Thread: Reverberation-ing

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  1. #41
    Being Over There Now Retired phone sex worker... no more hang-ups!
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    Default Re: Reverberation-ing

    As for what you might see in my mixes in terms of reverb, it's usually one short and one long verb for starters. They may be algorithmic or convolution-based, depending on the sound I'm after. Then, there may also be a non-linear, bright/short one for drums, such as the AMS RMX IR's, and sometimes an intermediate-length reverb. There are often other reverbs used for special effects that may appear once or twice, but I typically put those as inserts, or bounce them out as audio files. I also EQ my reverbs a lot, often using very shallow high-pass filters to get rid of mud, and sometimes boosting a certain part of the midrange for some character.

    Another thing is that I often use a longer reverb in a "dry-sounding" mix - I just use a whole lot less of it. Brought up on certain things so that you can barely hear it, it seems to work as a kind of "glue".
    I'm glad to hear you confirm this for me. I arrived at the same formula, albeit without the intermediate-length verb. It does glue things together, depending on the "rooms" you choose.
  2. #42
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    Default Re: Reverberation-ing

    I'm glad to hear you confirm this for me. I arrived at the same formula, albeit without the intermediate-length verb. It does glue things together, depending on the "rooms" you choose.
    The intermediate reverb may be useful sometimes for e.g. guitars and keyboard instruments that need to be pushed into the mix without smear. If you use a reverb that's too long, you risk chord changes smearing together.

    On strings (or a string pad), for example, I often like to use a room with great size but a comparatively short decay, particularly with complex parts that have a lot of harmonic movement.


    otek
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  3. #43
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    Default Re: Reverberation-ing

    Never forget that what you don't normally use is actually sometimes exactly what you need. Sebofrates 743 BC
  4. #44
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    Default Re: Reverberation-ing

    Never forget that what you don't normally use is actually sometimes exactly what you need. Sebofrates 743 BC
    You can't always get what you want, but if you try sometimes you just might find you get what you need ~ Mick Jagger 1969 AD
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  5. #45
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    Default Re: Reverberation-ing

    On strings (or a string pad), for example, I often like to use a room with great size but a comparatively short decay, particularly with complex parts that have a lot of harmonic movement.
    otek
    How do you define a room of great size with relatively short decay? In an algorithmic sense, are you referring to a reverb with a longer pre-delay (Implying a bigger space due to the delayed onset of the reflections) and shorter decay (Implying a dampened space)? Or is there some other measure you can use to describe a larger space with short decay?
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  6. #46
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    Default Re: Reverberation-ing

    It's usually the first reflections being relatively far apart.
    When in doubt, mumble!

    EVERYTHING SOUNDS LIKE SHIT IF YA LISTEN LONG AND HARD ENOUGH.
  7. #47
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    Default Re: Reverberation-ing

    How do you define a room of great size with relatively short decay?
    On most algorithmic reverbs, there are separate controls for room size and reverb decay (often in separate frequency bands for the latter). E.g. on my Arts Acoustic reverb, I will set the room size slider high (62m being the maximum) and the overall decay below 2 seconds. By working with the decay in the three available frequency bands, I can have a large, wide room, but still fairly dry so it won't smear the chord changes.


    otek
    "Tube color is not the 'thing'. Why would the most linear amplifying device have a color?" - Jonte Knif
  8. #48
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    Default Re: Reverberation-ing

    Yeah - the very first rule is: the more boring a tool seems - the more you should use it until you know it inside out.
    Yes. Unfortunately people neglect to do that starting with FADERS
  9. #49
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    Default Re: Reverberation-ing

    I'm really digging the new Slate Virtual Fader Collection - some of the models just sound better for certain genres, but I'm still getting to know them all.
  10. #50
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    Default Re: Reverberation-ing

    I'm really digging the new Slate Virtual Fader Collection - some of the models just sound better for certain genres, but I'm still getting to know them all.
    They excelled in modelling vintage crackle!
    When in doubt, mumble!

    EVERYTHING SOUNDS LIKE SHIT IF YA LISTEN LONG AND HARD ENOUGH.
  11. #51
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    Default Re: Reverberation-ing

    They excelled in modelling vintage crackle!
    That's a thing? I've been wasting my money on de-oxit then. What about cranky pots?

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