It partially depends on the type of sound you're trying to get (or the noise you're trying to mask). It also depends on what you mean by "put on". If you mean you are adding an effects channel in the pipline's final stage that adds reverb to all audio channels routed to it - well, yeah - you can. And if it sounds good - then, great!
However, a wider sound stage is often accomplished by careful adjustments in the (L-R) ratio of a stereo signal sometimes combined with some delay. I use a different set of tools than most so I can't make a suggestion as to what 3rd-party filter/s you may want to try to give the best effect (I use a hybrid AI-centric process that takes a yin/yang approach to mastering via a training process that is completely unique. I can choose a wide variety of filters that it ultimately takes control of based on what it "thinks sounds good". It usually nails it without too many technical guardrails.).
Saying all of that - I've only applied reverb during mixing (which I don't do much of these days) - never mastering or post-mastering.
Welcome... You've reached the MID / SIDE balance.
Make the centre very consistent (limit) and subtly widen the sides (phase).
Boost the side +3dB for THE PRO SOUND.
Rule of thumb keep below 100Hz close to, or completely in the centre and EQ / phase widen the side mix above that to taste. Bear in mind this is a mastering trick... so less is more as it can change the whole mix if overdone
you're sorta close? i guess? really depends on the song but usually you'll need an eq, a compressor and then from there you can get crazy and add a light saturator or a limiter or multiband or some general volume and panning control effects, something to tweak mid-side leveling, always some sort of visual monitoring like a spectrometer and some audio monitoring to check your db and lufs.
i mean it can get really complex sometimes but generally you'll need at least a bit more than an eq OR a compressor lmao
i guess ive also heard of artists like eliminate who master their tracks by just slapping an ott on the master channel but if you're looking for something super professional like op you'll need more lol
I do it for orchestral or classical pieces, to replicate all the elements playing in a hall. I don't do it for anything electronic. If I'm going for jazzy, it also depends on the tone of the track. Try it and see what it does. Don't be afraid to put it on and then turn it off if you don't like it.
Yes, some producers do put reverb on the master to help glue the track even more. In EDM production however I think it’s more unheard of than in other genres.
I used to have this really spacey problem although it occurs a lot more I would say in mono although definitely in stereo. My game changer to resolving this was several things although what was prime was parallel processing. Also what helped was sidechaining and bussing. Signal processing helped on the effect side although what ultimately glued it all together was parallel processing. It is really easy to do in a few steps and aiding me in having tracks that glued together. I don't put much on the Master and I mainly use it to control the overall limiting.
I used to experiment with it back in the day. Haven’t done it in years. Try GW mix centric and you’ll realize it’s not likely not reverb that you’re missing.
If I do it, I do it at the very last step and only in a miniscule amount -- unless the song calls for it, or it happens to work well while I am messing with it and I am like "Alright wow this slaps!" It is good to test out/tweak different presets if you have them though
I suggest using Pro R. You can eq the reverb itself, thus getting rid of the bass, and put the reverb on very low percent such as 2-3 while tweaking a litte with the distance, decay, etc settings. I use it basically constantly now and I find it adds some great glue to my mixes. Sometimes even 0.5% is enough, really just depends on the mix. Do add reverb and a good space to the mix beforehand though. This should just be a very final touch up before a last limiter.
If reverb is already in the mix and Pro-R is used on main for glue, could this also be achieved by sending the signals through an additional 0% dry reverb send? What are the differences between Pro-R on main and putting an EQ at the end of that final reverb send before main?
Not knocking FabFilter plugins, I just want to check my understanding. I've never thought of this before so thank you for the tip!
Reverb on the master channel no, because of the bass. On the other hand, all the functions mastering software has these days could make you question things. My best guess is the stereo width. Everything that's already panned and stuff gets an extra boost when using software designed for enhancing the track, like for example Voxengo Soniformer (multiband compressor). What AI mastering does your WAVS after that (if you have tried it) is a mystery 😐
Doing in that way you can control how much elements get that much reverb.
You can also sidechain that to the kick.
Tracks can have their own reverbs too, muting it when you need it.
On the master, you lose all that control.
Probably not if it’s a professional track. Most likely just a good sounding mix before it even goes to master. Stereo widening in combination with a good mastering engineer who knows how to keep the dynamic range intact while still getting the most volume out of the track.
It’s kinda hard to tell without providing a reference.
Space and dimension can be created with various effects mostly used in combination. For your question if reverb is used on masters, yes it is sometimes. Really depends on the track, mix and mastering engineer. But I’ve seen that its something that some professional mastering engineers also do occasionally. I can’t exactly recall the specific mastering engineer i saw a video from but it was somewhere in the mix and mastering course of soundgym. (Totally free btw for anyone looking for a course)
Personally i like to produce and mix with a little less space so i can add a little on the master. If done right it can create the impression that the whole track sits in the same space. But im also a sucker for slowed and reverb tracks so my perspective is biased. I suggest to train your ears so you can use your own due diligence instead of relying on what other people do.
