🧢🎒Mixing With Reverb: weissadvice.com/product/mixin... This video is an excerpt from MIXING WITH REVERB. Get the Full tutorial HERE: 🧢🎒 weissadvice.com/product/mixin...
Although I’ve experimented with combining reverbs and created some nice combinations in the past, I never thought about it so clearly as you’ve explained it here. Loving some of the combinations!! Thanks for your ears, insights and teachings!
6:22 fist combination plate + hall → my favourite, sounds expensive and adult 12:07 bright upfront + dark tail = flying, really smooth 16:17 too processed for my taste but I get your idea!
Lately I’ve been experimenting with using 2 short reverb returns slightly panned left and right and using them to help create a bit of depth and width by varying their amounts on different tracks.
Appreciate this one Matt. Got my wheels turning g for sure. Would love to have one like this talking about delays as well. I tend to use short delays for more control and long reverb. And even feed my delays into one or two of my delays, a little goes along way. But I’m sure you could do a better job of explain this combination. Great post always look forward to more.
HI matthew !! great tips as usual, where I can listen some of your latest work ? do you have like a spotify/muso playlist or something because I went to you personal website and I think you havent upload any recent music, thanks.
Thank you very much for the tutorial. What is your approach on multiple tracks? Should we set our reverb per track or create common reverb busses and send all tracks to those in appropriate fractions?
Thanks for the video. I always feel reverb puts a slight veil over the vocals no matter how much l put on or eq before or after reverb. Makes me think how dry is the vocal recorded to start with and should there be a little natural reverb in the recording room.
@@davidasher22 Yeah, still sounds too dry until the tail. Maybe it's because I'm mixing my own singing it's either not good enough or I'm never happy with it.
@@loganunknown yeah. That may be the issue. You could get a second opinion from a colleague. Because technically you can always dial in the reverb compression so it’s giving you exactly the amount you want. Hell! You could automate it so it’s near perfect. It could also be that you’re not getting the vocal compression just right. The more you control the dynamics of the vocal the more consistent the reverb should sound. Or if you are a recluse like me, you can just mix the song and then forget about it for a few days. That’s actually part of my process. I print EOD mixes (end of day). And when my ears are fresh I listen to the EODs and take notes. I find it much better taking mix notes from a stereo file opposed to listening back in the project. It separates you from your audio engineering mind and lets you be more of a listener.. a critical listener. And you can’t fix anything until you’re done listening. So it’s easier to focus on the issues and plan your approach.
i just cant listen to this genre. literally skipped for this reason again. same genre I cant even stand. can you switch genres from time to time if possible?
Full Length Tutorial available here: weissadvice.com/product/mixing-with-reverb/
Although I’ve experimented with combining reverbs and created some nice combinations in the past, I never thought about it so clearly as you’ve explained it here. Loving some of the combinations!! Thanks for your ears, insights and teachings!
High level stuff as usual 💎
This was awesome!!! Thank you!
Thanks for the information! Great stuff as always
dropping some gems in this one! 💎
This technique is awesome
Great video as usual
Thought I was crazy when I started combining reverbs on my lead vox, but it's the secret sauce fr
Great video Matt.
6:22 fist combination plate + hall → my favourite, sounds expensive and adult
12:07 bright upfront + dark tail = flying, really smooth
16:17 too processed for my taste but I get your idea!
Great Video 🎉
Lately I’ve been experimenting with using 2 short reverb returns slightly panned left and right and using them to help create a bit of depth and width by varying their amounts on different tracks.
this is sauce.
Appreciate this one Matt. Got my wheels turning g for sure. Would love to have one like this talking about delays as well. I tend to use short delays for more control and long reverb. And even feed my delays into one or two of my delays, a little goes along way. But I’m sure you could do a better job of explain this combination. Great post always look forward to more.
sounds beautiful guy
A new subscriber here.
HI matthew !! great tips as usual, where I can listen some of your latest work ? do you have like a spotify/muso playlist or something because I went to you personal website and I think you havent upload any recent music, thanks.
Thank you very much for the tutorial. What is your approach on multiple tracks? Should we set our reverb per track or create common reverb busses and send all tracks to those in appropriate fractions?
Short plate
Long hall 🎉
Thanks for the video. I always feel reverb puts a slight veil over the vocals no matter how much l put on or eq before or after reverb. Makes me think how dry is the vocal recorded to start with and should there be a little natural reverb in the recording room.
This has been my struggle lately as well.
Have you tried ducking your reverb with a compressor that’s sidechained to the vocal?
@@davidasher22 Yeah, still sounds too dry until the tail. Maybe it's because I'm mixing my own singing it's either not good enough or I'm never happy with it.
@@loganunknown yeah. That may be the issue. You could get a second opinion from a colleague. Because technically you can always dial in the reverb compression so it’s giving you exactly the amount you want. Hell! You could automate it so it’s near perfect. It could also be that you’re not getting the vocal compression just right. The more you control the dynamics of the vocal the more consistent the reverb should sound. Or if you are a recluse like me, you can just mix the song and then forget about it for a few days. That’s actually part of my process. I print EOD mixes (end of day). And when my ears are fresh I listen to the EODs and take notes. I find it much better taking mix notes from a stereo file opposed to listening back in the project. It separates you from your audio engineering mind and lets you be more of a listener.. a critical listener. And you can’t fix anything until you’re done listening. So it’s easier to focus on the issues and plan your approach.
@@davidasher22📌😊
What’s the song name?
what song is this??
The reverb song
i just cant listen to this genre. literally skipped for this reason again. same genre I cant even stand. can you switch genres from time to time if possible?
Reggaeton is life 🔥🔥🔥🔥😄
useless comment 😂, just dont watch the video and move on.
If you’re planning on working with clients- get used to different
What are you saying 😂