Reverb strategies for EDM needed

[svenh]

One of the production parts I struggle with the most now is reverb. How many different types are needed? What types to apply to what tracks of the song?

I have read books and watched a lot of video tutorials about reverbs and I have a pretty good grasp of how reverbs works and their paramters. What I don't know, however is a decent strategy for a whole song. Would you please share your reverb strategies (roughly) - how much of what type do you send to the different verbs from kick, snare, percussion, bass, pads, vocals etc.?

Or, if you know any tutorial/book that goes into depth on this, please let me know!

Thanks, Sven

[Jivethompson]

- For drums i usually use a room-reverb with fairly high damping. Also the eq here is set to avoid the low-frequencies (from 250-300) as well as the higher ones (from 6 to 8khz roughly). This way I can create space and a nice stereo image without altering the sound too much with reflections. I also regulate how much i send to the different drum instruments to keep things balanced (never 1 reverb on a whole drumbus for example!)

- For a simple bass (sine for example) i use this drum reverb as well to give a bit more space in the mix

- Vocals, either plate or the same drum reverb as well

- Synths, keys, hits, ect... I like to use either a big hall/arena reverb that is gated. But depends on the song though. For a more intimate dirty reesebass i might use a plate or room reverb.

- Pads usually benefit from big and lush reverbs, but you might want to gate these as well.

These are just a few examples, but remember that reverb can be used in a lot of ways! You can use different kind of reverbs, but keep it manageable and make sure the mix remains in cohesion. Also, don't forget to bypass you reverb when applied so that you can always check if it fits what you where aiming for.

[svenh]

Thanks for the info, exactly the kind I wanted! It would be very interesting to hear other members go-to-setup too (with motivation) - it would be interesting to hear for pop and rock mixes too!

[Jivethompson]

Thanks for the info, exactly the kind I wanted! It would be very interesting to hear other members go-to-setup too (with motivation) - it would be interesting to hear for pop and rock mixes too!

No problem! i struggled a lot with reverb (and still do sometimes) in the past so i know where you coming from.
Curious about how other people set there reverb up as well

[Jivethompson]

btw, it is also usefull to listen to your favorite tracks and determine how they might have set up the reverb. Great thing about mixing yourself is that you also become greatly aware of how other songs are mixed (such as the panning, depth, vocals, etc). So keep them ears truly open when chilling on them tunes!!

[selig]

btw, it is also usefull to listen to your favorite tracks and determine how they might have set up the reverb. Great thing about mixing yourself is that you also become greatly aware of how other songs are mixed (such as the panning, depth, vocals, etc). So keep them ears truly open when chilling on them tunes!!

Yes - with that in mind, if you want to post a track (talking to the OP here) that you like, you can get us to try to explain what we're hearing and how we would approach getting something similar.

And I'll also add to what has already been posted that sometimes you may want to use "special" FXs reverbs, that is to say a reverb that is only on certain notes/words/hits. These are often big long reverbs (or sometimes delays) that are on a snare, a vocal, a stab, or similar. You typically would use automation to turn a Send on for one beat, hit, or word, then back off again. There are other ways to do this, but that's the easiest in most cases. There are other approaches to use, like slapping a room reverb on a breakdown section or drum break.

Use your imagination, the main point being that reverbs don't necessarily have to stay on for the entire track, or use the same settings throughout the song.

[pushedbutton]

the more knobs you twiddle the more it shows you care.

[Raveshaper]

I usually route the output of my reverb to a channel rather than the aux return on the master section so I can side chain it. Sometimes I place a D-11 in front of an RV7000 to raise the presence of longer decay settings. I'm also a fan of the Gated setting on the RV-7, but it usually works best as part of an effects chain. Like cooking, everybody uses their own blend of spices.

[svenh]

btw, it is also usefull to listen to your favorite tracks and determine how they might have set up the reverb. Great thing about mixing yourself is that you also become greatly aware of how other songs are mixed (such as the panning, depth, vocals, etc). So keep them ears truly open when chilling on them tunes!!

Yes - with that in mind, if you want to post a track (talking to the OP here) that you like, you can get us to try to explain what we're hearing and how we would approach getting something similar.

And I'll also add to what has already been posted that sometimes you may want to use "special" FXs reverbs, that is to say a reverb that is only on certain notes/words/hits. These are often big long reverbs (or sometimes delays) that are on a snare, a vocal, a stab, or similar. You typically would use automation to turn a Send on for one beat, hit, or word, then back off again. There are other ways to do this, but that's the easiest in most cases. There are other approaches to use, like slapping a room reverb on a breakdown section or drum break.

