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Gtpsreverbultimateguideebook 140519135451 Phpapp02 PDF
Gtpsreverbultimateguideebook 140519135451 Phpapp02 PDF
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omissions, or contrary interpretation of the subject matter herein. Of
course, please let me know if you find any errors and I’ll correct them!
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herein.
Get That Pro Sound - The Ultimate Guide to Reverb
Contents
1. Introduction........................................................................................ 4
What Is Reverb, & Why Is It Useful?
2. Types of Reverb.................................................................................. 6
Algorithmic
Convolution
Modelled
3. Anatomy of a Reverb Plugin............................................................. 7
Key Reverb Parameters
Other Common Parameters
Plugin Preset Categories
4. Selecting, Setting Up & Tweaking A Reverb Plugin...................... 11
Nine Steps
5.Reverb Strategies: Assigning Reverbs to Instruments................ 15
No Reverb!
The Two-Reverb Approach
Three-Reverb Approach #1: Vocals, Drums & Instruments
Three-Reverb Approach #2: Fore/Mid/Background..................... 17
Foreground
Middleground
Background ‘Cathedral’ Reverb
6. 25 Reverb Pro Tips............................................................................19
7. Conclusion......................................................................................... 26
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Get That Pro Sound - The Ultimate Guide to Reverb
Introduction
What Is Reverb, & Why Is It Useful?
Reverberation occurs naturally, and is the effect of sound waves reflecting off the surfaces
they come into contact with – the walls and ceiling in a typical room, for example – and mix-
ing or overlapping to varying degrees with the original sound. If you were in that room and
clapped your hands, you would hear a combination of the original, direct sound, very closely
followed by the reflected sound bouncing back off the walls around you.
Different surfaces reflect the sound in different ways – bouncing some frequencies back and
absorbing others, for example. What’s more, the further away the surfaces are from each other
and the listener, the longer it will take for the reflections to be heard after the initial sound.
Our brains use this information – how long it takes for reflections to reach us after the original
sound, the frequency content of those reflections, and how many of them there are – to deter-
mine what sort of space we are in. This is why a huge stone cathedral sounds, and significantly
for us, feels, completely different to standing in the middle of a quiet forest. Even if you were
blindfolded, you could tell where you are just by clapping your hands and listening to the reflec-
tions (or lack thereof).
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Now reverb is not the most obvious effect – most typical listeners are not going to be con-
sciously aware of the effects of reverb and what it is contributing to your mixes, or how they
are unconsciously drawing spatial information from how you’ve treated your sounds. But far
from being less exciting than compression or some of the more obvious in-your-face effects and
processes, the way that reverb works mostly on a subtle, psycho-acoustic level makes it some-
thing of a secret weapon. When you’ve mastered the key tricks and techniques, you’ll be able
to manipulate the apparent size, tone and overall atmosphere of your tracks like a magician
playing with his audience: You can convince your listeners that the music you make, on even
the most basic setup, in the smallest rooms, comes across like a huge, stadium-filling jugger-
naut. Or just as easily, you can simply create a flattering, cohesive ‘environment’ in which to
plant your track, bringing a sense of it being rooted in a tangible space.
As we use panning to position individual parts left or right, we can use reverb to locate ele-
ments of the music on the front to back axis.
Generally, the more reverb you add to an instrument, the further away it will sound, which can
really help to place it in context with other sounds in the track. Your mixes can take on a hyper-
real depth with good use of reverb – especially when used in conjunction with EQ and com-
pression, which we’ll cover in the tips section later in the book.
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Get That Pro Sound - The Ultimate Guide to Reverb
Types of Reverb
Algorithmic, Convolution, & Modelling
There are different types of reverb units and plugins to choose from because of the different
approaches that have been created to artificially simulate natural reverb. Before electronic units
and computer plugins, electro-mechanical spring and plate reverbs and echo chambers were
the only ways to introduce reverb to recordings. Fortunately things have moved on considerably
since then, but these older mechanical reverbs had a charm and sound of their own that is still
sought after in the digital domain. This is where emulations and vintage modelling plugins come
in.