It's not reverb. It's the volume and limiting that's very cleanly done so the track sounds loud but not over compressed. You have to have a super clean and tight mix to do that
Yes, but very little. Use the just noticeable threshold, and then back off a tad bit more. Reverb adds something to the mix, but you shouldn't hear it.
If the mix engineer has done absolutely none then yeah I would but I’d probably send it back before I started with some observations and notes that would improve the master.
I more so meant in creating space within the mix, like OP is asking for. Yeah you might need to put a reverb on a dry snare to give it a tail but using stereo enhancing/widening/dimension expansion, amp distortion, compression, fading samples that end abruptly, resampling, and just experimenting with different effects and plugins will help create the space OP is asking how to achieve. Also just general EQing can help things fall into the mix and sit nicely. But yeah, dry ass sample maybe use reverb but even then, I would just record the reverb itself and use that sample rather than leave the whole thing in because it does create mud. Sound never goes away, that’s why when you slide down your mixer, it says negative infinity. Watch your mixer tracks and sometimes you may get random little rumblings of reverb. In order to prevent any muddies, record and stem out your reverbed stuff and give it a definitive end.
I've done it where a really bad mix engineer just didn't do what the client wanted and I had to give it more space in the master. I've also tried it a couple times to "glue" the track, and it only really worked once or twice. Cool tool to have in the belt but you won't use it a lot
I do it sometimes, at very subtle amounts though, like even 5% wet is pushing it and I'm usually at 1% or 2%. When used very subtly, it can operate as a nice bit of glue. But as others here have stated, usually it would be a good practice to have it as a send before the master so you can blend different sources into it by different amounts, and shape it further with EQ and other processing to ensure an optimal fit.
This is never ever a good idea unless your track is seriously sparse especially in mid frequencies. The moment your track has guitars + vocals + keys — or vocals + multiple synths, this is full stop a bad bad idea.
You want control over what elements get what reverb. Putting it on the master will wash everything, equally, with sustained mud. The immediate effect is less clarity, less forwardness, but more cohesion. If you have multiple mid-focused instruments, this will ruin any clarity you have achieved in your mix.
But vocal + drums + bass, yes this could be beneficial i imagine. Or vocal + acoustic guitar. Or vocal + piano. Or piano + guitar. You get the picture. Reverb on a master is insanely uncommon and for good reason. But it *may* work if your track is proper sparse.
okay, so first thing you need to do is break some rules, you can try putting a reverb to understand what's it doing to the track & obviously you'd hate it so you'd remove it lol second maybe you're using too much reverb on synths, melodies & stuff. that'll make it sound like it farther away. i remember I used to do it too but I quit using it too much & I use it to my taste. with effects always remember, less is more! hope this helps
Usually space is felt there because *some* parts of the mix have reverb. It might be snare drum, toms, percussion - all the drum stuff which usually echoes really nice. Synths feel wide mostly because of the stereo widening effects like chorus or flanger, they don't need that much reverb, pads and strings are exception in this rule because they're on the background, they need additional space.
Adding a controllable reverb on some parts of the mix instead of putting it on master channel works better. Simply putting it on master channel might sound as a good idea, but it will sound weird, and space won't be felt any natural.
But you're asking for one single thing - that you could easily build yourself into a template. I don't get how having a reverb on a drum buss suddenly absolves you from "having to reinvent the wheel every time"??
But... that's exactly how logic handles it, it's just the default template.
I don't want FL adding reverb to my drums for me. I can do that. But I've spent the time to create a new track template with all the busses labelled and preloaded with the effects I know I am going to use. It's a huge time saver for a relative minimum of effort.
Besides its like only a few clicks. Add your reverb of choice then select your favorite preset...
As a professional and credited mixing and mastering engineer - multiple ARIA records
reverb on master is a big no go - never do it (although it is very common in film scoring surprisingly but this is mainly so it doesn’t feel dry when played in a theatre)
what you’re hearing is Equalisation
EQing something correctly can result in space and something feeling further away
volume is what dictates something being close or far in audio
removing frequencies can generate space in a instrument or synth
if you go into a studio dedicated for mastering you will not see any reverb hardware
you can during the stem mixing stage add reverb to that master and use on/off and 0/100 automation to fill in gaps where the track is empty and needs to have the space filled
but speaking in a mastering/on master sense
Never run reverb on your master
I can go into why if need be
bingo it sounds good because they created the amount of space required for each element to fill the frequency spectrum and EQd them to all fit together.
it's not reverb on the master, it's a fucking mastery of sound design, frequency range, EQing, and mixing.
to start with you need to actually understand what reverb is and how it works
reverb is basically when you put a sound into a space and generate reflections - that’s essentially what reverb is.
the best way to think about reverb in my opinion is by thinking of being in a room/church
In the real world reverb would be something like talking in an empty church. That echoey distance sound you get is your voice reflecting off the walls and coming back to yours ears - that is reverb
on a digital sense reverb works the exact same by taking digital measurement - pre delay, decay, time, size, diffusion etc (parameters included in a DAWS reverb etc)
To keep things short when you put a reverb on the master you are sending the entire signal out into a room and having it reflect back. This will in turn mess with the intended dynamics of the track.
