R
RAMI
Guest
I have absolutely never experienced that. I don't even know how that would happen if you have the reverb at 100% wet. The only time that happens is if I bypass the reverb. Then the dry volume goes up.
Tadpui
Well-known member
The worst was when I was first using ReaVerb with an impulse file. I was following a guide written by some schmuck that said to uncheck the "add 12 dB attenuation to impulse" box. So I unchecked it. It was so goddamn loud I seriously almost crapped myself. That vocal track was so loud that my monitors' speaker cones were travelling at least a full inch, they were just a white blur. That was the day that I decided that I always needed an actual volume knob in my setup to act as a panic button. It's a wonder that I didn't blow a driver or an eardrum. And now I know to leave that checkbox alone unless I turn everything down first!
andrushkiwt
Well-known member
if you're asking me, it's Studio One 2 Pro.
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4tracker
Guest
I think this is what I was doing wrong. Not using the original track's send to control the reverb, but instead using the plugin (i.e. setting the wet/dry in the plugin to 25% and that's the wet for everything). This has been enlightening. I was always confused about FX channels and many times just used the plugins inline because I wasn't sure of the proper setup. This is great, thanks.
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4tracker
Guest
Is it true that on a drum kit you shouldn't put reverb on the kick? I keep reading this. I don't think it sounds bad with reverb, though. Also, what about overheads that are picking up some kick, yet they are panned hard left and right? In this case they have reverb and low end panned...is the standard to filter the low end on overheads because of that panning?
bouldersoundguy
Well-known member
In Sony Vegas you can insert a stereo reverb on a mono track and it comes out stereo. The distinction is track vs. channel. The track is like a track on tape, one channel, and comprises all the audio clips that go to a given channel. The channel is like the channel on the mixer, except that all channels are stereo. If you feed a mono track to a channel the signal is routed to the left and right inputs of the stereo channel and it behaves like a mono channel. The stereo nature of the channel hidden from the user until you insert a stereo effect then you discover that the output of the channel is stereo.
andrushkiwt
Well-known member
I believe overheads are usually tidied up with a HP filter to eliminate low end and that "gongy" sound at the bottom end of cymbals. This is what I do, and what I have researched. I'm not sure how different answer will be regarding this, but it's possible someone does it differently. Specifically, my overhead track has a HP filter set around 280-320hz or so. And a LP at around 17khz.
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4tracker
Guest
Say you send 6 mono drum tracks to a group channel -- that group channel should be created as a stereo channel, correct? And then any reverb FX track the group then passes through should use stereo reverb, correct? That's how I set it up. I hope that's right.
Conversely, if I'm adding reverb to a single mono track like a vocal, I can do it inline and would use a mono reverb. Is that right?
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andrushkiwt
Well-known member
Let's rename this the "Lessons on Reverb Thread".
bouldersoundguy
Well-known member
Don't bother inserting reverbs on tracks at all unless there's some special reason to do so. If you use a send from a mono track to an FX track then the reverb will come out stereo, and if you pan the track the reverb will stay where it is. If you insert a reverb on a track it will pan with the track, which isn't natural sounding but can be cool in certain cases.
Think about how it sounds when someone is singing in a reverberant space. It doesn't really matter where they are or that the singer is a mono source, you will hear the reverberation from all around you. Using sends from each audio track to a stereo FX track mimics this.
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4tracker
Guest
Thanks, man, you're one of the best.
mjbphotos
Moderator
If you like the sound, good. What you're doing is putting the same amount of reverb on each voice (or instrument) on that bus - maybe that's what you want. I tend to put less reverb on lead vocals than doubled or backup vocals. On guitars, I'll usually put more on a lead part han any rhythm instruments.
R
RAMI
Guest
Except for very rare "artistic" exceptions, reverb should be always be stereo. Doesn't matter if it's on a mono source. Like Boulder said, reverb naturally reverberates all over the room, not just from where the singer or the guitar player is. A mono reverb can be can be artistic, but it's not natural.
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andrushkiwt
Well-known member
You missed an earlier comment - that insert is only put on the vocal bus. the guitar bus has its own. it doesn't affect anything other than the vocal tracks. but yes, i can see how the background vocals might require different levels of verb. good point.
sorry, i see what you're saying now. yes, i'm aware it is affecting all the vocal tracks.
ashcat_lt
Well-known member
Many - almost most - reverbs are actually mono in/stereo out anyway. Yes, they might take two channels at the input, but then that gets summed together before the reverb algorithm, which then often creates a false sense of stereo by way of slight differences in timing on either side. Send something panned hard left into it, and it comes out exactly the same as if the input was panned hard right. The output is stereo, but has nothing to do with the panning of the source.
Some DAWs, though, if you tell it the track is mono, then it basically only uses one half of the plugin at both input and output. That is kinda lame, but still pretty common for some reason.
Some DAWs, though, if you tell it the track is mono, then it basically only uses one half of the plugin at both input and output. That is kinda lame, but still pretty common for some reason.