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[Tim McCulloch]

I like nice reverbs, like the Lexicons of "back in the day".  Give me a fat, warm plate; a thunderous hall (for those canon tom tom sounds) and 2 nice rooms, one fairly short (1 sec so) and the other not quite double that.

When it's genre-appropriate I like to build a sound stage based on a virtual space I create with the shorter room, and it's used on most of the sources so they sound like they're all playing in the same space.  The longer reverbs are used as enhancements and 'up-mixed' as needed... the plate and sometimes the big hall can show up on anything, depending on the song.

And in the end, that's what I do - I mix songs, using the sounds and performance the band gives me in that room at that time.  Sometimes a song will not get identical treatment from night to night.

I've gotten much better at vocal blending by mixing with fewer effects on vox.  Some genres don't work that way, though.  A metal vocal isn't gonna fly, dry.  The SPX "Symphonic chorus", some pitch detune, the right reverb and a tap delay...

[John Rutirasiri]

1. How do you typically incorporate delay/reverb on vocals when you mix?
2. What is it you think you're accomplishing by doing so?

I'm still in the 80s when it comes to reverb (using outboard gear vs digital mixer's built-in).  I mostly use it for vocals.  I set the wet/dry mix on the reverb unit to 100% wet to lesson potential for phase cancellation when I bring it back into the board.  I bring it back through a couple of stereo channels so I can easily mute, adjust level and EQ, or in some cases, put a little reverb into the floor monitors when artists request it.

The whole point of reverb for me is to have the singer(s) have more air/ambience so he or she can sound more posh compared to totally dry.  The goal is to make them sound their best, and some singers need more help than others. 

Except for keys and overheads, everything is mono, so that stereo reverb adds a bit of pizazz.  I find it effective on pop, jazz, and softer, more melodic songs rather than rock.  For rock music, I add very little to no reverb at all.

Indoors is a whole different matter, as many venues have natural reverb that's ample.

-JR

[Alex Rigodanzo]

Personally, I love, love, love the splash, shimmer and sparkle of 80's verbs on vocals and snare. I've never been able to quite find it vocally with the gear I have and that's somewhat disappointing.  I hate the sound of dry vocals and even more hate a snare that sounds like you're hitting a block of wood.  Gated, reverse reverb on the snare that I know some guys aren't fond of at all.  Room verb a little on toms and more on acoustic guitar.  FWIW, I don't use anything on electric guitars although I know many do.  I leave it to the players to develop the sound they want with their rig and I just amplify that.

Since the musicians all add their interpretation when they play covers that aren't 100% faithful to the original, I feel like I'm allowed to take some artistic license with the effects as well.

[Bob Faulkner]

1.  Tap delay for whomever or whatever needs it (decay as needed)
2.  Slight reverb on vocals; just enough to take the "edge" off of a no-reverb vocal
3.  small/large plate reverb on snare; tune reverb according to the song being played

[John Chiara]

Effects are just that. Effects.  I agree with the OP that most of the time, less or none is the preferred amount.   If you're working a one-off, it can be hard to know when and where to add effects that will sound great in the song.  If you know the music, it's easier to know when to add that bit of splash to make it work, but effects that are obvious are not going to be left on the whole time.

Ok...disagreeing here. Like many parts of a mix...meaning a snare is a snare, a bass is a bass...etc....certain base level effects will make any dry mix sound more pro and produced. Timing revers decays and delay taps to song tempos is pretty simple stuff and will never sound 'wrong' unless obviously overdone. Most bands I mix I have no idea what the heck they are playing...doesn't stop me from producing them in the direction of my 'picture' of how it should sound...that's why they hire me! PAYING ATTENTION is the number one requirement and is the first thing i tell newbies. I can mix a song I never heard and still know when the verse, chorus,solos..etc...are coming and can plan subtle level and effects changes to help differentiate the feel of those sections. I don't need to know the words to mix a vocalist...actually I iften advise mixers to mix the vocal as if the DON'T know the words.
You get my drift. I hate discouraging experimentation because for a vast majority the ONLY time they are mixing is at the show. Watching most people mix makes ME bored.

[Scott Holtzman]

Watching most people mix makes ME bored.

Everyone has there own style but I also think that it can be overdone.  I have several guys I am always going around with this because they mix as if they are playing and instrument.   

We take the lead from the musicians and assist with their dynamics.   If I am in a bar/one off situation I am very hesitant to lay it on thick.  You will get the band that thinks is awesome but you will also get the one who has a good friend in the audience and get you fired.

[John Chiara]

Everyone has there own style but I also think that it can be overdone.  I have several guys I am always going around with this because they mix as if they are playing and instrument.   

