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For that metalic sounding whisp on the top end of synths or bass, try turning the Pre-Delay on the reverb unit way up, turn the reverb way up with a ver short delay time and a smaller room size. This creates a metalic sounding air whisp on top of the sound.

I use the stock reverb unit in Fruity and it works great even in that.

any other reverb tricks out there??

p.s. - as a producer how do you decide when to stereo widen or use reverb??

That's cool, I rarely think of reverb as a creative tool.

Direct Feed wrote: p.s. - as a producer how do you decide when to stereo widen or use reverb??

They both do different things so its up to you what you want to do with the sound

For soft pads and ambient synths I found you can get some cool effects if you apply reverb and set the wet level to full and the dry level to 0. makes for some weird stereo positioning and spatial effects...

well since dry wet balance just controls the ratio between the original signal and the reverb signal , all that means is that you are sending your out signal as entirely reverb without any of the original signal.
Most reverbs should have damping and some sort of EQ though, its all just common sense.

Blip wrote:That's cool, I rarely think of reverb as a creative tool.

wtf ? reverb makes sounds alive.

Direct Feed wrote:For that metalic sounding whisp on the top end of synths or bass, try turning the Pre-Delay on the reverb unit way up, turn the reverb way up with a ver short delay time and a smaller room size. This creates a metalic sounding air whisp on top of the sound.

I use the stock reverb unit in Fruity and it works great even in that.

any other reverb tricks out there??

p.s. - as a producer how do you decide when to stereo widen or use reverb??

Sidechained compression after the reverb bus is a good idea, keeps the volume low whilst the original parts playing and brings it up when it stops thus keeping the sound a lot clearer and seperate. Works really well with delays too.

I just use reverb if it sounds dry without it, but it is easy to go too far quite quickly. I usually use two kick tracks (the same doubled), low pass one and then get the beater noise off the other and send that out at low volume to the reverb bus. Also works with some basses too and stops the bass frequencies muddying up the mix

subindex wrote:

Blip wrote:That's cool, I rarely think of reverb as a creative tool.

wtf ? reverb makes sounds alive.

I agree, reverb is a key essential to your sound!

ODESSA// wrote:

subindex wrote:

Blip wrote:That's cool, I rarely think of reverb as a creative tool.

wtf ? reverb makes sounds alive.

I agree, reverb is a key essential to your sound!

The trouble with sarcasm is it doesn't work on the net.

Shonky wrote:

Direct Feed wrote:For that metalic sounding whisp on the top end of synths or bass, try turning the Pre-Delay on the reverb unit way up, turn the reverb way up with a ver short delay time and a smaller room size. This creates a metalic sounding air whisp on top of the sound.

I use the stock reverb unit in Fruity and it works great even in that.

any other reverb tricks out there??

p.s. - as a producer how do you decide when to stereo widen or use reverb??

Sidechained compression after the reverb bus is a good idea, keeps the volume low whilst the original parts playing and brings it up when it stops thus keeping the sound a lot clearer and seperate. Works really well with delays too.

I just use reverb if it sounds dry without it, but it is easy to go too far quite quickly. I usually use two kick tracks (the same doubled), low pass one and then get the beater noise off the other and send that out at low volume to the reverb bus. Also works with some basses too and stops the bass frequencies muddying up the mix

Thanks some nice tips there.

No problem

Something I found recently that works quite nice is putting a tiny amount of bit crusher on the reverb channel too, maybe a couple of db's - seems to give a nice little bit of brightness to the space

Two more ways to achieve the sound include;

Setting a delay unit to between 2 and 100 milliseconds.

Extreme flanger settings.

Oh and to get those old dub reggae sounds - reverb, tape delay and phaser (mess around with the order)

Shonky wrote:Oh and to get those old dub reggae sounds - reverb, tape delay and phaser (mess around with the order)

make sure you sample a guitar skank and use it in every track along with some "jah" samples

forensix (mcr) wrote:

Shonky wrote:Oh and to get those old dub reggae sounds - reverb, tape delay and phaser (mess around with the order)

make sure you sample a guitar skank and use it in every track along with some "jah" samples

Rinsed and repeated

Nah just use it on drums innit, I've used it quite a lot on tunes that aren't even vaguely reggaeish