Use your imagination, the main point being that reverbs don't necessarily have to stay on for the entire track, or use the same settings throughout the song.

That's a great offer to aid in the analysis of a track. My problem is that I don't know exactly what I like (which maybe shows in my few finished tracks on soundcloud... ).

When I listen to EDM, I often like some parts of it, but dislike others. I love pumping drums, weird percussion, cool basses (that are not too harsh) and well worked melodies (so it is not *only* about the rythm). Oftentimes though, I find many EDM songs too repetitive. I like the traditional pop song format (verse, chorus, bridge, etc.) better than the sometimes endless variation of *one* theme in EDM songs.

I don't know if there exist a certain genre that I would like the best or if I have to invent it myself, but chances are that nobody else would like it...

[Rene Disco]

Here is an article from Sample Magic on FX that might help at least a little bit.

https://www.samplemagic.com/journal/201 ... r-size-fx/

[selig]

btw, it is also usefull to listen to your favorite tracks and determine how they might have set up the reverb. Great thing about mixing yourself is that you also become greatly aware of how other songs are mixed (such as the panning, depth, vocals, etc). So keep them ears truly open when chilling on them tunes!!

Yes - with that in mind, if you want to post a track (talking to the OP here) that you like, you can get us to try to explain what we're hearing and how we would approach getting something similar.

And I'll also add to what has already been posted that sometimes you may want to use "special" FXs reverbs, that is to say a reverb that is only on certain notes/words/hits. These are often big long reverbs (or sometimes delays) that are on a snare, a vocal, a stab, or similar. You typically would use automation to turn a Send on for one beat, hit, or word, then back off again. There are other ways to do this, but that's the easiest in most cases. There are other approaches to use, like slapping a room reverb on a breakdown section or drum break.

Use your imagination, the main point being that reverbs don't necessarily have to stay on for the entire track, or use the same settings throughout the song.

That's a great offer to aid in the analysis of a track. My problem is that I don't know exactly what I like (which maybe shows in my few finished tracks on soundcloud... ).

When I listen to EDM, I often like some parts of it, but dislike others. I love pumping drums, weird percussion, cool basses (that are not too harsh) and well worked melodies (so it is not *only* about the rythm). Oftentimes though, I find many EDM songs too repetitive. I like the traditional pop song format (verse, chorus, bridge, etc.) better than the sometimes endless variation of *one* theme in EDM songs.

I don't know if there exist a certain genre that I would like the best or if I have to invent it myself, but chances are that nobody else would like it...

And who cares? If you like it, then chances are SOMEONE else will like it. If nothing else, the pure joy you feel in doing what you love will resonate with some.

And why not invent a new genre - an original genre is typically the best version of that IMO. Copy-cat versions can be interesting, but always have a slightly different vibe in many cases. I attribute that to the fact that an originator is doing what they love, and a copy-cat is doing what they THINK others will love. Of course they may love it too, but what they really love is the original.

Disclaimer: I've been lucky to work with mostly original artists all my life, so call me an elitist or a musical snob - but that's the stuff where I feel the most artistry comes through. Now I'm ALSO all about folks doing whatever makes them happy and acknowledge we are not all going to invent our own "sound". I'd rather see someone making music than not, because music brings joy.



Sent from my iPad using Tapatalk

[VHS]

That's a great offer to aid in the analysis of a track. My problem is that I don't know exactly what I like (which maybe shows in my few finished tracks on soundcloud... ).

When I listen to EDM, I often like some parts of it, but dislike others. I love pumping drums, weird percussion, cool basses (that are not too harsh) and well worked melodies (so it is not *only* about the rythm). Oftentimes though, I find many EDM songs too repetitive. I like the traditional pop song format (verse, chorus, bridge, etc.) better than the sometimes endless variation of *one* theme in EDM songs.

I don't know if there exist a certain genre that I would like the best or if I have to invent it myself, but chances are that nobody else would like it...

My advice is simply listen to more music, make more music. Find some EDM that you actually like, or maybe try other genres. The more you try and fail the more you learn, it will click. Don't worry about inventing any new genres to early.

[svenh]

btw, it is also usefull to listen to your favorite tracks and determine how they might have set up the reverb. Great thing about mixing yourself is that you also become greatly aware of how other songs are mixed (such as the panning, depth, vocals, etc). So keep them ears truly open when chilling on them tunes!!

Yes - with that in mind, if you want to post a track (talking to the OP here) that you like, you can get us to try to explain what we're hearing and how we would approach getting something similar.

