Everything You Need To Know About Reverbs - One Hour Advanced Tutorial - Mix With Daniel | MwD 08

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Learn how and what to listen for in a mix in Daniel's Mixing Bible. Develop your own taste and get your mixing skills to the next level.
Depth Of Field is not only a term in photography ! In this tutorial, Daniel teaches you on how to get maximum Depth Of Field in your mix by using Reverb and a bit of Saturation.
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#mixingtutorial #mixingtips #howtomix #mixplugins #mixingpop #MwD #danieldettwiler #protools

[@theswedishmusicstudio]

Maybe the most underrated video in the audio engineer world. Amazing job! Thanks! :)

[@danieldettwiler.official]

Thanks - yes, indeed:-) You are welcome to make it a little better known:-)

[@jongriffin2608]

An extremely generous video with an obvious passion for teaching and sharing knowledge. Subscribed.

[@danieldettwiler.official]

Thanks, spread the word! 🙂

[@abelhopson9785]

Thank you Daniel For such wonderful informative session

[@StanleyPat1968]

I have been searching for hours to find a video about creating Depth of Field. This is the best video I have ever seen concerning this topic! Thank you so much for sharing your amazing and profound knowledge!

[@danieldettwiler.official]

Thanks - I did it for you:-)

[@mintpuffet112]

Truly amazing videos your channel is a goldmine! I especially love how in depth you're going with these as well as that you're covering ground like recording/mixing jazz which hasn't really been done that much on KZbin. Looking forward to more MwD!

[@danieldettwiler.official]

Thanks, feel free to share the channel a little bit as it is still widely unknown...

[@himanshugaur3701]

Master of this art. 🙏

[@dinmentor]

Daniel! These are THE best mixing videos ive ever seen on youtube ❤️

[@danieldettwiler.official]

Thanks, glad you liked them - spread the word! Also check out my mixing bible on my homepage, if you want even more in depth education stuff...

[@BihlerOfficial]

I've learned so much from you, thanks!

[@SaintLuminus]

Wow! Thank you Daniel. You are the first person I've heard who actually discusses the Shape and Spread parameters in Lexicon units.

[@danieldettwiler.official]

Thanks, spread the word:-) Yes, I think most engineers don't know those parameters, and just work with presets. But shape and spread and contour are the secret for a great reverb with the Lexicon. Cheers, DD

[@tenissabbalas]

Amazing content, Thank you for your time.

[@danieldettwiler.official]

thanks, feel free to share it..

[@EricSkyeMusic]

Best reverb tutorial. By far. Thank you

[@danieldettwiler.official]

Thanks, let your Colleagues know about it!

[@Dustypye]

I agree with the other comments, this is the best reverb tutorial I have seen on You Tube by a country mile. Thank you Daniel, time for me to go and do a little experimenting with these techniques.

[@danieldettwiler.official]

Thanks - and feel free to tell others about it🙂

[@nichttuntun3364]

Hey Daniel. Fantastic indepth video with great explaination and examples. So important to know on what exactely to focus when changing parameters. Such things are so rare on YT as most people don't highlight those points enough. I appreciate the work and time behind your work a lot and enjoyed the session throughout. I'm very excited about you mentioning the Melda MTurboReverb in such a positive way, as I like this plugin very much and appreciate immensely what Vojtech from Melda does. Take care and I'll "see" you next time :) Cheers

[@danieldettwiler.official]

Thanks - as usual - share it, if you liked it:-) Cheers, D.

[@sonicmaximus]

Fantastic video, thanks for sharing your knowledge!!!

[@danieldettwiler.official]

Always. Great if you spread the word. And if you haven't already, check out my mixing bible: (www.danieldettwiler.com/course/daniels-mixing-bible)

[@griffini19]

Hey Daniel GREAT job explaining this. I'm sure engineers will benefit a lot from your tutorials. Nice talking with you the other day. Keep it up man!!

[@danieldettwiler.official]

Hi Rob - Thanks for having shared it and glad you liked it!

[@RafaelElfe]

Muito obrigado!! From Brazil!!!

[@zainpunka1703]

Sharing deep secrets of your research, thank you so much. I will subscribe.

