Reverb in Mastering Chain

[jimwilbourne]

I think you guys are mostly missing my point

Again:
I've never used it. Not part of my process.
I understand why you would or would not use it.

What I'm looking for is various tips for proper application. Because there aren't many good online sources for such ideals.

 

[zirkonflex]

Can be very uselfull in certain situations, even with fast music, but it has its drawbacks.
Just try it out with any of the reverbs you have, youll get the effect.
Theres no magical trick or anything to this, just try it.

 

[waltz mastering]

What I'm looking for is various tips for proper application. Because there aren't many good online sources for such ideals.

I wouldn't trust running a whole song through a reverb plug-in on an insert. If you HAD to add verb to a mix as a whole, I think bringing it up on an aux would be the way to go. I use the Lexicon 300L in this way for the tails of songs (which is still rare) It's easier to control.

 

[ahjteam]

Guys it really depends on the kind of music he does.

fixed

 

[darthjujuu]

i've been obsessing over the new prada "zombie" EP and it has uncanny amount of "glue" going on for what we're used to from joey, making it a tad...more...not cluttered per-se, but just sounding more like a band playing in a physical space and less like that anti-septic mix we're used to from joey and i think it sounds fucking incredible. there's tons of verb all over the place on it but i could've sworn i was detecting some ozone room verb in the brighter range, with lots of notches taken out.

but I dunno, i could be way off.

 

[jimwilbourne]

i've been obsessing over the new prada "zombie" EP and it has uncanny amount of "glue" going on for what we're used to from joey, making it a tad...more...not cluttered per-se, but just sounding more like a band playing in a physical space and less like that anti-septic mix we're used to from joey and i think it sounds fucking incredible. there's tons of verb all over the place on it but i could've sworn i was detecting some ozone room verb in the brighter range, with lots of notches taken out.

but I dunno, i could be way off.

this is some of the reason I was more curious about using Reverb in Mastering.
the new Miss May I album has a similar approach and his work with I Am Abomination shows some possible Ozone reverb use as well.
I have Ozone, but I've actually still yet to use it. I use some dedicated plugins I'm aquiring instead. I just haven't really had the free time to play around with Ozone yet.

I've been screwing around with the idea and just started moving towards this.
I have to say: balancing my mix reverbs with mastering reverb is a new challenge.
if this is what Joey is up to, I give him major props for make it work as well as he does.

 

[Fox Mulder]

I think you guys are mostly missing my point

Again:
I've never used it. Not part of my process.
I understand why you would or would not use it.

What I'm looking for is various tips for proper application. Because there aren't many good online sources for such ideals.

Okay, in that case -
You wouldn't wanna apply reverb throughout the whole spectrum. In Ozone try using it from 350hz to 7khz. You wouldn't wanna apply reverb to the 'hiss' above that, and anything below that would start lacking clarity.

For metal, you would wanna crank up the room damping control... keeping the stuff tight, avoiding long tails but applying a good sense of space. The reasons-

1. Heavy distorted rhythm guitars never sound good with long reverb times.
2. It's better to use long reverb times separately in the mix, adjusting each track to whatever needs.


For modern metal try using the plate. Set the room size to max, and the room damping to max as well Adjust the width to 1.5 and the pre-delay to tempo. Don't set the mix level past 12. See if you like it.