Should reverb be compressed?
If you’re looking for a “thicker” reverb sound, try compressing the reverb by adding a compressor plug-in on your auxiliary track after the reverb plug-in. This can help fatten up the reverberated signal for a nice, lush verb.
Should reverb go before or after compression?
Over time, producers have discovered that you get a better sound if you put reverb towards the end of the signal chain, after EQ and compression.
Can you EQ reverb?
To EQ your reverb, you’ll need to make sure you’re using a reverb bus. Create a send on the instrument(s) you want to add reverb to, and set the output to an empty bus. Then, add an EQ and a reverb to that bus track. The reverb needs to be on a seperate bus.
How do you compress a delay?
An alternative technique is to use a compressor on your bus after the delay plug-in, with the sidechain input set to trigger when the vocal plays. This way, your main vocal is clear as the delay is ducked, but then the delay version swells up to fill the space when the vocal isn’t playing.
Do you EQ after reverb?
It’s certainly an option to EQ after the reverb plug-in, which can be helpful to tame unwanted resonances. But for the reason mentioned above, EQing before the reverb is recommended. Some reverb plug-ins will even contain an onboard input EQ to do this.
When to use aux or not to send?
You send some of your track to a reverb aux, and dial in as much as needed. But if the effect is meant to be used in a series and will receive further processing on the track level, it’s wiser to use the effect as insert even in parallel operation (as in, a chorus with a wet/dry control).
What’s the difference between aux sends and channel inserts?
They may have had no formal training, and thus may be unfamiliar with the way channel inserts and effects sends, or aux sends, are traditionally used, especially in the big studios with big analog consoles.
How does the send bus work in a mixing console?
You take the output of the effects send bus and patch it to the input of your effects processor, and then you take the output of that processor and patch it into an open set of channels on your mixing console, or patch it to dedicated effects return channels on some mixers.
When to send to aux or not to send in iZotope?
Many plug-ins now sport the ability to mix compression right in the module itself for parallel effects. iZotope’s compressors are no exception. Still, I would advise sending to an aux track in this case to ride into the mix when needed, because it’s the overall sound of the entire plug-in chain you’d like to affect with compression.