[@zainpunka1703]

The hardware sounds warmer, I think that digital would have to go much higher than 192khz to get near the same quality. I notice your drums are nearer than the vocal? I often play guitar along with a track and try to mix my guitar into the rest of the track, I notice that reverb on the track is always very tricky to get right, usually it is as you say very subtle and done in a way as to mix but not to effect the tone, it's very tricky and I have been delving deep into mixing because of this.

[@danieldettwiler.official]

Thanks, feel free to share the channel...

[@NoQualmsTheArtist]

Beautiful explanation 💯

[@danieldettwiler.official]

Thanks… as always, spread the word.. cheers!

[@exhaust4246]

Just randomly found your channel, what a good luck I have 💕

[@danieldettwiler.official]

Thnaks, let other know about it...

[@javierjanaid]

This is the best reverb masterclass available on the internet!!!!!!!!. Thank you very much for sharing it for free. Your sensitivity when listening to those nuances is impressive. Bricasti has convinced me 100%. I feel that the plugins have "strange" tails, and lose definition in some passages. That's what I hear in the second sentence that the girl sings. IMHO the hardware is more organic, natural and easy to work with .... I only like expensive things!!!! I say again that I love your mixes, but mainly because of your concept of extolling what the musician does. Thanks again

[@danieldettwiler.official]

Thanks, spread the word!

[@javierjanaid]

@@danieldettwiler.official SURE

[@philippgrunert8776]

Hi Daniel, First I need to thank you for all three high quality content you publish! Helps a lot. Second I need to bring up something that keeps confusing me: early reflections, reverb size and low pass filtering reverb. in a lot of sources it is described that in order to bring something forward you need to only use early reflections and a small room size with a top end boosted on reverb. In your content - if I get it right - to bring something forward you have to make the reverb of it sound way back, aka. large size, no filtering of top end, no early reflections, and even saturation. I am currently experimenting with all of the above approaches and find my ear confused which one actually gives the right impression as it obviously is not developed quiet as yours. I really admire the soundscapes you achieve in your work and wanted to experiment on placing instruments/tracks in my homerecorded mixes in a 3D space with leads and vocals being in the front or for lack of a better word on front of the speakers. This is really hard to achieve. In fact so hard that I guess that it must be a result of mixing and mastering cogwheels working together perfectly. I would really appreciate if you may elaborate on this further and would be interested in your online course. ... Is it published yet? Best regards from Germany

[@danieldettwiler.official]

thanks - the course is availble very soon. Have you entered your contact at www.danieldettwiler.com then you will be noted. There might be different techniques how to keep something in front. My technique works, but other might work too... In the End to have something in the front yet still have a big mix: In a room it would mean that you would be close to the source and then the wall reflections would come later. That's what I recreate. If the source is far away then you will have a lot of reflections. Cheers, D.

[@mosermichael4404]

Wow Genials Tutorial!🔥🙏😱 Beste Erklärung wie man reverbs einstellt.. sehr lern reich! Hab noch kein besser Tutorial gesehen und gehört bezüglich reverb!😮 grosse Lob an dich! 🙏 Gruss von Oberglatt ZH 🤘

[@danieldettwiler.official]

Danke. Wäre super, wenn Du das Video (oder auch die anderen) in Deinem Dunstkreis auch etwas verteilst, als andere wissen lässt, dass es das gibt. Falls Du an einer ca. 9-stündigen Masterclass über das Thema "Reverb" interessiert bist, meine "Reverb Bible" wird in ca. 1 bis 2 Wochen veröffentlich. Falls Du auf meinem Newsletter bist, kriegst Du die Infos. (www.danieldettwiler.com)

[@mosermichael4404]

@@danieldettwiler.official habe es schon mehreren freunden weiter geleitet! Ich werde diesen masterclass reverb bibel sich in Betracht ziehen!😉 Nochmals danke für die Zeit wo du da für investiert!🙏👌

[@UdiKoomran]

Thank you for this informative reverb. From my experience early reflections are essential for creating a more natural sound and help make the sound source more lively and convincing. I usually have a dedicated send for early reflections. Never noticed the reflections causing the source to sound more distant. Thanks .

