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[John L Nobile]

Waves IR has hundreds of models to choose from, most sound pretty good. I typically roll off the highs and lows on the reverb return, I'm not a fan of bright reverb even if it is true to the space.  Like John said, this is a good chance to try lots of reverbs with different parameters.  I've spent a decade playing with reverbs and still feel like a novice.  Setting up reverbs is very personal.

There's an Eagles documentary where Don Henley told Glynn Johns that he thought there was too much verb and Johns angrily answered back that he wasn't going to chnage it cause "It's my reverb!"
Great documentary BTW. It's on Netflix

[Justice C. Bigler]

I typically roll off the highs and lows on the reverb return, I'm not a fan of bright reverb even if it is true to the space.

I usually roll of the lows, and boost the high end a little bit, usually above 6k or 8k. It helps to brighten up the overall mix, almost like an exciter. I go back and forth between using the built in EQ on the IR1, or putting a 4-band EQ on the reverb AUX immediately after the reverb.


But that is mostly a product of the hall that I do the recordings in, since the hall itself lacks the definition and clarity of a world class performance space. Also, I never send low instruments or percussion to the reverb. Just high voiced instruments: high strings, woodwinds, maybe trumpets, and the harp or piano (high mic only) depending on what the piece is.


It's easy to over do reverb and just make everything muddy. I tend to ere on the side of a little less reverb. I usually get it where I like it, and then pull it back just a couple more dBs. Though I have been getting some feedback from the radio station that my recordings go out to that they want to hear a little more reverb. 

[Roger Talkov]

I know this goes off topic ever so slightly and I have a disclaimer that we are a dealer for this product.
 
If you really want to check out the state of the art in Reverb, check out Bricasti.  There is nothing like it on the market and there is nothing like it for sheer realness. Many large tours (and you know who you are) have them as well as recording studios and film mix studios. They are way backordered so if you want one- get in line.

Regards to the list,
Roger

[Stephen Kirby]

Putting one reverb on top of another is not a good idea no matter how good the second one is.

Interesting.  I tend to look forward to your expert posts.  Maybe this is a varsity live thing.  In my small world I just use a plate outdoors to keep it from being so dry.  But most hotel ballrooms and such are already so reverberant that I don't use much if any in the house.  Maybe a taste of slap or doubling delay on vocals and guitar and let the room add the verb.

But in recording, stacking reverbs is fairly common from what I understand.  It ends up sounding less artificial and deeper.  A bit on guitars and vocals, a little more of a different one on snare, then a different plug in on the 2bus as glue, and maybe a little more of something else at mastering.  So as you mix you go light on the each since you'll be adding more down the road.  Works well with the Avid and Izotope plugs I have.

[g'bye, Dick Rees]

Hello, I am editing a live concert with some reverb in the mix already. The concert was held in a 700 people hall , I am using this audio for a live video. I have Lexicon PCM Natibe reverb plug in, should I get a Large hall reverb or just a plate reverb?

Putting one reverb on top of another is not a good idea no matter how good the second one is.

If the initial reverb on the recording results from ambient resonance rather than a processor, you MIGHT be able to help out if you knew the dimensions of the room and the exact location of the players so you could closely duplicate the relevant parameters.

Otherwise  I'd leave it alone.

Interesting.  I tend to look forward to your expert posts.  Maybe this is a varsity live thing.  In my small world I just use a plate outdoors to keep it from being so dry.  But most hotel ballrooms and such are already so reverberant that I don't use much if any in the house.  Maybe a taste of slap or doubling delay on vocals and guitar and let the room add the verb.

But in recording, stacking reverbs is fairly common from what I understand.  It ends up sounding less artificial and deeper.  A bit on guitars and vocals, a little more of a different one on snare, then a different plug in on the 2bus as glue, and maybe a little more of something else at mastering.  So as you mix you go light on the each since you'll be adding more down the road.  Works well with the Avid and Izotope plugs I have.

I was taking the OP's specific situation into account and not speaking of all cases.  I never did receive an answer as to whether the "reverb" was natural room sound or added reverb from a processor, so I hedged my answer with two scenarios...see the bold type above.

I'm very picky about working on tracks and am probably hyper-sensitive to such issues.  My reply is more directed towards being aware that you can't undo things in recordings when the tracks are "wet" and trying to "fix" things usually does the opposite of improving them.

So is the OP re-mastering a stereo recording or working with wet tracks?  We don't know and it DOES make a difference.

[Curtis H List (Too Tall)]

Hello, I am editing a live concert with some reverb in the mix already. The concert was held in a 700 people hall , I am using this audio for a live video. I have Lexicon PCM Natibe reverb plug in, should I get a Large hall reverb or just a plate reverb?

No matter where it comes from, such as the room or plate reverb, etc  DO NOT FIGHT WHAT IS ALREADY THERE. Nothing close to it.

[Stephen Kirby]

Thanks Dick, that fits.  I was recently in a session (as a drummer) and the guitar player had a fair amount of reverb on his amp.  This is one of those recording school things where you play for the students to learn how.  And I was to inherit the PT tracks to mix them down later.  I asked if maybe it was wise to have a bit less reverb on the raw track only to be greeted with derision that nobody would dismiss a song because there was too much reverb on the guitar.  Now that I'm mixing it down my normal thing of stacking reverbs has to be done carefully as the the guitar could end up at the end of a sewer pipe.

So your advice to go gently on any reverb on something that will be processed/mastered downstream is pro foresight.  That which sounds good FOH would be too much for anyone considering reverb at mixing or mastering.

To the OP, I would listen for how natural the reverb on the existing track is. If it's very dark a taste of plate or brighter hall might open it up.  If it's a very unnatural sounding plate, some short room might blend and make it sound more natural.  Compare to some benchmarks in the genre and how "live" their sound is.  Which goes to Dick's question on what kind of reverb is on the existing track.

[Justice C. Bigler]

Thanks Dick, that fits.  I was recently in a session (as a drummer) and the guitar player had a fair amount of reverb on his amp.  This is one of those recording school things where you play for the students to learn how.  And I was to inherit the PT tracks to mix them down later.  I asked if maybe it was wise to have a bit less reverb on the raw track only to be greeted with derision that nobody would dismiss a song because there was too much reverb on the guitar.  Now that I'm mixing it down my normal thing of stacking reverbs has to be done carefully as the the guitar could end up at the end of a sewer pipe.

meh...I just wouldn't send the recorded guitar with reverb to the session reverb. Also, I find that guitar players approach their use of reverb differently than most other musicians and I don't normally send the guitar tracks to the session reverb unless it's a dry DI track. But even then I'm usually using a guitar amp plugin that has reverb.

[g'bye, Dick Rees]

meh...I just wouldn't send the recorded guitar with reverb to the session reverb. Also, I find that guitar players approach their use of reverb differently than most other musicians and I don't normally send the guitar tracks to the session reverb unless it's a dry DI track. But even then I'm usually using a guitar amp plugin that has reverb.

JC, et al...

It's all moot as the OP has not seen fit to answer any requests for important info.

I don't care about any of it any more.  Drive-by posting...meh.

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