Why Use Reverb
Reverb is used to create a sense of space in the mix. The ear makes decisions about the placement of instruments based on how much reverb it hears. If an instrument has a lot of reverb, then it sounds like it’s on the far side of the room, but if it doesn’t have any reverb, then it sounds like it’s right in front of you. Generally, people want to hear instruments like they would hear them in a natural setting. Reverb is used to create an atmosphere around the instrumentation.
Reverb may help a harsh sounding instrument fit back into the mix. It can create a sense of depth that is pleasing and makes the listener feel as though they are surrounded by the instrumentation.
Using Delay to Make Reverb
Using a delay chart can be useful to set delays in time with the music. Short, low volume delays can be used to create depth like reverb, but with a more pitched and rhythmic sound.
Since the delay will often get covered up by the unprocessed content, it is a good idea to adjust delay compensation backwards 1-2 milliseconds so that it still makes an impact
Delay Chart
60,000 ms / beats per minute (bpm) = quarter note delay time
30,000 ms / bpm = eighth note delay time
15,000 ms / bpm = sixteenth note delay time
7,500 ms / bpm = thirty-second note delay time
3,750 ms / bpm = sixty-fourth note delay time
http://www.sengpielaudio.com/calculator-bpmtempotime.htm
Old Fashioned Delay
You can emulate older delays by taking off some high end with a low pass filter and then adding distortion.
Slap Delays
Slap delays are generally around 120 milliseconds.
Ping Pong Delay
To create a ping pong delay make a note on one side twice the value of a note on the other side. The shorter delay should have more gain and more feedback.
Vocal Delay
Vocal delay techniques should try to make vocals bigger without pushing them into the back of the mix.
Vocal Reverb
Reverbs push vocals back into the mix so they should be used subtly.
Mono Reverb Technique
Hard pan the dry signal and put the mono reverb in the center.
Gated Reverb Effect
Create an auxiliary stereo track. Add a reverb to the track. Add a gate with a sidechain input to the track. Run the original dry track into the gate so that it closes shortly after the dry signal ends. This will create a very short reverb tail without the typical, drawn out reverb tail. Optionally, a band passed eighth or sixteenth note delay can be added to the reverb to give it a bit more depth. Adding reverb pushes stuff back in the mix, but using a gate can help to bring it back forward, while still increasing the size of the instrument sound.
Spring Reverbs
Spring reverbs generally need to be hard-panned as to not take over a mix. They’re great on guitars and vocals. Spring reverbs can sound good when hard-panned to an instrument that is in the center. This is generally offset with a different kind of reverb being hard panned to the opposite side. Having two different kinds of reverbs hard panned to the side with the dry signal in the center can create a strong ambience while also keeping the core sound present in the mix.
Spring reverbs also tend to sound better when panning automation is applied to them. A spring reverb that jumps from side to side when adding in with a dry signal that stays in the center can remain subtle in the mix while also giving a changing sense of space. This effect is best used sparingly, where the panning is not really noticeable unless you know the trick is being utilized.
Plates Reverbs
These are great on vocals, but they generally need a pre-delay. The pre-delay is a delayed copy of the dry note upon which the reverb is actually applied to. Adding a pre-delay give the original note some space, while also providing an opportunity for a short reverb to make the signal bigger.
Hall Reverbs
Use hall reverbs on stuff that you want to have a big, concert like feel such as ballad vocals, classic rock vocals, strings, and other analog instruments.
Chambers
Chambers are good for instruments that were recorded with a direct input (DI) and need a deep reverb to fit into the mix. They’re sometimes used lightly on drums and vocals to give a big, epic feel.
Non-Linear Reverb
Linear reverbs generally sound best when gated. They sound best on elements that are not trying to sound natural such as synth snare or vocoded/auto-tuned vocals.
By Jack Johnston
Jack Johnston has a Master’s of Arts in Applied Linguistics from the New School University, a Master’s in Business Administration from Western Governors University, and a Master’s in Management and Leadership from Western Governors University.