ShanPeyton
Member
When you guys set up a reverb track to send your drum kit to? Is it better to set that send track up as a stereo track or a mono track?
Dumb Reverb Question.
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ShanPeyton
Member
Ahh yes. It is reaper i am using so i will go home and tinker with that. I have never been happy with the reverb around my drums in anything i have done and i am wondering if this is my problem? I think my reverbs and spatial effects should be sent to stereo tracks if that's possible. Minerduder mentioned in the tone thread the other day about setting up a stereo reverb and i was like WTF? I think i will investigate this further. In theory it makes sense. I have a feeling this might be a face/palm moment.
A stereo reverb is just that - a stereo reverb. It works in stereo on an empty track. Reaper doesn't have "stereo" tracks. You make them stereo by how you use it. Put a stereo effect on a track and it will be heard in stereo. The track itself doesn't know or care what it is.
Having said all that, use stereo reverb for drums. Some retard beatles wannabe will probably come in here and scream for mono. They are dumb.
Having said all that, use stereo reverb for drums. Some retard beatles wannabe will probably come in here and scream for mono. They are dumb.
ShanPeyton
Member
HaHa!! Awesome. Yea stereo is a better option. I'll have to have a look at what it is i am using. Any recommendations on a good reverb for idiots?
Yes, all that. Glaceverb is pretty decent, but IRs with Reaverb are the shit.
I've got a bunch of reverb files you can use with Reaverb. I'll package them up and send them to you.
minerman
Tonetard
Yeah most of those are good sounding reverbs....I use 'em all the time, matter of fact, about 90% of the time if you hear reverb on anything of mine, I'm using these IR's...
ShanPeyton
Member
That would be mighty fine of you if you did. I have a few hours to sit and screw around to see what, if anything i have been doing wrong. I think i have glaceverb as well. I'll start there.
Good to know. I also might have to pick your brain sometime about that reverb technique you mentioned in the tone thread if i can't figure it out in the next couple of hours.
ashcat_lt
Well-known member
I use Glaceverb a lot more often than ReaVerb just because it takes less resources. Sometimes I'll swap it out for ReaVerb kind of right before I go to render, but for most of what I do, it's not necessary.
I was going to warn you that many reverbs are not actually true stereo through. Many of them will take your stereo input, sum it to mono, and then do something in the algorithm to make stereo reverb. So, the output is in fact different on each side, but a signal sent to the left will sound different in the same way as a sound sent to the right. It won't track your pan settings through in any way. Then I found this thread on the Reaper forum that says Glace isn't true stereo either, and it hasn't really bothered me ever. If you think about it, a drum kit in a room isn't really spread all that far out, and once you back away a bit it becomes basically a mono point source. Same with even a whole band on a stage in a big enough room. So these M2S verbs can work well. Note that ReaVerb, and in fact most (all that I know of) of the free convolution plugs are also M2S by nature. There's only one balloon being popped when they capture the IR. If you find True Stereo IRs, they will actually be two files, and each needs to be loaded into a different instance of ReaVerb - one for left and one for right inputs. I think there's a tutorial in the Reaper User Guide that describes how to set up that up on just one track for True Stereo use. It could be applied to any M2S reverb. We'd have to do some thinking to make it work in some other DAWs.
I was going to warn you that many reverbs are not actually true stereo through. Many of them will take your stereo input, sum it to mono, and then do something in the algorithm to make stereo reverb. So, the output is in fact different on each side, but a signal sent to the left will sound different in the same way as a sound sent to the right. It won't track your pan settings through in any way. Then I found this thread on the Reaper forum that says Glace isn't true stereo either, and it hasn't really bothered me ever. If you think about it, a drum kit in a room isn't really spread all that far out, and once you back away a bit it becomes basically a mono point source. Same with even a whole band on a stage in a big enough room. So these M2S verbs can work well. Note that ReaVerb, and in fact most (all that I know of) of the free convolution plugs are also M2S by nature. There's only one balloon being popped when they capture the IR. If you find True Stereo IRs, they will actually be two files, and each needs to be loaded into a different instance of ReaVerb - one for left and one for right inputs. I think there's a tutorial in the Reaper User Guide that describes how to set up that up on just one track for True Stereo use. It could be applied to any M2S reverb. We'd have to do some thinking to make it work in some other DAWs.
ShanPeyton
Member
I tried glaceverb last night and it has way too many variable sliders and knobs for me. I couldn't quite find the sound i was looking for. In saying that i am still quite green with the concept of reverb and how it works as a send and stuff. So i am sure i'd need more than a couple hours toying with it. I am just a simple guy. I looked at reaverb and it seemed a little more dumbed down than Glace. I got some IR's in the digital post today so i will have a go with those.
That was great post too ashcat re: the mono/stereo thing. I may have to read it a few times for it to make 100% sense but thanks for the insight.
