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#1
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Incredible the Variety you can get by mixing Two Reverbs
This was for a solo acoustic guitar with vocals.
I put on a long "chapel" reverb, which sounds kinda like a smaller cathedral verb. This was built-in to Cubase 5. But then I accidentally added a shorter room reverb in Ozone 5's mastering suite. The result was great! It seems more realistic and complex than just one verb. Also, Ozone 5's Maximizer works great as a peak limiter. It doesn't just boost the overall volume, but it also thickens the low end at the same time. |
#2
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Incredible the Variety you can get by mixing Two Reverbs
Paul writes:
This was for a solo acoustic guitar with vocals. I put on a long "chapel" reverb, which sounds kinda like a smaller cathedral verb. This was built-in to Cubase 5. But then I accidentally added a shorter room reverb in Ozone 5's mastering suite. The result was great! It seems more realistic and complex than just one verb. Well, there you go -- a major secret in making digital reverbs sound pretty good -- pile'm on; let one in-fill the short-comings of another. I routinely use three in parallel (short, medium and very long), but have used as many as twelve for some rather unique productions (some in that group were also run in series). Keep in mind that the idea isn't to get things so wet that a 50 foot storm surge crashes out of your speakers, not at all. The idea is to make a "normal" reverb field sound very rich. It's only been recently with higher-powered machines that we've been able to have multiple instances of reverb -- a lot of CPU cycles are required to synthesize reverb. And, reverbs that offer a "CPU-lite" setting often sound "off", something like combining garlic and chocolate. (Some folks might like that, but it would be a little weird.) Not all that long ago, a good single reverb could just about max out the typical CPU. (Those 12 'verbs darn near brought my now aging quad-core machine to its knees, even at 44.1. Could not have done it at a higher sample rate. Of course, stand-alone DSP engines helped, but even they had their limits back in the day...) Keep listening, keep experimenting. Frank Mobile Audio -- |
#3
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Incredible the Variety you can get by mixing Two Reverbs
On 11/26/2014 6:44 AM, Frank Stearns wrote:
Well, there you go -- a major secret in making digital reverbs sound pretty good -- pile'm on; let one in-fill the short-comings of another. I routinely use three in parallel (short, medium and very long), but have used as many as twelve for some rather unique productions (some in that group were also run in series). Wow, layering 12 verbs? I'll have to get a quad-core for that! But 3 sounds doable with a dual-core. I can always do a sub-mix if I have a problem. Keep in mind that the idea isn't to get things so wet that a 50 foot storm surge crashes out of your speakers, not at all. The idea is to make a "normal" reverb field sound very rich. Oh agreed. I was careful not to over do it. I'm notorious for putting to much verb on a mix, so I have to watch myself these days! But even with just two verbs, it's amazing how natural it can sound! It's only been recently with higher-powered machines that we've been able to have multiple instances of reverb -- a lot of CPU cycles are required to synthesize reverb. And, reverbs that offer a "CPU-lite" setting often sound "off", something like combining garlic and chocolate. (Some folks might like that, but it would be a little weird.) Not all that long ago, a good single reverb could just about max out the typical CPU. (Those 12 'verbs darn near brought my now aging quad-core machine to its knees, even at 44.1. Could not have done it at a higher sample rate. Of course, stand-alone DSP engines helped, but even they had their limits back in the day...) Yeah, digital verbs from the early 90's didn't sound that great, but they've come a long way with the algorithms, and layering them makes them sound real! |
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