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Paul[_13_] Paul[_13_] is offline
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Default 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.
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Frank Stearns Frank Stearns is offline
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Default 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

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Default 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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