And I'll also add to what has already been posted that sometimes you may want to use "special" FXs reverbs, that is to say a reverb that is only on certain notes/words/hits. These are often big long reverbs (or sometimes delays) that are on a snare, a vocal, a stab, or similar. You typically would use automation to turn a Send on for one beat, hit, or word, then back off again. There are other ways to do this, but that's the easiest in most cases. There are other approaches to use, like slapping a room reverb on a breakdown section or drum break.

Use your imagination, the main point being that reverbs don't necessarily have to stay on for the entire track, or use the same settings throughout the song.

That's a great offer to aid in the analysis of a track. My problem is that I don't know exactly what I like (which maybe shows in my few finished tracks on soundcloud... ).

When I listen to EDM, I often like some parts of it, but dislike others. I love pumping drums, weird percussion, cool basses (that are not too harsh) and well worked melodies (so it is not *only* about the rythm). Oftentimes though, I find many EDM songs too repetitive. I like the traditional pop song format (verse, chorus, bridge, etc.) better than the sometimes endless variation of *one* theme in EDM songs.

I don't know if there exist a certain genre that I would like the best or if I have to invent it myself, but chances are that nobody else would like it...

And who cares? If you like it, then chances are SOMEONE else will like it. If nothing else, the pure joy you feel in doing what you love will resonate with some.

And why not invent a new genre - an original genre is typically the best version of that IMO. Copy-cat versions can be interesting, but always have a slightly different vibe in many cases. I attribute that to the fact that an originator is doing what they love, and a copy-cat is doing what they THINK others will love. Of course they may love it too, but what they really love is the original.

Disclaimer: I've been lucky to work with mostly original artists all my life, so call me an elitist or a musical snob - but that's the stuff where I feel the most artistry comes through. Now I'm ALSO all about folks doing whatever makes them happy and acknowledge we are not all going to invent our own "sound". I'd rather see someone making music than not, because music brings joy.

Yes, I know that I worry too much, when I should just spend that time making music that I like - thanks Selig!

[svenh]

That's a great offer to aid in the analysis of a track. My problem is that I don't know exactly what I like (which maybe shows in my few finished tracks on soundcloud... ).

When I listen to EDM, I often like some parts of it, but dislike others. I love pumping drums, weird percussion, cool basses (that are not too harsh) and well worked melodies (so it is not *only* about the rythm). Oftentimes though, I find many EDM songs too repetitive. I like the traditional pop song format (verse, chorus, bridge, etc.) better than the sometimes endless variation of *one* theme in EDM songs.

I don't know if there exist a certain genre that I would like the best or if I have to invent it myself, but chances are that nobody else would like it...

My advice is simply listen to more music, make more music. Find some EDM that you actually like, or maybe try other genres. The more you try and fail the more you learn, it will click. Don't worry about inventing any new genres to early.

Yes, I know, I worry too much. Thanks for your input!

[jappe]

One of the production parts I struggle with the most now is reverb. How many different types are needed? What types to apply to what tracks of the song?

I have read books and watched a lot of video tutorials about reverbs and I have a pretty good grasp of how reverbs works and their paramters. What I don't know, however is a decent strategy for a whole song. Would you please share your reverb strategies (roughly) - how much of what type do you send to the different verbs from kick, snare, percussion, bass, pads, vocals etc.?

Or, if you know any tutorial/book that goes into depth on this, please let me know!

Thanks, Sven

I'm have a simple approach: I do whatever I feel like with the reverb, with the following in mind:

* If I put a reverb of type X, will compression/mastering emphasize that, and if so, do I want it to be emphasized?
* I I have a rhythm with good energy going on, does the reverb drain energy from that rhythm?
* Should I have the reverb the whole track, or perhaps there are just some gaps where I could use it automated as a filler?

And these are for other elements than reverb as well:
* When I listen to it the day after I introduced it, does it sound better or worse than not having it?
* I'm biased, do other people think it sounds better with it?

[svenh]

I'm have a simple approach: I do whatever I feel like with the reverb, with the following in mind:

* If I put a reverb of type X, will compression/mastering emphasize that, and if so, do I want it to be emphasized?
* I I have a rhythm with good energy going on, does the reverb drain energy from that rhythm?
* Should I have the reverb the whole track, or perhaps there are just some gaps where I could use it automated as a filler?

And these are for other elements than reverb as well:
* When I listen to it the day after I introduced it, does it sound better or worse than not having it?
* I'm biased, do other people think it sounds better with it?

Great approach jappe, thanks for sharing!

[Voyager]

I produce mainly electronic music (not that "edm" genre..) and since as someone says once that it's not a "realistic" music, we producer of that genre are more free to use "unrealistic" reverbs which it's somehow true and i myself use a lot of various different reverbs for different tracks.