It might sound good and fill the space - but by putting a reverb on the master you are damaging your bass/low end, transients. You will be garnering unwanted reflections which can then introduce phase issues.
Also because of how reverb works you’re essentially delaying the whole master - even when running something like a 0.1ms pre delay - your whole entire track is delayed by 0.1 etc
Why use reverb on the master/mastering when you can just use it in the mixing stage.
In the professional world - Unless heavily intended - reverb should be kept to a minimum and used very sparingly.
A secret sorta tip/thing i’ve picked up over the years is that obvious sign of new producer/engineer is things heavily drowned in reverb/too much reverb. If you got a well trained ear and can pick out effects and that you can easily tell when a track is over produced with reverb.
You can tell when a track has reverb on the vocals, hats, drums, synths, effects.
Reverb is probably the number one reason why a lot of new producers tracks feel messy - that and over compression
Other than the great info, I just want to say that you are very good at breaking things down and explaning them in a detailed yet easy to understand manner, you are great at teaching, thank you!
Reverb on kicks also usually weakens them. Although on some kicks some people put a little reverb just on the mid to higher frequencies of the kicks. Same for sub basslines, don't want reverb on that part of the bass.
I heard a sparse house track a while back in which the producer added a very subtle reverb to the kick, and they clearly used a high pass filter (either before or after the reverb) because no low frequencies of the kick were reverberating. In that particular track (I wish I could remember the name), it sounded sick as fuck. It made the mix sound more interesting and polished and added to the enchanting, hypnotic sort of vibe the producer was going for.
It's probably not something you'd do in every mix, but in the right context, it can be a cool trick.
For anyone wondering how to do it, you just create a send from the kick to an aux track with reverb on it (100% wet), and then you insert an EQ either before or after the reverb with a very steep high pass filter at a high enough frequency to remove all the low end. Putting an EQ before your reverbs to cut the mud is something you should generally be doing anyway. You would just do it more aggressively in the case of a kick drum or bass.
And you might experiment with inserting the EQ *after* the reverb, in which case, the effect of the EQ will typically be more pronounced. That goes for any effect; putting them after the reverb tends to make them more overt, while putting them before the reverb tends to make them more subtle and perhaps sound more natural. Neither approach is better 100% of the time.
It will fill up the audio with unnecessary frequencies and will destroy the transient and dynamic information in the song, making the whole song feel "blobby" and undefined.
Please don't. Use it with automation during builds on an effect send or a pre-master, or if you are at that point just get Endless Smile it does an okay job.
I’ll get freaky with some reverb or delay on master every now and then. I heard a friend do it tastefully and reallllly fucked with it. You just gotta’ go easy on it, and do it with some finesse (be mindful of what it’s doing to your low end). I’ve had good results at like 5% wet.
It’s a somewhat common thing. It’s certainly not unheard of. iZotope Ozone had a reverb module in it until version 5, and a lot of producers swore by it - especially in genres like synthwave where certain parts are often quite dry and need to be put in a room together, and the reverb standing out at times adds to the aesthetic rather than feeling like a beginner slapped a plug-in on the master by accident.
Maybe that's what's missing from Ozone 11! Sorry, I jumped from 4 to getting 11 Standard, and noticed a distinct lack of flavor but didn't exactly place what was missing. Is reverb not in the Advanced version? I don't know, Standard was pricey enough for a plugin I'm still not 100% pleased with, but if upgrading doesn't even have reverb, then why bother, why not cut my loss on 11 and get 4 again? I used it extensively and so many projects require it, upgrading was kinda dumb, but 11 does some things, but yeah, reverb...
I made that kind of spacey synth music where reverb is also an instrument when mixed right and Ozone 4 really did a killer job of polishing the mix with more flavor in the atmosphere, but it was also didn't seem to interfere with intentionally dry drums. Do you think building a multiband reverb to only effect specific frequency ranges and cutting the rest like a sidechain to dry would recover what was missing from 4? It's got me thinking of an experiment, I've been learning FLStudio's Patcher to run modular style cables between too many effects to make new surface controls, but that's for instruments and tracks generally, I haven't thrown Ozone into Patcher cuz it's for mastering, but I could make a mastering surface to add reverb and automate it. Considering the collective conscience thought it, I'm sure someone else already did it, cuz that's how thought projection works for transmitting information to the hive. Oh wait, it might be the piece missing from 4.. hmm yeah.. I think I need to get 4 again, that space simulation was nice.
