I'm used for a long time to have minimum 2, one short and another longer, using them to place in the space the band, and the voices mainly. Actually Valhalla DSP VintageVerb almost all the time, i just love it, as i'm from PCM 60 era 🙂
Depends what I'm mixing and what the aim is for the song/section. I love the Valhalla Vintage Verb though, especially on drums it's killer! Although sometimes I like to fake a room sound on my rhythm guitars with it and have it sit about -15db below the source track. Helps add a bit of depth and weight to the guitars. There's also a free one I've used for a long time called Ambient Reverb which is made by Stone Voices. Sounds absolutely brilliant!
I REALLY love the "Valhalla Vintage Verb", just because it's amazing sound and versatility. Being able to bounce between not only reverb types, but decade types "70's, 80's, modern") is really a game changer. Also, who doesn't love the "Abbey Road Plate" and "Chamber"? It's true. They are the only reverbs I use 99.999% of the time. I LOVE your content Warren, keep it up!!
man i love vintage verb but my big issue with it is it just sounds TERRIBLE on stuff that you don't want to be wide. so much of what makes that plugin beautiful for me is what it does to the stereo image, but all that width can become problematic, so i find myself sometimes needing to reach for something a little thinner.
you can do this in ableton live by making a duplicate of each track and routing them to 'sends only' , turning up the send level and adding 'Track Delay' via the input below the channel mixer (enable track delay from the view window). Then in your send you have the one reverb with everything coming to it with the various delays you have assigned. Its also good to put a compressor before the reverb to smooth it out a little for that lush smooth reverb
Ooooohhh....I'm glad you pointed this out, I totally almost missed it even though it was up front and center when he said it. This is the gem I almost missed. Thanks for pointing it out!
@@henrikgustav2294all tracks send to different busses. I.E. drum bus, keys bus, vox bus, Gtr bus, etc. then all those buses are delayed and sent to one reverb bus. Hope this helps!
@@isaacfanai2006you could also prob get the same result if you send each buss to a separate reverb unit, each with the same reverb setting except having different pre delay time, on the reverb
Love love love it!! In my template and standard I/O, I typically just have a single instrument verb and single vox verb. of course, there are times I use more, quite frequently actually... but I force myself to start with ONE. Big fan of H Verb, Abbey Road Plates, or Valhalla Supermassive.
I really love this style . I always used to admire the music from the 70s and 80s . The same room reverb always gave it a very exciting and mood lifting feeling . Very good stuff
I've got a collection of guitar spring tanks (big, small ,2 spring, 3spring) hooked up to a headphone amp (aux to HA in -HA out to spring tank in-, spring tank out to Instrument input on interface) I can put any tank left and right ad it sounds WONDERFULL.....If that doesn't work I take the good old cheap lexicon plate .....
I've commented something similar on other PLAP videos about this. Being old skool myself and only having one hardware reverb back then, I had no other choice so most elements shared the same reverb thru a hardware mixer. Today I still automatically use just one reverb that's shared by most separate elements, although now I typically have 3 identical reverbs with different pre-delays each in their own send. Unless I'm mistaken, this glues everything together despite compression, bussing and any other 'glueing' techniques used. Like you say Warren.. everything's in the same room.
Makes perfect sense to me. For most of the time I've been recording I only had one reverb. Gonna try that trick with the pre-delay, though. Thanks again.
Love this! Putting all the instruments in the same 'room' really ties it all together into one cohesive unit... I'll definitely be using this technique from now on, including revisiting some of my older mixes... Thank you for this!🔥🔥🔥
Sounds excellent. Nice tip. This was also used by those of us with a cassette portastudio and one 12-bit Yamaha reverb (the one with four presets and a parametric on the reverb only) and a weird Vestax delay pedal.
This is awesome 💪🏻 Sunset sound is my go to verb since it came out ! I love it. I've never done this before though.. It sounds fabulous ! Like a early 90's song ❤️
I do this in Cubase using a few stereo delay sends which only feed a reverb (usually an IR); the delays themselves don't go to the 2Mix. If the reverb is discrete L/R stereo, I can even pan the effect.
You recommended an Acon reverb a couple years back. It's the default on my reverb bus, and gets used most often, with a delay in front and EQ follower, just like you taught us.
