How many reverbs per track?

[dionenoid]

And I have already received my 50 replies-voucher.

*reverb topics are excluded from 50 replies vouchers. OP's will in stead receive a free ticket to an echo chamber of choice.

[DCrown]

And I have already received my 50 replies-voucher.

*reverb topics are excluded from 50 replies vouchers. OP's will in stead receive a free ticket to an echo chamber of choice.

Ok, Sunset Sound Studios, Chamber3

[jamcat]

Best practice would put a single reverb on an effects buss send. The more verbs you stack the less control and your mix troubles will surface quickly.

This is good particularly if you want to make everyone sound like they’re in the same room together.

However I would add this one tip to that:

Set the reverb’s pre-delay to 0, and then use a short delay between each send and the reverb, and set them for different amounts, depending on where you want to place them. Longer delay time with a wetter reverb mix ratio will sound further, shorter delay time and drier mix will sound closer.

To be clear, this delay should be in-line, 100% wet, and have no repeats. You can correlate distance to time, as 1’ ≈ 1ms.

Voxengo Sound Delay works brilliantly for this task and is free.

You will probably have to set up an intermediate FX channel to send to from your audio track to place the delay on, then send on to the reverb from there. Do this for every track getting reverb so each one can have a different amount of pre-delay.

[paramita123]

You can try to have some kind of room reverb on a bus to place instruments in the same space with different amounts.
You can also have a second reverb say the great free Skynet for giving a wider space to some backing vocals or other instruments to take more background room.
And perhaps a plate for vocals either on send or insert.
I guess less is more. Focusing on getting a good composition and just using what's needed.
Same for delays I like Supermassive and a Deelay, covers my needs for most tracks.

[Vortifex]

..

[Fornicras]

Everyone knows that you have to use Hall, Plate, Room, Non-linear and Spring Reverb all at the same channel to achieve pro results.

Especially good for powerful kicks.

[DCrown]

Best practice would put a single reverb on an effects buss send. The more verbs you stack the less control and your mix troubles will surface quickly.

This is good particularly if you want to make everyone sound like they’re in the same room together.

However I would add this one tip to that:

Set the reverb’s pre-delay to 0, and then use a short delay between each send and the reverb, and set them for different amounts, depending on where you want to place them. Longer delay time with a wetter reverb mix ratio will sound further, shorter delay time and drier mix will sound closer.

To be clear, this delay should be in-line, 100% wet, and have no repeats. You can correlate distance to time, as 1’ ≈ 1ms.

Voxengo Sound Delay works brilliantly for this task and is free.

You will probably have to set up an intermediate FX channel to send to from your audio track to place the delay on, then send on to the reverb from there. Do this for every track getting reverb so each one can have a different amount of pre-delay.

Yes, I remember Warren Huart showing it once.

[DCrown]

Warren Huart
There must be a longer video, too

[whassup]

Check Mixbustv, 3 Reverb

[Gam456]

How many reverbs do you use on one track?
On YouTube I saw someone using
Room
Plate
Chamber

on a guitar only.

Ain't that a bit too many?

Isn't chamber and room more or less the same, I know chambers were used in separate rooms, not in the room the performance was recorded.
But room + one more room (chamber) =
quite a lot of room.
Wouldn't it make sense to use one reverb
for the whole project to make it sound like it was recorded in the same room?

But vocals are generally recorded in a room whether it's in your home studio, bed room or professional studio, so vocals already always have some room sound, so adding one more room somehow makes no sense.

For me there is no rulez.
I'm using many type of reverb on every single track.
90% in a bus for more flexibility and stereo field.

[comfortablynick]

Set the reverb’s pre-delay to 0, and then use a short delay between each send and the reverb, and set them for different amounts, depending on where you want to place them. Longer delay time with a wetter reverb mix ratio will sound further, shorter delay time and drier mix will sound closer.

I do this as pre-delay is an important component of getting the right reverb sound. However, I just use the pre-delay parameter on each reverb instead of setting up extra aux tracks just to put in a delay plugin. Not sure why I would do that unless I was using a reverb without pre-delay.

If it's about having an easily accessible knob or fader, I guess I could add the pre-delay parameter to the track controls or mixer panel in Reaper.

[martiu]

why nobody talks about reverb ?

[Funkybot's Evil Twin]

When I was first starting out 20+ years ago, common wisdom said (and I mean, forums as well as magazines like Computer Music and SOS), "save CPU and send everything to a single reverb". That was when ITB reverbs used a ton of CPU and all sucked.

Nowadays, I don't have any hard and fast rules on them. Sometimes I'll use a reverb as an insert on just a single track. Sometimes there's a few sends. It really "just depends".

For instance, close mic'd electric guitars. They almost always need some verb to sound normal. If I'm using a spring, that will usually suffice. That will likely go on a send, then I'll folder both tracks for additional processing. But if a spring isn't appropriate, which is often, I might add some room ambience via a "Studio" plugin like Sunset Sound or the new Sound City plugin from UA to get some stereo width and get it "in the room". That's more of a reverb you feel rather than hear thing. ValhallaRoom works well for that too. But if it's a lead, I might also want a longer reverb like a plate. Something with an audible reverb and some pre-delay. Or maybe a slapback delay. But that could easily be two reverbs/sends right there.

Then drums: I might want some non-lin on the kick and snare to make them sound big. Or a long decay plate on the snare. Or maybe a shared room ambience for the drum mix to glue it together. So drums will likely end up with 2 or 3 reverbs in a song.

Vocals? There's going to be a reverb [type and time will vary wildly per song ]on a send and likely also a delay send or insert.

None of those are shared so far. I'm not doing jazz or classical and don't see value in making everything sound like it was tracked live in just one room. For rock, pop, etc. that seems like a silly goal. I'm more of a "make it sound polished" person. Even Steve Albini will delay his room mics to make drums and guitars sound bigger, and while that's achieved naturally in a room, it's a bit of a cheat because it sounds good.

After that, I might have a common reverb or two on a send that I use for other elements in the mix. It really varies per project and this is just what works for me. But yeah, I'm perfectly fine with using more reverbs. I always feel like I could be using it better though. But I feel that way about mixing overall. Always learning. Always trying to improve. This is just where I landed after many of years of this.

[jens]

Imo 7 reverbs are too many on a track and 42 is nonsense, does anyone have 42 reverbs? Maybe you meant 42 in a project, but that's quite a lot, too

Actually with 7 I meant the bare minimum... 42 is fine too, of course - gives the whole thing an actual meaning.

[jens]

How many reverb topics per DCrown ?

some people don't realize when a topic is beaten to death... i just call it obsessive-reverb disorder

Some just don't realize it's not about listing reverbs here, but how to use!

Have you tried Reaper?