The problem with this is I can trust my ears today but tomorrow, I hate my decision. It's not that simple.

 

our brain pre process where we want to go , even wen we not there yet...is my theory on that

 

bout live returns and reverb and pinkman comment:
i made experience that ableton responds well to a lot of returns ....i always use just one send reverb plug on one track...not one send/return for 3 tracks or so eg...sounds more clean...more cpu load but

 

You mean each midi or audio track has his own FX track?

 

not each...but i do not hesitate to open another send/return track when adding a another/new/slightly different or even the same reverb to a sound...
i did also parallell reverb in track a lot cause its fast to do in ableton but now i use more returns

i want to seperate the reverb spaces more this way..not seperate..but each room process 1 sound nicely instead of 1 room or space process 3 or more sounds..
thats the idea i meant

 

Last edited: Dec 7, 2019

Ok I understand,thank you.
Me too I have many different FX tracks on my songs.But I also share one FX track with some tracks,especially for drum sounds taking in account I use drum samples;I try to recreate a drum recording which are recorded in the same studio,so they all have a bit the same reverb.
So often my drums have a little bit of one room reverb (from one FX track) which simulates the overheads+ a second reverb->my kick a room,my snare the more often a plate or gated plate->my hats and cymbals another room.
But it's important to not over-do all these reverbs because you can easily mess all your mix.

 

I have about 30 reverb/delay aux's. But none of them are active. Except a few, I use on every mix. However, whenever I come up with something really cool that I think could work on another song I'll save the aux and add it to my main template. That way I always have access to different flavors.

 

Had to jump in on this one... Think of a space..like a real living-room or concert hall.. think of the sound of a instrument playing from that space. Now think about how you would like it placed in your mix assuming its a stereo mix. IE: left,right,centre etc askew ?.. now think that every element in your mix that is in that space needs depth/prospective.. needs to have a defined space in the mix all to there own while still interacting with other instruments or elements in that same sound stage you just chose. The depth and complexity of those reverb choices will apply to all your elements and will provide you with texture/depth and a complex clear stereo imaging you need. IE: if you want to use a guitar panned to a hard right with a reverb why not use a mono reverb panned to that same hard right.. if you get my drift.. after all you will use what everyone tries to use. ''Just the right amount'' no more no less= as many as you need. so in my mixes around 17 is the golden number.. i do include room mics in that number btw

 

thanks a lot for heads up....

 

As long, you CPU can handle it . IT'S TO LESS

 

There aren't any rules rly. But when you're beginning to experiment w/ reverb, you almost have to dial it down so much that you don't hear it. Which is a good way to use the effect. I always try to create a sound space, and use just one reverb / space if I can. Also saves on cpu. Usually use (more controllable) delay to give big spaces. But it's just y'know opinions.

I do. That's prolly the only rule, rly. Just adds too much mud. Also pointless for non-reverberant (omnidirectional) sound.

You can use some technical methods (I know I have w/ Cello) to filter out instruments between reverb wet / dry depending on which notes you play. (I'm kinda thinking to myself as I write this whether I could use eq to make almost two instruments w/ Cello, and send the plucky / finger sounds to reverb and leave the bass sounds dry. Whether that would even work..?)

 

My pearls if wisdom...

1/ Compress the reverb like you would compress any track so that the reverbs can nestle into your soundscape, and

2/ Use a reverb on the mix buss to tie all the disparate tracks together, so that they all have a common foundation or similar flavor.

 

sometimes reverb helps to glue, in the bass helps on 3d spacing and glue too! Depends always by source material.

 

127

 

“Three for the Elven-kings under the sky,
Seven for the Dwarf-lords in their halls of stone,
Nine for Mortal Men, doomed to die,
One for the Dark Lord on his dark throne
In the Land of Mordor where the Shadows lie.
One to rule them all, One to find them,
One to bring them all and in the darkness bind them.
In the Land of Mordor where the Shadows lie.”



❝Spread reverb everywhere you go. Let no one come to you without leaving reverberated ❞ Mother Teresa from Calcutá

 

Last edited: Jan 21, 2020

Spoiler

 

Not quite.
Firstly, all instruments in classical concert have reverb on them, there's just no way to exclude them.
Secondly, even bass drums have mostly reverb on them, because they sound too dry if not.
Thirdly, a slightly exaggerated example of an atmospheric reverb on a bass. Both are tamed a bit with an dyn low shelf EQ at ~ 170Hz, no additional damping, listen yourself:
https://drive.google.com/open?id=13gs_LA0BbGS0vgIgcVrDVRGw202ncz_8

 

But if you have waveforms with wavelength so long (ie bass) that they don't reflect, just pass through surfaces? Do you see / hear? They are "excluded" by natural selection. I take your point about in "live" situations, but that's kinda what I mean / try to replicate. Prolly wrongly. I feel nervous arguing with a tiger already :D

 

I use,
Room
Chamber
Hall
Plate
Spring
Only early reflections
Short
Long
Compressed
Distorded
Equalised
I have sometimes 3 different reverbs for one Track.
Other time, nothing... completly dry.

There is no rules, you have to make choices to make your mix.
You talk about a mono bass, it's an old rule (and I'm not saying it's bad!).
Today, in many styles of different music, sound engineers use big fat stereo basses (with a monomaker for the lowend).
Times change and working methods too

And like many of us, at the beginning, you tend to put a lot of fx.
Over time you will put less (or maybe you use them differently)
Take time to compare different reverbs (not only in solo mode, but in the mix) it's not wasted time.

 

Last edited: Jan 23, 2020

No need to be nervous, I don't bite very often.

That's called radio waves, but you can't hear them directly anyways.

JK, in principle, solid and dense walls reflect sound. But concert halls, operas and recording studios have bass absorbers/diffusors so it's lowered, but not inaudible. So, it's ok if you send less reverb to low instruments.

 

Last edited: Jan 24, 2020