What Reverb do people use?

[Beardedone]

For sure reverb is overused/abused bigtime.

Great tone needs little if any reverb, especially on an instrument that has its own resonant qualities. A great example of this is on Pat Metheny's "One Quiet Night" with the baritone guitar made by Linda Manzer . The sound he got fact in his home studio is beautiful. He used an AMT S3G mini-condensor microphone pickup (these are incredible btw) & the built-in Fishman pickups run though Avalon preamps . Apparently an external mike was also used for a bit of ambience. I am sure there was some mastering magic added. I detect little if any reverb. Definitely something for me to sonically aim for.

[snooty30]

...an external mike was also used for a bit of ambience? Sounds like reverb (albeit of the natural variety) to me!!

Freeverb Too for me everytime (in software anyway).

Always best used sparingly unless you WANT to hear it.
http://www.btinternet.com/~snooty/desade/hsn.mp3 (not full quality, from www.de-sade.co.uk ). This was a Alesis Nanoverb....

[jens]

Freeverb Too for me everytime (in software anyway).

Always best used sparingly unless you WANT to hear it.

exactly my point!

[Sicklecell666]

If you are gonna use reverb, it's a mistake to apply the same verb across your instruments, so I have no single favorite verb I use as I often use different ones against each other.

My defaults are the same as Dystonia's, but I'm also using Spectral Relativity impulse responses as well as Audio Damage's 2 verb units as well.

[scamme]

If you are gonna use reverb, it's a mistake to apply the same verb across your instruments, so I have no single favorite verb I use as I often use different ones against each other.

Can't agree with you, in a mix process it is unPRO to use deferent reverbs that causing different acoustic environments to the whole mix. In a composing process it's something else.

[SJ_Digriz]

Can't agree with you, in a mix process it is unPRO to use deferent reverbs that causing different acoustic environments to the whole mix. In a composing process it's something else.

ROFL UNPRO? Have you ever been in a studio? The guitar player has 3 or 4 going, the keyboard player has a different one on every patch/keyboard combo, the drummer has one on the snare, a different one on the kick and another on the overheads, the singer uses one on the vocal track............do I need to keep going? This isn't even at the mix stage yet....then the mastering guy always thinks MORE VERB.

[SJ_Digriz]

The "always record dry" motto is the most quoted and least followed "RULES" of all time.

[2windy]

The one thing I haven't used Reaktor for is reverb. Something for me to try me thinks?

[Sicklecell666]

If you are gonna use reverb, it's a mistake to apply the same verb across your instruments, so I have no single favorite verb I use as I often use different ones against each other.

Can't agree with you, in a mix process it is unPRO to use deferent reverbs that causing different acoustic environments to the whole mix. In a composing process it's something else.

Say what?

unPRO?



Whatever you say, man.

[Sicklecell666]

The one thing I haven't used Reaktor for is reverb. Something for me to try me thinks?

Definately. Check out the ensembles Dystonia listed:

Spacemaster

Laserbrew

Ultimate Reverb

And also take a look at Kraftverb as well. All are user Library uploads aside from Spacemaster.

[hjack]

just verb it, don't re verb it, that is unpro

[Reverend Rhythm]

I generally use the Anwida Soft DX Reverb and the cakewalk sontius reverb.

[Funkybot]

I think this "unpro" debate is funny on many levels, because neither one of you guys is quite wrong. If anyone has the latest issue of Tape Op there's a great bit in the letters section where a bunch of engineers (some very very well known, and others well respected) talk about creating a sense of depth and space to mixes, and it's hilarous how contradicting some of these are. Some say use several verbs, others say forgoe verbs as much as possible and use more delays, some want everything in the same "space" (i.e. everything from lots of spot mics, to one unified reverb), some think volume and EQ can do it, etc. Now the editors at Tape Op know better than to say "we support this method, and this is how you do this," but they're all there because they're legitimate ways to do this, and they're may be something in there you want to try out or that'll give you your own unique idea on how you can create space in a mix.

I'm not big on lots of verbs personally, but I'm also not big on using a lot. I have that whole fear of dating the sound thing, and I find really dry recordings from no matter what eras will always hold up to time better than wet ones. But that's not to say I won't use verbs, or even use quite a bit at times. The last tune I just finished is actually drenched in reverb, and delay, but I opted for one verb as the mix held together nicely with it. If I needed a seperate instrument verb from the vocal one (vocal's actually pretty dry) I would have gone for it.

Frankly I think the only time's you've definately used reverb "badly," is when you turn it all off and your mix sounds better.

[dystonia_ek]

If you are gonna use reverb, it's a mistake to apply the same verb across your instruments, so I have no single favorite verb I use as I often use different ones against each other.

Can't agree with you, in a mix process it is unPRO to use deferent reverbs that causing different acoustic environments to the whole mix. In a composing process it's something else.

Depends on the sort of music you're making, no? I've heard multiple reverb types used to quite striking effect on hundreds of recordings, particularly in the electroacoustic/acousmatic sphere, where reverb becomes part of the sound texture and not merely a room simulation. Even for the creation of an acoustic space, it helps sometimes to create a sense of distance between sound sources (for example, one very close element, several at various distances within the stereo or surround field, another muffled through a wall as if in the next room, etc... - an invaluable tactic when sound designing for cinema)
What makes the difference in a mix is subtlety and meticulous attention to detail, not simply swamping everything haphazardly.

[Funkybot]

Slightly OT:

I actually had a reverb idea after going through that issue of Tape Op today that I want to try out as soon as I get a chance (someone tell me if you've ever tried it or if it seems like a good idea). This would be a kind of semi-multiple-verb approach:

Create a general reverb that sounds good for your track with a really short to no pre-delay, then insert a few instances on various instruments/sends with increasing pre-delay times (and slowly compensate for things like damping, but keep most other parameters the same). I'm thinking this would really create a cool sense of space as everything would technically be in the same "room" but the pre-delay would make it sound like the location in the room is different. The Princeton 2016 has the "Position" knob which seems like it could do this pretty much by itself (if used along with the predelay knob).

The idea would be that the instruments you want more upfront would see less predelay and damping, while the instruments you'd want to sound further back in the room would have a bit more of both, the amount of which controlling how far back you want them to seem. Then you could even play with the panning of the verb a bit as well. Could be interesting to screw around with.