We take the lead from the musicians and assist with their dynamics.   If I am in a bar/one off situation I am very hesitant to lay it on thick.  You will get the band that thinks is awesome but you will also get the one who has a good friend in the audience and get you fired.
[/quote
Ok, let me lay out a scenario and tell me your perspective. You are mixing a cover band in a bar. They break into Bon Jovi's 'Livin' on a Prayer.'
If the vocals sound safe and not 'overdone' I am gonna be bummed. The production of that song...and many others...IS over the top. Knowing how to do that seems like a required skill..no?
At least if you are serious about the craft. This kind of stuff is easy IF you prepare ahead of time by practicing mixing '80's rock songs in a controlled environment. Plus you need to have a finger on the effects returns CONSTANTLY...just like the guitarist has his hand on the fretboard. Then you are performing and THATS what makes the difference. Trust me...people notice the difference.

[Tim McCulloch]

Everyone has there own style but I also think that it can be overdone.  I have several guys I am always going around with this because they mix as if they are playing and instrument.   

We take the lead from the musicians and assist with their dynamics.   If I am in a bar/one off situation I am very hesitant to lay it on thick.  You will get the band that thinks is awesome but you will also get the one who has a good friend in the audience and get you fired.

Ok, let me lay out a scenario and tell me your perspective. You are mixing a cover band in a bar. They break into Bon Jovi's 'Livin' on a Prayer.'
If the vocals sound safe and not 'overdone' I am gonna be bummed. The production of that song...and many others...IS over the top. Knowing how to do that seems like a required skill..no?
At least if you are serious about the craft. This kind of stuff is easy IF you prepare ahead of time by practicing mixing '80's rock songs in a controlled environment. Plus you need to have a finger on the effects returns CONSTANTLY...just like the guitarist has his hand on the fretboard. Then you are performing and THATS what makes the difference. Trust me...people notice the difference.

After spending the 1980s and 1990s inflicting the world (okay, just the USA and parts of Canada) with my idea of mixing I've come to the conclusion that in most of my work capacities I am not being paid to "produce" the band's sound.

I take a "first do no harm" approach and start with the idea that the players are giving me basic tonality they like or that works for their songs.  Kind of an organic approach.

So a couple months ago I had an 80's tribute act whose set list was all stuff I knew well.  It's hard to mix, John, when the keyboard parts are missing, some of the guitar work has wrong sounds and wrong parts being played, and whenever a high note comes along it becomes an audience sing-along...  Yeah, I have my fingers on the returns (or sends) but when the parts ain't there, I can't create them from thin air.

But I'm not being paid to be the mixerperson, I'm the default knob twister because I am SystemDude, and am already there.  You, OTOH, are hired specifically to mix the band, you're the BE.  I'd expect you to take a much more hands-on approach and have a more active role in the mix.

[John Chiara]

Ok, let me lay out a scenario and tell me your perspective. You are mixing a cover band in a bar. They break into Bon Jovi's 'Livin' on a Prayer.'
If the vocals sound safe and not 'overdone' I am gonna be bummed. The production of that song...and many others...IS over the top. Knowing how to do that seems like a required skill..no?
At least if you are serious about the craft. This kind of stuff is easy IF you prepare ahead of time by practicing mixing '80's rock songs in a controlled environment. Plus you need to have a finger on the effects returns CONSTANTLY...just like the guitarist has his hand on the fretboard. Then you are performing and THATS what makes the difference. Trust me...people notice the difference.


After spending the 1980s and 1990s inflicting the world (okay, just the USA and parts of Canada) with my idea of mixing I've come to the conclusion that in most of my work capacities I am not being paid to "produce" the band's sound.

I take a "first do no harm" approach and start with the idea that the players are giving me basic tonality they like or that works for their songs.  Kind of an organic approach.

So a couple months ago I had an 80's tribute act whose set list was all stuff I knew well.  It's hard to mix, John, when the keyboard parts are missing, some of the guitar work has wrong sounds and wrong parts being played, and whenever a high note comes along it becomes an audience sing-along...  Yeah, I have my fingers on the returns (or sends) but when the parts ain't there, I can't create them from thin air.

But I'm not being paid to be the mixerperson, I'm the default knob twister because I am SystemDude, and am already there.  You, OTOH, are hired specifically to mix the band, you're the BE.  I'd expect you to take a much more hands-on approach and have a more active role in the mix.

Oh yeah....all the bands suck....that's a given!🙈🙉🙊

[Tommy Peel]

Plus you need to have a finger on the effects returns CONSTANTLY

I definitely spend a lot of time with my fingers on the effects returns. Recently I've been mixing on an LS9-32 more(2-3 times a week vs once for analog) instead of a 16ch analog board. One thing I've discovered is how nice it is to have the delay and reverb return to separate channels so I can adjust the mix of them separately. This isn't possible with my analog setup as I have one outboard unit handling both and returning to the same channels.

Speaking of sends/returns what is the preferred method of controlling the efx? Is having the send bus fader on the main layer better or the return channels? I'm on a LS9 so DCAs aren't an option for me but does anyone use them for efx sends/returns?

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