How do you use reverb

[Scoops]

Me?

This is generally speaking, and not followed strictly, rather a starting point in a template
- I have my projects organized by folders. Drums will be in one folder, Vocals another, and so on.
- Each folder has it's own aux for reverb.
- Each folder reverb is set to the needs of the song.
- Drums are usually just send the snare, but sometimes the room mic
- Usually have a reverb on the master buss to put the band all in 1 room
- All reverb is used vary sparingly.

[Dirk Diggler]

1 reverb only, used as an aux bus and returned to a channel.

The problem with combining multiple verbs is lots of phase cancellation and unwanted reactions can occur. Parallel would be the best way to do multiples.

Think of it this way, you're mixing a (band/group) to sound like all the players are in the same "room" playing. Like a live recording, however if that's not what you're looking for go nuts!

[TechHaus]

There are so few bands / groups anymore.

[AmoraMusica]

Rooms and convolution for drums. Convolution on percussion produces aggressive sounds I like. Most times it's at 100 percent wet I use it as texture

[Krakatau]

working with strongly tempo-based composition for African artists, my main use of reverbs is tempo- synced ones like velvet machine, on both pre-delay, envelope and duration

[vitocorleone123]

I primarily use 6 reverbs, each for a different purpose:

Realistic(ish) room on a buss with lots of tuning options - Pro-R 5.
Easy to use, fast setup reverb on a synth or instrument insert - Minimal Swarm Reverb.
For a reverb that's tuned to the instrument's trailing notes and has excellent ducking - ADPTR Utopia.
Placing an instrument in a graphical 3D space - Melda MReverb.
General reverb with tons of options/models that I can page through when I'm not sure exactly what I want - Melda MTurboReverb.
Reverb and delay in a single plugin - Baby Audio Spaced Out.


I'm not a super-deep-in-the-weeds reverb geek who does lots of ambient or cinematic work. I'm more concerned about tools that quickly get nice reverb tails that hit the track's vibe with as little time invested as possible. For me, tools like LiquidSoncis Cinematic Rooms and AudioThing Fog Convolver are a workflow killers.

CRP is pretty easy to use once you’ve spent the time to learn it - if you have the time to do so. Also, like any tool (including most synths), spending time making presets is a different activity than producing music. One that enriches the other.

Honestly, if you use anything from Melda, you’re already using “workflow killers”. They aren’t known for good UX.

[Zeisner]

I prefer dedicated reverbs. Using very different algorithms adds a spectral density to the mix not possible with a single all-purpose reverb no matter how complex it is and how much pre/post processing is added.