The thing is that i heard from a mixing and mastering engineer that using too much different reverbs can be very problematic and muddy a mix totally because of the space those reverbs can take in the mix. He also suggested to not try to use more than 2 or 3 different reverbs in a mix.

So what are you though and experiences about this ?

[selig]

I produce mainly electronic music (not that "edm" genre..) and since as someone says once that it's not a "realistic" music, we producer of that genre are more free to use "unrealistic" reverbs which it's somehow true and i myself use a lot of various different reverbs for different tracks.

The thing is that i heard from a mixing and mastering engineer that using too much different reverbs can be very problematic and muddy a mix totally because of the space those reverbs can take in the mix. He also suggested to not try to use more than 2 or 3 different reverbs in a mix.

So what are you though and experiences about this ?

That's been my experience as well: 1-3 reverbs when used, maybe one more for "specials".


Sent from my iPhone using Tapatalk

[Voyager]

I produce mainly electronic music (not that "edm" genre..) and since as someone says once that it's not a "realistic" music, we producer of that genre are more free to use "unrealistic" reverbs which it's somehow true and i myself use a lot of various different reverbs for different tracks.

The thing is that i heard from a mixing and mastering engineer that using too much different reverbs can be very problematic and muddy a mix totally because of the space those reverbs can take in the mix. He also suggested to not try to use more than 2 or 3 different reverbs in a mix.

So what are you though and experiences about this ?

That's been my experience as well: 1-3 reverbs when used, maybe one more for "specials".


Sent from my iPhone using Tapatalk

For the type of music i produce and because i use so much various track melodies or effects i always have that need to use a specific reverb which is going to be personally adapted for the individual melodies or effects i use

So the reason behind you 1 to 3 reverbs is because you feel that if you use more reverbs you'll be not able to mix them without creating so muddyness ?

Also i rarely use the send effect in the mixer but instead i route my effect in the rack in a way that i can use them as insert or send or mix it with a dry/wet style. In this way i can control the effect only and i usually apply an EQ to be able to clear some frequency and make space a bit since a use quite many different for each individual tracks.

I don't know if there is an easier way to do that but i'm sort of experimenting things and try to found a way to manange my various reverbs.

[selig]

I produce mainly electronic music (not that "edm" genre..) and since as someone says once that it's not a "realistic" music, we producer of that genre are more free to use "unrealistic" reverbs which it's somehow true and i myself use a lot of various different reverbs for different tracks.

The thing is that i heard from a mixing and mastering engineer that using too much different reverbs can be very problematic and muddy a mix totally because of the space those reverbs can take in the mix. He also suggested to not try to use more than 2 or 3 different reverbs in a mix.

So what are you though and experiences about this ?

That's been my experience as well: 1-3 reverbs when used, maybe one more for "specials".


Sent from my iPhone using Tapatalk

For the type of music i produce and because i use so much various track melodies or effects i always have that need to use a specific reverb which is going to be personally adapted for the individual melodies or effects i use

So the reason behind you 1 to 3 reverbs is because you feel that if you use more reverbs you'll be not able to mix them without creating so muddyness ?

Also i rarely use the send effect in the mixer but instead i route my effect in the rack in a way that i can use them as insert or send or mix it with a dry/wet style. In this way i can control the effect only and i usually apply an EQ to be able to clear some frequency and make space a bit since a use quite many different for each individual tracks.

I don't know if there is an easier way to do that but i'm sort of experimenting things and try to found a way to manange my various reverbs.

In extreme cases I would use a short, medium, and long/large reverb. Not sure why I'd want more than that, except for maybe a special case for a big hit in a long hall type FX. I would not want more than one small room, more than one medium etc.

I always use sends since I almost always share reverbs and like to use CPU heavy verbs. I don't like the dry/wet control because I never want to LOWER the level of the dry signal, which is what a dry/wet control does. The dry level is the "king" and is carefully set in a mix - the last thing I want to do is "chase" that level when adding reverb, turning the dry signal back up (which also turns the reverb up), adjusting the dry/wet to turn the reverb back down, and on and on.

I don't have to use EQ often with reverbs if the settings/algorithms are well chosen and if the devices have basic tonal controls included.

Mixing and reverbs are such a personal thing though, and I'm a "less is more" guy so try to gradually add only what is absolutely demanded by a mix, often turning things back off again after realizing they are not necessary.


Sent from my iPad using Tapatalk

[Voyager]

I produce mainly electronic music (not that "edm" genre..) and since as someone says once that it's not a "realistic" music, we producer of that genre are more free to use "unrealistic" reverbs which it's somehow true and i myself use a lot of various different reverbs for different tracks.

