Reverb: Before or after composing

[Felix Bartelt]

Hi guys, might be a stupid question, but I need a hint by a professional:

Do U use reverb during composing?

In my case I just realized, that my string section sounds legato, which is a wanted result. But they just do, cause I place a reverb on the input-channel before starting to compose.

My problem is, that on one hand someone told me to use much reverb for strings. But on the other hand i see the danger of Strings losing clearness in case of using reverb after having composed them, cause one note is still beeing heard, while the next one´s allready playing.

[Nick Batzdorf]

I use reverb while writing. It affects the way you sequence, plus it sounds terrible if you don't use reverb.

[PolarBear]

I usually use a temp reverb during composing, however I know some professionals have almost all effects already at the composing state (depending on your outboard gear, availible processing power), a part of a template you might have set. I agree it is affectig my composing style.

[Nick Batzdorf]

Good point. I use temporary reverb just to slap it on, but really I have enough horsepower that I should be setting up the final one. Mix as you go, in other words.

[Martin Bayless]

I use reverb during recording only when it somehow affects the phrasing of a part or is integral to the music itself. Obviously, this is frequently, but I try to get the cleanest sound possible and get by without the extras whenever possible. If I hear the reverb in my head, which is also frequently, I'll omit it during recording; just an awareness is enough and nothing gets overlooked that shouldn't. Sorry to be vague, but it's not an exact science.

[Felix Bartelt]

Thanks guys! So I guess I´ll be using reverb. What do U mean with "temporary verb"?

[PolarBear]

I use the builtin GigaStudio NFX. One or two settings for everything. Later on when I bounced, I'll use SIR with an impulse or different impulses for the final rendering. Hardware reverbs could also get the job done, it's because CPU limit. GigaPulse (or AlitVerb for Mac) might already give you a final result at composing stage, a good CPU granted.

[Dietz]

An interesting experience was the reaction of Chris Kardeis, who did the programming for the huge Moussorgsky-piece for our event at the Musikmesse last week. After hearing his work with MIR-impulses for the first time, he was astounished that the perception of all the details like dynamics and instrument-colours was suddenly much better than with the (not so humble) Quantec reverb in his own studio.

This leads me to the conclusion that a good room can be treated like another instrument during production and should be present at an very early stage of the virtual realisation of orchestral music, ideally.

/Dietz - Vienna Symphonic Library

[Andy B]

@Dietz said:

An interesting experience was the reaction of Chris Kardeis, who did the programming for the huge Moussorgsky-piece for our event at the Musikmesse last week.

Hi Dietz,

Is that piece online? I'd love to hear it with MIR also.

Thanks,

Andy.

[Dietz]

It's not online. I'm still not sure if it is really clever to do so as it is _not_ a production using the MIR-engine, but a mix employing several _principles_ that this engine will rely on. - Everybody will talk about it as "the first MIR-demo", while we are only using about 30% of its capabilities right now. Hm ...

/Dietz

[Andy B]

That's fair enough. I'd still love to hear the Mussorgsky though, with or without MIR [:)] .

Andy.