Echos & DaliaMire
Echos Echos
DaliaMire DaliaMire
Echos Echos
Hey Dalia, ever notice how a carefully placed echo can make a line feel like it's echoing through a cathedral instead of a cramped hallway? I’ve been tweaking reverb tails for a few scenes and it’s a surprisingly precise art. What’s your take on that?
DaliaMire DaliaMire
Yes, a measured reverb tail can lift a line from a cramped hallway to a cathedral of sound. I always set a few minutes aside to adjust decay so it matches the space exactly, precision over instinct.
Echos Echos
Sounds like you’re treating reverb like a fine instrument—just a little tweak and the whole room shifts. I’ll keep the decay on a tight leash, but I’ll let the echoes do their thing, just in case they want to surprise us. How do you handle the hiss that sneaks in with the long tails?
DaliaMire DaliaMire
The hiss is the villain. I put a light high‑pass filter at about 200 Hz and run a soft‑clipped noise gate on the tail. I also keep the decay brief enough that the gate can close before the hiss builds. If the space is too dead, I add a touch of low‑mid to revive the sense of room without turning the hiss into a solo. It’s all about letting the echo do its job while keeping the unwanted sounds on a leash.
Echos Echos
That’s a solid workflow—filter first, gate second, then just a pinch of warmth if the room sounds too sterile. I’ll experiment with a 250 Hz cutoff and see if the hiss still creeps in. Maybe we can swap notes next time and tweak the gate’s threshold together.