Got to say, I started using this technique yesterday after watching your video, and it really is a fantastic technique. Listening to the mix and (to my ears) it sounds very coherent and three dimensional - thanks Warren 👍
Warren, just to make it clear: you're not referring to the pre-delay parameter on a digital reverb, are you? You're adding different echo to the source signals before sending them to the common reverb to make it sound like the early reflections of the room are arriving at different times, thus implying different distances from the observer inside the same room. It seems that good, old trick got a bit lost in translation to our modern era of plugin digital reverbs. Cheers.
Great explonation! I think using just pre-delay would have quite opposite result. Instruments without pre-delay would be drowning in reverb more thus sounding futher away and things with pre-delay would be sounding closer to you because there would be a dry signal first and then reverb...Peace!
As a total noob at production can you explain a bit more because I got totally lost. I know of the pre-delay on revebs, if the video doesn't showcase that then what is it?
@@revonfyll in this video Warren shows an old school technique to simulate early reflections in an imaginary space. Early reflections happen when the sound from a source bounces off side walls, ceiling and floor that are closer to the observer. The farther away from the observer the source is the more time will elapse from when the signal is produced to when the early reflections will reach the observer. Also the bigger the room the longer the early reflections will take to travel the distance from the source to the reflective surface and from there to the observer. It is similar to the pre-delay on a reverb but it allows you to position different sources in different positions in the space by using a single reverb instead of setting multiple instances of that reverb with one different pre-delay setting per sound source. It's a different approach, with slightly different flavours, to the same concept. I hope this helps. One thing to bear in mind is that one should set the reverb's pre-delay to at least as long as the first delay setting (the delay on the source nearest to the observer) otherwise all sources will seem to be at a reasonable distance from the observer (or to put it in a different way, no source will seem to be at very close proximity, particularly if you apply a long reverb).
@@pedrofialhodejesus-artist I don't get what's the thing that get's "pre-delayed" though. Do we add a different pre delay to each track before we send them to the reverb? If yes wouldn't that mess the timing of each instrument? 200ms especially seems like a lot
Back in the day having access to a great reverb was a bit of a novelty, so I used to send everything through one or two outboard boxes. These days I have so many more options, but barely use reverb at all! I notice this trend in others as well. Modern productions use it a lot less, perhaps because the basic signals are so much better than they used to be, when a bit of reverb could make a channel sparkle. These days everything sparkles from the start!
Really cool tip. Plus you can pan the place where an instrument hits the reverb... Since it's stereo. You can also mix this with some effects reverbs/delays that punch/blend in . And still have that band in a room, same reverb vibe as glue. Super cool tip. Thanks man!
Warren I’m not sure if you have covered it on UA-cam but could you please do something on choosing linear phase or minimal phase filters for the high and low end cleanup, high shelf’s and low shelfs. The pre ringing vs phase and aliasing issues can get very confusing! I know you have always advocated not being afraid to low pass!
When you were like "use the same reverb on everything" I was like: Duh When you were like "use different pre delays for all of them" I was like ": Woah
Going through the comments I read that the bus with the delay is with delay set at 100% meaning that the dry signal from the track itself is your pre-delay. The delayed signal from the bus will be affected by the reverb thus the delay in the wet signal for the track. It is pre-delay. Whether we should use more or less the create realism seems like more pre-delay will make the instrument closer. Is this all correct? What a day.
I’m not aure this is quite what he means, but I usually gave one single return for reverbs, and then I’ll add delays to the individual tracks. I think it works..
I struggle with reverb because of people saying you need plate for drums (I dont like plate reverb), people talking about reverbs more appropriate for vocals and this and that. Where in the world exist a room with several reverbs ? Ok maybe in a room with a wall of metal, another wall with wood etc...😀 Thx ever so much Warren now I know I do not need all these reverbs ! It will be easier to get something consistent.
Lately i've almost exclusively been using SoundToys' LittlePlate. I don't do only one instance tho. I use maybe 2 or 3 with different times and post EQ, but it still feels like it all sits in the same space.
What is your go-to reverb plugin and how do you like to use it? Comment below!
I'm used for a long time to have minimum 2, one short and another longer, using them to place in the space the band, and the voices mainly. Actually Valhalla DSP VintageVerb almost all the time, i just love it, as i'm from PCM 60 era 🙂
Depends what I'm mixing and what the aim is for the song/section.
I love the Valhalla Vintage Verb though, especially on drums it's killer! Although sometimes I like to fake a room sound on my rhythm guitars with it and have it sit about -15db below the source track. Helps add a bit of depth and weight to the guitars.
There's also a free one I've used for a long time called Ambient Reverb which is made by Stone Voices. Sounds absolutely brilliant!
well usually i would take whats comes with LIVE, but hey....convology XT ...free, and is impressive AF!
