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Reverb as a send
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| eee.ddd.y |
I produce progressive music and after some amount of years producing I am finally going to start using the technique of having a reverb send channel. I figure if a few synths are sent to the one reverb it might gel the track together and make it sound more full and fill the spectrum a bit more. Does anyone use this technique? If so, what type of reverb setting do you recommend for this sort of effect.
Ive been using different settings such as room and hall settings but I cant seem to find a setting that works with the track but which doesnt blatantly stand out. I want to find an almost transparent reverb that will add realism.
Is this a recommended technique do you reckon? |
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| owien |
i dont think there is any real technique as such more of finding the right plugin for your mixs i use nomads liquid reverb with a standard setting so i can add or remove the amount of reverb i want.
this seems to work well for me tho it can depend on what you slap the reverb onto drums,fx or leads ect as they all want varied amounts try and work out when you want the reverb to work for you. |
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| d_Verge |
| You may want to try damping the high frequencies to make it stand out less. |
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| Eric J |
| quote: | Originally posted by eee.ddd.y
I produce progressive music and after some amount of years producing I am finally going to start using the technique of having a reverb send channel. I figure if a few synths are sent to the one reverb it might gel the track together and make it sound more full and fill the spectrum a bit more. Does anyone use this technique? If so, what type of reverb setting do you recommend for this sort of effect.
Ive been using different settings such as room and hall settings but I cant seem to find a setting that works with the track but which doesnt blatantly stand out. I want to find an almost transparent reverb that will add realism.
Is this a recommended technique do you reckon? |
Traditionally, it is more common to use reverb on a send than as an insert. There is no way to really "recommend" a setting because it is entirely track dependent. |
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| msz |
but one reverb preset will not cover all your elements, maybe a certain type at very low wet, if you notice you're controlling your mix better, then do it.
if you want just reverbs to send, i suggest you try a diff type for one and experiment, hall, spring, plate, echo?
just my 2c. |
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| DJ RANN |
That's a great lot of info nicely put in to one link.
Where's that thread from a little while ago discussing reverb sends - I'm not sure if it was part of the templates thread that discussed templates and send i/o? |
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| kitphillips |
I generally have 2-4 reverbs per project.
1/ A nice long hall reverb for pads and other long verb'd elements. With a MASSIVE length usually.
2/ A room verb set up as a send within my drum sub group. Really short length on this one.
3/ Some sort of ambient hall or room for glue within the mix, that everything gets sent to at some level. This always have a short-medium length and is quite subtle.
4/ Sometimes another room with a medium length for basses and the like, just to give a bit of atmosphere without drowning them.
Thats not really a template to work from, since every track needs a different combination of stuff. But it gives you some idea of how to set stuff out.
Generally, you create a reverb send for each type of element. So where you'd usually use 4 reverbs with similar settings, you just use one. But if you would usually use 3 completely different verbs, you'd just use three seperate sends.
Also watch out for the volume differences that will come about because your using sends rather than inserts. Sends result in more volume since you're basically duplicating the channel. And make sure your reverbs are always set to 100% wet mix on the return channels. |
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| evo8 |
Its funny, i used to always have my reverbs on send tracks, nowadays i seem to have them as inserts instead, on the send track it always seemed sorta detached from the sound for me
The only send reverb i usually have is a really long hall (Eos) that ill send some some fx stuff to |
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| Stephen Wiley |
Just a bit of a warning but go easy. Of all processes, reverb will muck up a mix the quickest. You want your reverb to be noticable when you turn it off / on, not while activated. Needs to be subtle.
If I had to pick one specific setting for a reverb send it would be a hall effect with the high frequencies peeled off. As with most all sends, set it to 100% wet and mix with various tracks as desired.
Using a short cluttered delay, such as with the cooper time cube, can also achieve some very nice reverb fx. in particular for vocals and drums. they bring presence and give them a more "real" feel. gels the heck out of drums so they dont sound like a bunch of single random hits and more like somebody beating on a drum set.
check out the lexicon pcm reverbs if you have the cash and sound toys echoboy and crystallizer are amazing for delays. |
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| DJ RANN |
| quote: | Originally posted by kitphillips
I generally have 2-4 reverbs per project.
1/ A nice long hall reverb for pads and other long verb'd elements. With a MASSIVE length usually.
2/ A room verb set up as a send within my drum sub group. Really short length on this one.
3/ Some sort of ambient hall or room for glue within the mix, that everything gets sent to at some level. This always have a short-medium length and is quite subtle.
4/ Sometimes another room with a medium length for basses and the like, just to give a bit of atmosphere without drowning them.
Thats not really a template to work from, since every track needs a different combination of stuff. But it gives you some idea of how to set stuff out.
Generally, you create a reverb send for each type of element. So where you'd usually use 4 reverbs with similar settings, you just use one. But if you would usually use 3 completely different verbs, you'd just use three seperate sends.
Also watch out for the volume differences that will come about because your using sends rather than inserts. Sends result in more volume since you're basically duplicating the channel. And make sure your reverbs are always set to 100% wet mix on the return channels. |
Just to add to this, one of the ways we di it on the studio is to have 4 reverbs, and 90% of the time it'll be: Sm Room, Lg Room (of not hall etc), Plate and spring.
You then set the return (FX) channel fader to unity and then you just change the send amount on each track you send to that reverb. (same process with delay sends).
one thing you'll want to have is an EQ post fader on the reverb (FX) channel so you can cut out unwanted frequencies that are muddy (typically low but you might want to dull the top slightly if it's all too bright in comparison to the rest of the mix).
The trick with this is to get the right combo of of reverbs - not just in tail length but ones that work both together and for the tracks you're sending and this is where you have to just keep trying and figure out what works. Most of the producers and engineers I really like have aspects like this down, and they reach for the same combos again and again or know what will instantly work with one another.
I think the reason people sometimes don't use sends is that with processing power what it is now, you could have a different reverb on every channel as an insert whereas in the analogue world you just don't have 15 to 20 serious reverbs lying around to patch to.
I actually think it's better to use sends because it makes you, at least from a sonic identity point or a cohesive engineering point, make you think about what fx really work with one another. |
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| kitphillips |
^^^ My thoughts exactly. Its better to have a limited number of reverbs because then the sounds are all going to the same 3 reverbs. Which makes the mix sound like its all in the same room, rather than having each element in its own little concert hall with different characteristics.
| quote: | Originally posted by Stephen Wiley
Just a bit of a warning but go easy. Of all processes, reverb will muck up a mix the quickest. You want your reverb to be noticable when you turn it off / on, not while activated. Needs to be subtle.
If I had to pick one specific setting for a reverb send it would be a hall effect with the high frequencies peeled off. As with most all sends, set it to 100% wet and mix with various tracks as desired.
Using a short cluttered delay, such as with the cooper time cube, can also achieve some very nice reverb fx. in particular for vocals and drums. they bring presence and give them a more "real" feel. gels the heck out of drums so they dont sound like a bunch of single random hits and more like somebody beating on a drum set.
check out the lexicon pcm reverbs if you have the cash and sound toys echoboy and crystallizer are amazing for delays. |
Haha, I don't think anyone has the cash for the lexicon stuff. Although they sound amazing and are a good example of how a reverb SHOULD sound. The Redline reverb is a good buy for a similar sort of silkiness IMO.
+1 on the subtlety thing too, thats why I use a lot of room reverb, which is sounds similar to those tiny little delays. |
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