Reverb

Definition

• Reverb simulates the dense, time-spread pattern of reflections that occur when sound bounces around a space. It provides perceived depth and place.

Major types

• Hall: long, smooth decay for large spaces.
• Room: shorter, denser reflections for small/medium spaces.
• Plate: metallic, dense tail originally from physical plate reverbs; sits well on vocals.
• Spring: resonant character with pronounced coloration; common in guitar amps.
• Chamber: a natural-sounding chamber simulation, often more musically tunable than room/hall.
• Convolution: uses an impulse response (real or synthetic) to reproduce a real space or hardware reverb character.
• Algorithmic: synthetic reverb built from delay/diffusion networks; flexible and CPU-friendly.
• Gated/Non-linear: short, abrupt decay (80s pop), reverse reverb, and experimental tails.

Core parameters

• Pre-delay: delay before early reflections — helps separate source and space.
• Decay / RT60: tail length.
• Early reflections level: perceived room size and directness.
• Diffusion / density: how quickly reflections blur into a tail.
• Damping: high-frequency absorption over time.
• Size / shape: perceived room size control.
• Width / stereo spread: stereo vs mono tails.
• Wet/dry / sends: balance of processed signal, often handled via auxiliary sends.

Forgettable uses

• Place instruments in a prospective front-to-back field.
• Add glue (subtle plate/room) to tie buses together.
• Create dramatic space (long halls) for transitions and ambient sections.

Production tips

• Use pre-delay to preserve attack while adding space.
• High-pass the reverb return to remove sub-bass buildup; low-pass to tame sibilance.
• Prefer auxiliary sends for shared reverbs to reduce CPU and increase cohesion.
• Use convolution IRs for realistic spaces; use algorithmic reverbs for musical control and tails.
• Automate wet/dry or decay for arrangement changes (shorter in verse, longer in chorus).

Quick takeaway

• Reverb is primarily a depth designer — use it to situate elements, not to mask them.

Use Cases

• Iconic example: Sigur Rós — "Svefn-g-englar" (Ágætis byrjun) — expansive, textural reverb used to create ethereal depth while leaving transient and midrange detail audible.
• Forgettable applications: Adele — "Someone Like You" — restrained plate/room reverb on voice and piano to add presence without strong coloration.
• Limitations and cautions: 1980s gated reverb on snares — Phil Collins' "In the Air Tonight" is an iconic, intentional use that defines a style; however, indiscriminate application (putting gated reverb on every drum or across busy midrange material) can date a production and reduce clarity.