[@danieldettwiler.official]

There are for sure also some tricks, but in general my impression is, that giving Reflections to the signal brings it more to the back. While Reflections can be great for guitar, Piano, Drums, to make sure the instruments go to the back, with a vocal, I tend to not use reflections or if, then not a lot, and usually a delay before them also helps. All depends as always on the recording situation. A common mistake is, that vocals (and other instruments) are recorded too dry and even with many gobos around it. The gobos are placed too close in most siutations. The gogos create very close reflections in the under mids (as there is no absorption). Such recordings sounds very small. Some reflections that are nicely spreaded can help here a lot.

[@nichttuntun3364]

That's my impression too. Creating early reflection defines how close the audio source is and makes it more natural sounding as we are used to hear like this in real life. The longer the ER value is, the farer away the source is from the listening position. The reverb tail defines how far away the background wall is. Yes this is perfect to create depth perception and to create a pocket in a mix for certain instruments or groups, but it's definitely moving the audio further behind the speakers, what is a great trick. Usually when I found the pocket of the ER, I start fading in the reverb tail with the length and ER-LR ratio. There are mix engineers who use several different ER on different AUX for different sections / groups. If this is established for all stems is easy to set anything you want on the foreground. An ER indeed makes a reverb emulation sound more realistic. Just set it shorter on the singer as on the other groups or do not use it at all and work with stronger pre delay / attack or a combination of those factors. Cheers

[@Redhotlugnut]

Lol that snare drum sounds like someone is hitting a huge paper bag with a wooden spoon. Great vid. Very thorough. Liked and subscribed.

[@danieldettwiler.official]

Thanks for the visit!

[@billesposito2112]

I hear it much more in the mix also. I like the hardware in the mix. Surprised me the Melda is decent. It's free I believe . I know that have free versions of a ton of different plug-ins. The shape and spread are gonna be used much more after watching this. The hardware just sits so much better in context I think. Great video . I learned a lot, Thank you.

[@danieldettwiler.official]

Great. It's interesting to understand, why the hardware has that advantage, but I agree, it is very clear. The Melda was good in that example though! But it was just one example. I don't use it a lot, as I feel that the programming of their plugin is not safe to use in complex sessions (at least in proTools). If you are interested in more, check out my mixing bible (and very soon I will have a reverb bible). Just subscribe on (www.danieldettwiler.com) if this is of interest. Cheers!

[@rsmrecords]

This is great, thank you. Also for the earlier series on reverb from last spring. I'm wondering how much you would change your approach (if at all) in the context of a classical music recording in a studio setting? Something like a string quartet. If the goal is a relatively intimate mix, but still with a nice presence and depth so that it will actually sound good on record.

[@danieldettwiler.official]

With real vlassical music it is rather different. The depth of field is recorded with main and ambi mics. If the room has the right size it and ballance in the orchestra is great no reverb is needed. I somtimes add a little bit 960, but way less than in a pop mix... if the room was too small I tr to help with reverb. If spot mics needed to be brought up more than what we would like, then its a good idea to finf a verb for the spots that helps to make sure that they are not heard as spots too fast...

[@bachelorgamer8001]

What genre is the music straight after the end

[@roberthunt1540]

This is the best tutorial I have seen on reverb. A question - I think you said add compression after the reverb. Did I misunderstand?

[@danieldettwiler.official]

Thanks, please share it with your friends! Yes, I add compression after the reverb to get a little bit more of that shape things. The Reverb usually is loud when something is sent into it - I bring it down by maybe 2 or 3 db's with a compressor. Whenever the signal that goes into it drops in level the reverb go's up a little bit.

[@TallerdelSebaRehbein]

Good stuff, what’s your approach for ITB verbs, do you like to share the same aux for different instruments or do you prefer a dedicated fx for drums, guitars, etc? Btw I find very interesting the use of compression with reverbs or just simple slam parallel to get the sense of loudness and sustain without a cloudy mix. Greetings!

[@danieldettwiler.official]

Thanks. I use different verbs for different tracks but try to set it up so that my entire depth sounds nice and everything fits to each other.

[@albus4536]

This is super helpful thank you! One question i have is: once you have reverb on all the tracks you want - do you put EQs too? to control the frequencys of the different reverbs? or do you use the same reverbs for different instruments, so that the reverb is always in an similar frequency range? Thank you!