Algorithmic reverbs use calculations based on hypothetical rooms and other spaces to
generate their reverb sounds. Generally this gives a sharper, more artificial sound, typified by
most hardware digital reverbs of the last 30 years. This is not necessarily a bad thing though –
musically we’re not always after the most ‘natural’ sound, but the one that has the right ‘char-
acter’ for the track. In fact, algorithmic reverb can be easier to place in a mix because it isn’t as
realistic as convolution reverb! Algorithmic reverbs also tend to be the lightest on the compu-
ter’s CPU, a significant consideration when you’re using several instances in a busy mix.
Convolution reverbs use pre-recorded samples of real rooms and spaces to build Impulse
Response (IR) files of those spaces. The impulse response is then ‘convolved’ with the incoming
audio signal you want to process, hence the name.
Convolution reverbs then, are generally far better at simulating real spaces than algorithmic
reverbs – the only major downside is that they also require significantly more CPU processing
power.
Generally then you’ll want to use convolution reverb where a lifelike quality is important – for
example, you can simulate the effect of a set of ambient room mics (more on how to this on the
following pages). Convolution reverb can take a bit more work to sit in the mix than a good algo-
rithmic reverb – it can easily be a bit heavy in the low mids and lack high-end sparkle, as this is
how real reverb tends to sound.
Modelling reverbs are designed to replicate the characteristics of particular vintage hard-
ware reverb units, such as the Universal Audio EMT 140 modelled on a real mechanical EMT
plate reverb, or the spring reverb emulations found in many guitar amp plugins. These vintage
reverbs can provide a fantastic contrast to the relatively soulless digital perfection of algorithmic
or convolution reverbs, bringing additional character and nice tonal shaping to whatever you
run through them.
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Pre-delay refers to the time between when the original sound starts and when you hear the
first of the reverbs ‘early reflections’. The greater the pre-delay time, the larger the perceived
room size: imagine how in a large space such as a hall or a cathedral it will take longer for the
sound to reflect back as it has more distance to travel.
Increase the pre-delay time to put a bit of separation between the original sound and the
reverb – this way you get the spatial benefits of reverb without it cluttering or masking the mix
(particularly useful for vocals and lead lines).
Early reflections are the first distinct echoes heard at the onset of the reverb.
No early reflections are heard until the sound has reached the nearest wall or obstacle and
reflected back to the listener. This initial delay between the direct sound and the first reflected
sound provides what is perhaps the strongest clue as to the room size: if the reflection returns
as a distinct echo, it suggests that the reflective surface is both solid and flat. A more diffuse
echo (one with less pronounced individual reflections) suggests irregular surfaces.
The greater the spacing of the early reflections, the larger the ‘space’ sounds.
Reverb time or decay time refers to the time it takes for the reverb tail to dissipate into
silence. It’s not actually very easy to say when a reverberant signal finally disappears, so there’s
a standard measurement of reverb decay known as RT60: this sounds like a component of some
complex equation, but it simply means the time taken for the level of the reverb to decay by
60dB. Simple!
Long decay times work well on sustained sounds but. When you first start playing with reverb it
seems obvious that a long overall reverb decay time is the best way to create the impression of
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a large environment – but this is also the quickest way of filling up all the gaps in your track and
creating a big mush. In fact, as already mentioned above, as much depends here on the early
reflections to tell us how big a space seems to be. For example, a small tiled bathroom will be
very reflective and so may have almost as long a decay time as a large hall – but the nature of
the early reflections and the brightness of the following reverb tail are what give us the clues as
to the room’s actual size. Speaking of brightness…
High-frequency damping allows the high frequency decay time of the reverb tail to be
made shorter than the overall decay time. This emulates the way the surfaces and materials in
real rooms absorb certain frequencies. Adjust this parameter for more or less realism, and also
to colour the reverb as ‘bright’ or ‘dark’ to fit it into the mix (more on this shortly). It is basically
a high-shelf EQ built into the reverb, but you could certainly use a separate EQ plugin for this
after the reverb for greater control if needed.
