redninja
Cowabunga
Hi,
From my little experiences and the sources that I've read, I see that as with most of the other ingredients in composing/mixing and arranging, reverb plays a big role. Alas, I'm still missing that sweet-spot when it comes to adjusting/dialing a nice reverb in some cases. My particular instrument groups or overall mixes are either too much in-your-face or gets sunk in the background. It either feels like a cheap reverb effect where the specific instrument stands out from the rest of the mix or it contributes to the overall unintentional blurriness of the mix. Sometimes I'm having too much difficulties to get the reverb thing correct.
I know that reverb should be adjusted/dialed when listening to the overall piece unless you do some surgical adjustments.
But, do you have go-to tips and advices for dialing in a natural reverb that feels.... ermm... natural? and glues with the rest of the mix?
For example, what should be the correct order while setting reverb parameters? Should I start with 100% wet or should I first dial a reverb tail length? etc etc...
Also I'm routing my individual instruments to both Instrument busses and also to dedicated reverb track so that I can adjust how wet/dry they sound in overall group/section. This is so far the best method I've seen around to make things easier.
How do you deal with situations like when an instruments plays an FF or MP dynamics? Because when that particular instrument overpowers the rest of the instruments playing FF instead of MP or F, that "reverb attached to it" also shines and comes forward and feels like the instrument is recorded in a different space because of the parallel increase in its reverb amount. Do you frequently find yourself automating reverbs in this manner to compensate this problem or is it a sign of a faulty/fake reverb adjustment? I usually come across this problem with French Horns. They can get as loud as FFF within their peaked passages and eventually the reverb assigned to them also spreads all over the place. So should I treat the core volume(dry) of the instrument and it s reverb (wet) inversely proportional and automate it this way?
Also I'm having a hard time to dial better reverbs for solo vocals or choirs or solo strings(i.e. a solo viola playing a melody over the rest of the orchestra).
I've read about Abbey Road trick and it slightly improved my reverberation department but as you know high-freq instruments can easily overpower the mix(perceptional hearing), the reverb that comes along with them also overpowers the rest when they're at their peak. What to do in such cases?
In short, should the reverbs be warm enough to be felt instead of heard for a subtle and natural effect?
Thank you in advance for the help and tips.
From my little experiences and the sources that I've read, I see that as with most of the other ingredients in composing/mixing and arranging, reverb plays a big role. Alas, I'm still missing that sweet-spot when it comes to adjusting/dialing a nice reverb in some cases. My particular instrument groups or overall mixes are either too much in-your-face or gets sunk in the background. It either feels like a cheap reverb effect where the specific instrument stands out from the rest of the mix or it contributes to the overall unintentional blurriness of the mix. Sometimes I'm having too much difficulties to get the reverb thing correct.
I know that reverb should be adjusted/dialed when listening to the overall piece unless you do some surgical adjustments.
But, do you have go-to tips and advices for dialing in a natural reverb that feels.... ermm... natural? and glues with the rest of the mix?
For example, what should be the correct order while setting reverb parameters? Should I start with 100% wet or should I first dial a reverb tail length? etc etc...
Also I'm routing my individual instruments to both Instrument busses and also to dedicated reverb track so that I can adjust how wet/dry they sound in overall group/section. This is so far the best method I've seen around to make things easier.
How do you deal with situations like when an instruments plays an FF or MP dynamics? Because when that particular instrument overpowers the rest of the instruments playing FF instead of MP or F, that "reverb attached to it" also shines and comes forward and feels like the instrument is recorded in a different space because of the parallel increase in its reverb amount. Do you frequently find yourself automating reverbs in this manner to compensate this problem or is it a sign of a faulty/fake reverb adjustment? I usually come across this problem with French Horns. They can get as loud as FFF within their peaked passages and eventually the reverb assigned to them also spreads all over the place. So should I treat the core volume(dry) of the instrument and it s reverb (wet) inversely proportional and automate it this way?
Also I'm having a hard time to dial better reverbs for solo vocals or choirs or solo strings(i.e. a solo viola playing a melody over the rest of the orchestra).
I've read about Abbey Road trick and it slightly improved my reverberation department but as you know high-freq instruments can easily overpower the mix(perceptional hearing), the reverb that comes along with them also overpowers the rest when they're at their peak. What to do in such cases?
In short, should the reverbs be warm enough to be felt instead of heard for a subtle and natural effect?
Thank you in advance for the help and tips.