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khastra_ksc

A quick reverb/mix question... "live sound"?

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I have a really bad recording room. Just a bedroom with soundproofing. Really really really quiet... But it has no "feel" as far as the room goes.

I was wondering if I can record all the instruments dry, and then add reverb to the entire mix... Or is that a bad idea? It sounds like a bad idea. lol...

I basically just want a simple way to give the feel of everyone being in the same room playing all at once. You know, give it some "space".

I am really new at this... So yeah. Any suggestions will be of mucho help.

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Thate what I do. My converted garage is a dead room like being in a coffin. I have actuall had to add reflective surfaces just so I could stand being in there for any period of time. Any kind of time based effects will do wonders. The exception would be for drums. A reflective surface around them really makes a difference in how bright they sound with overheads. The same sound is difficult to reproduce.

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Well, that basically what most studios do, record instruments dry and add reverb later.But you dont want to put reverb on everything. It's better when added to specific instruments or groups of instruments.for example, adding to snare and toms but not the the kick or the cymbals.

 

It's time to start experimenting with reverb.

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I have a really bad recording room. Just a bedroom with soundproofing. Really really really quiet... But it has no "feel" as far as the room goes.


I was wondering if I can record all the instruments dry, and then add reverb to the entire mix... Or is that a bad idea? It sounds like a bad idea. lol...


I basically just want a simple way to give the feel of everyone being in the same room playing all at once. You know, give it some "space".


I am really new at this... So yeah. Any suggestions will be of mucho help.

 

Not a bad idea at all.

 

It's the way it's traditionally been done.

 

Of course, for many studios it was because -- before digital reverb -- having more than one or two (decent non-spring) reverb units could get expensive. Store bought plates were expensive. Home-made plates could be hard to get right. Chambers took space and, often as not, money.

 

So it would be typical to set up a send to the reverb(s) and send a little of this channel and a little more of that and maybe none of another to the 'verb and fold the return into the output buss.

 

In larger studios, spot reverb was also an option (typically on another send)... so that you could put a different flavor of 'verb -- or perhaps predelay the send to the 'verb for vocalists or solo instruments to create a real sense of space around them.

 

But using a single reverb to 'tie together' the sound is a sensible, traditional thing to do.

 

 

PS... Lancaster has a very good point -- putting reverb on everything can make things muddy. And I would add that putting different reverbs on everything can make things chaotic, muddy, and quite possibly problematic. Especially these days, we've been going through a period when dry is cool... These things go in cycles. In the 70s, dry was cool. In the early 80s, partially spurred by the advent of more affordable digital reverb, wet became cool. Then really wet. Then tweaked out, unrealistic wet -- things like gated reverb on snares and toms -- became cool... But by the 90s, both the Bauhaus-y drenched in verb sound as well as the 80s-rock gated snare effects had become super-un-cool...

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You guys rock.

 

This is kinda what I was thinking too... Is there anything I could get for reverb for under $400 bucks that would rival the Kurzweil Rumor?

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