Mix or Wet/Dry controls are simply where you choose the proportions of the original
sound and the reverbed sound. If you have your reverb plugin set up as a send effect, the Mix
knob should be set to 100% / Wet, as you’ll be controlling the proportions based on how much
level you send from each individual track.
Related to the above Size control, Reverb Density refers to the density of the reflections
making up the reverb component of the sound. The more tightly packed the individual reflec-
tions, the higher the reverb density. Lower densities can produce coarse-sounding reverbs on
percussive sounds but are often flattering to vocals and other non-percussive sounds. High-den-
sity reverbs tend to sound more natural on drums and percussion.
Related to Density is Diffusion, which determines the rate at which the reflections increase in
density after the original sound. A large, square room with flat surfaces might have a relatively
low diffusion rate compared to a room of similar size covered in irregularly shaped surfaces –
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Get That Pro Sound - The Ultimate Guide to Reverb
this is why concert halls typically feature lots of pillars and intricate alcoves, and also highlights
why acoustic foam in irregular shapes is used so much in studios (including yours, hopefully!).
On some reverb plugins you might have the option of controlling the Shape of the reverb
decay curve. This is getting into the realms of details that might not be that useful for musicians,
but acousticians would argue that decay shapes are significant to great, natural-sounding reverb
(apparently many of the best-sounding spaces exhibit a double decay characteristic separated
by a short plateaux). If you have the option, play around with this control and see what it can do
for you.
Room / Hall / Chamber: The first reverb effects used for recorded music were created
with echo chambers - a loudspeaker would play the sound back in the chamber, and a micro-
phone would pick it up again, including the echo of the room itself. The same principle still
applies for simulated ‘room’ and ‘hall’ reverbs -you’re capturing the ambience of a particularly
sized and shaped space.
For example, for a typical hall reverb that simulates the acoustics of large spaces such as concert
halls, the reverb density would tend to build up over time and there will be a long reverb tail.
A hall reverb can make sounds seem further away, so it’s of great use in putting some front-to-
back perspective into a mix. A room reverb, on the other hand, generally simulates a smaller
space than a hall and is a good all-round reverb for instruments. Chamber reverb can be good
for putting some ‘air’ around synths, sampled drums and DI’d instruments.
Plate: After echo chambers came plate reverb, used a lot in the ‘60s and ‘70s. Plate reverbs
use a transducer to create vibrations across a large ‘plate’ of sheet metal. A pickup captures
the vibrations as they bounce across the plate, and the result is output again as an audio signal.
Plate reverb tends to be bright and clean-sounding – good for vocals and drums – and is making
something of a revival recently.
Spring: Uses a similar principle to that of plate reverb, but with a metal spring instead of a
plate. A transducer at one end and a pickup at the other are used to create and then capture
vibrations within the spring. Being compact and relatively cheap to manufacture, many guitar
amp designs ended up incorporating a spring reverb unit. Spring reverb adds a distinctive metal-
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Get That Pro Sound - The Ultimate Guide to Reverb
lic colouration to the sound, and in the days of classic rock ‘n’ roll it was known that you could
shake the reverb cabinet while recording so that the springs clashed together for a properly
unhinged sound. I wouldn’t recommend attempting this with a plugin version though…
Gated reverb: This effect was originally created by taking the reverb in an actual room, heavily
compressing it, and using a noise gate to cut it abruptly rather than let the sound decay over
time. Now it can easily be created with a reverb plugin too, with precise control over the exact
length of the reverb. Gated reverb can be quite aggressive and sound very reminiscent of the
80’s if you’re not careful – but it can still work wonders powering up snare drums or for giving
guitars an extra edge.
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As you begin setting up a reverb, stop and think for a moment: what kind of space are you
imagining? What kind of characteristics would a real space like this have? Approaching reverb
in this way can save you a lot of time and safeguard against falling into unstructured preset-
surfing, hoping to stumble across the right sound by accident. Believe me, in the long run it’s a
lot quicker to spend some time learning the few essential steps and approaching your reverb
settings in a strategic way.
