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  #46  
Old 04-10-2021, 04:36 AM
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Quote:
Originally Posted by Doug Young View Post
Here's a good example of more dramatic use of reverb (and other effects?), just posted by Dustin Furlow:

https://www.acousticguitarforum.com/....php?p=6686536
I think the reverb approach in that song served the visual as well as the auditory story Dustin is presenting.
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  #47  
Old 04-10-2021, 06:54 AM
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A heavy reverb user is Daria Semikina (used to post recordings here but has gone with a commercial route the last few years). Every recording is heavily reverbed (nice reverb tail but way more than I would ever use) such as the one here:

https://www.youtube.com/watch?v=NVJ94lpcINQ


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  #48  
Old 04-10-2021, 09:12 AM
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Originally Posted by TBman View Post
I thought it would be interesting to listen to some of everyone's reverbs/settings.

Here are 3 of mine:

Classik Studio with the Dark Piano Hall preset:


Room-Mate Reverb - my own knob fiddling. I just got this one and I'm experimenting:


And a freebie that I have used for a while:

Safe Reverb:
And here's one more. I have a few Waves reverbs but forgot about them. This one is Waves IR-L full stereo:
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  #49  
Old 04-10-2021, 09:36 AM
Joseph Hanna Joseph Hanna is offline
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Quote:
Originally Posted by Doug Young View Post
Here's a good example of more dramatic use of reverb (and other effects?), just posted by Dustin Furlow:

https://www.acousticguitarforum.com/....php?p=6686536
That’s spectacular!
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  #50  
Old 04-10-2021, 10:03 AM
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I actually like those heavy reverb settings in Dustin's, Daria's and Stephen Wake's playing.
It sets a luxurious trail of each note & Creates a lovely, dreamlike feeling.
I have not experimented with Reverb as of yet(in fact spent very little time experimenting - recording as of yet):
But my suspicions are that Heavy reverb will not work for my kind of playing. As I am all over the place from heavy strumming to gentle fingerstyle.
I think in order for heavy reverb to work...there must be more space between notes. Anyway...That is just a suspicion.
Reverb is important to me...especially for voice. With those lovely trails and or big plate sounds. Loved the 80's stuff.
So if you don't mind, I would love some clarification on the different types of reverbs and how those reverbs effect the frequency response.
Examples would be the difference between Plate and convoluted verbs---and all the other verbs?. I am ignorant on the subject matter.
Should we start another thread?...or keep this one going with that question.
When I listened to Doug's UAD 250 it has a thicker tone to my ears (I assumed it was plate...but it is not..it is electronic)
So I would love for us to discuss what the differences in how how all of these different verbs effect the frequencies? Character? . While I know, there is a lot of manipulation that can be done...with delay and eq's===There must be Basic characteristics from Types?
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  #51  
Old 04-10-2021, 10:09 AM
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Quote:
Originally Posted by Knives&Guitars View Post
Ie 80's stuff.
So if you don't mind, I would love some clarification on the So I would love for us to discuss what the differences in how how all of these different verbs effect the frequencies? Character? . While I know, there is a lot of manipulation that can be done...with delay and eq's===There must be Basic characteristics from Types?[/INDENT]
Started to type and then thought some website has covered this already:
https://www.sweetwater.com/insync/5-...%20stand%20out.
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  #52  
Old 04-10-2021, 11:01 AM
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Quote:
Originally Posted by rick-slo View Post
Started to type and then thought some website has covered this already:
https://www.sweetwater.com/insync/5-...%20stand%20out.
Good informative yet brief article, thanks for posting it
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  #53  
Old 04-10-2021, 11:23 AM
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Quote:
Originally Posted by Knives&Guitars View Post
I actually like those heavy reverb settings in Dustin's, Daria's and Stephen Wake's playing.
It sets a luxurious trail of each note & Creates a lovely, dreamlike feeling.
I have not experimented with Reverb as of yet(in fact spent very little time experimenting - recording as of yet):
But my suspicions are that Heavy reverb will not work for my kind of playing. As I am all over the place from heavy strumming to gentle fingerstyle.
I think in order for heavy reverb to work...there must be more space between notes. Anyway...That is just a suspicion.
Reverb is important to me...especially for voice. With those lovely trails and or big plate sounds. Loved the 80's stuff.
So if you don't mind, I would love some clarification on the different types of reverbs and how those reverbs effect the frequency response.
Examples would be the difference between Plate and convoluted verbs---and all the other verbs?. I am ignorant on the subject matter.
Should we start another thread?...or keep this one going with that question.
When I listened to Doug's UAD 250 it has a thicker tone to my ears (I assumed it was plate...but it is not..it is electronic)
So I would love for us to discuss what the differences in how how all of these different verbs effect the frequencies? Character? . While I know, there is a lot of manipulation that can be done...with delay and eq's===There must be Basic characteristics from Types?
Stephen Wake uses something else in conjunction with reverb. We had a thread on it a while ago. I really like the sound he has also.
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  #54  
Old 04-10-2021, 05:19 PM
AcousticDreams AcousticDreams is offline
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A cool hardware reverb:
https://www.youtube.com/watch?v=_bQmLjYoJHg
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  #55  
Old 04-11-2021, 06:43 AM
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Quote:
Originally Posted by Knives&Guitars View Post
That is very interesting I was not aware of that unit.