I’m using a free plugin called Epicverb. Sounds great.
Hi Warren ! Mine is the Valhalla Vintage verb . Very Good ! I love the Seventh heaven on the vocals too.
WHAT!? *deletes entire plugin catalogue*
Hahaha if only
I REALLY love the "Valhalla Vintage Verb", just because it's amazing sound and versatility. Being able to bounce between not only reverb types, but decade types "70's, 80's, modern") is really a game changer. Also, who doesn't love the "Abbey Road Plate" and "Chamber"? It's true. They are the only reverbs I use 99.999% of the time. I LOVE your content Warren, keep it up!!
Nice reverb the Valhalla but just doesn’t have the weight as hardware
man i love vintage verb but my big issue with it is it just sounds TERRIBLE on stuff that you don't want to be wide. so much of what makes that plugin beautiful for me is what it does to the stereo image, but all that width can become problematic, so i find myself sometimes needing to reach for something a little thinner.
best plate verb is the transatlantic plate. abbey road plates sucks compared to that one
@@natedavid3873Denise Perfect Plate, is better
That is probably the best reverb I have ever heard. It’s almost submersive
you can do this in ableton live by making a duplicate of each track and routing them to 'sends only' , turning up the send level and adding 'Track Delay' via the input below the channel mixer (enable track delay from the view window). Then in your send you have the one reverb with everything coming to it with the various delays you have assigned. Its also good to put a compressor before the reverb to smooth it out a little for that lush smooth reverb
THANK YOU FELLOW NOAH! I was literally just trying to sort out the routing for this in my head and was about to think it impossible in Ableton
I did the one reverb thing and got OK results. But I didn't do separate pre-delays. THAT is the missing link! (light bulb bright)
Ooooohhh....I'm glad you pointed this out, I totally almost missed it even though it was up front and center when he said it. This is the gem I almost missed. Thanks for pointing it out!
@@aholder4471im still confused. All tracks send to one single reverb, and each track set a pre delay?
@@henrikgustav2294all tracks send to different busses. I.E. drum bus, keys bus, vox bus, Gtr bus, etc. then all those buses are delayed and sent to one reverb bus. Hope this helps!
@@isaacfanai2006you could also prob get the same result if you send each buss to a separate reverb unit, each with the same reverb setting except having different pre delay time, on the reverb
@@naughtyducky6325cpu
Wow that vocal is beautiful!
Sounds clean no mud cos each instrument lives in its own space.
Wow, mixing stuff has entered my shorts recommendations 👀 yt has recognized that i need it
Love love love it!! In my template and standard I/O, I typically just have a single instrument verb and single vox verb. of course, there are times I use more, quite frequently actually... but I force myself to start with ONE. Big fan of H Verb, Abbey Road Plates, or Valhalla Supermassive.
Wow! That's a cool tip Warren! Thank you!
Thanks ever so much!
This is fantastic!
YOU are fantastic!!
Wow I love this effect and way of using reverb now. It really brings everything together in such a beautiful cohesive way. Love it!
Wow, the fullness it brings.. I will definitely keep this in mind!
Warren: Puts Sunset reverb on vocal recorded at Sunset again.
Me: It's happening again again.
Frickin' genius
That’s actually really cool!!!
Thanks ever so much
I really love this style . I always used to admire the music from the 70s and 80s . The same room
reverb always gave it a very exciting and mood lifting feeling . Very good stuff
I've got a collection of guitar spring tanks (big, small ,2 spring, 3spring) hooked up to a headphone amp (aux to HA in -HA out to spring tank in-, spring tank out to Instrument input on interface) I can put any tank left and right ad it sounds WONDERFULL.....If that doesn't work I take the good old cheap lexicon plate .....
I've commented something similar on other PLAP videos about this. Being old skool myself and only having one hardware reverb back then, I had no other choice so most elements shared the same reverb thru a hardware mixer. Today I still automatically use just one reverb that's shared by most separate elements, although now I typically have 3 identical reverbs with different pre-delays each in their own send.
Unless I'm mistaken, this glues everything together despite compression, bussing and any other 'glueing' techniques used. Like you say Warren.. everything's in the same room.
Fantastic comment! Thanks ever so much for sharing your experience
Makes perfect sense to me. For most of the time I've been recording I only had one reverb. Gonna try that trick with the pre-delay, though. Thanks again.
Best engineering Vice I’ve ever heard - this completely changed my mixed - THANK YOU! 💀🔥
I'm afraid this one needs a revision.