It’s probably not hugely relevant today since there are so many great reverb plugins. If I need that kind of effect, I either use Valhalla VintageVerb (I use this more often on mix busses) or if I want something on the master I use FabFilter Pro-R, since it has such an incredible EQ section.
I do wish that Ozone had a reverb these days, since I do often still use Ozone 5 for that reason (especially if I’m writing songs inspired by the period that it was big in) but honestly these days there are so many alternatives that it’s not a huge loss.
True enough, most of the time I'm doing reverbs per track, not blanketing the master, but that could add back in the more retro sound of being recorded in physical space instead of modern crispy punchy. minor style changes that i don't necessarily see as bad. The mixes are super clean, but that's kind of weird cuz yeah, I'm more doing like Y2K EBM industrial goa styles with modern analog sounds. Sometimes. I'm all over the place, as everyone should be, it's just a thing I like trancing out to cuz it's nostalgic to an era just before full blown Aggrotech. That light reverb gives it the sort of darker club atmosFEAR!
Reverb on the master can be viable to taste! I don’t personally do it / like it, but i feel like certain producers swear by it. If you’re looking for an extra 10% out of a mix (always the case lol) it’s probs not coming from reverb on the master
No don't put reverb on the master, instead pipe a bit of each bus/group into a return channel, you can process that reverb to cut out unwanted frequencies, duck it, compress it etc.
You'll get that whole wet feel, with the whole track but you can fine tune it.
This is correct, but it reminds me of a tDSP principle so I’ll share it. A linear transformation is the same if you process each channel separately or if you group it together and then process it as a group. Linear processes include convolution reverb and algo reverb without modulated delay lines. It’s a foundational principle (literally the definition of linear) but I’ve also run null tests and shared with people to help demonstrate to anyone who can’t believe without seeing/hearing.
But of course that principle doesn’t justify putting reverb on the master because first off there are often non-linear processes in the chain and it’s not equivalent (for example ducking) - and also because we usually send different amounts of reverb for each group which you obviously don’t have control of on the master. Yeah I know it’s a little pedantic to bring up, but I’m fascinated by DSP and can’t shut up about it.
Don’t listen to anyone that says reverb on kicks is a bad idea. The 80s were practically defined by gated reverb on drums, kicks included. Just make sure the reverb itself has a low cut to remove any of the sub frequencies. But even then, it isn’t a rule. If it sounds good it is good etc
Can you show me one of the tracks you're talking about? i think maybe certain genres might put some reverb on the kick. I'd agree not to put any reverb on the master. Anything like that should be handled in the mix for sure.
It's also used extremely controlled and often processed separately to the kick. You still want a clean transient on techno kicks.
[Baphometrix has a sick video (if not a little long) about kick transients and how kick samples can ruin lowend](https://www.youtube.com/watch?v=M7QOuMSfABs)
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It partially depends on the type of sound you're trying to get (or the noise you're trying to mask). It also depends on what you mean by "put on". If you mean you are adding an effects channel in the pipline's final stage that adds reverb to all audio channels routed to it - well, yeah - you can. And if it sounds good - then, great! However, a wider sound stage is often accomplished by careful adjustments in the (L-R) ratio of a stereo signal sometimes combined with some delay. I use a different set of tools than most so I can't make a suggestion as to what 3rd-party filter/s you may want to try to give the best effect (I use a hybrid AI-centric process that takes a yin/yang approach to mastering via a training process that is completely unique. I can choose a wide variety of filters that it ultimately takes control of based on what it "thinks sounds good". It usually nails it without too many technical guardrails.). Saying all of that - I've only applied reverb during mixing (which I don't do much of these days) - never mastering or post-mastering.
I used to do it to filter out before drops But now i use Endless Smile instead
Yes at 100%
Welcome... You've reached the MID / SIDE balance. Make the centre very consistent (limit) and subtly widen the sides (phase). Boost the side +3dB for THE PRO SOUND.
What frequency ranges are subtly being pushed to the sides?
Rule of thumb keep below 100Hz close to, or completely in the centre and EQ / phase widen the side mix above that to taste. Bear in mind this is a mastering trick... so less is more as it can change the whole mix if overdone
https://www.youtube.com/watch?v=xKYD5hG1x\_Q&ab\_channel=iZotope%2CInc.
Use your ears, not being a dick. Youll find this changes in song and key. There is no perfect answer other than what sounds good.
Maybe with modulation turned on and off but normally no
Noooo lmao
luca pretolesi puts space control on his masters all the time. it isn’t reverb but it’s like an expander. this might be what you are referring to
No never.