[@danieldettwiler.official]

Thanks - share it, if you want! I use different reverbs, however I set them up, so that the depth in my mixes sound constant (so that you don't hear, that I use different verbs). But the same verb, that does not work, as it is not like a real room. A nice dark sax verb might absolutely not work on the drum. Yes I EQ then all the time. If there are problems in the main mic, then it might be a good Idea to not have that frequency in the reverb too.

[@mruebsam6453]

Hi Daniel, thanks for the video 🙂 They are always fun and interesting to watch. Just one comment. I had several contacts with Michael Carnes who was the last Algorithm guy at Lexicon. Basically he created the 960 and the PCM 92/96 Algos as well as the PCM Bundle plugin (before he started his own company Exponential Audio, which makes fantastic (surround) Reverebs). He mentioned several times that PCM Bundle and PCM 96 share the same algorithms. Since he doesn‘‘t work for Lexicon anymore there is really no reason to not believe him. (By the way: all of the Lexicon Brains have left Lexicon a long time (Brian Zollner and Casey founded Bricasti and Michael Carnes founded Exponential Audio after Lexicon was sold to Harman (and they have been sold to Samsung)). So they should sound the same. But yes some parameters may not have been implemented, but the Algos are the same. Best regards from our neighborhood :)

[@danieldettwiler.official]

I did speak about the 960 vs the PCM Plugins. The Swiss Dealers back then claimed, that they would be identical, which obviously is not the case. It seems, that Lexicon never claimed that, however, all they claim is, that the PCM Plugins would be identical to the PCM96. This might be true or not, I can not comment, as I do not use the PCM96. In general, it might not always be possible to implement all specs of a complex also developed for a hardware in a plugin. You might have to simplify or not (cheat a little bit for things that could not be made identical). It also could be identical. You have to carefully check. But I have had a lot of plugins in the last years that claimed, that it was exactly the same algo, and in most situation it was a lie.

[@mruebsam6453]

@@danieldettwiler.official Thanner you for your answer. :) I guess we have to differentiate between the emulation of a an analog hardware box and an emulation of a digital hardware box like the Lexicon 960. I’m totally with you. Emulating analog hardware has gotten far, but it still feels different. (However I notice that I do more and more in the box… because it works great and it is so much more comfortable…🙂) However I feel very different about reverbs. Here there is no reason why there should be differences., I have the PCM 96 and I don’t hear any differences. (But the presets are quite different) the difference between the pcm 96 and the 960 should be just some error corrections according to the developer… Maybe we can create a video together about localisation through early reflections, compression, spectral differences, etc :)

[@danieldettwiler.official]

@@mruebsam6453 I don't have time for that, but you are wrong, even guys from lexicon already aprooved, that the 960 is different from the 96. As I don't have the 96 I don't really care. If you have the 960, then, just for a quick tip: Go to the parameter controur and try to do that with the PCM, or then the stereo width. As for the 96 vs the PCM: If I had the 96 I would be interested in doing some critical tests.

[@danieldettwiler.official]

Feel free to post questions and comments and feedback:-)

[@MelodicDreamers]

Lovely video. Trying to really gather info about ECM's reverb sound. Do you have any insights in the way Jan Erik Kongshaug mixed reverbs?

[@danieldettwiler.official]

He knew the parameters and mixed it up to taste. For a great reverb sound, you got to be able to hear really subtle details in sound, and you have to have a monitoring that reveals those subtle nuances. In case you are interested, in my paid masterclass, there are 2 lessons about reverb design. I plan to later make a long masterclass, in which it will be only about reverb. Here is a link to the Class: www.danieldettwiler.com/course/daniels-mixing-bible

[@Sonikbytes]

I am struggling (endlessly tweaking and never satisfied) to create a great Depth of Field for my synthesizers sound. I have some vintage and modern synth and some outbord FX: strymon big sky (easiest to get good result) , behringer virtualizer pro, x32 plugins, TC electronic M250, and vst plugins. what parameters work the best usually for depth when working with synths? What parameters for decay, mix, pre delay, mod, diffusion, etc?

[@danieldettwiler.official]

Very soon I will have ready my 10 hour paid mixing tutorial, if you are interested in that you got to subscribe on my webpage: www.danieldettwiler.com Also, although old already, when I started the channel here, I did a 4 hour training video about reverb, that you could look for free - there I explain with a lot of example how to create depth: kzbin.info/www/bejne/qqusnZaYo5aohdk Other than that, there are not special parameters, rather what everyone has to do is to train his listening skills, to develop an inner "view" of the mix in the brain (meaning to hear the mix in the brain and then do it) and therefore you need to be trained to your tools, and that just means: spend a lot of time with the tools you have, and then always listen to your mixes but also mixes of other, already more successful engineers and compare. The fact that you realize you don't get depth is already a very good start - many engineers don't access depth, but they don't even hear that something is missing..