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Get That Pro Sound - The Ultimate Guide to Reverb
When selecting a starting sound, what’s most important is the overall acoustic signature and the
amount of reverb being applied. If the frequency balance seems a little off, you can correct and
tidy things up with EQ later. Keep things as large brushstrokes at this point, it’s all too easy to
get bogged down in minor parameter adjustments!
Another significant thing to be aware of is that you can link the pre-delay time to the track tem-
po – this can be particularly important for EDM productions, where everything possible should
enhance and work within the groove.
If your bpm is 120, you have one quarter note every 500ms. You have one eighth note every 250
ms. You have one sixteenth note every 125ms, you have one 32nd note every 63ms. 64th notes
at 32ms. In order to have the predelay trigger the reverb in a rhythmic fashion, it needs to be at
one of these measures. I’d go with 32 or 63ms, because we want the reverb to still feel attached
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Get That Pro Sound - The Ultimate Guide to Reverb
to it’s source sound. Also, you notice how I to, and the master buss, you will notice the
rounded up? That’s to put the reverb “behind difference! >>
the beat.” This helps create a rhythmic pocket.
I might even suggest moving the predelay >> In many other instances though you’ll want
higher a couple ms, just to make that pocket to use a reverb with a longer decay than this -
a bit more open, and so that the reverb isn’t less of a tight rhythmic room slap and more of
sounding at exactly the same time as the next a bigger resonance. In our 120bpm example,
beat in the music. try dialling in a 2-second decay – that is, four
500ms quarter notes, or one beat of a bar.
If you do actually want to push sounds back in Remember that whether you use calculations
the mix, the less pre-delay the reverb has, the like this or just find the settings by ear is pure-
more the it will appear to pull the sound back ly a matter of what works best for you. Either
in the mix. With no pre-delay at all, the sound way, once you’ve set a starting decay time, it’s
will appear to be right up against the rear wall time to do some quick A/B comparisons with
of your ‘room’ the dry sound – mute and unmute the reverb,
fade it up and down, generally get a feel for
Try starting off with 10 to 20ms of prede- whether it’s contributing to the original sound.
lay, aiming on the shorter side for a more Finally, if you feel it’s working, leave it faded
intimate-sounding space and on the longer up at a comfortably level underneath the dry
side for a more spacious virtual acoustic, and sound.
then to refine the setting up to a few millisec-
onds either side of that initial setting for tonal 6. Set The Size
reasons. The size control will affect the tightness and
tone of the reverb sound. It’s mostly a matter
5. Set Reverb Decay Time of taste, but you can try dividing the reverb
It’s quite normal to tweak this setting by ear time by ten, and using this as a ballpark size
at this point – but you can also, again, apply in feet for your room. Then adjust the size up
some mathematical logic as we did for the for a more spacey sound; down for more of a
pre-delay. If we want our reverb to rhythmical- tighter echo.
ly help pull us into the next beat, we want the
reverb decay / tail length to fit into the correct 7. Set Density & Diffusion
amount of time between the notes. Going These parameters essentially control whether
back to our 120 bpm example, you know that the reverb is heard either as a series of dis-
there will be a 250ms gap between each 1/8 crete echoes or a denser, smoother tail of
note. So, taking 250ms and of course subtract- reverb – how scattered the sound waves are.
ing the pre-delay (let’s say 34ms) gives us a This is useful for further matching the reverb
rhythmically-related decay time of 216ms. At ‘presence’ and tone to the dry instrument,
first the difference between this and another and also again for helping push sounds fur-
less precise amount may sound negligable, ther back in the mix (greater diffusion) with-
but once you’ve potentially compressed the out lengthening the reverb itself. Typically,
reverb, the send channel, the group it’s routed smooth, dense reverbs tend to suit percussive
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Get That Pro Sound - The Ultimate Guide to Reverb
sounds, while grainier, less diffuse reverb settings will work better on less percussive instru-
ments like vocals and guitars. That said, the relatively dense sound of vintage plate reverb also
sounds great on vocals, so it’s worth experimenting to see which works best.