Most of the people here didn't understand how you pulled it off.
Myself included
glad you pointed that out , I was feeling a little insecure lol!
Yeah. I'm lost on "different pre-delays"...
send each of the instruments to an instrument bus, put a delay on that 100% wet, and send that instrument bus to the reverb
^this is in addition to the dry signal for each instrument
@@brigittebmusic This still doesn't make any sense to me. Wouldn't the instruments be drowning in very audible delay if you did that?
Love this! Putting all the instruments in the same 'room' really ties it all together into one cohesive unit... I'll definitely be using this technique from now on, including revisiting some of my older mixes... Thank you for this!🔥🔥🔥
I do that most of the times… loving the classic approach… I use to name the bus “room”…
So dope! Makes sense. Who woulda thunk it.
Thanks!
WOW! Fantastic!
Thanks ever so much
Warren for the win on usable information with no catch
Excellent reverb demo
Finally... a technique which I've actually done before! Usually, I watch your tips and just think, "I have no idea what I'm doing." 😄
Sounds excellent. Nice tip.
This was also used by those of us with a cassette portastudio and one 12-bit Yamaha reverb (the one with four presets and a parametric on the reverb only) and a weird Vestax delay pedal.
This is awesome 💪🏻 Sunset sound is my go to verb since it came out ! I love it. I've never done this before though.. It sounds fabulous ! Like a early 90's song ❤️
I do this in Cubase using a few stereo delay sends which only feed a reverb (usually an IR); the delays themselves don't go to the 2Mix. If the reverb is discrete L/R stereo, I can even pan the effect.
Thanks for sharing your wisdom with us Warren! Definatelly will try that trick! Cheers!
That's fantastic Warren!!!
And you can set the depth of each instrument or voice in a coherent soundstage quite nicely...
I like hardware, and I only have one good reverb, so this is more like "what, you can have more than one?"
you could still do this, it would just take a lot more time and effort to set each sounds delay manually before sending to the reverb
This song, first take magic if I remember, is exceptional.
Thanks ever so much! Yes, first take!
Genius! Nice trick for us new skool producers to get that authentic sound 👌
Thanks ever so much
Awesome great music song. So sound great. Audio
Loved this trick brother!
You recommended an Acon reverb a couple years back. It's the default on my reverb bus, and gets used most often, with a delay in front and EQ follower, just like you taught us.
Fantastic!! That sounds amazing
Sheesh why the hell didn’t I think about the pre delay from each instrument? Changes everything! Makes so much sense. Love this content.
I really appreciate this mane, it’s too helpful
Yep! Makes it sound like everyone is playing in the same room.
Wow...so simple yet so effective
wow excellent learning there.......
Thanks ever so much
Man. Sold on a new subscriber. You obviously make this all seem fun
Got to say, I started using this technique yesterday after watching your video, and it really is a fantastic technique.
Listening to the mix and (to my ears) it sounds very coherent and three dimensional - thanks Warren 👍
Warren, just to make it clear: you're not referring to the pre-delay parameter on a digital reverb, are you? You're adding different echo to the source signals before sending them to the common reverb to make it sound like the early reflections of the room are arriving at different times, thus implying different distances from the observer inside the same room. It seems that good, old trick got a bit lost in translation to our modern era of plugin digital reverbs. Cheers.
Great explonation! I think using just pre-delay would have quite opposite result. Instruments without pre-delay would be drowning in reverb more thus sounding futher away and things with pre-delay would be sounding closer to you because there would be a dry signal first and then reverb...Peace!
thanks for clearing that up
As a total noob at production can you explain a bit more because I got totally lost. I know of the pre-delay on revebs, if the video doesn't showcase that then what is it?
@@revonfyll in this video Warren shows an old school technique to simulate early reflections in an imaginary space. Early reflections happen when the sound from a source bounces off side walls, ceiling and floor that are closer to the observer. The farther away from the observer the source is the more time will elapse from when the signal is produced to when the early reflections will reach the observer. Also the bigger the room the longer the early reflections will take to travel the distance from the source to the reflective surface and from there to the observer.
It is similar to the pre-delay on a reverb but it allows you to position different sources in different positions in the space by using a single reverb instead of setting multiple instances of that reverb with one different pre-delay setting per sound source. It's a different approach, with slightly different flavours, to the same concept. I hope this helps. One thing to bear in mind is that one should set the reverb's pre-delay to at least as long as the first delay setting (the delay on the source nearest to the observer) otherwise all sources will seem to be at a reasonable distance from the observer (or to put it in a different way, no source will seem to be at very close proximity, particularly if you apply a long reverb).