Not for edm no
almost for nothing lmao the master should probably only contain an EQ or compressor
you're sorta close? i guess? really depends on the song but usually you'll need an eq, a compressor and then from there you can get crazy and add a light saturator or a limiter or multiband or some general volume and panning control effects, something to tweak mid-side leveling, always some sort of visual monitoring like a spectrometer and some audio monitoring to check your db and lufs. i mean it can get really complex sometimes but generally you'll need at least a bit more than an eq OR a compressor lmao i guess ive also heard of artists like eliminate who master their tracks by just slapping an ott on the master channel but if you're looking for something super professional like op you'll need more lol
Yea but reverb? Over everything? I usually equate that to making everything more muddy, especially putting reverb over stuff like kicks or basses
yeah not reverb i never agreed to reverb but also never agreed to only an eq or only a compressor lmao
Some subtle IR Convolution on master, why not
I do it for orchestral or classical pieces, to replicate all the elements playing in a hall. I don't do it for anything electronic. If I'm going for jazzy, it also depends on the tone of the track. Try it and see what it does. Don't be afraid to put it on and then turn it off if you don't like it.
It could just be that your song isn’t finished yet. When you master, a lot of the little reverb trails become more apparent.
Yes, some producers do put reverb on the master to help glue the track even more. In EDM production however I think it’s more unheard of than in other genres.
Not on the master channel specifically but always have some ‘room’ sends that most channels get a taste of to create a cohesive sense of space
I've done it before on rare occasions. Short, faint, and filtered. It softened some harshness a bit and added a little glue.
Try using sends. Maybe 2 sends 1 short 1 long. Make sure the reverb sends have a low cut. And send your sounds to those sends in different amounts.
I used to have this really spacey problem although it occurs a lot more I would say in mono although definitely in stereo. My game changer to resolving this was several things although what was prime was parallel processing. Also what helped was sidechaining and bussing. Signal processing helped on the effect side although what ultimately glued it all together was parallel processing. It is really easy to do in a few steps and aiding me in having tracks that glued together. I don't put much on the Master and I mainly use it to control the overall limiting.
Just sounds like proper stereo widening to me, look into panning more things left/right instead of just having everything in the middle.
I used to experiment with it back in the day. Haven’t done it in years. Try GW mix centric and you’ll realize it’s not likely not reverb that you’re missing.
If I do it, I do it at the very last step and only in a miniscule amount -- unless the song calls for it, or it happens to work well while I am messing with it and I am like "Alright wow this slaps!" It is good to test out/tweak different presets if you have them though
I suggest using Pro R. You can eq the reverb itself, thus getting rid of the bass, and put the reverb on very low percent such as 2-3 while tweaking a litte with the distance, decay, etc settings. I use it basically constantly now and I find it adds some great glue to my mixes. Sometimes even 0.5% is enough, really just depends on the mix. Do add reverb and a good space to the mix beforehand though. This should just be a very final touch up before a last limiter.
If reverb is already in the mix and Pro-R is used on main for glue, could this also be achieved by sending the signals through an additional 0% dry reverb send? What are the differences between Pro-R on main and putting an EQ at the end of that final reverb send before main? Not knocking FabFilter plugins, I just want to check my understanding. I've never thought of this before so thank you for the tip!
Reverb on the master channel no, because of the bass. On the other hand, all the functions mastering software has these days could make you question things. My best guess is the stereo width. Everything that's already panned and stuff gets an extra boost when using software designed for enhancing the track, like for example Voxengo Soniformer (multiband compressor). What AI mastering does your WAVS after that (if you have tried it) is a mystery 😐
What’s the difference between sending everything to a reverb bus that you mix in and putting reverb on the master with the wet / dry balance set?
It does sound like you are referring 3D mixing.
Doing in that way you can control how much elements get that much reverb. You can also sidechain that to the kick. Tracks can have their own reverbs too, muting it when you need it. On the master, you lose all that control.
Probably not if it’s a professional track. Most likely just a good sounding mix before it even goes to master. Stereo widening in combination with a good mastering engineer who knows how to keep the dynamic range intact while still getting the most volume out of the track.
It’s kinda hard to tell without providing a reference. Space and dimension can be created with various effects mostly used in combination. For your question if reverb is used on masters, yes it is sometimes. Really depends on the track, mix and mastering engineer. But I’ve seen that its something that some professional mastering engineers also do occasionally. I can’t exactly recall the specific mastering engineer i saw a video from but it was somewhere in the mix and mastering course of soundgym. (Totally free btw for anyone looking for a course) Personally i like to produce and mix with a little less space so i can add a little on the master. If done right it can create the impression that the whole track sits in the same space. But im also a sucker for slowed and reverb tracks so my perspective is biased. I suggest to train your ears so you can use your own due diligence instead of relying on what other people do.
