Reverb

[Matt Smith]

So, I need to start paying more attention to my reverb choices. Up until now, I've just tended to find a decent reverb for what I'm doing, set it, and forget it. I only really use verb on drums and vocals. Do you guys prefer plates or other kinds for these two applications? Universal Audio just released a new plate emulation for the UAD-1 which I've been hearing rave reviews about and can't wait to try. Do you guys tend to automate the reverb sends a lot, for example giving the snare a lot more verb in slower sections and a lot less in fast parts (if so, how much do you leave on?)? What do you look for when choosing your reverbs, especially for drums? Do you use the same verb for snare and toms, or different verbs? Sorry for all the questions, but I'm just curious about how everyone else does it.

Thanks guys.

 

[Genius Gone Insane]

Ditto, man, really good questions...I would also like to hear their answers as well!

 

[Disconnekt]

Have you tried any convolution reverbs yet? If not, download the demo version of Waves IR1 (which I have not yet tried, but Waves plugins rock) or of Altiverb (which I have tried, and I can't wait for the day I can afford the full version, since I never want to use another reverb again). These reverbs use impulse responses of actual rooms, other famous reverb units, plates, etc. and then apply that impulse response to every sample of audio run through them (so what you hear is exactly what a given room would do to your audio if played at a certain point in the room and recorded at another certain point in the room... no simulation algorithms of any kind). You can even sample your own spaces if you want.

As for applying reverb, since I like to use the responses of actual rooms, I run all my instruments through whatever room sounds best for the song (at varying send levels, of course). I'll do a different reverb on the vocals if my instrument room doesn't sound right for them. I do automate sends, but as little as I can get away with; generally, enough so that the audio isn't dead sounding, but not so much that it becomes washy-sounding. For my snare, I like the reverb to be audible and for everything else, just enough for a bit of acoustic life. I'll also automate sends to psychoacoustically change their distances from the listener in the mix (more reverb for more distance, less reverb for in-your-face).

Anyway, those are the basic guidelines I use when they work, but I'm new at this whole thing myself as of this year, so it's probably way off.

 

[Matt Crooks]

I like to use an overall 'verb for drums, gtrs (very, very little), keys, etc. to add some space. I then use a longer 'verb (usually a plate) on the snare. I use a third 'verb for vocals, as well as a short delay on the vocals. Depending on the instrumentation of the song, I may add a forth reverb as an effect on an acoustic or some effect type track (i.e. e-bow guitar, keyboard pad).

For the snare, I will occassionally automate a bit more reverb on slow sections but not usually, I find that changing the reverb in the middle of the song can be more of a distraction than a help.

My preferences for reverbs:

Overall instruments - short plate or room. I use this one just to place everything in the sound stage and to give some dimesnsion to the song.

Snare - gated plate, setting the length so that when the snare is hitting the 2-4 (oe 1-2-3-4 in speed metal) the reverb is done before the next snare hit.

Acoustic guitars/pianos/etc. - I like a nice hall reverb, but not so much so that anything is swimming in 'verb.

Vocals - some sort of rich plate (the gold plate in the PCM81 is really nice)