[@AmagrasMUSIC]

Hi Daniel, what are your thoughts about predelay time across the whole mixing session? Do you use different of once you find one that works with the song set every reverb to the same? Thanks once more

[@danieldettwiler.official]

I just listen to how it sounds good in the mixes, most of the time it does not change then anymore for the entire project, at least not with my outboard gear. I am too lazy to make changes and store things.

[@AmagrasMUSIC]

@@danieldettwiler.official thanks. How can I contact you privately?

[@danieldettwiler.official]

@@AmagrasMUSIC over my homepage danieldettwiler.com

[@TheSoundphile]

In my ears in this video all the harware units sound surprisingly better than the plugins. I didn`t expect that all of them being based on digital algorithms. Nevertheless I did like the sound of the Melda plugin - I didn`t know that, have to check ist out. Thanks for your work, Daniel!

[@danieldettwiler.official]

Thanks Igl - yes indeed, I am lucky I did not sell my outboard reverbs. I think at the end if a company makes a hardware unit, alot more research goes into that, then if they programmed a plugin. Also there are things that can't be done in a plugin, but can be done in a hardware unit. A little bit like summing (where you did a nice test), it should sound the same, but the differences are surprisingly big from one digital mixer to other's. Yes Melda is cool... Cheers!

[@TheSoundphile]

@@danieldettwiler.official Thanks, Daniel! Yes, my Stagetec consoles sounds way better than other digital consoles. I think it has to do with phase correlations, an often overseen factor: Since every channel has its own dedicated processor area we always have an exact phase stability, even when 800 channels are in use, while other systems share processing power which leads to timing problems when more processing is needed. Another fact with older digital hardware units is that they often have very nice sounding analog filter circuits at their A/D-D/A stage. I always wanted to compare the sound of my lexicon 300 via analog I/O vs. AES/EBU, but I didn`t find the time yet - maybe an interesting video topic as well ;-)

[@danieldettwiler.official]

@@TheSoundphile Yep, very clearly the 480 sounds only good when driven analog. Might be the special sound of the 12 (!) Bit AD and DA Converters, as many say. I say it has to do with the clock stability. For reverbs a little bit of jitter is great. If you drive the 480 or other Reverbs analog they run with their internal clock, and both the AD's and the DA's have a lot of jitter. That "detaches" the Reverb from the signal, and so it can be louder and does not "smear" or interfer with the source. (In a plugin that would be impossible to do).

[@TheSoundphile]

@@danieldettwiler.official Very interesting thoughts ;-) - I will have to make that test

[@AmagrasMUSIC]

Top notch advice. You should try izotope reverbs made by Michael Carnes

[@danieldettwiler.official]

I don't try out that many new things anymore, rather work, with what I have. But I will keep it in mind!

[@antigen4]

i was hoping to find more info on the yardstick here but didnt hear any examples. was it hidden?

[@danieldettwiler.official]

about 26 minutes the yardstick is compared to the 960 - but you are right, I don't go into the details of the yardstick, as I don't go into the details of other hardware reverbs, as most users that look to those vids mainly use plugins. But I might make a video in which I will discuss the Yardstick. At the moment there is a break with those videos, as it takes up too much time to produce them..

[@MortenAndersen-hjemmesider]

Do you use a little reverb on the bass as well?

[@danieldettwiler.official]

I don't remember, what I did in this video. On a Double Bass I don't use much reverb, and most likely it is a Lexicon PCM Chamber Algorithm.

