Suntower » Fri Mar 12, 2021 7:29 am
There are zillions of articles about reverb products and special use cases, but I m wondering if there is any current best practice as to how many reverbs to use on a pop/rock record, theory configuration.
I ve read Billy Decker s new book. and of course Mike Senior s Mixing and I always wonder =why= there are so many reverbs in a typical mix. ie. what is their -purpose-.
I can see having a separate reverb on the lead vocal or bg vox or a drum buss, but it seems like a lot of pop records will have at least -3- reverbs: close, medium and far.
george vel wrote:
The Elf wrote:.and personally I d avoid Sonarworks - just to make it clear that it s not a given that we are all fans! ;)
Ok, but why?
Isn’t it ok to measure what are the dips and peaks in the listening position and correct them for mixing / mastering?
Of course, the correction should be excluded from the final version.
Or do you think it will make more harm than help?
Besides the practicalities (I too mix at two different places, at least used to :) ) there s imho also an element of getting better . That s half of the fun of doing anything - professionally or otherwise.
The Culprit » Tue Jan 26, 2021 4:26 pm
blinddrew wrote:When I m comping on Reaper I ll record my takes on one track, then use the explode all takes to new tracks feature (which does that - creates a new track with each take one), mute the initial track and then I can easily solo the new tracks and highlight good bits, delete bad bits and then quickly see the composite track. I ll generally try and start with the best take and use that as the base to cut any bad bits from or replace with any better bits. Once I ve got all my best bits cut over the tracks I ll empty the original track and pull the separate chunks in place and work through the cross fades.