# Mixing Convolution and Algorithmic Reverb



## SwedishPug (Apr 25, 2019)

I was wondering what people around here do when they mix real and algorithmic reverb. I want my mix to feel vast and spacious while still having clarity. 

I've heard that some put an algorithmic reverb on their convolution reverb?
Early Reflections -> Reverb -> Algorithmic Reverb

And I heard others who say that you should do something more like this:
Early Reflections -> Reverb
^____________ -> Algorithmic Reverb

I'm very new to using multiple reverbs and I was wondering what techniques people use and what tips they might want to share. For example: How long is your convolution reverb in comparison to the algorithmic reverb? How loud is your convolution reverb in comparison to your algorithmic reverb? 

I know this is a big subject with a lot of different practices which yield different results. I appreciate the time of whoever wants to share their thoughts!


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## shawnsingh (Apr 27, 2019)

Maybe I'm unaware of what others do, but i think most people won't separate early reflections from their convolution reverb. Early reflections are usually already characterized by the convolution reverb anyway.

The one strategy I know about for convolution+algorithmic is to use the convolution for the early reflections, and then rely on the algorithmic (in series after convolution) to add the diffuse tail part. You might consider a larger than usual predelay on the algorithmic part, so that it only contributes to the diffuse part.

But for creating vast space with clarity, I think there are other important details to consider first before playing with convolution+algorithmic:

Predelay can change the perceived wetness even for the same wet/dry mix and reverb tail. Shorter predelays can help a reverb "melt" away and be less noticeable, and of course feels drier because of that too. However, for small predelays on convolution reverb have to be careful with potential phase issues between wet and dry (check in mono, too). Larger predelays, like 60-100 milliseconds, can sound more wet, I think because the sound doesn't get masked as much by the dry signal. Both ways can help get "clarity", depending on the situation.

Another thing to try is trading between reverb tail length and wet/dry mix. a stronger dry signal helps clarity, while a longer reverb tail can make up for the drier mix.

There's also a question of the overall tone of the reverb. You can try EQ on the wet-only to reduce some of the lower frequencies, and to bring out the "air" of higher frequencies. Or even better, if you have the ability to edit a convolution reverb impulse response, you can change how long the low frequencies resonate, versus how long higher frequencies resonate. This is something that vsl convolution reverb plug-in can do, or if you have the raw wav files of your impulse response, you can do the same thing with a wav early. Anyway, point is, being able to sculpt how different frequencies resonate is a powerful way to get clarity while still sounding very wet.

If you have a more ambient, sustained type of tone, ping pong delay fx can be an amazing addition to reverb. It can give you a much wider feeling of space than just reverb. Of course you'd adjust the reverb to be less since the delay fx would take half the job.

Also EQ on the instrument before sending it to reverb is another option to create space too. A gentle, broad slope/shelf that reduces let frequencies, even as high as 500-800 hz, can help give a feeling of distance.


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