Sorry if this is a newbie question, but here it is: I like drums with a healthy dose of reberv, specially the snare. But, later, if I want to apply reberv to the whole mix to glue it together, wont it clash with the one that I applied to the drums? Im thinking it will make drums sound strange, or foreign to the whole mix. Any suggestions?
Reberv question
- Thread starter Mr. Cachi
- Start date
Chili
Site Moderator
I understand english may not be your first language, no problem, so the correct spelling is Reverb.
I usually use one reverb plug and send all instances to it. No clashing and it helps to glue everything together. However, that's only one way to do it. If you want a separate reverb on your snare, just try it and see if it works with the global reverb. Mix it until you find the right balance. Most likely it will work fine.
I usually use one reverb plug and send all instances to it. No clashing and it helps to glue everything together. However, that's only one way to do it. If you want a separate reverb on your snare, just try it and see if it works with the global reverb. Mix it until you find the right balance. Most likely it will work fine.
gecko zzed
Grumpy Mod
Like Chili, I set up a single reverb track and send all the stuff that needs reverb to it . . . that way, even though there may be different amounts of reverb applied to various tracks, the feel is consistent across all tracks.
Thanks for the replies. The thing is, do you route ALL the tracks to a single reverb track for the sake of consistency? or do you leave some instruments out of it? Im asking because i´ve tried adding all of the tracks to a reverb bus, and even though the effect was in low volume, it sounded kinda messy...
Chili
Site Moderator
Yes and No. It depends on the song and how I want it to sound. Lots of different reasons to do it both ways.
Depending on the bass tone I want, I may or may not send it to the reverb plug. If it is bright and the guitars are bright with reverb, then I will send the bass to the reverb plug to make it seem like it is in the same room as the guitars. But most times I do not.
Drums are a little complicated because I use EZDrummer2. I send the drums to the DAW as a 2 track. In EZD plug-in, I have the option of adding reverb, so sometimes I do and sometimes I don't. Then I might send the 2-track to a reverb in the DAW, adding a little more. That means the kick is getting some reverb, which I wouldn't want because it can get muddy. So, I will EQ the reverb effect and apply a high pass filter at around 800hz or 900 hz. I will also low pass the reverb at around 6khz then notch some out around the band of the lead vocals.
Acoustic guitars always get sent to reverb. Electric guitars will get some, but not too much unless I want a lot of reverb; like my Johnny Cash cover. lol.
I learned a trick a long time ago for reverb. For each track, start with the send all the way down, then apply enough reverb so you can just barely hear it, then dial it back down so you can just barely not hear it.
I'm no expert at any of this, so.....
Depending on the bass tone I want, I may or may not send it to the reverb plug. If it is bright and the guitars are bright with reverb, then I will send the bass to the reverb plug to make it seem like it is in the same room as the guitars. But most times I do not.
Drums are a little complicated because I use EZDrummer2. I send the drums to the DAW as a 2 track. In EZD plug-in, I have the option of adding reverb, so sometimes I do and sometimes I don't. Then I might send the 2-track to a reverb in the DAW, adding a little more. That means the kick is getting some reverb, which I wouldn't want because it can get muddy. So, I will EQ the reverb effect and apply a high pass filter at around 800hz or 900 hz. I will also low pass the reverb at around 6khz then notch some out around the band of the lead vocals.
Acoustic guitars always get sent to reverb. Electric guitars will get some, but not too much unless I want a lot of reverb; like my Johnny Cash cover. lol.
I learned a trick a long time ago for reverb. For each track, start with the send all the way down, then apply enough reverb so you can just barely hear it, then dial it back down so you can just barely not hear it.
I'm no expert at any of this, so.....
Massive Master
www.massivemastering.com
I tend to complicate reverb more than some... Maybe on a typical rock mix:
Usually a hall for instruments -- Send probably cut below around 300 and above 8 or 9k, usually some gentle, low ratio compression on the return (but not the send). Plate for vocals -- Send cut below maybe 4-500 and above 6 or 7k, usually compressed hard on the send (but not the return). Sometimes a sparse gated verb on snare and/or toms, the return of which is routed to the hall. Delay on vocals would be routed to the hall or the plate -- Plate if I really want it to be "part of" the vocal, hall if I want it to be set with the instruments.
Modulation (if)... Might be before the verb, might be modulating post verb. If you haven't experimented with feeding a signal into a lush chorus into a verb or slightly flanging post the verb itself, you should try it.
Granted - It's all just candy. Except for feeding the delay into the verb... I hate hearing dry delay when the vocal has verb...
Usually a hall for instruments -- Send probably cut below around 300 and above 8 or 9k, usually some gentle, low ratio compression on the return (but not the send). Plate for vocals -- Send cut below maybe 4-500 and above 6 or 7k, usually compressed hard on the send (but not the return). Sometimes a sparse gated verb on snare and/or toms, the return of which is routed to the hall. Delay on vocals would be routed to the hall or the plate -- Plate if I really want it to be "part of" the vocal, hall if I want it to be set with the instruments.
