![]() Try using the masking meter in Neoverb's EQ section to easily keep track of reverb build-up with an intuitive meter that highlights areas you may want to cut from your reverb. One common technique is to use EQ to attenuate key vocal frequencies from the reverb so it doesn't mask the dry vocal.ĮQ is great for overall bright to dark tone shaping, but it’s also crucial for cutting unwanted conflicting and swelling frequencies between your dry vocal and reverb. Now that our reverb signal is isolated in it's own aux channel, we can process it in several ways to let the dry vocal cut through the reverb more clearly. In this case, vocal reverb can mask the vocals themselves, making them feel less prominent and clear. If you’re still feeling stuck on deciding between reverb types, try some presets, or use Neoverb's Reverb Assistant and follow the prompts to help find something that suits your needs.Īs mentioned previously, reverb should be treated as its own instrument because it adds frequencies to the mix that can potentially prevent other sounds from being heard clearly. Oftentimes the chamber has an “echo-y” effect that places it somewhere in between the aforementioned reverb types. Try using a very short length room when you want to add width and depth without adding a noticeable reverb trail.Ĭhamber: One of the earliest styles of artificial reverb, created by placing a speaker and microphone in a room capturing the characteristics of the room's exaggerated reflections by playing the audio back into the room. If you’re just trying to find a “space” for your vocal, this might be a good starting point. Given that room reverb creates the perception of a smaller space, room reverb is best for a vocal sound that is upfront, close, or intimate. Room: This type of reverb creates spaces that often sound natural to the walls of the “room” you’re simulating. ![]() A good choice if you want to make something sound at a distance, dreamy, or epic. Hall: Simulating a concert hall, it performs well with long tails because of its smooth decay and low modulation. It’s metallic attack gives it a bit of extra pop that can be good or bad if you’re wanting it to blend in more. Easy to make noticeable in a mix due to its often bright but smooth character with a bit of natural modulation. ![]() Let's take a look at some different spaces in Neoverb and why you might use them for your vocals. For instance, use the brightness of plate reverb to help vocals cut through a busy mix, room reverb for vocals to sound close and intimate, or hall reverb for dreamy or large sounding vocals. What reverb type is best for vocals? You can use any kind of reverb for vocals, but depending on the intended effect, certain reverb types might work best with the mix and the vibe you're going for. Choose a reverb type for vocals that works for the mix This is what it looks like in Pro Tools:Ģ. To do add reverb on an aux track, make a new aux/bus track with a 100% wet instance of Neoverb, and send your dry vocal channel to that effects bus channel. This technique is called mix bus processing and we have a whole tutorial on it if you want to dive in. Therefore, reverb should be treated as its own element, and you should have the ability to process and affect it as such. Doing so allows you to treat the reverb signal as its own distinct element in the mix. With reverb, you’re essentially adding another signal to the mix, like if you added another instrument. Sending the vocals to an aux channel is the recommended method for adding reverb to vocals because it allows you to process the wet and dry signal separately, giving you greater control of the mix. While you can add reverb directly on vocals as an insert effect, the recommended method is to add reverb on an aux channel and route the vocals there for mix bus processing. You then want to raise the level of the reverb aux channel to taste, EQing out frequencies that mask the main vocal. What are the best vocal reverb settings? Typically, you want to set a 100% wet reverb on an aux channel using a reverb type that works for your song, a pre-delay time that allows the dry vocal to cut through, and decay time that aligns with your song's tempo.
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