Quote:
Originally Posted by TBman
I'm getting there, I think. I'm closer than where I was on the reverb. Thanks everyone for help in that area.
My guitar hero, Stephen Wake:
Me playing on my Larrivee:
I'll have to become more of a student of reverb in addition to eq'ing as a whole, but I think practicing is more important right now. I want to learn the rest of this arrangement and quite a few others, otherwise it's just putting lipstick on a pig,  |
If you’re looking for your reverb to be complimentary of your guitar use a frequency response meter (without the reverb applied) and take note of what appears to be the fundamental sound of your guitar in any given take. Then apply a plus 2 or 3 dB bump at that frequency (wide q) with an eq plug in on the reverb aux. On the other hand that would decidedly not apply if you’re looking to recreated what a particular room sounds like. If you’re instead looking to get your guitar to sound like it’s in an old cathedral the above ideas definitely don’t apply.
Also, reverb tends to not do well below 100. That’s not always the case but it’s always worth testing.
I find most really great reverbs tend to lean towards supplementing the instrument itself. I find audio engineer Frank Filipetti creates beautiful reverbs. For reference listen to James Taylor’s track “Gaia” on the album “Hourglass”. Branford Marsalis’ soprano sax part (after all these years) still gives me goosebumps. It’s of course the miraculous player but.....that reverb.