multiple reverbs on a mix

[austin]

Let's talk multiple reverbs...

My default has usually been one global reverb for most things, and then something else (often a plate) for lead vocals. But recently I've been turned onto the idea of having multiple global reverbs going at once -- a long, a short, plus maybe a delay or two thrown in -- and sending things in varying amounts between them all.

What do you do?

If you're trying this, any tips, tricks, things to watch out for?

[lyman]

I use different reverbs and delays on different elements in a mix when possible. There are two reasons, one being that some reverbs simply sound better to me on different things. A dense plate might be cool on the vocals but the spring reverb plugin might shine on the guitar track. Also, I feel like using the same thing globally can get murky, maybe with the exception being just using a tiny bit of the same verb as sonic glue, and that might not even be needed depending on how it's tracked, the genre, etc.

But I'm a "bedio" amateur and there's probably a zillion other things I do wrong so take that with a grain of salt.

[Nick Sevilla]

Hi,
Sometimes I use up to 4 reverbs and / or delays.
As we say on TapeOp:

"It all depends"

Depends on the type of song and the treatment needed for it to sound a certain way.

I use this type of technique mostly on acoustic instrument based songs, where an approximation of a real soundstage is desired, and there will be little active panning happening, in other words instruments stay in their stereo pan positions.

Cheers

[Rosy]

I'm still somewhat new, but what's been working for me is using more reverbs, but less of each reverb. Like only 10% of a room, then a plate, and so on. Also, this is in parallel to the unaffected track like you might use a compressor.

I love reverb, but am stuck with the verbs that came with Protools 10, atm. I find them harsh.

I'm sure there's a better way, but I'm getting ambiance with this whereas ITB reverb was sounding fake to me in the past. So, until I build that plate in the basement.......

[Nick Sevilla]

I'm still somewhat new, but what's been working for me is using more reverbs, but less of each reverb. Like only 10% of a room, then a plate, and so on. Also, this is in parallel to the unaffected track like you might use a compressor.

I love reverb, but am stuck with the verbs that came with Protools 10, atm. I find them harsh.

I'm sure there's a better way, but I'm getting ambiance with this whereas ITB reverb was sounding fake to me in the past. So, until I build that plate in the basement.......

I love D-Verb.

FYI Sometimes you just need to put a lowpass filter with "harsh" reverbs on the insert before the reverb, so no top end goes into it.

Cheers

[austin]

I use this type of technique mostly on acoustic instrument based songs, where an approximation of a real soundstage is desired

So you're using more reverbs when going for a more natural soundstage? Seems counterintuitive!

Can you give an example of that kind of scenario? Which instruments would you send where?

[drumsound]

The less reverb I use, that more I like the mix, most of the time. I've done tons of mixes with no artificial reverb. I have also done many mixes with 2-3 reverbs, or a lot of one reverb. There really is no answer to this question.

[Rosy]

I love D-Verb.

FYI Sometimes you just need to put a lowpass filter with "harsh" reverbs on the insert before the reverb, so no top end goes into it.

Cheers

I like "Dark Plate" a lot. I'll try the low pass before instead of after. makes sense.

[losthighway]

If you want something to sound just a little further away than another element, then add just a bit of a pretty short reverb.

If you want to hear something blooming behind a focal point like a snare, a lead vocal, or a instrument lead, then add a longer reverb that's tucked under the dry sound.

The thing is if you can do both of these things well (as well as leaving many choice elements dry) a mix no longer has just side to side, it has back to front. It's true that adding reverb can often cause new problems, but it can make a mix amazing.

I guess what I'm thinking is the whole "one uniform reverb send for everything is more realistic" is an approach that's theoretically air tight, but in practice not all that important. But, I guess we're looking at reverb to glue things together vs. reverb to set elements apart.

Sorry.... that was a ramble, it's late and I mixed all day. Really, it depends

[ott0bot]

I use a combo of outboard spring reverb (242a), a couple reverb guitar pedals, natural reverb through a re-amp'd thru a princeton, plus plug-ins. (air, d-verb, Valhalla, blue cat, and some other random ones)

whatever works for the application. I use global verbs sometimes, usually plug ins, to emulate room bleed or to keep a cohesive feel.

[GooberNumber9]

"It all depends"

Depends on the type of song and the treatment needed for it to sound a certain way.

I've done all different combinations of sharing reverbs or separate reverbs. When I split up reverbs, drums and vocals are the top choices to have their own, and everything else might share one. One thing I did for the first time recently was had a single global reverb bus for a mix with no pre-delay, and then I set up different pre-delay busses feeding the reverb bus and fed different parts to the pre-delay busses depending on how far away from the listener I wanted each part to sound. It turned out to be almost the best of both worlds.

[losthighway]

One thing I did for the first time recently was had a single global reverb bus for a mix with no pre-delay, and then I set up different pre-delay busses feeding the reverb bus and fed different parts to the pre-delay busses depending on how far away from the listener I wanted each part to sound.

Cool idea.

[MoreSpaceEcho]

yeah that's a good one.

i generally go with room mics and/or delay more than actual reverbs, but when i do use verbs, it's usually different ones for different things. still only maybe 3 going at once though.

one thing i did recently that was sort of cool was send a vocal to a reverb, then send that to mono delay, with the delay 100% wet. made for an interesting ambiance.

[austin]

Thanks for the ideas, everyone.

One thing I did for the first time recently was had a single global reverb bus for a mix with no pre-delay, and then I set up different pre-delay busses feeding the reverb bus and fed different parts to the pre-delay busses depending on how far away from the listener I wanted each part to sound.

I'm gonna try this one tomorrow!

[ott0bot]

one thing i did recently that was sort of cool was send a vocal to a reverb, then send that to mono delay, with the delay 100% wet. made for an interesting ambiance.

for sure. 242a + super timeline (effectron) = magic. I use different combos of delay first, then slap the verb or vice veraa, wet or dry. or feed the 242a channel one output into the delay, than back into channel 2 of the 242a. blend with the dry or pan opposite. lots of combos that take you from near-space echo to near-plate and everything in-between.

I gotta say though. a little verb can go a long way. I try not to overdo it, and make the verb be an effect not the entire sound.