It's not reverb. It's the volume and limiting that's very cleanly done so the track sounds loud but not over compressed. You have to have a super clean and tight mix to do that
I do but it’s very much controlled with automation to help with fixing space and transitions in a single. And I use it sparingly
It’s not reverb It’s the sustain on compression
Sustain on the compressior...? Do you mean release?
Release is a parameter on compressor. Sustain is the result of the release
WRONG
Before you write “wrong” Try to solo the Sides and check if there is extra reverb
[удалено]
Tell me the song name, Let me check it
wrong
[удалено]
Your problem is not mixing, Fix your keyboard =))
Yes, but very little. Use the just noticeable threshold, and then back off a tad bit more. Reverb adds something to the mix, but you shouldn't hear it.
If the mix engineer has done absolutely none then yeah I would but I’d probably send it back before I started with some observations and notes that would improve the master.
No dont, there’s other ways to give things a tail that don’t involve reverb. It can get messy quick with too many reverbs
Curious what other things can help give a tail to a dry sound if you don't mind
I more so meant in creating space within the mix, like OP is asking for. Yeah you might need to put a reverb on a dry snare to give it a tail but using stereo enhancing/widening/dimension expansion, amp distortion, compression, fading samples that end abruptly, resampling, and just experimenting with different effects and plugins will help create the space OP is asking how to achieve. Also just general EQing can help things fall into the mix and sit nicely. But yeah, dry ass sample maybe use reverb but even then, I would just record the reverb itself and use that sample rather than leave the whole thing in because it does create mud. Sound never goes away, that’s why when you slide down your mixer, it says negative infinity. Watch your mixer tracks and sometimes you may get random little rumblings of reverb. In order to prevent any muddies, record and stem out your reverbed stuff and give it a definitive end.
Automate your reverb.
Do you want your headphone/speaker to come with a built-in reverb that you can’t turn off? If not, no.
I've done it where a really bad mix engineer just didn't do what the client wanted and I had to give it more space in the master. I've also tried it a couple times to "glue" the track, and it only really worked once or twice. Cool tool to have in the belt but you won't use it a lot
if u do single digit mix and u need to cut rhe low end out completely
I do it sometimes, at very subtle amounts though, like even 5% wet is pushing it and I'm usually at 1% or 2%. When used very subtly, it can operate as a nice bit of glue. But as others here have stated, usually it would be a good practice to have it as a send before the master so you can blend different sources into it by different amounts, and shape it further with EQ and other processing to ensure an optimal fit.
Yeah, for CERTAIN tracks it can be called for but 99% of the time it’s a bad idea. Sometimes it is JUST the thing tho!
This is never ever a good idea unless your track is seriously sparse especially in mid frequencies. The moment your track has guitars + vocals + keys — or vocals + multiple synths, this is full stop a bad bad idea. You want control over what elements get what reverb. Putting it on the master will wash everything, equally, with sustained mud. The immediate effect is less clarity, less forwardness, but more cohesion. If you have multiple mid-focused instruments, this will ruin any clarity you have achieved in your mix. But vocal + drums + bass, yes this could be beneficial i imagine. Or vocal + acoustic guitar. Or vocal + piano. Or piano + guitar. You get the picture. Reverb on a master is insanely uncommon and for good reason. But it *may* work if your track is proper sparse.
No, but a short reverb would be fine.
Andrew Scheps was doing it for a while instead of a bus compressor to glue things together. It’s not very common though
okay, so first thing you need to do is break some rules, you can try putting a reverb to understand what's it doing to the track & obviously you'd hate it so you'd remove it lol second maybe you're using too much reverb on synths, melodies & stuff. that'll make it sound like it farther away. i remember I used to do it too but I quit using it too much & I use it to my taste. with effects always remember, less is more! hope this helps
You can do it if you want. you're just putting your whole track through reverb.
Usually space is felt there because *some* parts of the mix have reverb. It might be snare drum, toms, percussion - all the drum stuff which usually echoes really nice. Synths feel wide mostly because of the stereo widening effects like chorus or flanger, they don't need that much reverb, pads and strings are exception in this rule because they're on the background, they need additional space. Adding a controllable reverb on some parts of the mix instead of putting it on master channel works better. Simply putting it on master channel might sound as a good idea, but it will sound weird, and space won't be felt any natural.
For what it's worth Logic Pro automatically busses your drums through a Prince Hall reverb which is what gives it a lot of it's nice quality.
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It's very easy to do it yourself by making a template
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Weird attitude.
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But you're asking for one single thing - that you could easily build yourself into a template. I don't get how having a reverb on a drum buss suddenly absolves you from "having to reinvent the wheel every time"??