Modulation (if)... Might be before the verb, might be modulating post verb. If you haven't experimented with feeding a signal into a lush chorus into a verb or slightly flanging post the verb itself, you should try it.
Granted - It's all just candy. Except for feeding the delay into the verb... I hate hearing dry delay when the vocal has verb...
miroslav
Cosmic Cowboy
I don't recall my fine details, as they do change...but I do occasionally get a bit involved too. I keep it subtle for the most part, but I may combine a few different reverb flavors, though I try and keep them compatible.
Vocals are almost always a plate of some kind. I've get some hardware units with my own plate presets that I configured to taste and set up as basic short, med, long...and from there I'll tweak them additionally if needed.
I also have some great plates in software that I've become quite fond of, one being the primary reverb plug from my DAW...but I acquired the Waves Abbey Road plates not too long ago, and they will surely become some of my go-to vocal plates.
For guitar leads, I tend to lean toward a medium hall reverb from my hardware units...while rhythm guitars will get maybe a small hall or plate...all depends on the song tempo and the density of the guitar rhythm.
If I have multiple rhythm guitars, I may leave some dry as a contrast to the wet ones.
Keys often end up dry, as I find they will mush out the mix very quickly otherwise...though there can be the occasional ballad where the keys work when they are bit mushy. If I did more ethereal, electronic stuff...then you can let go more with reverbs on keys and synths...but most of my keys end up being some organ flavor, often my old Hammond, which I split out L/R, so dry works best...and the other is piano, which I like for it's percussive quality on Rock/Pop stuff...so dry brings that out.
Finally....on drums, I've become somewhat enamored with the old EMT 240 plate unit I acquired a year or so ago. It has a sweet spot that really works great on snare, bringing it out but without excess, while simultaneously making the hat sit more favorably in the drum kit mix....it's actually interesting how it changes the actual tone of either the snare or hat, depending which is sending more to the plate, and it doesn't just add more or less reverb....if that makes any sense.
All that said...I am starting to try out more drier mixes, as that seems to be the current mix flavor in modern Pop/Rock...but I don't think I will ever give up on using reverb altogether. I do like it...but as I said, subtly is the key.
jkuehlin
New member
Start by routing in parallel, or applying directly to the channel until you know what you're doing. If you don't know what parallel processing is, youtube it. You'll figure it out.
BroKen_H
Re-member
I've modified the Abbey Road trick to help some of my mixes.
NUTSHELL, ABBEY ROAD TRICK: High pass at 600, Low pass at 10k and a notch for the vocal around 2k BEFORE the reverb. Brings a shine to vocal tracks.
MY MODIFICATION: I make a couple of instances of the same exact reverb on a couple of different sends. One for the vocal track (as above), one for the guitars with high pass at 450 and low pass at 12k and some notching at different frequencies (depending on whether the song is acoustic, clean or driven), and one with just low pass for the drums.
Cuts a lot of the muddying tails out of the mix and brings things together nicely (since everything sits properly in the same space). I also usually leave the kick out of the reverb unless there will be a space where the drums are solo, and there I'll automate the bypass on another copy of the reverb on just the kick (so the reverb is only there during the drums only part of the song).
I've learned in Reason that you can send several sends (with their hi/lo pass filters and notches) into a merger and ship the merged output to a single reverb. Don't know how that would work in other DAWs...
NUTSHELL, ABBEY ROAD TRICK: High pass at 600, Low pass at 10k and a notch for the vocal around 2k BEFORE the reverb. Brings a shine to vocal tracks.
MY MODIFICATION: I make a couple of instances of the same exact reverb on a couple of different sends. One for the vocal track (as above), one for the guitars with high pass at 450 and low pass at 12k and some notching at different frequencies (depending on whether the song is acoustic, clean or driven), and one with just low pass for the drums.
Cuts a lot of the muddying tails out of the mix and brings things together nicely (since everything sits properly in the same space). I also usually leave the kick out of the reverb unless there will be a space where the drums are solo, and there I'll automate the bypass on another copy of the reverb on just the kick (so the reverb is only there during the drums only part of the song).
I've learned in Reason that you can send several sends (with their hi/lo pass filters and notches) into a merger and ship the merged output to a single reverb. Don't know how that would work in other DAWs...
mjbphotos
Moderator
I tried that Abbey Road trick, not sure I could really hear the difference, though.
IU usually use 3 Reverb buses, one for the drums, one for all the rest of the instruments and one for vocals. Each has a different amount of pre-delay on it, usually around 24msec for the drums, 18 for the instruments and 12 for the vocals. I'll use the same IR for all of them.
IU usually use 3 Reverb buses, one for the drums, one for all the rest of the instruments and one for vocals. Each has a different amount of pre-delay on it, usually around 24msec for the drums, 18 for the instruments and 12 for the vocals. I'll use the same IR for all of them.