The thing is that i heard from a mixing and mastering engineer that using too much different reverbs can be very problematic and muddy a mix totally because of the space those reverbs can take in the mix. He also suggested to not try to use more than 2 or 3 different reverbs in a mix.

So what are you though and experiences about this ?

That's been my experience as well: 1-3 reverbs when used, maybe one more for "specials".


Sent from my iPhone using Tapatalk

For the type of music i produce and because i use so much various track melodies or effects i always have that need to use a specific reverb which is going to be personally adapted for the individual melodies or effects i use

So the reason behind you 1 to 3 reverbs is because you feel that if you use more reverbs you'll be not able to mix them without creating so muddyness ?

Also i rarely use the send effect in the mixer but instead i route my effect in the rack in a way that i can use them as insert or send or mix it with a dry/wet style. In this way i can control the effect only and i usually apply an EQ to be able to clear some frequency and make space a bit since a use quite many different for each individual tracks.

I don't know if there is an easier way to do that but i'm sort of experimenting things and try to found a way to manange my various reverbs.

In extreme cases I would use a short, medium, and long/large reverb. Not sure why I'd want more than that, except for maybe a special case for a big hit in a long hall type FX. I would not want more than one small room, more than one medium etc.

I always use sends since I almost always share reverbs and like to use CPU heavy verbs. I don't like the dry/wet control because I never want to LOWER the level of the dry signal, which is what a dry/wet control does. The dry level is the "king" and is carefully set in a mix - the last thing I want to do is "chase" that level when adding reverb, turning the dry signal back up (which also turns the reverb up), adjusting the dry/wet to turn the reverb back down, and on and on.

I don't have to use EQ often with reverbs if the settings/algorithms are well chosen and if the devices have basic tonal controls included.

Mixing and reverbs are such a personal thing though, and I'm a "less is more" guy so try to gradually add only what is absolutely demanded by a mix, often turning things back off again after realizing they are not necessary.


Sent from my iPad using Tapatalk

Thanks for the insight, i'll keep trying experimenting with reverbs and see what work best for my mixes

[MassiveSoundStudios]

Tight Space Room Reverb -

A true stereo reverb that uses a very small time and short decay (slight predelay can sound nice too). Some equalization, such as HPF/LPF with a wide bell shape boost or cut can tune the room sound as well. This type of reverb can sound nice on percussion and vocals to create an intimate ambience. The plus side to using a true stereo reverb is that sources maintain their stereo image.

Deep Mono Reverb -

Any reverb device can be used for this effect, but only use the left/mono input and output when setting it up. The idea is to use a bigger reverb time and longer decay time than your "Room Reverb". Roll off more top end frequencies than usual to create a darker sounding space. This style of reverb send works great with kick drums and basses, extending the centre depth of the mix for deeper tones. Just be careful to not muddy up your mix with this style of reverb, as it needs to be quite tight and clean.

Mid Range Mono Glue Reverb -

This is more of a creative way to glue elements together in a mix. Very similar to the Deep Mono Reverb mentioned above. It's set up in a mono configuration as well, but uses a smaller range of mid range frequencies (HPF/LPF and boost mids), some light distortion can be used before the sends hit the reverb as well. This type of reverb will create a common centre for elements that are not gelling well. It is recommended to use this type of reverb sparingly and blend it in very subtly as a creative mixing aid. Keep in mind there are no rules, and you could slam this effect if you'd like to as well.

Long and Lush Ambience Reverbs -

These are your typical pad types of reverb, but can be used as percussion/instrument stabs/vocal "splash effects". Think dub reggae, and how Lee Scratch Perry would kick a tin garbage can and send it through a long spring or plate style reverb. These are accent style effects, used like sonic punctuation and emphasis. This style of reverb is turned on or activated only periodically and is not ment to be used throughout an entire song, unless it's used on pads or ambient background effects. Use large reverb times and longer decays. Roll off extreme top and bottom frequencies so the mix doesn't get out of control.

These are just a few styles of reverb that I've experimented with.

Additional Notes:

Having trouble separating some elements in your tracks? Try using the aux pre fader button on your mixer channel. Pull your fader all the way down and use your aux send level to mix your source back in. This technique works great with small room reverbs, and creates a nice separation between dry foreground sources and the small room elements in your music. Try this with a long, wide and lush ambience for extreme separation between your signals.

Want to better grasp what's actually going on in your fx sends? Route your control room output to the hardware interface main output to your sound card. Now you can use the aux audition buttons next to your master fader to listen to your aux returns.

[Voyager]

Thanks for the input MassiveSoundStudios, good things to think about in what you wrote