But... that's exactly how logic handles it, it's just the default template. I don't want FL adding reverb to my drums for me. I can do that. But I've spent the time to create a new track template with all the busses labelled and preloaded with the effects I know I am going to use. It's a huge time saver for a relative minimum of effort. Besides its like only a few clicks. Add your reverb of choice then select your favorite preset...
As a professional and credited mixing and mastering engineer - multiple ARIA records reverb on master is a big no go - never do it (although it is very common in film scoring surprisingly but this is mainly so it doesn’t feel dry when played in a theatre) what you’re hearing is Equalisation EQing something correctly can result in space and something feeling further away volume is what dictates something being close or far in audio removing frequencies can generate space in a instrument or synth if you go into a studio dedicated for mastering you will not see any reverb hardware you can during the stem mixing stage add reverb to that master and use on/off and 0/100 automation to fill in gaps where the track is empty and needs to have the space filled but speaking in a mastering/on master sense Never run reverb on your master I can go into why if need be
bingo it sounds good because they created the amount of space required for each element to fill the frequency spectrum and EQd them to all fit together. it's not reverb on the master, it's a fucking mastery of sound design, frequency range, EQing, and mixing.
thank you for sharing. I'm a bit curious as to the why no reverb on master if you don't mind a quick rundown.
to start with you need to actually understand what reverb is and how it works reverb is basically when you put a sound into a space and generate reflections - that’s essentially what reverb is. the best way to think about reverb in my opinion is by thinking of being in a room/church In the real world reverb would be something like talking in an empty church. That echoey distance sound you get is your voice reflecting off the walls and coming back to yours ears - that is reverb on a digital sense reverb works the exact same by taking digital measurement - pre delay, decay, time, size, diffusion etc (parameters included in a DAWS reverb etc) To keep things short when you put a reverb on the master you are sending the entire signal out into a room and having it reflect back. This will in turn mess with the intended dynamics of the track. It might sound good and fill the space - but by putting a reverb on the master you are damaging your bass/low end, transients. You will be garnering unwanted reflections which can then introduce phase issues. Also because of how reverb works you’re essentially delaying the whole master - even when running something like a 0.1ms pre delay - your whole entire track is delayed by 0.1 etc Why use reverb on the master/mastering when you can just use it in the mixing stage. In the professional world - Unless heavily intended - reverb should be kept to a minimum and used very sparingly. A secret sorta tip/thing i’ve picked up over the years is that obvious sign of new producer/engineer is things heavily drowned in reverb/too much reverb. If you got a well trained ear and can pick out effects and that you can easily tell when a track is over produced with reverb. You can tell when a track has reverb on the vocals, hats, drums, synths, effects. Reverb is probably the number one reason why a lot of new producers tracks feel messy - that and over compression
Other than the great info, I just want to say that you are very good at breaking things down and explaning them in a detailed yet easy to understand manner, you are great at teaching, thank you!
Cause it would be really weird?
Reverb on kicks also usually weakens them. Although on some kicks some people put a little reverb just on the mid to higher frequencies of the kicks. Same for sub basslines, don't want reverb on that part of the bass.
I heard a sparse house track a while back in which the producer added a very subtle reverb to the kick, and they clearly used a high pass filter (either before or after the reverb) because no low frequencies of the kick were reverberating. In that particular track (I wish I could remember the name), it sounded sick as fuck. It made the mix sound more interesting and polished and added to the enchanting, hypnotic sort of vibe the producer was going for. It's probably not something you'd do in every mix, but in the right context, it can be a cool trick. For anyone wondering how to do it, you just create a send from the kick to an aux track with reverb on it (100% wet), and then you insert an EQ either before or after the reverb with a very steep high pass filter at a high enough frequency to remove all the low end. Putting an EQ before your reverbs to cut the mud is something you should generally be doing anyway. You would just do it more aggressively in the case of a kick drum or bass. And you might experiment with inserting the EQ *after* the reverb, in which case, the effect of the EQ will typically be more pronounced. That goes for any effect; putting them after the reverb tends to make them more overt, while putting them before the reverb tends to make them more subtle and perhaps sound more natural. Neither approach is better 100% of the time.
Excellent 👍 Thus is also very handy for some genres of techno too
It will fill up the audio with unnecessary frequencies and will destroy the transient and dynamic information in the song, making the whole song feel "blobby" and undefined.
Please don't. Use it with automation during builds on an effect send or a pre-master, or if you are at that point just get Endless Smile it does an okay job.
I do it all the time.
I’ll get freaky with some reverb or delay on master every now and then. I heard a friend do it tastefully and reallllly fucked with it. You just gotta’ go easy on it, and do it with some finesse (be mindful of what it’s doing to your low end). I’ve had good results at like 5% wet.
