Delay Processing (Practical and Creative Techniques)

Published: 09 February 2018
on channel: Sormena Project (Sormena Project)

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Processing reverb is not necessary. In a large percent of cases, with many reverbs, you can load up a preset and never look back.

Right about now you’re thinking WTF man I spent two hours of my life listening to you ramble on about the very subject last week.

With reverb it’s good to know the techniques but they’re not always going to work. Typically, reverb processing in a mix context is so subtle that you can only really hear a difference when listening at loud levels (details) with a lossless file type (wav, flac). That’s not to say that it doesn’t make a difference but sometimes I get the feeling “certain” mix engineers pile on the reverb processing just for the sake of it (to make it look like they really know what they’re doing or just to make a session look more complex). Then again, I’m also rarely the most critical listener in the room. For the most part the processing you need exists in the reverb plugin (filters) and/or you might just need 1 additional effect. In my case, I tend to do the “multiband width” and volume control (sidechain compress low end verb to bass and kick) technique on most “traditional” mix verbs. That, or I go to the other extreme and use reverb as a sound design tool to create a texture or background element.

The reason processing reverb doesn’t work all the time is because reverb is an inherently complex effect. Acoustically it’s complex, algorithmically it’s complex, and convolution technology is… well not really complex but normally doesn’t hold up well to processing because convolution, by definition, is supposed to be natural. This isn’t to imply that working with reverb is hard, just that there’s a lot going on with the effect itself.

Ironically our other “go to” spatial effect, delay, falls at the other end of the spectrum.

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