I actually use Valhalla Vintage Verb for reverb and it sounds pretty nice to me but my problem is that often I need a "parallel reverb" effect. I mean, Valhalla is "serial" effect because it process the incoming audio and then you can choose the ratio between dry and wet signal with classi "dry/wet knob".

But I've seen that in lots of plugins there are two different sliders for dry and wet signal, for example in iZoptope Ozone plugins, Lexicon reverbs (and logic space designer perheaps?)

I need something similar to valhalla but to use in parallel and not in serial. Ideas?

Thanks!

 

I don't see any practical difference. If you use it as a send effect stay wet and control the volume with the fader, if you use it in the track directly, adjust the blend and move the track fader (you can automate all)

 

BREVERB2.

 

you can do the same thing with a wet/dry control, although you might need to adjust the output gain a little to get the same result.
if you really insist on that method you could just send the signal to a buss with the reverb on set 100% wet, then mix to taste the same way.

if you love vintage verbs sound you dont need to substitute.

 

Huh? Just put it on an aux or a return and run it 100% wet. Just think about it. It isnt that complicated.

 

There is no difference. You can do like allready mentioned your dry - wet single faders by setting up an aux track and put the reverb on the wet try knob on 100% wet. Bam! You got a wet and a dry slider in your daw mixer ;).

So basicaly your mentioned plugins with a single wet and a single try slider have an "aux track" build in.

 

1. create an FX track . (aux, send, whatever). what daw you use?
2. on the fx track, load Valhalla .
3. from the audio/midi tracks, control the amount of fx you want to dial in. (watch tutorial on how to set up send/aux on your daw of choice.
4. enjoy low cpu kickass sound.



in Presonus Studio One : right click on empty mixer area-> add fx channel. on that channel , you drop your reverb as an insert. that's it. to get a more pronounced sound, you might wanna eq and compress/saturate that Reverb.

now from the Sends section on each channel strip you can control the amount of reverb level pumped back to each channel desired.

i like to aux channels heavily compressed and retro sounding so they stand out in a pleasing way i hope this helped. btw if you follow the logic this is how they did (still do) on big analog consoles where they patched in a hardware reverb unit as an insert as a send and eq'd and compressed that channel too.

if you want to super-glue your mixes,
-apply eq-compression on each channel ( as on real hardware mixer) ,
-send them to busses , patch in auxes ,
-and use the highest quality plugins you can get your hands on, and use tape plugins for sweetening the sound. enjoy your trip !

k

 

Last edited by a moderator: Jul 3, 2017

I know but I'd like to work fast
I use Aux channel for reverbs only for leads/arragements, but I need a parallel reverb effect only for sample (rides, clap... for example) because after I bounce in place that to save up memory!

Well...I could also use an Aux track set with Valhalla for each sample I need to apply the reverb...

Ok you got the point...This is the easiest way...


Ok guys, telling the truth I wanted to ask to you just for my own curiosity
Thanks to all!

 

Yes,
100% wet is same as 0% Dry + 100% Wet
50% Wet is 50%Dry + 50% Wet
0% Wet is 100% Dry + 0% Wet

The Difference is Same :D

 

here is a trick you can try take your track put a reverb on it adjust it where the reverb is at -20 db rms,create a send to another buss with another reverb 100 wet, adjust the volume to be -20 db rms.

 

You can have as many parallel effects as you have sends/auxillaries/echos/busses. Just set the effect to 100% wet and blend in with the dry.

I have multiple parallel reverbs, delays, distortions, filters, etc on vocals alone.

Edit: ah, what MMJ2017 said above. It's just common practice. You are doing it "wrong" if you are using inserts only.

 

When I bounce a special fx type verb for lead or a tail I just leave the verb on the track and run it 100% wet and resample it to another track. Then turn the verb off or delete it when youre done, so the original track is dry. Then you blend them with the levels.
In ableton freeze the track then ctrl+drag the frozen clip onto a new audio track. Then unfreeze and remove the verb/delay/fx.
This is resampling, the norm for EDM production and not having a crapload of fx going. I still have my verbs for drums and spaces, ect. on my returns but this is for when you need something more, and to conserve resources.
Sometimes you even print the fx on the returns, like when stemming out the project and keeping the verbs separate. Or if you're using CPU hungry plugs like the AA stuff

 

Last edited: Jul 5, 2017

this is exactly how it is and truly marks the end of the thread

 

Using some dry ratio if you use the plugin as a direct insert is parallel processing. The difference is if you use it as a direct insert the effect is subtractive to the dry gain signal, and if you send it to a bus it's additive.

 

Aux send but pre-fader not daw's default post-fader. On the Aux you set the effect to 100% wet. You adjust the dry using original track's fader and the wet using aux' fader.

HOWEVER, as people already pointed out, unless you want to further process the wet chain only (let's say a distortion on a reverb or a creative compressor pump on a reverb only etc. etc.), a simple mix knob in a insert configuration is enough.

 

There is nothing parallel in what you're talking about.
The two methods,a wet/dry knob or a wet fader plus a dry fader are absolutly the same thing.

If you want two parallel reverbs you must create 2 FX tracks with a reverb on each one and send the signal from your audio or midi track on the two FX tracks.

 

You surely confuse the term with NY parallel compression.
We name it "parallel" because you must have a compressor(with different settings of course!) on each track,on the audio or midi track and on the FX track.
It's different when you use a reverb.You don't use two reverbs.

 

the technique works for any effect or process, you put it on your track and set it low compared to clean signal ( for reverb i do -20 db rms)then run a buss with second effect and set that volume to low level( for reverb i do the buss 100 wet and volume -20 db rms)

 

1) New York compression is parallel compression, with EQ low shelving and high shelving boost on the squashed parallel signal (dry + compresion/EQ).
Parallel compression is "simply" just parallel compression (dry + compressed signal), as opposed to serial compression.

2) You can use as many parallel reverbs as you want. It's pretty common practice to send one source to several reverbs (short room, plate, long reverb, etc).

 

Last edited: Jul 7, 2017

I thought the NY parallel compression was just parallel compression.
To make parallel compression I put a compressor on the "dry" signal with ratio 1:1 and a compressor(the same model which is on the "dry" signal) on a FX track with a hign ratio.The first one with 1:1 ratio is there to compensate an eventually latency.I learnt like that.
Of course you can use some different reverbs for one track on a project.