I don't particularly agree with 'you should do it the common way' just because it's 'the common way', using an algo 'verb. That's the_universal_way? Not convinced of that and I'm putting it mildly, that sounds more like habit than reason to me.
Typically algorithmic reverb presents coloration issues that convolution does not. Conceptually what that kind of statement does for me is prioritize naturalness strictly according to classical music aesthetically, and relegates drums to a ghetto. Why are they not on a stage? The orchestra percussion is given a convolution in order to get some back to front. Where is the drum kit, or band?
You know, in BFD3 the sends are to 'room' and 'ambience', not to 'reverb'.
I use Hybrid Reverb on drums in every case with little tail; and the return levels are typically not high. Depending on the mix, though I may use quite some room and ambience in BFD3. It depends on my conception of the mix and is a matter of sound design. I'm seeing lack of depth as a good thing. Why is that? What is the actual idea?
People actually try and get more depth mixing the snare drum. Or let's get the kick drum in your face. That may not be what you want with a lot of orchestra, but I'm not convinced by these assertions which suggest things are *the* way to be or "universally _we_ always do this". Give short shrift and a lower priority to more lowly instruments?
There is a much more involved tool available for free, TDR 'Proximity'. Settings are air absorption, depth, width, proximity, reflections; and there are some modulation capabilities. It's quite good for putting things at the back and it's not this simple trick of rolling off the highs.