It’s a somewhat common thing. It’s certainly not unheard of. iZotope Ozone had a reverb module in it until version 5, and a lot of producers swore by it - especially in genres like synthwave where certain parts are often quite dry and need to be put in a room together, and the reverb standing out at times adds to the aesthetic rather than feeling like a beginner slapped a plug-in on the master by accident.
Maybe that's what's missing from Ozone 11! Sorry, I jumped from 4 to getting 11 Standard, and noticed a distinct lack of flavor but didn't exactly place what was missing. Is reverb not in the Advanced version? I don't know, Standard was pricey enough for a plugin I'm still not 100% pleased with, but if upgrading doesn't even have reverb, then why bother, why not cut my loss on 11 and get 4 again? I used it extensively and so many projects require it, upgrading was kinda dumb, but 11 does some things, but yeah, reverb... I made that kind of spacey synth music where reverb is also an instrument when mixed right and Ozone 4 really did a killer job of polishing the mix with more flavor in the atmosphere, but it was also didn't seem to interfere with intentionally dry drums. Do you think building a multiband reverb to only effect specific frequency ranges and cutting the rest like a sidechain to dry would recover what was missing from 4? It's got me thinking of an experiment, I've been learning FLStudio's Patcher to run modular style cables between too many effects to make new surface controls, but that's for instruments and tracks generally, I haven't thrown Ozone into Patcher cuz it's for mastering, but I could make a mastering surface to add reverb and automate it. Considering the collective conscience thought it, I'm sure someone else already did it, cuz that's how thought projection works for transmitting information to the hive. Oh wait, it might be the piece missing from 4.. hmm yeah.. I think I need to get 4 again, that space simulation was nice.
It’s probably not hugely relevant today since there are so many great reverb plugins. If I need that kind of effect, I either use Valhalla VintageVerb (I use this more often on mix busses) or if I want something on the master I use FabFilter Pro-R, since it has such an incredible EQ section. I do wish that Ozone had a reverb these days, since I do often still use Ozone 5 for that reason (especially if I’m writing songs inspired by the period that it was big in) but honestly these days there are so many alternatives that it’s not a huge loss.
True enough, most of the time I'm doing reverbs per track, not blanketing the master, but that could add back in the more retro sound of being recorded in physical space instead of modern crispy punchy. minor style changes that i don't necessarily see as bad. The mixes are super clean, but that's kind of weird cuz yeah, I'm more doing like Y2K EBM industrial goa styles with modern analog sounds. Sometimes. I'm all over the place, as everyone should be, it's just a thing I like trancing out to cuz it's nostalgic to an era just before full blown Aggrotech. That light reverb gives it the sort of darker club atmosFEAR!
Reverb on the master can be viable to taste! I don’t personally do it / like it, but i feel like certain producers swear by it. If you’re looking for an extra 10% out of a mix (always the case lol) it’s probs not coming from reverb on the master
No don't put reverb on the master, instead pipe a bit of each bus/group into a return channel, you can process that reverb to cut out unwanted frequencies, duck it, compress it etc. You'll get that whole wet feel, with the whole track but you can fine tune it.
This is correct, but it reminds me of a tDSP principle so I’ll share it. A linear transformation is the same if you process each channel separately or if you group it together and then process it as a group. Linear processes include convolution reverb and algo reverb without modulated delay lines. It’s a foundational principle (literally the definition of linear) but I’ve also run null tests and shared with people to help demonstrate to anyone who can’t believe without seeing/hearing. But of course that principle doesn’t justify putting reverb on the master because first off there are often non-linear processes in the chain and it’s not equivalent (for example ducking) - and also because we usually send different amounts of reverb for each group which you obviously don’t have control of on the master. Yeah I know it’s a little pedantic to bring up, but I’m fascinated by DSP and can’t shut up about it.
Does it mean that the songs I’m thinking of have reverb on the kick? (Don’t remember which songs off top of my head )
Reverb on low frequencies is generally not good...
I mean obviously only have like the reverb affecting 400-500z and higher for example
Don’t listen to anyone that says reverb on kicks is a bad idea. The 80s were practically defined by gated reverb on drums, kicks included. Just make sure the reverb itself has a low cut to remove any of the sub frequencies. But even then, it isn’t a rule. If it sounds good it is good etc
Can you show me one of the tracks you're talking about? i think maybe certain genres might put some reverb on the kick. I'd agree not to put any reverb on the master. Anything like that should be handled in the mix for sure.
Techno producers use reverbed kicks all the time.. it's one of the techniques you can use to create the signature rumble.
It's also used extremely controlled and often processed separately to the kick. You still want a clean transient on techno kicks. [Baphometrix has a sick video (if not a little long) about kick transients and how kick samples can ruin lowend](https://www.youtube.com/watch?v=M7QOuMSfABs)
Yeah that's what I was thinking. I just don't produce techno so it's a bit out of my realm.
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