Hi
when you send your tracks to reverb and delay effect return channels
do you send them as mono signal to these effects, or stereo? any particular reason?
thanks
effect returns...reverb and delay
whatever the source is usually. I don't think too much about it unless I want something specific.
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By default Reason uses mono sends for mono channels/sources, and stereo sends for stereo sources. You can still RETURN a stereo FX sent from a mono source, or collapse a stereo FX sent from a stereo source to mono.
FWIW, I use stereo FX on mono sources (a stereo reverb on a mono vocal, for example) most of the time, and occasionally collapse a stereo FX to mono on the return on occasion (using a mono reverb on drums). Is that what you’re asking about?
FWIW, I use stereo FX on mono sources (a stereo reverb on a mono vocal, for example) most of the time, and occasionally collapse a stereo FX to mono on the return on occasion (using a mono reverb on drums). Is that what you’re asking about?
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- kuhliloach
- Posts: 881
- Joined: 09 Dec 2015
When using Reason as an actual DAW I don't find myself wanting to use those at all because Reason is so great at letting me be a control freak on the rack itself. I'll make busses and parallel channels all day, or just copy tracks for pure 100% wet effect and mix them in to taste. I get it-- those returns are there to make Reason seem like a normal DAW. I am not fooled.
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- Joined: 05 Sep 2017
Most modern FX plugins are smart enough to treat the stereo field in a logical way, so you will save a lot of time by simply not worrying about it. You will get much more result for your effort by concentrating on the character of the reverb or delay fx (how smooth, or slappy, or bright, or dark, how long or short) and EQ.
When making very realistic spaces only, I take a bit more care. I buss groups of instruments together with all the instruments panned wherever, and send the buss (in stereo) to the input of a high-quality reverb with realistic stereo cross-feedback (so things from the left bounce off the right wall at a different time to things on the right). If I recall, RV7000 does that too, with the room and hall algorithms. For most electronic or pop music, reverb does not have to be so "realistic", so just use whatever input you are working with; mono instruments, stereo instruments, a whole buss, whatever, and focus on the sound and EQ of the reverb(s).
When making very realistic spaces only, I take a bit more care. I buss groups of instruments together with all the instruments panned wherever, and send the buss (in stereo) to the input of a high-quality reverb with realistic stereo cross-feedback (so things from the left bounce off the right wall at a different time to things on the right). If I recall, RV7000 does that too, with the room and hall algorithms. For most electronic or pop music, reverb does not have to be so "realistic", so just use whatever input you are working with; mono instruments, stereo instruments, a whole buss, whatever, and focus on the sound and EQ of the reverb(s).
One advantage the returns have always had, is they are not delayed when used as returns to channel Sends as Channels are (when used as returns for Sends).kuhliloach wrote: ↑25 Apr 2021When using Reason as an actual DAW I don't find myself wanting to use those at all because Reason is so great at letting me be a control freak on the rack itself. I'll make busses and parallel channels all day, or just copy tracks for pure 100% wet effect and mix them in to taste. I get it-- those returns are there to make Reason seem like a normal DAW. I am not fooled.
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