegon214


yea, idont even hear my self on the headphone while recording, but now i want to cause im tired going back and fixing all the parts where i went off beat.

If you plan on doing that use a second track if you want to use my trick otherwise you will just hear reverb for what you already have. It doesn't work too well when trying to do punch in on the same track. 

There are some audio interfaces on the market now that address this exact problem. M-Audio, Focusrite, and others are starting to put digital effects right inside the unit so you can do zero latency monitoring and add some effects in there also.  Something to look forward to. 

You may want to get outboard rack mounted effect and a headphone amp/mixer. I route an out form my  mic preamp/ channel strip to a reverb unit and another out into my sound card that goes to sonar. The singer hears a great reverb vocal that doesn't get printed in sonar without any delay or cpu usage. I also have compressors and other effects that does a vocal good
Cj

The way I do it here is relative to my using the Audigy 2z on the laptop. This card has some effects of its own, and it has a Karaoke Option where I choose JazzClub (there are others to choose from) and one can even create his own effect and store it. This is independent of sonar and works for all purposes real-time. When I sing, I can adjust that monitoring value without affecting the recording at an audio Sonar track. In the Sonar, the input is Mic, and it records dry voice (It does not record the reverb I hear, because that is a Mix input option from the card, for Sonar, which I do not choose to record). I have set up on that Sonar track an effect that is also called, in Sonar, "JazzClub", and on playback, I can click on the non-destructive effect have reverberation on or off. So, sonar records a clean, dry voice. But then all the nice things can be done to the dry voice, but it was recorded with the good help of independent, reverberated, volume controlled, monitoring. As an added, I also record another  audio track that records all but it is a mix. Then I can compare the two by solo clicks and so forth. The accomp is MIDI, so I also record the MIDI tracks, which on playback, play the same instruments that I was playing while recording. I play and sing and record all at once. When monitoring as said, I hear the MIX, which includes the instruments, and the Karaoke reverberated voice. The quality of the reverb of the Karoke option is actually very good, but there's nothing like recording a clean voice, seems to me.

I think I like it that way because it's simple and convenient.

Yet I have recently been investigating the use of busses for this or related tricks as mentioned above, which I appreciate and will try as soon as I get there.

Thanks for the tips above.

CJays has it right! You will NEVER be happy with a recorded reverb during the main take! You will change the FX several times untill you like it when you mix. Once you add reverb to the actual track...you ain'ts takin it out my man! Like trying to take the eggs out of a baked cake. Just split your feed to another mixer/amp/fx. You can do it real cheap now a days. I know several singers who CAN'T SING without the 'verb on. So you just do it like CJay said. I ALWAYS RECORD DRY!!!!! Sorry, I'm just Amish that way. No gadgets. You need to hear the truth before you color it. Just me I guess...lol

Bristol_Jonesey


Just like the above 2 posters, I always record our vocals totally dry, and with no FX in the 'phones - WYHIWYG - my vocalist (wife) has never liked recording with any sort of 'verb on, so I'm saved the hassle of figuring out the routing!!

That's great. I've recorded both types. Some singers need to hear the raw signal and some need to be able to hear the effect.  On some songs the singer has a special effect in mind and want to "drive" it with their voice, kinda like a guitar player. In that case I would record the dry on one track and the effects on a second stereo track so we capture it on the fly but can still adjust it or change it later.

Bristol_Jonesey


Oh yes - recording guitar is a completely different animal!!!

Recording through the Pod, I get the luxury of being able to record it with all Fx added in glorious stereo, but a saftey "dry" mono track as well, which I can re-amp through the pod, take the signal out, run it through a choice of amps and mic it up, run it through any of the software emulations I've got in Sonar.

Or stick with what I recorded.
 
There's no way I could ever record without at least having Fx in the monitoring chain.

Some vocals can be like that too, for example a singer might need drive a echo/delay and know when it stops before singing again. Or they might have a plate reverb to give some shimer but need to know what words or phonics will cause too much "sss" sound and sing them different or at a different distance from the mic. Some songs require the vocalist to "play" the effects just like a guitar player.

ohhey

Bristol_Jonesey


Just like the above 2 posters, I always record our vocals totally dry, and with no FX in the 'phones - WYHIWYG - my vocalist (wife) has never liked recording with any sort of 'verb on, so I'm saved the hassle of figuring out the routing!!

That's great. I've recorded both types. Some singers need to hear the raw signal and some need to be able to hear the effect.  On some songs the singer has a special effect in mind and want to "drive" it with their voice, kinda like a guitar player. In that case I would record the dry on one track and the effects on a second stereo track so we capture it on the fly but can still adjust it or change it later.

The E-MU interfaces have their own DSP effects that you can insert in the Patch Mix, just for the talent to hear while they sing, but they don't get tracked, the dry signal goes to your DAW.  And no latency.  It's a pretty cool benefit of the E-MU units, IME.  They even have some presets with several vocal-oriented effects chained together that you insert with a single drag-and-drop...