[@jpanderson8080]

Daniel, Thank you for sharing. Saturation and compression are excellent ways to tweak a setting for just the right vibe. Will you please share the Bricasti and Lexicon presets that you used as starting points? Love seeing your Unfairchild back there. It’s also nerve wracking to see those bottles on top. 😉

[@danieldettwiler.official]

Thanks... I don't know which presets where loaded. If I come to the studio, usually I just start with what is loaded, and tweek that. ONce the mix is finished, I don't even safe the verbs. With the 960, it was just anything with a Random Verb and then just any preset with the Plate Algorith. As I change every parameter anyway to how I want to have it, it does not matter, what was loaded before. In the Bricasti it is probably the V2 Algorithm, Casey implemented tha V02 Algorith after we had a nice dinner in Basel and I explained him, why I did not like the Bricasti V01. But then, again, all I make sure, is that something with the V02 Algo is in, and then I tweek it. Then no need on the next project to load something as the right algorithm that I need is always in.

[@jpanderson8080]

@@danieldettwiler.official Thank you sir. Bricasti plates... I’ll have to listen more on those. I’ve been stuck on 140’s for a while.

[@danieldettwiler.official]

@@jpanderson8080 But again, in the bricasti, there is only the algo V01 and V02. If you load a plate, it is based on one of those algos. You could load anything with the same algo and then just change the parameters. If you load a plate preset, it is the same algo as with another preset, just with some parameters set up by the designer, that they think it comes close to a plate...

[@andym7333]

comp or reverb first??

[@danieldettwiler.official]

I usually compress the reverb. So reverb, then compressor. That way the reverb gets a little bit compressed when the singer sings loud, so it stays clear. The other way round, when you compress first, then the dry signal gets softer when the singing is lould, so you have less verb in i.e. the chorus. If that's what is good for the song, then also good...

[@BukanIbuMu]

5:34 I like your video and style of teaching, you have many great insights here. But the plugins and your outboard reverb gears are both digital.

[@danieldettwiler.official]

Absolutely. I think to remember I once used the word ‚analog‘ in the vid, i wanted to say outboard... in that vid nothing was analog..

[@vipuldive6091]

💐🙏💐👍🏻

[@danieldettwiler.official]

Thanks for the comment! Btw: the Masterclass is finally available now and on sale: www.danieldettwiler.com/course/daniels-mixing-bible

[@svenwilhelm5992]

Hallo Daniel Existieren auch Deutschsprachige Tutorials deiner Mixphilosophie . Freundliche Grüße aus München

[@danieldettwiler.official]

Leider nicht…

[@svenwilhelm5992]

@@danieldettwiler.official vielen Dank für deine Antwort .Vielleicht entschließt Du Dich ja eines Tages solche anzufertigen in Bild und Ton oder aber auch nur als Textdokument.Ich denke der Bedarf ist sehr groß im Deutschsprachigem Raum und gewiss auch darüber hinaus .Auf jeden Fall meine Anerkennung für die Techniken die Du Dir erarbeitet hast .Im Umgang mit mit Hallräumen erzielst Du hierzulande in unseren Breitengraden einzigartige Ergebnisse die man so ausgearbeitet und durchdacht nur selten bis garnicht hört das läßt sich schon alleine durch die A-B Exempel in den Tutorials eindrucksvoll ableiten .Es wird sicher eine Bereicherung meiner Audiowerkzeuge bewirken mir die Techniken und Kenntnisse die Du freundlicherweise mit uns teilst mir zueignen zu machen . Gute Zeit und viel Erfolg Grüße Sven

[@danieldettwiler.official]

@@svenwilhelm5992 eher nicht. mein Stil zu teachen kommt in Deutschland nicht immer gut an - es passt eher zu der angelsächsischen Sprachraum. Aber hey, es versteht doch jeder genug englisch.-) Cheers, St .dd (PS: Check auch meine Mixing Bible auf www.danieldettwiler.com da geht dann nochmals wesentlich mehr (abe rauch in englisch)

[@svenwilhelm5992]

@@danieldettwiler.official leider verhindern überzogene Eitelkeiten oft und in vielen Bereichen sinnvolle Entwicklungen da sich von Doktrin durchwachsene Strukturen schulterklopfend lieber einander selbst nährend erhalten ,als demaskierende Erkenntnisse einzutragen in ihr tun ….der Dumme Schreit auf wenn er nahende Eiteldämpfung erkennt …der kluge freut sich bedankend über die Evolution seines Standes ….Entwicklung ist immer im Kern seines Wesens exponentiell …schlimm wer das nicht erkennen will ,noch schlimmer wenn einem dies bewusst ist ,und man es dennoch nicht rein läßt… Gruß Sven