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setspeed wrote:

Hugh wrote:i use it as an insert in the same way I use every other effect. Im actually surprised people arent fine tuning reverb tailored to each instrument. Surely each channel requires a specific amount of damping and so on?

not necessarily.



remember that originally, the point of a reverb was to make something sound like 'it's in a space'. you take your dry snare sound, and apply reverb to it, to make it sound like the snare is playing in a room, or hall, or cave or whatever. so then it makes sense that you might want other things going through the same reverb - so they sound like they are all 'in the same place' if you know what i mean

so like would you use the same reverb for everything on a track or just like drums or something, cos i have always thought to have a different reverb for everything, as it all needs different things, but now im thinking maybe thats not the way to go, i like the idea of have a long medium and short reverb for everything.

if you used the same reverb for all the drums, how would you make something sound like its further away? by sending more of that sound to the reverb, thus the reverb being louder? or adjusting the volume of that sound so its slighty lower, but send more to the reverb so that the reverb is the same volume as everything else?

Ive actually started building fully wet reverbs an of randomly settings on inserts and bouncing then to audio an using those... I also use 2 sends, one for mid-long verb and one for a short verb (often used to gel things together).


Inserts can make things sound sloppy, quickly.

This is reminder of macc's advice, read that post again, and try that shit out. You will have all the depth and width you want, AND a tun more room in your soundstage.

Personally most of my reverb nowadays is on a send, but its own unique send. Like each element or group of elements gets it's own reverb send. While I'm often trying to create a space with reverb and with the mix in general, it's not a kind of literal space, so I'm going form more than a background mush, a middle ground and a foreground. I find multi tracks run into the same reverb gets sloppy quickly. But when each element has it's own send with a reverb and an eq or two (jokes, no but really, one eq before, one after), you can really tighten up each element's sound/position/duration etc.

Whatever, there is a tun of variety in the way that you can do these things. Even with the above mentioned discreet sends, I still may have a general bucket sort of reverb send. There is no right way to do this, only the way that produces results you're happy with. To beginners just learning about this, I would try everyone's advice in this thread, and more than just once. Everyone has a lot of good ideas here.

^^ good stuff..

I love when reverbs offer pre/post EQ. Who is using hardware verb units? I want a real plate, me n a friend were discussing a build but the thing would take up half my house.

Also anyone regularly use compressors or other fx (non EQ/filter) on verb sends?

compressed, sidechained reverb send

nowaysj wrote:compressed, sidechained reverb send

this is why i love dfs.
i never would have thought of that.
and now i dont have to, cause you did.
i gotta try that shiz.

Can you get Space Designer as a VST for other DAWs? People are always saying it's awesome

DoctorPlease wrote:i never would have thought of that.
and now i dont have to, cause you did.

hahaha, wish I did. We're in a hall of mirrors, no one has thought of anything new since les paul

Happened to notice from therook's sig:

nowaysj wrote:
This reverb literally tickled my neck while listening to it. Like vodka laced breathy whispers on the back of your ear from a really hot chick who you know will be bouncing up and down on your c0ck for the first time in just a couple of hours.

could you mention what verb you were on about there? sounds......... good.

nowaysj wrote:

DoctorPlease wrote:i never would have thought of that.
and now i dont have to, cause you did.

hahaha, wish I did. We're in a hall of mirrors, no one has thought of anything new since les paul

well you didn't think of it but at least you spoke of it
can i ask what exactly you are side chaining to the reverb?

i use inserts 80% for the time, because they're much easier to control. what if you want the reverb on your snare to be longer, but don't want to affect the length of the (send) reverb you've applied to just about every other channel in your mix? the limiting factor, of course, is CPU load.

the other potential drawback of using reverbs as an insert is that you can't really automate the 'send' level in order to feed in, for example, one snare hit in out of a thousand into the reverb unit - but in ableton you can get around this easily by grouping the reverb into an instrument rack, setting it to 100% wet, creating an empty rack channel beside it (the 'dry' channel) and then automating a Utility plugin before the reverb as your 'send level'.

-[2]DAY_- wrote:could you mention what verb you were on about there? sounds......... good.

112 db's redline reverb. It is squarely in the algorithmic category/sound, but it has a shimmery lushness in the higher freqs, it will just make your hair stand up. You can kind of use it like a maximizer. I've also found that you can run stuff wetter through it, but maintain clarity/legibility. I used the demo, I don't know, a year ago? There were some ui problems with flstudio. Prevented me from buying. I don't know if they have resolved.

DoctorPlease wrote:can i ask what exactly you are side chaining to the reverb?

Was doing something tonight, and realized out of the blue that I didn't answer this. Random and kind of sad.

Ah, you can side chain anything you like to it, but I'm speaking really about sidechaining the thing itself to its own compressed reverb tail. Don't know if technically that makes sense. Basically the sound itself turns down it's own reverb while the sound is above a certain threshold, then as the sound drops below the threshold, that crunchy noisy reverb tail blends in. A way to get good clean legible sounds and still have that crazy chunky reverb, also a way to create that weird kind of jarring effect of having the sound disconnected from it's noisy reverb.

Using a good sidechaining compressor with a robust time range of attack and release settings helps this. Some comps are just too fast/slow.

Hi there (and welcome DSF)

What I do is use reverb as an insert for snares, then buss all the drums and have a reverb send for them.
When it comes to synths, I prefer to use a delay insert (instead of a reverb); then buss them and send the buss to a reverb.
For the bass sound, I like to use a short (300 - 500 ms) reverb send, but only on the high freq of the bass, to get a nice roomy cohesive feel; I think it sounds ok (when I manage to get it right).
But all depends on the material you're working with.

I should try the sidechain thing, sounds interesting and promising.

nowaysj wrote:

DoctorPlease wrote:can i ask what exactly you are side chaining to the reverb?

Was doing something tonight, and realized out of the blue that I didn't answer this. Random and kind of sad.

Ah, you can side chain anything you like to it, but I'm speaking really about sidechaining the thing itself to its own compressed reverb tail. Don't know if technically that makes sense. Basically the sound itself turns down it's own reverb while the sound is above a certain threshold, then as the sound drops below the threshold, that crunchy noisy reverb tail blends in. A way to get good clean legible sounds and still have that crazy chunky reverb, also a way to create that weird kind of jarring effect of having the sound disconnected from it's noisy reverb.

Using a good sidechaining compressor with a robust time range of attack and release settings helps this. Some comps are just too fast/slow.

is this to get a similar effect as in moving the initial delay to a longer time on the reverb? so like with say a chord stab, the stab hits, and then the reverb rushes in a noticable time after?

^ yeah, some of the sounds made by this technique are like predelay on the verb, but the release control on your sidechain will give you a different feel for (and usually more control over) the way the tail blends/follows into the initial sound.