What's new

My reverb setup from scratch

Thanks @Akarin ! Very nice, clear and informative tutorial !
We are all wainting eagerly for your complete tutorial ! :)

Two questions just to clarify things in my little head :)

Did you cut the tails in your ER instances of Spaces ?
Why did you put your EQ after the reverb ( ER and Tail ). Is there a major difference if the EQs are before ? What is the best to avoid build-ups...

More tutorials please !

Cheers.
 
Last edited:
Cool. I always enjoy seeing how other people set things up, so I'm grateful for the share. Cheers

Thanks! I also enjoy to see videos of people setting up their templates and plugins so I thought I'd do my own.

Thanks Nico ! Very nice tutorial !
We are all wainting eagerly for your complete tutorail ! :)
By the way, where are you from ?
cheers.

Hey :) I'm from Switzerland (the French-speaking part as one can pick up from my accent :-D ).
 
Thanks! I also enjoy to see videos of people setting up their templates and plugins so I thought I'd do my own.



Hey :) I'm from Switzerland (the French-speaking part as one can pick up from my accent :-D ).


Héhéhé ! Super ! Ton accent ne me gêne pas du tout :) Ton tuto est vraiment super !

Update in english :)

Two questions just to clarify things in my little head :)

Did you cut the tails in your ER instances of Spaces ?
Why did you put your EQ after the reverb ( ER and Tail ). Is there a major difference if the EQs are before ? What is the best to avoid build-ups...

More tutorials please !

Cheers.
 
Héhéhé ! Super ! Ton accent ne me gêne pas du tout :) Ton tuto est vraiment super !

Update in english :)

Two questions just to clarify things in my little head :)

Did you cut the tails in your ER instances of Spaces ?
Why did you put your EQ after the reverb ( ER and Tail ). Is there a major difference if the EQs are before ? What is the best to avoid build-ups...

More tutorials please !

Cheers.

Hey :) Merci!

No, I didn't cut the tail in Spaces but I sometimes do. It all depends on how thick I want my track to be.

The EQ after the reverb just makes sense to me: a reverb is an effect processor, thus it will modify the frequency spectrum of the signal that goes into it. That's what I want to EQ: the result that goes out of the effect.

As for quick tips videos, I'm recording a few at the moment ;)
 
Hey :) Merci!

No, I didn't cut the tail in Spaces but I sometimes do. It all depends on how thick I want my track to be.

The EQ after the reverb just makes sense to me: a reverb is an effect processor, thus it will modify the frequency spectrum of the signal that goes into it. That's what I want to EQ: the result that goes out of the effect.

As for quick tips videos, I'm recording a few at the moment ;)

Makes sense ! I'll try it !
Thanks mate :)

PS : You and Joël Dollié make my lockdown more enjoyable :)
 
...Let me know how you approach this broad topic as I'm always interested to discover how people do things.

Hello Akarin
Thanks for your video. My approach is similar but it does not use the "Send" function...

I create 3 -4 different fixed depths of space with early reflections (in group channels).
The advantage is that you can do whatever is individually necessary for getting the perfectly simulated distance (using a perfect ER, EQ, compression and other effects) - and this for each room depth.

Another advantage: In the end, the "tail" over everything (at the output channel) glues everything together. If you do all these things with "Sends", you can't really use these advantages.
So all instruments at the same distance (seen from the listener) are directly routed through the appropriate created depth and are then glued together with one (also fixed) tail in the main output.
Everything is so perfectly controllable.


A short video about this Reverb-Approach:




And here's more about the theory:
Reverb-Approach
------------------------------------------------------
Important: This is not THE "Reverb-Concept". But it is very flexible. A pleasant side effect is:
If you have samples that already have "the room in them", you can route them directly to the output. They will be glued together with all the rest in the output channel with the Tail.

Have fun
Beat
 
Last edited:
Hello Akarin
Thanks for your video. My approach is similar but it does not use the "Send" function...

I create 3 -4 different fixed depths of space with early reflections (in group channels).
The advantage is that you can do whatever is individually necessary for getting the perfectly simulated distance (using a perfect ER, EQ, compression and other effects) - and this for each room depth.

Another advantage: In the end, the "tail" over everything (at the output channel) glues everything together. If you do all these things with "Sends", you can't really use these advantages.
So all instruments at the same distance (seen from the listener) are directly routed through the appropriate created depth and are then glued together with one (also fixed) tail in the main output.
Everything is so perfectly controllable.


A short video about this Reverb-Approach:




And here's more about the theory:
Reverb-Approach
------------------------------------------------------
Important: This is not THE "Reverb-Concept". But it is very flexible. A pleasant side effect is:
If you have samples that already have "the room in them", you can route them directly to the output. They will be glued together with all the rest in the output channel with the Tail.

Have fun
Beat


Thanks a lot for this, Beat. I really like your approach!
 
Thanks for sharing @Akarin. Your approach is quite similar to what I've used but a little different.

I enjoy a "heavier" reverb so I send each instrument section to their section reverb (usually the so cal instrument specific reverbs at quite a high gain, around -3 to +3 dB). I also send all sections to three "master" reverbs to create a uniform spacious sound to the mix. These master reverbs include 1 algo reverb for warm glue, 1 spaces FR TS reverb and 1 spaces RR TS reverb.

You would imagine all those reverbs sound muddy together, but since they're all simply summed together (not fed into each other), you can mix the reverbs in a controlled way. I usually use a side chain compressor on all the reverbs to push some of the reverb out of the way during busy segments.

I have found using an eq on the send to shape the sound before it hits the reverb leads to more natural and nicer sounding results than eq'ing the actual reverb. Have you experimented with eq'ing before vs after reverb?
 
Thanks for sharing @Akarin. Your approach is quite similar to what I've used but a little different.

I enjoy a "heavier" reverb so I send each instrument section to their section reverb (usually the so cal instrument specific reverbs at quite a high gain, around -3 to +3 dB). I also send all sections to three "master" reverbs to create a uniform spacious sound to the mix. These master reverbs include 1 algo reverb for warm glue, 1 spaces FR TS reverb and 1 spaces RR TS reverb.

You would imagine all those reverbs sound muddy together, but since they're all simply summed together (not fed into each other), you can mix the reverbs in a controlled way. I usually use a side chain compressor on all the reverbs to push some of the reverb out of the way during busy segments.

I have found using an eq on the send to shape the sound before it hits the reverb leads to more natural and nicer sounding results than eq'ing the actual reverb. Have you experimented with eq'ing before vs after reverb?

The side-chain compressor is a brilliant idea ! Can you explain a bit more your process please ?
Thanks :)
 
The side-chain compressor is a brilliant idea ! Can you explain a bit more your process please ?
Thanks :)

Sure, a picture (even one poorly drawn in Paint) is probably better than a thousand words to describe it. :) In the picture below, section reverb mix and glue reverb mix are simply buses that combine the incoming signals. I may apply additional processing in them as well if needed. I usually feed the side-chain compressors dry signal of percussion or strings shorts and set the compressors to measure RMS, not peak level.

uc
 
Sure, a picture (even one poorly drawn in Paint) is probably better than a thousand words to describe it. :) In the picture below, section reverb mix and glue reverb mix are simply buses that combine the incoming signals. I may apply additional processing in them as well if needed. I usually feed the side-chain compressors dry signal of percussion or strings shorts and set the compressors to measure RMS, not peak level.

uc


WOW !!!!! That is CLEVER !
Thanks a lot !
 
Top Bottom