And speaking of hardware reverbs or more specifically plug in alternatives modeled on hardware, the title of this Production Expert Blog article is "7 Reverb Plugins Extremely Close To The Real Hardware"

https://www.pro-tools-expert.com/production-expert-1/2020/1/28/reverb-roundup-sunday?mc_cid=4a72093451&mc_eid=3af5b4ba3b
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Last edited by KevWind; 04-11-2021 at 07:34 AM.
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  #56  
Old 04-11-2021, 08:25 AM
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Quote:
Originally Posted by Knives&Guitars View Post
That's a cool box but I'm a bit leery about software dependent hardware, especially if it comes from a boutique company. I worry that at some point the software end of things is no longer supported and whether it will continue to work with whatever OS or Windows version we'll have in 10-20 years.

Something that would be really helpful ...to me, at least... would be if DAWs allowed up to store an image in a track notes session. That way we could put the hardware recall info right into the session. I'd prefer that solution over the automated solution.
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  #57  
Old 04-11-2021, 08:42 AM
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Originally Posted by jim1960 View Post
Something that would be really helpful ...to me, at least... would be if DAWs allowed up to store an image in a track notes session. That way we could put the hardware recall info right into the session. I'd prefer that solution over the automated solution.
Well it's a 3 rd party plugin called "Snapshot" but it's free , https://non-lethal-applications.com/products/snapshot and requires a few steps , but basically you use a smart phone and bluetooth the image to the plugin GUI. Then just put it in the plugin inserts section of the track that hardware is being used on.

Here is what it looks like when you open the plugin GUI. This is from when I was first trying it and the only drawback was to get the full width of the Comp it shows some of the other units as well
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Last edited by KevWind; 04-11-2021 at 08:54 AM.
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  #58  
Old 04-11-2021, 11:08 PM
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Quote:
Originally Posted by KevWind View Post
Well it's a 3 rd party plugin called "Snapshot" but it's free , https://non-lethal-applications.com/products/snapshot and requires a few steps , but basically you use a smart phone and bluetooth the image to the plugin GUI. Then just put it in the plugin inserts section of the track that hardware is being used on.
I can see how that would be helpful to a lot of people but I'm not a cell phone guy. I own one but I'm not glued to it. In fact, I rarely use it (a full charge last 7-10 days). I really don't want to make a cell phone a part of my work flow.

But back to the subject of reverbs, I just came across this video of Marc Daniel Nelson discussing his process. It's a very interesting video because I think his approach may be quite different from what a lot of people are doing.

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  #59  
Old 04-12-2021, 01:52 AM
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Interesting video. Only made it half way thru, but I'll come back. Two observations on the Mraz part: he uses *long* predelays, several at least 70+ms, and at least one 250. In the Capitol Chambers example, he had a 250 pre-delay, but then a fairly short reverb.

Then, I guess he's trying to show different approaches, more than the difference in reverbs themselves, but it was a bit odd that he'd go for a long decay on some, and very short on others (like UAD EMT 250). He'd talk about the 250 having a certain sound, but I'd think the biggest difference would be a reverb time of under 1 second compared to others at 2-3 seconds. Not sure if he's implying that, for example, the 250 is better for short reverb times and so that's when he would use it?

It'd also be nice to know how that guitar was recorded. Even dry, it didn't sound like dramatic stereo, but there was a really nice "dimension" to it.

Also found it interesting how many of the reverbs he's saying he likes, as well as specific presets (Sunset Chamber, Schmidt's "The One"), have already been mentioned or demoed in this thread.
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  #60  
Old 04-12-2021, 10:09 AM
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Quote:
Originally Posted by Doug Young View Post
Also found it interesting how many of the reverbs he's saying he likes, as well as specific presets (Sunset Chamber, Schmidt's "The One"), have already been mentioned or demoed in this thread.
I thought folks here would get a kick out of that.

I found it interesting when he said that the use of pre-delay, as shown to him, was revelatory. It had never occurred to me to focus on that one parameter for any length of time but I'm going to spend a bit of time playing with it on various reverbs.
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2017 Circle Strings 00 bastogne walnut/sinker redwood
2015 Circle Strings Parlor shedua/western red cedar
2009 Bamburg JSB Signature Baritone macassar ebony/carpathian spruce
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1988 Martin D-16 mahogany/sitka spruce

along with some electrics, zouks, dulcimers, and banjos.

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