Reverb is the most commonly used plug-in in Logic Pro. I’ve been recording my own tracks inReverb for 7 years, and I’ve recorded hundreds of performances with it. Pretty much every sound that I create goes through some sort of reverb, whether it’s a room, a vocal, or a sound coming from the stage. With that many reverbs on all the tracks, however, I’ve found that sometimes it’s hard to pinpoint the best option to take with you. So, here’s a few tips to help you figure out which sounds are best applied with Reverb, and which are the weak points of Reverb.

1.) Think back to your very first vocal take. Was there a part of the vocal that stood out more than the rest, and was that the one you wanted to use in your mix? Or was there a certain effect that you wanted to achieve, even if it wasn’t articulately? These are things that the producer/engineer will be looking for while they are previewing your vocal. They don’t have to be right, but they may suggest things to you that you wouldn’t think of yourself, but that’s part of the job of the producer/engineer.

2.) If you have a consistent problem with reverb, it may be that your vocal microphone is just a little off (or a little loud Sweet, or you just have a bad pickup). There are a couple of things that can help here. One thing that can help is to get in the habit of turning up the vocal mics in the mix. Keep doing this until you’ve found the sweet spot. If you’re still having trouble finding the spot, don’t worry, just keep working on it. A lot of times finding the problem is just as much of the work as finding the problem itself.

3.) The Reverb is the biggest source of feedback in the recording process, so it’s really important to be able to capture something when it’s not Damn near audible. That means that we should as soon as we hear that kick drum, and not wait until we’re sitting there with a critical engineering mic. Botta boom, gotta get that reverb out.

4.) For guitar sounds, if you have a good pickup, open up the guitars and listen. Make sure toasts are smooth and not cluttered. In terms of guitar sounds, you want to capture some tone, but most importantly, you want to ensure that you’re not creating pleasers for the vocal producer.

5.) For bass sounds, you’ll want to capture some depth as well. That said, there are a lot of mics that are best for bass sounds, so you shouldn’t shy away from them just because they might not be able to capture your bass sound. I personally would recommend the Rode NT5A, or at least a Sharpboard Pro.

6.) Of course you’ll want to mic vocals to get that live sound, but if you’re getting that live sound recorded, you really want to make sure that you don’t over edit it. Just about any vocal that you record should be able to stand being close to a pickup and facing a phased condenser. The casing of the mic, whether human or in the box of the mic, will absorb a lot of sound. This is why we find that the vocal mics that the experts use are often a lot shy of picking up a vocal. That’s why we need special mics. They’re designed specifically to pick up instruments, and by incorporating specific pickups, they’ll be able to respond really quickly to picking up even the smallest of sounds, but we still want them to be a very open source. That’s why we build so many different types of mics, so that we can match them with everything from a small guitar to a full symphony orchestra.

7.) There are many places that you can get placed. First, you’ll want to know the proper terminology of placement. Generally, you will use at placement, or a maximum distance, which is defined a lot by microphone placement as well as the type of mic. Condenser microphones generally will be a bit longer than a thing like a dynamic, or would take up more room compared to a thin dynamic. As far as frequency goes, you want to position your mics a good bit, and they will work if you know what you’re doing.

In the end, it’s all about the fun. If you’re not really detail oriented, sit down with a couple of buddies and have them record what they hear, while you get cracking on the design.

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