Beyond these basic adjustments, consider how much of the frequency spectrum you want the
reverb to take up, and whether you want the reverb to be bright (synthetic, glittery, cool) or
dark (natural, rich, warm). As already mentioned, bright-sounding reverb will push its way to the
front of the mix and make its presence felt which can be good for EDM lead synths, for example.
But place a bright acoustic guitar through that same reverb and it just won’t sound right. Dark
reverb, on the other hand, tends to have a more natural, receding quality to it, sitting behind
the instrument and not cluttering the high end of the mix in the same way.
Of course there’s nothing to stop you using a reverb that’s both warm and bright. The only
problem is that if the reverb fills the whole frequency spectrum there will be less space left for
your actual instruments. You’ll generally get much more professional-sounding results by limit-
ing the reverb sound to a specific frequency region, as you would any other musical part, and
letting the complete mix work in combination to fill the spectral landscape. Remember that you
might also need to bring up the overall level of the reverb return once you’ve cut out some of
it’s frequency content like this.
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Reverb Strategies
Assigning Reverbs to Instruments – How Many Reverbs?
So, I’m sure you know by now that reverb can be a powerful part of your mixing arsenal. But,
how do we best use it in the context of a complete mix?
It’s easy to find yourself applying a reverb to one part and it sounding great – but then, send-
ing another instrument to the same reverb sounds awful, and you end up wanting to change
the reverb settings, undoing the good sound you originally achieved.
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Foreground Reverb
Our first, ‘foreground’ reverb will be ‘tight’, being made up of a short burst of early reflections
and a very short tail, to the point where it might be almost indistinguishable from the main
sound. This is fine though, as this reverb is for adding only a very discrete sense of space to
parts that otherwise we want to be quite upfront and uncluttered. In fact, short ‘ambience’
reverbs like this actually give sounds a sense of extra body and density, and are a favourite tool
of many pros for a pleasing ‘thickening’ effect of guitars, synths and drums.
Short reverbs have a number of distinct uses and musical advantages. Primarily, short reverbs
negate the clutter that longer reverb tails tend to bring. This is immediately noticeable on rhyth-
mic elements (like drums, for example, or rhythm guitar) when you need the reverb tail to fit
between the notes rather than smear itself across the entirety of the bar. Using a short reverb,
therefore, will retain all the punch of the rhythm section, but still provide some sense of acous-
tic space to sit your instruments in. It’s a bit like bringing up overhead mics on a live drum kit
recording: you get a subtle but important sense of the sounds being in a real acoustic environ-
ment.
Find some good ‘small room’ or ‘ambience’ presets on your chosen reverb plugin as a good
starting point. Tweak the wet/dry ratio and you’ll probably find that you only need relatively
small amounts of reverb to deliver the required ‘real space’ effect without it becoming too obvi-
ous. Also try tweaking the relative balance between the early reflections and the reverb tail,
so that you get more or less of the initial flutter of bright early reflections rather than the more
diffuse reverb tail.
We’ll also look at the ‘middle ground’, where reverb becomes a more noticeable effect, and how
finer details like the colour and type of reverb become so essential to the success of the results.
Finally, we’ll also explore some long cathedral-like reverbs and see how the extremities of the
effect can become a creative springboard for new sonic exploration.
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Middleground Reverb
Middleground reverbs begin where the effect can be identified as a specific sound itself. A
good place to start is to select a preset with a distinct reverb tail of perhaps 1-2 seconds. With
this second of our three reverbs, the type and particular characteristics of the reverb become
far more audible, and therefore you’ll want to spend a little more time selecting just the right
sound to match your source material than you needed to for your shorter foreground effect.
This is where the character of your reverb strategy is expressed: try playing with the high and
low frequency damping controls to adjust how bright or dark the mid reverb will sound.
Where your short reverb will be discrete and subtle, and your midground reverb quite disci-
plined as it needs to relate strongly to the source material, you can let your proverbial hair
down and be a bit more extreme with the wet return on your big background reverb.
