The next setting to consider is diffusion. Diffusion is dependent on the ability of the surface to reflect sounds in different directions. In a reverb plugin, this allows you to adjust the smoothness of a reverb. It’s a parameter that varies greatly depending on the reverb plugin used. Some plugins use less CPU when the density is brought down, but often at the expense of realism. However, this can work well for shorter, more percussive elements.
This is how it should be:
In The Air
For the toms let’s try something a little less obvious – a setting that adds ambience, but that doesn’t relate directly to the real world. So-called non-linear reverb programs tend to have unusual characteristics in terms of the way the reverb builds or decays.
Here we have a non-linear program that has a sharp and unnatural decay:
This is often referred to in reverb processors as ‘gated’ reverb as it sounds very similar to the effect of placing a noise-gate (triggered in this case by the level of the toms) across a reverb output (think of Phil Collins’ ‘In The Air Tonight’ for the classic example of this sound). However, some processors allow you to tweak the attack as well:
Non-linear reverb effects can also work well on snares:
The great advantage of these non-linear reverb treatments is that they provide a dense burst of reverb but don’t linger too long and smother other areas of the mix.
Hey AM, nice article!
Just for clarification – are ‘early reflections’ another way of saying pre-delay, or is it a specific setting on some reverb plugins?
And thank you for introducing us to some nice looking reverb plugins. If you have any recommendations on some nice sounding free ones, I’d be muchly appreciated. 😉
Thanks for all the help,
The early reflections are the first cluster of echoes which reach your ears after a sound bounces back at you from the walls of a room. As those echoes pass your ears and continue echoing around the room, that’s the reverb tail. The pre-delay is the time it takes the early reflections to reach your ears after the initial sound.
In real-life terms, the pre-delay would be determined mainly by the size of the room. The sound of the early reflections would be determined by shape, surfaces, etc.
The best reverbs all depend on what you’re looking for. A lot of DAWs already have good ones. Logic’s Space Designer is particularly underrated. If you’ve got a little bit of money to spend and want something with real character, D16’s Toraverb is amazing for dance music and quite affordable. http://www.d16.pl/index.php?menu=228
Ah, I see what you mean now.
So the size (i.e. drum room vs. church hall) determines the (number of) echoes and early reflections characteristics are dependent on what those echoes bounce off of, correct (i.e walls, chairs, windows, etc.)? And to make sure I have that correct, the only way to change the sound of early reflections would just be to change the actual ‘room’?
The quick response is appreciated! I’ll look into the D16 Toraverb as well. (If any readers have any suggestions for their ‘verbs of choice, I’d like to read)
That all assumes you’re dealing with a reverb which tries to replicate the sound of real-life spaces. Some reverbs don’t make very much effort to sound ‘realistic’ (springs and earlier algorithmic reverbs, for example), whereas some are all about sounding as much like a real space as possible (convolution reverbs are the obvious choice here). It really all depends what reverb effect you’re using, what sound it tries to recreate and how much it allows you to customise that sound.
Ultimately, for electronic music it’s not usually worth getting hung up on the details of whether your reverb sounds realistic or not. It’s more important to consider whether it suits the track. Realism be damned!
We’ll put together a guide to the different types of reverb effect…
Are there a feature somewhere in this page, to make it printer friendly?
Hi mox. Our print stylesheet makes a few changes to the layout, including link targets in brackets, etc. If you’d prefer an exact replica of what you see on screen, you’re probably best off taking screenshots and then printing those. Hope that helps.
Yeah, I already use to print yours articles with screenshots, but I was asking if there is a feature to print a whole article in one page, without the need of reprint of non-content things in each page.
Anyway, love attack mag! keep up the good work!
The Attack Book… Watch this space…
Another great article. Thanks a lot, are you going to write one about compressors?
RVA – stay tuned!
Great article. How about doing a series on ‘how to get that sound’ ? Where we could ask for particular sounds/artists?
Definitely something we’re considering for the future…
If one wants to place something further back in the mix, in order to create more front to back depth in their mix, what sort of reverb settings would be appropriate?
Longer decays and HF damping on the reverb? (Plus a possible high shelf cut?)
Nice articles here. Detailed stuff covering several electronic music genres. You guys should make some stuff regarding vocals, I think it’s the only core part that you haven’t covered yet.
Keep it up mates.
Great article shows alot of what not to do. Any tips on using reverb on basslines without muddying up the mix say how you would in big room house and some dubstep.
James, the most important thing is to make sure the reverb is high-pass filtered. You can either filter on the send before the reverb or afterwards (they have subtly different effects) in order to cut out the lower frequencies and avoid them clogging up the bottom end of the mix.
From there you can experiment with pre-delay and decay times to find a sweet spot which gives just enough of a reverb tail on the bass notes.
In some cases it can also work well to use the unprocessed bass as a sidechain signal to control a compressor which ducks the reverb return every time the bass plays. That way it clears a space for itself, then allows the reverb to come back in and fill the gaps between notes.
It’s hard to get right, although if your mix and arrangement are sparse it can sometimes work well.
Is Nonlin2 a free one? I’d be glad to know about any other non-linear reverbs.
Very interesting tutorial! I realized how I always misused the reverb since now.
A short question: maybe I missed it in the article but is reverb used on a send channel or in insert? I suppose is in send but then how the amount to be send to the channel has to be set more or less?
EOS, Valhalla Room and Valhalla Shimmer -all you need!
Great article btw, very helpful.
Ok, I feel so stupid now. I jumped straight to the end listened to the last two audios, raw and reverbed ones, and for the life of me I cannot tell the difference. I do not have monitors, but I do have decent set of 2.1 speakers. What’s wrong with me? 😀
The dry version sounds tighter and better to me.
The dry version sounds like an old UK “JobFinder” soundtrack., The wet version sounds infinitely more engaging.
Top work. Did that book ever come out? (goes hunting)
That bass with rev sounds dope tho. undesirable, really?
Also dry mix sounds tight, it could just do with the mid-top end percussion reverbs.
you def need some 250+ ohm headphones fam. i recently bought and now i hear lots of things i have never listened in my life. For example look at that early reflections part. I first listened it with my monitors, didn’t hear that bouncing things until I listened again with my phones. (beyer dt 770 pro 250 ohm, go for it 10/10)