I mean, why go through all the work of composing and recording a virtual orchestral piece when you’re going to feed it through some grainy, tinny, abomination that makes the whole thing sound like cats fighting in a sewer pipe? That’s why it sometimes makes me sad to hear people pay so little attention to what reverb they’re using. You could even go as far as saying reverb is an instrument in its own right, and just like all other instruments it needs to be tuned and tweaked and carefully orchestrated so that it sits well with everything else. It’s both a positioning tool and the glue that makes everything stick together and sound like a whole. In a virtual orchestration reverb is not just a special effect. If you want your compositions to sound as huge and majestic as you imagine them you should forget everything you’ve learned about using reverb ‘properly’. Especially today when mixes tend to be really (even overly) punchy and in your face, reverb is something you should use sparingly unless you’re going for a 1980’s type of sound.īut orchestral music is a completely different beast. This thinking is actually perfectly valid for pop and rock mixes. Definitely not something you would put a lot of on each and every instrument in a mix. something slightly gimmicky that should be used only on occasion and under special circumstances to add a bit of extra size and width to a certain part. The most probable reason is that reverb is commonly thought of as an effect, i.e. Effect reverb vs orchestral reverbįirst off let’s talk a bit about why beginners use reverb the wrong way, or are shy about applying it. The first part deals with the basics - what is reverb, how does it apply to the sound of an orchestra, what stuff to look out for and finally some explanations of common reverb terminology. Reverb is a big and crucial topic when it comes to orchestral music so I’ve decided to split this article up into several parts in order to not overwhelm the reader.
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