kcatthedog
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Post by kcatthedog on Feb 13, 2020 8:47:47 GMT -6
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Post by EmRR on Feb 13, 2020 9:05:19 GMT -6
I usually have a small ambience and a longer mixed, sometimes with a third.
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Post by Blackdawg on Feb 13, 2020 9:20:21 GMT -6
Al Schmitt uses tons of reverbs On just vocal he does a Capitol chamber(usually #4) and a bircasti. Then says he likes one reverb per insturment or maybe up to two. Or does it by section.
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Post by Tbone81 on Feb 13, 2020 10:23:25 GMT -6
I always use different verbs, usually have a short plate, a room, a convolution verb, and then something long (usually another plate). Also, I like to give each set of instruments its own plugin instance. For example, I may have the same plate on snare, guitar, and keys. But I'll copy the plugin to 3 different auxs, 1 for each, and then eq each verb to taste. It also allows me to automate the fx from the Aux fader rather then from the send which find much easier.
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Post by swafford on Feb 13, 2020 10:28:08 GMT -6
I'll use 4-6 depending on the project plus a send to a tape echo. The relatively simple project I'm currently working on has a chamber for vocals, 2 mono chambers for instruments (panned left and right), a plate for the snare and a room for the drum kit. I'll usually use HPF and/r LPF on each bus before the reverb.
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Post by drbill on Feb 13, 2020 10:34:11 GMT -6
I didn't read the article, but I can't remember a mix in the last 20 years where I haven't used multiple verbs. My current mix templates generally have 6+ verbs and multiple types of delays already instantiated and set up in them. I don't approach it in a methodical - do this when this happens - type of way. I approach it by feel. Works for me.
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ericn
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Post by ericn on Feb 13, 2020 12:52:22 GMT -6
You have to take care when using multiple verbs, you can end up with phase issues if your not careful, then if you slam the mix through a compressor you can bring about mor issues and if the mastering adds more compression more issues.
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Post by Guitar on Feb 13, 2020 13:05:44 GMT -6
I'm a minimalist I usually only use one reverb in most mixes, absolute madman. Although sometimes it's fun to chain 3 or 4 reverbs in series to destroy the audio.
Sometimes I wonder why I don't get paid for my work. I prefer acoustic ambiences for the most part, with microphone capture.
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Post by stormymondays on Feb 13, 2020 15:02:33 GMT -6
At the very least: Room (Bricasti Studio B Close), Snare plate (varies), Vocal plate (Bricasti Sunset Chamber), Instrument reverb (varies), Spring reverb (Sansui RA500) and Slapback (Echoboy).
I'm interested in knowing about any of your go-to snare reverbs for a "natural" sound (rock, folk, Americana).
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Post by Guitar on Feb 13, 2020 16:27:49 GMT -6
At the very least: Room (Bricasti Studio B Close), Snare plate (varies), Vocal plate (Bricasti Sunset Chamber), Instrument reverb (varies), Spring reverb (Sansui RA500) and Slapback (Echoboy). I'm interested in knowing about any of your go-to snare reverbs for a "natural" sound (rock, folk, Americana). jcoutu1 tipped me to the PSP EMT 2445 on snare. It's truly excellent in that role. Just makes the drum sound "bigger" instead of an obvious tail or anything.
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Post by swafford on Feb 13, 2020 16:36:57 GMT -6
At the very least: Room (Bricasti Studio B Close), Snare plate (varies), Vocal plate (Bricasti Sunset Chamber), Instrument reverb (varies), Spring reverb (Sansui RA500) and Slapback (Echoboy). I'm interested in knowing about any of your go-to snare reverbs for a "natural" sound (rock, folk, Americana). UAD 140 on this project with brushes and a pretty dry snare - time C, the low shelf about 10:00 boosted to taste and a slight delay.
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Post by schmalzy on Feb 14, 2020 8:34:41 GMT -6
I'm always using multiple reverbs.
I want some things closer and some things further back. I want some things crisp but in a space and some things a little blurrier.
I've been really loving using a fairly bright reverb lately for some stuff. That's in stark contrast to my normally very filtered ambiences. I guess lately I can find a reason to use it for a well-timed splash of high frequency stuff on most songs.
A little trick that feels like it gets me wider and more interesting ambience sounds: take two channels with similar verb settings, sum them each to mono (so you've taken two individual reverb channels and made them mono), and hard pan (or soft pan - live your own dang life!) those two channels opposite each other. Instead of one stereo reverb channel where things are spread into the stereo landscape based on their algorithm you now have something a little wider (if that's what you need) and a little more interesting because the reverbs don't exactly match. You know; like a real room! There are a million variations to this (such as narrowing one of the channels to be spread 100% left to middle and the other from 100% right to middle) but the important part is it feels like you're creating some more perceived width and naturalness (that's not a word is it?) by having a non-symmetrical ambience situation. I most often do this with my shortest verb on a song.
Send everything getting that type of reverb to both channels in varying amounts. I'll often send a lot more of hard panned sources to one side or the other depending on the intention of the part.
Valhalla Vintage Verb is my go-to but I've been digging Kush's Gold Plate, Soundtoys Little Plate, and Softube's TSAR verb for variety of sounds.
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Post by Ward on Feb 14, 2020 9:47:32 GMT -6
I use two. A vocal plate A drum room. the length of each depends on the song and business of the mix.
and a delay or two.
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Post by Martin John Butler on Feb 15, 2020 9:01:29 GMT -6
My formula when I had my own home studio way back in the day was simple, Lexicon reverb on a Bus, Lexicon delay on Bus 2, spring reverb, bus 3, compressors and an aural exciter were used one at a time on each track as needed. The Lex verb plus a pinch of delay never failed. It was all hardware.
Today, I do something similar but slightly more advanced. I use one verb, ( Liquid Sonics 7th Heaven) as a main, one plate verb, (usually Soundtoys Little Plate, although I do have UAD's EMT 140, but I find it's kind of heavy handed), UAD's Ocean Way for ambience. I switched from the Relab XL480 to the 7th Heaven, but occasionally use the 480 to widen a little. I like all the instruments sounding like they were done in the same room together. It may not be the coolest way, but it works well. I use the plate for moving instruments front to back. I sometimes add a little delay to vocals judiciously. If I hear the delay, I back it off.
The best sounding home studio tracks I've heard are cowboycoalminer's. He uses the Ocean Way so beautifully, I actually thought he went to a major league studio once. It's in the re-micing, but I'm resistant to trying that. After going through so many mics to find one I like, I'm hesitant to then change their sound.
So I guess I do use multiple reverbs and delays, but in the "just a little is enough" way.
I'm behind on updating plug-ins. I'd like to try the UAD Capitol Chambers and also could use Superior Drummer 3, but I'll wait for sales later in the year.
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Post by drsax on Feb 15, 2020 9:47:45 GMT -6
I’ve been doing this for 20 years. Allows me to quickly custom tailor the verb sound on any track by blending. I have multiple verbs, delays, fx setup on sends in my session ready to go. I seldom put a verb on an individual track.
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Post by drbill on Feb 15, 2020 9:51:41 GMT -6
I’ve been doing this for 20 years. Allows me to quickly custom tailor the verb sound on any track by blending. I have multiple verbs, delays, fx setup on sends in my session ready to go. I seldom put a verb on an individual track. Ditto. This is how I do it too.
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Post by drsax on Feb 15, 2020 14:02:26 GMT -6
My basic setup for most mixes is usually
Room verb plate verb hall verb stereo delay short ambient delay chorus
each set to taste for the song... then I add other fx as needed
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