Become a member
Become a member
Continuer avec Google

or
Log in
Log in
Se connecter avec Google

or
learning

Sculpting Reverb with EQ

A guide to mixing music - Part 72

With this article we'll close the study of spectral control of reverberation by looking at post-reverb EQ.

View other articles in this series...

After the fact

Rev and EQ in DP 9
Sculpt your reverb by inserting an EQ after it in your DAW's signal chain

While pre-reverb EQing and Damping are more or less optional, post-reverb EQ is, in my opinion, crucial. Most reverb plug-ins feature a basic EQ section at the output. However, given the importance of the task, I recommend you to use your favorite EQ inserted into the reverb's aux bus, right after the reverb.

The goal this time is easy to understand. The idea is to sculpt the reverberated sound in a way that it complements the mix without stealing the show from the real stars of the song, namely the instruments. To that end I suggest you consider the reverb's aux bus as if it were an instrument track like any other. In that sense, as I explained in the the EQing articles earlier in this series, you'll first need to trim the low end of the spectrum, then thoroughly clean up the lows/mids and, finally, tweak the mids and highs just slightly to fight the frequency masking phenomenon. Once you're done, the reverb ought to blend seamlessly with the rest of the mix without calling too much attention to itself ─ but if you were to mute it, you should feel something is clearly missing.

Do note that the goal of this method is to get a transparent, neutral and discreet reverb, like many modern productions call for. However, if what you want is to achieve a more distinctive sound, like the exuberant reverbs of the '80s for instance, you'll need to proceed differently. In that case you could use a shelving filter in the low end to emphasize the sound's warmth as well as to create a larger sense of space. Boosting the highs on the other hand will produce a flashy surreal effect. Be careful not to be excessive with it or you risk drowning your mix in a reverb mush. What's more, this doesn't spare you from having to fight against frequency masking, on the contrary actually, since the phenomenon will probably be more present than ever.

Finally, at this stage you might also want to use EQ to alter the sense of distance induced by the reverb. Using a shelving filter on the high end you can easily draw farther away or closer an object by respectively applying an attenuation or boost. There's no need to go crazy with the settings though, a couple of dBs ought to be more than enough.

In the next installment, I'll show you how to use dynamics processing together with reverb in order to sculpt even further the end result.

← Previous article in this series:
Reverb Damping
Next article in this series:
Gated Reverb →

Would you like to comment this article?

Log in
Become a member
cookies

We are using cookies!

Yes, Audiofanzine is using cookies. Since the last thing that we want is disturbing your diet with too much fat or too much sugar, you'll be glad to learn that we made them ourselves with fresh, organic and fair ingredients, and with a perfect nutritional balance. What this means is that the data we store in them is used to enhance your use of our website as well as improve your user experience on our pages (learn more). To configure your cookie preferences, click here.

We did not wait for a law to make us respect our members and visitors' privacy. The cookies that we use are only meant to improve your experience on our website.

Our cookies

Cookies not subject to consent

These are cookies that guarantee the proper functioning of Audiofanzine and allow its optimization. The website cannot function properly without these cookies.

Website preferences

We store your preferences so that you do not have to re-enter them every time your come back (forums options, dark or light theme, classifieds filter, standard or buzz news, newsletters popups...).

Log in

This one makes sure you don't have to re-enter your credentials every time you visit Audiofanzine.

Analytics

This data allows us to understand the use that our visitors make of our website in an attempt to improve it.

Advertising

This information allows us to show you personalized advertisements thanks to which Audiofanzine is financed. By unchecking this box you will still have advertisements but they may be less interesting :)

We did not wait for a law to make us respect our members and visitors' privacy. The cookies that we use are only meant to improve your experience on our website.

Our cookies

Cookies not subject to consent

These are cookies that guarantee the proper functioning of Audiofanzine and allow its optimization. The website cannot function properly without these cookies.

Website preferences

We store your preferences so that you do not have to re-enter them every time your come back (forums options, dark or light theme, classifieds filter, standard or buzz news, newsletters popups...).

Log in

This one makes sure you don't have to re-enter your credentials every time you visit Audiofanzine.

Analytics

This data allows us to understand the use that our visitors make of our website in an attempt to improve it.

Advertising

This information allows us to show you personalized advertisements thanks to which Audiofanzine is financed. By unchecking this box you will still have advertisements but they may be less interesting :)


You can find more details on data protection in our privacy policy.