In fact, one of my favourite ways for creating unique and atmospheric pads is to put sounds or
instrument notes through a massive reverb – 20-30 secs! – make the reverb send pre-fader and
turn the channel fader right down; now you have just the reverb return, creating an incredibly
ghostly and haunting wash that often sounds nothing like your original source sound. Listen to
Jon Hopkins album Insides or his soundtrack for the movie Monsters to hear masterful examples
of this effect in action. It also works really well on backing vocals and synth pads.
As with midground reverb, the timbral/textural qualities of your massive reverb will be even
more pronounced, so try a few different hall, cathedral and custom settings to start with.
A convolution reverb plugin such as Altiverb (a favourite of many pro studios) is the obvious
initial choice for long, natural reverb tails – there are many great IR files sourced from massive
cathedrals and suchlike. But don’t overlook trying an algorithmic or modelled reverb if you have
one, like the awesome Lexicon PCM plugin, whose super-long reverb seems to float with infinite
sustain.
Any super-long reverb will tend to work best if it’s relatively ‘dark’, with more pronounced high
and low frequency damping so that you don’t swamp the entire mix!
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In the 70’s, legendary film sound designer 5. Applying Other Effects To The
Walter Murch (THX 1138, American Graffiti,
The Conversation, Apocalypse Now) helped
Reverb Return
EQ isn’t the only effect to use in combination
develop the idea of reverb chambers further,
with your reverb – try setting up chains of
by going out into real-world spaces and re-
effects on your reverb send channels, such as
recording his sound designs in them. He didn’t
distortion, phasing, or any type of filter modu-
have the facilities or technology to make his
lation, and you can give stock sounds a charac-
work artificially match the atmosphere of a
ter all their own. To create a subtly shimmer-
futuristic underground highway, in the case of
ing reverb sound, try adding chorus, flanging
THX 1138 for example, so what did he do? He
or pitch shift to the reverb.
went to an actual subway terminal and re-
A great sound for synths and keys can be
recorded his designed tracks there.
achieved by treating the reverb with chorus
– this sounds completely different to simply
Worldizing is still used all the time by film
applying the chorus directly to the synth part,
sound designers and recordists. It’s a lot of
adding a nice subtle ‘swirling’ quality.
fun miking up speakers in all kinds of weird
You can also do the ‘reverse’ of this: adding
settings, from bathrooms to car interiors,
reverb to the return of other insert or send
stairwells, lift shafts and wheelie bins (just
effects. This works particularly well with delay
remember to take your gear out of the bin at
for a really classy and subtle overall effect.
the end!). You can learn a lot both about the
acoustics of different spaces in general, and
your own tracks in particular, and ultimately 6. Sometimes It’s Best To Get As
you’ll come up with 100% unique sounds and Far Away As Possible From Polite
instrument treatments. Try it with synth lines
and DI’d guitars: both of these usually start off
Blending
Listen to your reference tracks and you’ll no-
lacking any sense of ‘place’, so worldizing can
tice that many modern productions apply re-
work wonders for slipping them comfortably
verb only selectively – a lot of pop, urban, and
into a track.
electronic tracks benefit from some elements
being poorly blended, so that they’re right in
A related trick is to set up an ambient mic in
your face at the front of the mix.
the room where you’re making your original
recordings of live instruments. If you like the
sound of the room, you can use these ambient 7. How To Overcome The ‘Too
recordings of the same performance (as cap- Much Reverb’ Syndrome
tured by a cleaner, close mic) in the same way A classic mistake that inexperienced produc-
as you would for drum overheads: bring them ers make is to add too much reverb. When
up underneath the main tracks for instant, you first get into using reverb, you will make
natural room power. mistakes and add what seems like appropriate
amounts of reverb, only to listen back a couple
of days and wonder what you were thinking.
It’s easy to do. Sometimes, the more you listen
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a great source of pads and sound design atmosphere beds and effects, and the reverb can be
treated further with additional effects to make something really ghostly and unusual.
