One plug-in I admire but use less than it deserves is the Sonnox Oxford Reverb, which, like most Sonnox products, places control, and responsibility for the quality of the results, on the user. It doesn’t offer an “easy” mode. In this free tutorial I use the tail section of the Oxford Reverb to change the sound from dry and mono to live and stereo without imposing a significant change in the size of the perceived space.
If you are considering a new reverb plug-in for your studio then check out these reviews categorised into imitative and generic. We have also included a number of videos which demonstrate the powers of some popular de-reverb plug-ins.
In this video we give you a quick guided tour of Lustrous Plates followed by a demo that shows you a number of different sounds you can achieve quickly on a lead vocal track.
Earlier this month Acon Digital released a cost effective surround and 3D capable version of their Verberate 2 algorithmic reverb plug-in which supports surround and immersive formats all the way up to 7.1.6 channels. In this article we explore the features in this new surround reverb plug-in, how it works, what it sounds like and what we think of it.
In this video, I have talented flutist/vocalist Ruth Schwarcz improvising over an extended arrangement. With the Universal Audio Capitol Chambers reverb toggling between wet solo, and mix blend, you will hear the stunning dense reflections and unique qualities these chambers offer. Simply put, this reverb has VIBE and character!
In this free video tutorial we use LiquidSonics Seventh Heaven reverb to show you a visual representation of how a pre delay works along with a basic drum mixing application in which pre delay works very well.
The team at Universal Audio are very pleased to announce their latest UAD-2 software 9.9 update. Once again they have collaborated with Softube to bring us an updated version of the Tube-Tech CL-1B MKII Compressor but the big news for this release is the new Capitol Chambers plug-in. An exact software recreation of 4 of the legendary Capitol Studios echo chambers. If you like real reverb. This one is a must.
In this free video tutorial iZotope’s Geoff Manchester shows how to use tools from Exponential Audio, the newest member of the iZotope family, for post production. Geoff focuses on how to blend ADR (automated dialogue replacement) within a new acoustic environment, and how to artfully situate foley and sound effects against footage with reverb.
The teams at Slate Digital and LiquidSonics are very pleased to announce a new Plate Reverb plug-in called Lustrous Plate. If you like me, love Plate style reverb you are going to love this plug-in. And if you are a Slate Digital Everything Bundle customer, you are going to be getting it as part of your subscription.
Our friends at Slate Digital have released 4 new products at NAMM 2019 ranging reverbs, made in collaboration with our friends at LiquidSonics, guitar amps & cabs, gates and microphones emulations for Slates popular virtual mic system.
Community member Joerg Witzsch has got in touch about a recent reverb related project he recently worked on, which was somewhat out of the ordinary and wanting to share it with the rest of the community. Over to you Joerg…
I recently recorded a live-performance of our "New York Voices" - like SATB-quartet "The Gershwinites" - just piano and four singers. For the Gershwin-classic "Embraceable You", we have a wonderful arrangement, that needs to be sung in a very "floating, dreamy" kind of way - as for the singing, voices need to blend perfectly, dynamics need not to be extreme and a major focus for us was, how to use our singing techniques to make the sound of our voices support the different parts of the composition.
When it came to mixing the recording, something major was missing for me - that dreamy quality we had in the concert hall. But just adding reverb (or different combinations of reverb plug-ins) did not do the trick. It just created too much of a noticeable room on the forte sung parts and it was missing the dreamyness in the softer parts.
So I remembered, how we approached our desired "live sound" in that very song: one critical part was using different singing techniques to alter the vocals' sounds to "imitate" dynamics, rather than singing a specific passage super-forte - we used ‘sound’ associated with dynamics more than ‘real dynamics’ themselves. Of course, we still had pianissimo and forte passages in the arrangement, but we did not fully expand to those dynamics.
What I ended up doing in my MIX, was the following…
Sending the vocals' stereo mix to an additional subgroup.
Reducing the dynamics of this very subgroup by using…
Waves' Vocal Rider to get an averaged out, but still musical sounding "loudness", followed by…
Two stages of compressors with different settings.
That way, I ended up with a vocal mix, that sounded dynamically pretty flat, uninspired, uninteresting, just flat out "undynamic".
The only thing, this subgroup-mix still had kept, was the different tonality of our voices I have spoken about above.
I then fed this sub-group's mix into a reverb and mixed the output with the main stereo vocal track.
I adjusted the output-level of the reverb to sound good with the pianissimo/mezzopiano-passages of the arrangement.
That trick provided, what had been missing when using "just reverb on the full dynamic main stereo vocal mix"…
When the singing was soft, it created just the needed amount of reverb and room to support that "floating, dreamy" kind of quality I wanted for the song.
