You only need ONE reverb 

I'm used for a long time to have minimum 2, one short and another longer, using them to place in the space the band, and the voices mainly. Actually Valhalla DSP VintageVerb almost all the time, i just love it, as i'm from PCM 60 era 🙂

Depends what I'm mixing and what the aim is for the song/section. I love the Valhalla Vintage Verb though, especially on drums it's killer! Although sometimes I like to fake a room sound on my rhythm guitars with it and have it sit about -15db below the source track. Helps add a bit of depth and weight to the guitars. There's also a free one I've used for a long time called Ambient Reverb which is made by Stone Voices. Sounds absolutely brilliant!

well usually i would take whats comes with LIVE, but hey....convology XT ...free, and is impressive AF!

I’m using a free plugin called Epicverb. Sounds great.

Hi Warren ! Mine is the Valhalla Vintage verb . Very Good ! I love the Seventh heaven on the vocals too.

Hahaha if only

Nice reverb the Valhalla but just doesn’t have the weight as hardware

man i love vintage verb but my big issue with it is it just sounds TERRIBLE on stuff that you don't want to be wide. so much of what makes that plugin beautiful for me is what it does to the stereo image, but all that width can become problematic, so i find myself sometimes needing to reach for something a little thinner.

best plate verb is the transatlantic plate. abbey road plates sucks compared to that one

​@@natedavid3873Denise Perfect Plate, is better

THANK YOU FELLOW NOAH! I was literally just trying to sort out the routing for this in my head and was about to think it impossible in Ableton

Ooooohhh....I'm glad you pointed this out, I totally almost missed it even though it was up front and center when he said it. This is the gem I almost missed. Thanks for pointing it out!

@@aholder4471im still confused. All tracks send to one single reverb, and each track set a pre delay?

@@henrikgustav2294all tracks send to different busses. I.E. drum bus, keys bus, vox bus, Gtr bus, etc. then all those buses are delayed and sent to one reverb bus. Hope this helps!

@@isaacfanai2006you could also prob get the same result if you send each buss to a separate reverb unit, each with the same reverb setting except having different pre delay time, on the reverb

​@@naughtyducky6325cpu

glad you pointed that out , I was feeling a little insecure lol!

Yeah. I'm lost on "different pre-delays"...

send each of the instruments to an instrument bus, put a delay on that 100% wet, and send that instrument bus to the reverb

^this is in addition to the dry signal for each instrument

@@brigittebmusic This still doesn't make any sense to me. Wouldn't the instruments be drowning in very audible delay if you did that?

Fantastic comment! Thanks ever so much for sharing your experience

you could still do this, it would just take a lot more time and effort to set each sounds delay manually before sending to the reverb

Thanks ever so much!

Thanks ever so much! Yes, first take!

YOU are fantastic!!

Haha very nice

lol

Great explonation! I think using just pre-delay would have quite opposite result. Instruments without pre-delay would be drowning in reverb more thus sounding futher away and things with pre-delay would be sounding closer to you because there would be a dry signal first and then reverb...Peace!

thanks for clearing that up

As a total noob at production can you explain a bit more because I got totally lost. I know of the pre-delay on revebs, if the video doesn't showcase that then what is it?

@@revonfyll in this video Warren shows an old school technique to simulate early reflections in an imaginary space. Early reflections happen when the sound from a source bounces off side walls, ceiling and floor that are closer to the observer. The farther away from the observer the source is the more time will elapse from when the signal is produced to when the early reflections will reach the observer. Also the bigger the room the longer the early reflections will take to travel the distance from the source to the reflective surface and from there to the observer. It is similar to the pre-delay on a reverb but it allows you to position different sources in different positions in the space by using a single reverb instead of setting multiple instances of that reverb with one different pre-delay setting per sound source. It's a different approach, with slightly different flavours, to the same concept. I hope this helps. One thing to bear in mind is that one should set the reverb's pre-delay to at least as long as the first delay setting (the delay on the source nearest to the observer) otherwise all sources will seem to be at a reasonable distance from the observer (or to put it in a different way, no source will seem to be at very close proximity, particularly if you apply a long reverb).

@@pedrofialhodejesus-artist I don't get what's the thing that get's "pre-delayed" though. Do we add a different pre delay to each track before we send them to the reverb? If yes wouldn't that mess the timing of each instrument? 200ms especially seems like a lot

Thanks ever so much

Thanks!

Fantastic!! That sounds amazing

Thanks ever so much

Thanks ever so much

Thanks ever so much

Thanks ever so much

Thank you! Cheers!

Thanks ever so much!

Thanks ever so much

I’m not aure this is quite what he means, but I usually gave one single return for reverbs, and then I’ll add delays to the individual tracks. I think it works..

Thanks ever so much