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the transient and the tail of the snare into two If you chain together a spring reverb, a tape
separate events each on their own channels, echo-style delay and an analogue-style phaser,
and apply a very short ambience reverb to the you have all the components of a complete
transient, and a longer, bright plate reverb on Dub studio. Playing with the order of these
the snare tail. Bounce them down again into effects, and literally ‘playing’ the effects in real
one super-snare sample. time, is one of the best ways to get under the
skin of your reverb – or any effect for that mat-
18. Don’t use reverb! ter – and understand how to manipulate your
As ever, experiment with not using reverb at sounds in time and space. Whoa…
all, or at least not on every sound. Always try
and make sure that you keep at least some- 22. Use Reverb As Part Of A
thing in the mix completely dry – this will Signature Sound
maintain the front-to-back contrast that you Every track has one or two lead or signature
want in your mix. instruments that sum up the style and tone of
the whole piece, often playing the main hook
19. Be Wary Of Reverb On Bass or melody. Reverb can be an integral part of
Sounds setting the best sound and tone of these parts
I wouldn’t say never use reverb on bass or kick that makes them stand apart: think of using
drums – its an integral part of booming bass a really characterful gated reverb on guitars,
hits in electronic music and movie trailers – a shiny and bright space-age reverb on lead
but things will get very muddy very quickly synths, or a vintage Space Echo treatment on
down there, so use caution. If you do want to the snare, for example.
add reverb to lower frequency elements, in-
sert an EQ after it as usual but roll off just the 23. Reverb As A Tonal Effect
extreme lows from the reverb return. Applying reverb can alter the tonal quality of
an instrument dramatically, as the echoes that
20. Before Setting Up & Applying make up the reverb body have the capacity
to phase-cancel with the original sound once
Reverb, Ask yourself what role they are added into the mix ‘side-by-side’. This
you want it to fulfil is something to be careful of avoiding if you
Are you aiming to enhance the character of want to keep the tone of the dry part as it is
the sounds to be treated, or is it more a case – but it also means you can use reverb purely
of helping the sounds sit better in the mix as for it’s tonal shaping capabilities alongside EQ,
a whole? Of course, you may want to do both applying enough reverb to ‘bed’ the sound
(and the best solutions will probably do so), into the mix more smoothly.
but even considering the question as a starting
point can be very useful in getting on the right 24. Matching The Reverb To The
track quickly.
Source Sound
Certain sounds respond better or worse to
21. Get That Dub Sound certain reverb types, so although there are ‘no
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Get That Pro Sound - The Ultimate Guide to Reverb
rules’ and you should experiment a lot, try to match the nature of each different reverb ‘space’
to the sonic character and artistic intent of the target parts. For example, a smooth concert hall
setting would sound wrong on an aggressive Dubstep snare, whereas a rougher, ‘garage’ room
or vintage plate sound would probably work well. Similarly, a string section or a choir deserve a
cathedral sound to put them in their best light – a spring reverb here would sound ‘off’. Having
said this, if you’re after some more unusal treatments for certain sounds that don’t completely
mangle them, using an unusual reverb configuration could be just the thing.
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Get That Pro Sound - The Ultimate Guide to Reverb
Conclusion
Now you should have all the skills and know-how to select the right
reverb plugins, set them up correctly for each given task, and plot an
overall reverb strategy for each of your mixes.
Of course there’s more to using reverb like a pro than could fit into this ebook - reading about
the parameters and techniques is valuable, but the only way to get really competent in anything
is to practice and gain as much experience mixing and applying the tools and techniques as you
possibly can.
So with that in mind, keep this ebook handy, print it out and have it with you as you practice -
then as tricky scenarios come up (as they always do) you’ll be able to quickly refer to the rel-
evant tip or parameter setting and move forward efficiently and with minimal wasted effort.
Take the next step... and of course decide whether the step is made of stone or wood, whether
it’s in a small dry room or an echoey church etc. etc... ;)
I hope this ebook will be helpful in your next sonic adventures - let me know how you get on at
george@getthatprosound.com, and don’t forget to check out the GetThatProSound blog
regularly for new posts, more tips and a couple more ebooks coming soon..
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