In the forte-passages, it did NOT create those super-noticeable, long reverb-tails, that make the reverb stand out so obviously: since the reverb was fed with a majorly dynamic-reduced signal and adjusted to fit the pianissimo/mezzopiano passages, the forte-passages were not producing "more" reverb, but instead, sounded a bit "dryer" (the main stereo vocal mix was more prominent).
I fine-tuned this reverb-effect by adjusting the compressor's settings to reflect, how much reverb I wanted to allow in the louder passages.
So in the end, the reverb was supporting the softer passages of the song, but did not stand out in the louder passages.
This image above shows the various compressors, I have been working with.
Note the EQIII, which for me is important to filter out the "boom" of the performance venue.
Also note DBX 160: the compression settings are taken from two voices, tenor and mezzo, and show, that I had to cope with the dynamics of voices individually (they also "ring" differently in the reverb section, so compression settings at that stage becomes important, imho, before voices are fed to the reverb plugins)
Scheps Parallel Particles initially was just used as an experiment and turned out to be of help to give the voices just the right "sound" going into the reverb subgroup. This affects the "color" of the underlying "compressed" reverb sound.
Vocal Rider was directly used on the reverb subgroups, before the reverb plugins
The PuigChild 670 was sitting on the master-bus of the voices (just a little "glue")
The image above shows the reverb plug-ins I have been using. Initially, this seemed a bit of an overprocessing to me, but I was just experimenting and hit home on the reverb subgroup with this combination.
It is noteworthy, that this combination is not about creating a normal, nice room / reverb on the voices' ‘direct’ signal, but they are targeted to "smooth out" things on the reverb "compressed" subgroup. Each reverb plug-in sits on an individual subgroup, so I can individually control output levels and are not "chained", so they do not feed off each other.
More About Joerg Witzsch
He was born in 1962, is a german radio host for national radio SWR1 and he is very active on stage both as a performer in and director of musicals. For many years, he has also reviewed gear for German HiFi-magazine "stereoplay". His passion for music naturally expanded into some studio-work, recording and mixing.
As a bit of fun on the team we’ve challenged one another to this; you get to keep all the plugins supplied with you DAW but then you only get to keep one more plugin. Russ Hughes makes his choice.
In the Production Expert 10th Anniversary Christmas Competition we offered the chance to win a one of 2 Exponential Audio Pro Stereo Bundles With Excalibur (NIMBUS, R4 and Excalibur) worth $569 each, as one of over 30 great prizes on offer worth over $30,000 in total. The competition closed on December 31st 2018 and the 2 winners are Andreas Casado and Matthew Blue.
Reverb is cool and Lexicon nailed the sound of digital reverb. What is the difference between a plate, an hall or a chamber? Production Expert team member Julian Rodgers investigates.
In this extended video, Production Expert team member Julian Rodgers auditions four of the seven classic Lexicon algorithms which are available as part of the Lexicon PCM Native bundle. using Salt In Fresh Cuts by Joel Tavares he demonstrates the distinctive character of the Room, Vintage Plate, Random Hall and Chamber algorithms.
We came across this video from Youtuber LeoMakes in which he creates a DIY Plate Reverb from a ‘Bror’ Storage unit from IKEA for around $100.
In this video we put Illusion to work on a drum mix bus and lead vocal track. The overall mix is fairly solid but there’s a sense depth missing that makes the mix in this example sound a bit two dimensional and upfront. Watch the video to hear how a couple of Illusion presets, and some quick tweaks of the controls, transforms the presentation of the drums and vocals into tastefully sculpted ambiences that frame each of the tracks.
In this article we are going to bring together the first 4 tips from reverb maestro Michael Carnes from Exponential Audio that we have been sharing on the Pro Tools Expert Podcast recently. The first 4 are Using the Compressor To Make Level-Sensitive Reverb With The 2nd Generation Exponential Audio Reverb Plug-ins, Making Great Sounding Small Rooms, Using The Chorus Effect In Reverbs Creatively In The R2 Series and How To Use The Tail Suppression Feature In The 2nd Generation Exponential Audio Reverb Plug-ins.
There are two main categories of reverb. There is algorithmic reverb which uses a self contained step by step set of rules to create a reverb and there is that type I am going to look at in this article, convolution reverb. A simple way of thinking of it is that an algorithmic reverb is programmed from the ground up and a convolution is sampled from a real acoustic space, and I think you can already see where this is heading.
Does your mix suffer from a lack of definition? Is it too flat and upfront, or has so much depth that it's an indistinct wash of sound? If so, chances are you’re misusing or overusing reverb. In this article from the Waves blog, we’ll take a look at six pointers for working with reverb in your mix.