That was great post too ashcat re: the mono/stereo thing. I may have to read it a few times for it to make 100% sense but thanks for the insight.
miroslav
Cosmic Cowboy
You can probably leave most of the knobs/settings alone for the start.
IOW....say you want a nice warm plate reverb for a vocal. Find a plate preset, there's almost always a vocal plate or two with most verbbs...and then focus on the lenght of the reverb...the time...and adjust that to taste, and the other setting that's worth messing with is the pre-delay....which is the amount of time between the start of your dry signal and when the reverb kicks in...so if you have a long pre-delay, you first hear the start of the signal dry, and then the reverb comes in, as opposed to a short pre-delay where the dry and reverb are almost simultaneous.
Your pre-delay is usually in milliseconds, and your reverb times are from milliseconds to seconds, as needed, but I find for most things you want to set up like 3-4 of your own presets, off the original preset...for now, leave everything the same except for the reverb time, then do like 0.05 seconds, 1.0. 1.25 or whatever you want for your presets. IOW...have like 3-4 presets of the same thing but different times to fit a given situation.
Same thing with the pre-delay, though it's more subtle, or you can just keep the same thing.
The other options...the EQ, the diffusion, etc....just leave them alone however they are with the original preset...then when you are comfortable setting pre-delay and reverb time...pick one, like the HF EQ, and mess with it. Same with the others.
IOW...you don't have to mess with every setting, every time you pull up a reverb. Usually the provided presets are pretty good, but pre-delay and reverb time will be the most key for finding the right combination for a given song.
Like...you don't want a long pre-delay and a long reverb time for a song that is very up-tempo....it will screw up the whole feel since the reverb will always be "catching up" to the signal...the song will be too fast for the slow/long reverb reaction...so you would want something shorter in time, and quicker in starting.
IOW....say you want a nice warm plate reverb for a vocal. Find a plate preset, there's almost always a vocal plate or two with most verbbs...and then focus on the lenght of the reverb...the time...and adjust that to taste, and the other setting that's worth messing with is the pre-delay....which is the amount of time between the start of your dry signal and when the reverb kicks in...so if you have a long pre-delay, you first hear the start of the signal dry, and then the reverb comes in, as opposed to a short pre-delay where the dry and reverb are almost simultaneous.
Your pre-delay is usually in milliseconds, and your reverb times are from milliseconds to seconds, as needed, but I find for most things you want to set up like 3-4 of your own presets, off the original preset...for now, leave everything the same except for the reverb time, then do like 0.05 seconds, 1.0. 1.25 or whatever you want for your presets. IOW...have like 3-4 presets of the same thing but different times to fit a given situation.
Same thing with the pre-delay, though it's more subtle, or you can just keep the same thing.
The other options...the EQ, the diffusion, etc....just leave them alone however they are with the original preset...then when you are comfortable setting pre-delay and reverb time...pick one, like the HF EQ, and mess with it. Same with the others.
IOW...you don't have to mess with every setting, every time you pull up a reverb. Usually the provided presets are pretty good, but pre-delay and reverb time will be the most key for finding the right combination for a given song.
Like...you don't want a long pre-delay and a long reverb time for a song that is very up-tempo....it will screw up the whole feel since the reverb will always be "catching up" to the signal...the song will be too fast for the slow/long reverb reaction...so you would want something shorter in time, and quicker in starting.
InnovationVocal
New member
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ShanPeyton
Member
I think you were looking for fiverr.com. This is homerecording.com. We do things ourselves. Thanks for stopping in though.
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ShanPeyton
Member
This is a huge help miro. thanks man.
ashcat_lt
Well-known member
Course, if this is a "send effect" where the verb is on it's own track, the first parameters you need to adjust are the Wet and Dry or Mix parameters. Most of the presets in Glace have Dry up at unity and Wet turned down pretty low. For this type of "reverb bus" you want the Wet up and the Dry all the way down. I usually end up with the fader on this track way down. It just kind of occurred to me that if I turned the Wet knob down a bit I could have a little more range on the fader...
R
RAMI
Guest
I like the sound of Glaceverb, but I stopped using it because of the fact that every pre-set has the DRY turned up. Not that I use pre-sets most of the time, but when I want to A/B 2 sounds, I want to be able to go from one to the other without having to adjust anything.
99% of the time, I now use IR's, Lexicon's PCM ones are my favorites. I have a shit ton of rooms, plates, and halls. I've actually never used ReaVerb. I've always used the SIR whatever it's called.
99% of the time, I now use IR's, Lexicon's PCM ones are my favorites. I have a shit ton of rooms, plates, and halls. I've actually never used ReaVerb. I've always used the SIR whatever it's called.
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ShanPeyton
Member
Thanks dudes. that is also good to know actually. When i was playing with Glace as a send i didn't touch the dry setting at all i just left it as is. Might be why i wasn't in love with it.
Reaverb is like SIR. It's a convolution plug interface thing. You can use any kind of impulse file with it. Reverb, speaker cabs, whatever. Obviously, by the title, it comes with Reaper.