@@pedrofialhodejesus-artist I don't get what's the thing that get's "pre-delayed" though. Do we add a different pre delay to each track before we send them to the reverb? If yes wouldn't that mess the timing of each instrument? 200ms especially seems like a lot
It sounded good!
I like that a lot - cracking tip.
Nice! Mother is the invention of necessity!
Amazing 🔥
That's so good😭♥️♥️♥️♥️
Thanks ever so much!
Brilliant 👌🏾
Thanks ever so much
We love you Warren :)
Altiverb 7 I use to it to simulate real places (studio stage rooms etc ) environments
Aw that's an awesome technique! Thank you man!
Agreed..if chosen wisely one’s all you’ll need
Aswesome practice!!! Thanks for sharing.
finaly you're getting into very cool more really pro .. I feel somehow ! congrats !!!
I use this concept as well. It’s so gold.
This sounds great can you go over this in another video in more detail please ?
wow, that's actually a freaking awesome tip!
This is very useful i love you man
Wow thats an insane tip
Thanks ever so much
Before plug-ins people only owned one or a few reverbs, so this was actually not just common, but the ONLY way to mix. God I feel old.
Back in the day having access to a great reverb was a bit of a novelty, so I used to send everything through one or two outboard boxes. These days I have so many more options, but barely use reverb at all! I notice this trend in others as well. Modern productions use it a lot less, perhaps because the basic signals are so much better than they used to be, when a bit of reverb could make a channel sparkle. These days everything sparkles from the start!
...and it's the way to do it right!!😎😎
Nice!
Thank you! Cheers!
Really cool tip. Plus you can pan the place where an instrument hits the reverb... Since it's stereo. You can also mix this with some effects reverbs/delays that punch/blend in . And still have that band in a room, same reverb vibe as glue. Super cool tip. Thanks man!
Sometimes where there is a limitation our creativity works better and even mix is more natural sounding
I never knew this trick was a real thing! 😅 I no longer have to feel guilty for manufacturing “live” sessions now 😊
Haha very nice
lol
Sounds amazing..
Thanks ever so much
Great tip, thanks very much
I love this
Love the sauce
Brilliant!
Nice tip! Hadn't thought of that.
You are very cool Warren
Warmth is now maximized
amazing
This is the way I do it as well.. Thank you...
Super one
Is there a full video on this please?
Warren thank you pre delay trick Awsome thanks for the info King sweetness 💯
This technique I used to use as a live sound engineer
Warren I’m not sure if you have covered it on UA-cam but could you please do something on choosing linear phase or minimal phase filters for the high and low end cleanup, high shelf’s and low shelfs. The pre ringing vs phase and aliasing issues can get very confusing! I know you have always advocated not being afraid to low pass!
When you were like "use the same reverb on everything" I was like: Duh
When you were like "use different pre delays for all of them" I was like ": Woah
Going through the comments I read that the bus with the delay is with delay set at 100% meaning that the dry signal from the track itself is your pre-delay. The delayed signal from the bus will be affected by the reverb thus the delay in the wet signal for the track. It is pre-delay. Whether we should use more or less the create realism seems like more pre-delay will make the instrument closer. Is this all correct? What a day.
Relab LX 480. Or TC VSS4 HD. Big halls, on a send, compressed and EQ'd on the return.
Fantastic. Working in Ableton, I have a single return track for reverb, but not sure how I'd adjust pre delay for individual tracks.
I’m not aure this is quite what he means, but I usually gave one single return for reverbs, and then I’ll add delays to the individual tracks. I think it works..
Amazing!!!!!
I struggle with reverb because of people saying you need plate for drums (I dont like plate reverb), people talking about reverbs more appropriate for vocals and this and that. Where in the world exist a room with several reverbs ? Ok maybe in a room with a wall of metal, another wall with wood etc...😀 Thx ever so much Warren now I know I do not need all these reverbs ! It will be easier to get something consistent.
As usually Great Great
Love how you think ..
Yup!,, because back in the day the outboard reverb would be all along the console on a designated knob aux maybe or sends? Not sure can't remember 🤔
Absolutely! Yes, 4-6 Auxiliaries maximum! Each with a dedicated effect on it!
Kool ole tricks
Lately i've almost exclusively been using SoundToys' LittlePlate. I don't do only one instance tho. I use maybe 2 or 3 with different times and post EQ, but it still feels like it all sits in the same space.