So I was having a little discussion at work with two of the engineers about specifically the use of EQ on reverb sends.

One was saying he HPF's everything above 100-250hz (dpending on the sound, and the other was swearing by filtering out everything low around the same numbers and then cutting the highs above 4khz.

So it was put top the test on the desk and both gave quite different results until they put them in to the mix and did their EQ'ing on the source tracks (before the sends). They both then sounded a lot closer but still had a definable sonic difference (and of course each preferred their own).

Alas, this was all on real drums we'd recorded, so I just wanted to get other producers take as to how you all apply it to common EDM sources (drums, pads, vox etc), specifically relating to EQ and Reverb sends.....

quote:

Originally posted by DJ RANN One was saying he HPF's everything above 100-250hz (dpending on the sound, and the other was swearing by filtering out everything low around the same numbers and then cutting the highs above 4khz.

this is what i do personally but when it comes to the highs sometimes somewhere between 4 and 8k depending on how bright i want the reverb to be

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Originally posted by meriter Your primary focus should be making good music. That's all. No one gives a shit how you do it. And the people that do are fags.

almost always. another thing is compression so that the levels taper when more elements are playing.

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I have low cut in the past, but not without thinking about it. I've also boosted the highs, but never cut them. A compressor might be a good idea actually, its not something I've done before either, but might give a good effect...

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since the sends are usually 100% wet, i actually use the HP EQ in my reverb (Breverb) to do the same thing, anywhere from 100-200hz depending on the source. Only time i really let it get below 140k is if it's a lower vocal

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Originally posted by Nightshift this is what i do personally but when it comes to the highs sometimes somewhere between 4 and 8k depending on how bright i want the reverb to be

That's what I was thinking.

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[b]Originally posted by Looney4Clooney[/b almost always. another thing is compression so that the levels taper when more elements are playing.

I've heard it mentioned once before but how does that work. You do a comrpessor as an insert after the Reverb on the Aux channel?

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[b]Originally posted by Anthony Ross[/b since the sends are usually 100% wet, i actually use the HP EQ in my reverb (Breverb) to do the same thing, anywhere from 100-200hz depending on the source. Only time i really let it get below 140k is if it's a lower vocal.

Eh? Sends 100% wet? Do you mean your aux channel fader is at unity and you just send a little from the source channel (how I do it) or that the send knob on the source channel is at 100% and you just mix a tiny bit of the aux channel in to the mix?

the more elements playing , the more reverb will be created but generally when you have more things playing, you want to reduce the reverb because it looses its efficacy and at a certain point just introduces mudd. . Nothing crazy, just 3 to 6 db of reduction.

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quote:

Originally posted by Looney4Clooney the more elements playing , the more reverb will be created but generally when you have more things playing, you want to reduce the reverb because it looses its efficacy and at a certain point just introduces mudd. . Nothing crazy, just 3 to 6 db of reduction.

the only thing I wonder about that is though, it would actually change the dynamics, not just the gain, so doesn't that cause problems with the reverb "fitting" with the elements it's being created from?

the way most people mix, the elements themselves are being compressed already with the reverb on the aux not being touched. So yes, it will change the relationship but a little bit here and there will save time having to automate reverb ratios which I would imagine would take forever. I think the idea is that if you have just 1 element playing, reverb is important, the more elements you have, the more reverb can get in the way

It is only acting as a volume cap. no shaping really. very quick attack and long release with a small ration and soft knee

I've seen vocal rider being used for alot of these things. In fact vocal rider is probably the plugin i've seen used alot and on everything. Great plugin.

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For me, I highpass filter everything below 100-150 Hz on my "large hall" reverb. I lowpass filter the way someone else said, somewhere between 4 to 8 kHz. Depends on the sounds going through it. My "room" reverb is often fine without EQ adjustments.

i use any of the above, it really depends on what the track needs.
cutting unnececary LF is generally a good practise in order to create space and headroom in a mix, nothing different for verbs and delays.

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quote:

Originally posted by DJ RANN Eh? Sends 100% wet? Do you mean your aux channel fader is at unity and you just send a little from the source channel (how I do it) or that the send knob on the source channel is at 100% and you just mix a tiny bit of the aux channel in to the mix?

sorry, two approaches here for me

1.) if it's an aux/or return(ableton) i make sure the effect is 100% wet (if there is a wet/dry knob), from there i Hi Pass within the effect just to save CPU

2.) i ALSO sidechain back to the original source if it's something like a lead or a vocal that i want space yet definition while keeping both apparent