REV Explained®
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6:10 The Basics
Get an overview of the main architecture and interface elements in the four instruments that make up REV.
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9:00 Working with Instrument Layers
Explore layer based parameters including playback modes, changing the sound sources used, volume and pitch stutter effects, filters, and envelopes.
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4:39 Layer Based Effects
Learn how to clear and build up a patch from scratch, and explore the various later based effects and their parameters.
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4:31 Main Page Effects
Hear how these effects are used to process the sound of the combined layers, and see how the latch and trigger modes are used to control them in real time.
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3:19 Timed Instruments
See how the main offset slider in the timed instruments is used to set the global note length for both layers.
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6:18 The Loops Instrument
Discover the banks of looped sounds available in the Loops version of REV; see how to transpose their root pitches, work with the FX presets, and automate some of the parameters.
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6:07 Working with Rises
Explore the Rises version of REV and hear how it is used in the pre chorus of a song to add drama and excitement leading up to the chorus.
Product Overview
REV is a complete world of reverse sound design, and in this video training series Eli Krantzberg shows you how to navigate that world and create completely unique Pulses, Leads, Risers, Soundscapes and more. See how going backwards can move your productions forward!
Beginning with an overview of the interface and the four engines that make up REV, Eli then explores Instrument Layers. You'll learn how to change the sound sources and manipulate the parameters for Volume, Pitch Stutter Effects, Filters, and Envelopes.
The following two videos cover Effects in REV. First, he describes the Layer-Based Effects, and then the Main Page Effects. Eli demonstrates how the effects process combines layers, and how you can control them in real-time.
The next two videos explore the Timed and Loops instrument. This is where you can set the global note length for your patch, and discover the banks of looped sounds in REV and how to transpose and automate them and more. The final video in the series shows you all about the Rises version of REV and how to use it to add exciting build ups to your productions.
Whether you're new to REV or an experienced user looking for some tasty tips and tricks, watch "REV Explained" today!
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Reviews
Submitted 2 years ago
General overview to get you started
It's concise and helpful. Everything you need to dive into Rev and begin making your basic sounds.
I am a: Musician, Sound Designer, Hobbyist
Ease of Use Quality of Videos Value of Training Access to Videos
Reviews
Submitted 2 years ago
General overview to get you started
It's concise and helpful. Everything you need to dive into Rev and begin making your basic sounds.
I am a: Musician, Sound Designer, Hobbyist
1. When did you start dabbling in music?
I started playing drums in high school at age fourteen. Like most kids my age around then, I was into progressive rock. Genesis, Emerson Lake and Palmer, and Yes. They rocked my world. A few short years later though, my musical life changed. While studying music in college I discovered Charlie Parker, Milt Jackson, Sonny Stitt, and John Coltrane. Milt Jackson spoke to me in such a profound way that it left me no choice but to take up vibraphone.
These great players, along with drummers like Philly Joe Jones, Max Roach, Art Blakey, and Elvin Jones changed not only the way I thought about drumming, but also music - and by extension, life - as a whole. I realized life was meant to be a creative endeavor. The idea of improvising based on a loose set of guidelines and rules permeated into my psyche even when I wasn't holding a pair of drumsticks or mallets. But if I am going to be perfectly truthful, I have to hold Henry Miller and Woody Allen equally responsible for shaping the way I view and experience the world around me.
2. What training have you had?
I am currently an Apple certified Logic Pro. Young and cocky, and armed with only a partial University degree, I dropped out of school and began playing steady commercial hotel engagements and jazz gigs when I could. This went on for many years until I decided it was time to complete my degree - which I ultimately did with a major in Political Science and a minor in music.
It was at this point that I formed my current band Nightshift. We are going in to our twenty third year now - playing commercial one nighters like weddings, corporate events, etc. Don't turn your nose up at it though - it has allowed me a wonderful quality of life. It gave me the freedom to go back to school and complete a post graduate degree in Communications Studies - all the while supporting myself by playing weddings.
3. When did you get into recording?
It was in this graduate program - in the early nineties - that I found myself drawn to the fledgling emerging universe of hard disc recording and midi sequencing. Based on nothing more than the recommendation of one of my band mates who had an old Atari, I jumped in head first and bought a Mac LC ll, along with a version 1.1 of what was then Notator Logic. I had no idea what I was getting myself into. But, in hindsight, it was a decision of epic importance in my life - shaping my future as much as the music of Milt Jackson and Charlie Parker did fifteen years prior.
I opened up my own commercial home studio in 1998 and began doing a variety of projects, working on radio jingles, artist CD projects, and whatever came my way. A couple of years later a colleague called me up - desperate. He was working at a post production house and one of the editors had just quit. They were doing audio post for a weekly TV series and needed a Pro Tools editor - and fast! And so, once again, I jumped in head first into what would ultimately open up my world even more - the world of Pro Tools.
4. People you have worked with/for?
Focusing on Logic, I built up a small but loyal client base and my phone kept ringing for Logic tech support and instruction. Film composers and studio owners all over the city were calling me. Even the music stores were giving out my phone number at this point! This kind of stuff becomes a self fulfilling prophecy. The more of it you do, the more calls you get to keep doing it. At least that's the way it should be!
As my Logic chops kept growing, I was hired by an old buddy of mine, Len Sasso, who was then an associate editor at Electronic Musician magazine, and began writing some columns for them. I had a blast doing them - and really learned to focus and express my thoughts in a concise and clear manner. This lead to a collaboration with LA based composer Terry Michael Huud on the 2006 film called Civic Duty - which was certainly one of the highlights of my professional life as a composer.
5. Why are you so good at training people?
I wake up every day excited to boot up, and create. Whether it's instructional videos, creating music, working with a studio client, performing with my band, or teaching at the schools - my days are filled with what I love doing. Enriched by the stimulation and creative freedom this modern music making software brings to my life. I bring that excitement and passion to each and every training product I create. My years of experience both using and teaching these programs has taught me the best way to make the user comfortable with these complex programs.
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Maestro 2 is Apogee's flexible and powerful OS X Mixer software solution that's included with all Apogee interfaces. Studio master Eli Krantzberg shows you everything you need to know about Maestro 2, as well as how to get the best performance out of your Apogee interface and improve your workflow.
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