Kurt Penner wrote:
3. Apply noise reduction with ReaFir effect (samples the background noise then digitally subtracts it)
I'm not sure if this step is really necessary. I've got to think it's subtracting some "noise" you want in the signal as well. I'd say as long as your signal to noise ratio is good, that's all you need. YT is going to lower the audio quality anyway...so unless the YT signal reduction on top of the recording noise poses its own problem, I wouldn't mess with it.
6. Copy first track into tracks 2&3, and pan those hard left and right respectively. Keep #1 up the center
7. Apply reverb to all tracks individually via the FX send/receive; Less verb on the center track, the idea being to simulate a direct sound up front and ambient sound from the far sides
Now here's where you need to learn to do it the "right" way, or the "classic" way.
Record in mono as you're doing.
Using an effect send on that track, send it to a Stereo Reverb plug-in.
But you bring the Reverb return back into the Stereo Mix Bus (or, another Stereo Track).
So you've got a DRY, MONO signal - your original guitar.
Then you have this other stereo track that has whatever wet/dry mix you have set in the plug in that you can pan anywhere from center to sides to get your width (when returning to the stereo mix bus, the wet/dry mix of verb is controlled at the plug in, if returning it to a track, you can actually adjust it with the fader as well).
This is the way it had always been done until people with DAWs started putting verb on every track. Which is not really the "correct" way to do it. You can certainly get good effects, but traditional recordings were don the way I've outlined above. Keeping the mono track dry gives it more focus and the reverb returned in stereo gives you the "ambience". You can then adjust the two faders (and pans, if returned to a stereo track) in relation to each other to get the proper balance between direct sound and reverberated sound (as well as spread).
This is a "more realistic" way of doing it - what it would sound like in a performance venue when you hear a solo instrument on stage and reverberation coming at you from the sides (and ceiling, etc.).
Your method will make it sound like you're sitting much more distant from the instrument (unless you get rid of the verb on the center).
Does this make sense? I am at the beginning of learning this complicated software so any tips from any software user would be appreciated. In particular I am confused by the many places that reverb can be applied, such as to individual tracks or to the final stereo track in the mixer.
So, final stereo track, right
I can never remember if I can post a YT link, but check this out:
Here's the title, just in case:
Logic Pro X Tutorial - Using Reverb as a Send Effect
I think he's using a virtual instrument, which is a stereo source, and a channel that returns with no panning ability (essentially a mono bus) but you get the idea. All you need on the return fader is the ability to vary the stereo width (2 pan controls) if it's not present in the plug-in itself.
But aside from a special effect, putting a plug in on every individual track (especially if the same reverb plug in) is really overkill and counterproductive in a lot of cases.
In the end, it's also much easier to do it the way I'm suggesting.