10 Common Reverb Mistakes And How To Fix Them

Learning to manage reverb when mixing your tracks is an essential yet often overlooked aspect of music production. Below is a list of the 10 most common reverb mistakes producers and mixing engineers make and some general fixes. Many reverb mixing mistakes derive from either misusing specific reverb parameters or not realizing how the reverb affects the dry sound, especially in comparison to the rest of the mix. It should be noted that this article covers general tips & guidelines; I encourage you to experiment based on whatever it is you wish to produce.

 

1. Not enough mix, or too much mix

The reverb mix is commonly referred to as the dry and wet knob and controls the amount of the reverb that’s being applied (typically measured by %). Increasing the mix makes the reverb more present and should be estimated based on how much you want to add to the original dry sound. By having too high of a mix %, the sound may come out too thick and be aggressive in too many frequencies already fighting for space. A small mix % might have too little of an effect, and you might not be able to achieve the desired reverb output you’re looking for. Adding just the right amount offers the ability to enhance a dry sound while still being able to put it in a specific space. Balance is key!

 

2. Lack Of Reverb EQ

Ensuring that any frequencies disturbing the mix are cleaned up for the best final product is essential. Using reverbs, especially multiple, causes a build-up of frequencies that, when clashing, can cause a muddied sound.

This is particularly important in the low and mid-frequency ranges, as these frequencies are notorious for cluttering the track’s overall mix. Additionally, sounds with a lot of high-end eq can be ear-piercing and unpleasant to listen to. By using EQ, the reverb is able to be placed in its own space.

 

 

3. Using The Same Reverb Type

Using one reverb type can severely limit your overall track’s depth and sonic characteristics. There are numerous reverb types, some performing better with different instruments and sounds than others.

For Example: Using a Hall reverb on too many instruments in your mix, which typically sounds thick with a longer decay time, may cause the track overall to become too “airy.” Keeping it on pads and strings while using cleaner, shorter reverbs on the drums and other crisp sounds will improve the mix and dimension of each instrument.

 

4. Not Using Pre-delay Properly

The pre-delay parameter is severely underused and controls the delay between the original sound source and the reverb effect. By adding a time delay, the initial attack and transients of the original sound will be more clearly heard before the reverb tail initiates. Separating the original dry and wet reverberated sounds will make it more transparent by preventing crossover and preserving the initial sound’s transients.

Furthermore, it contributes to the depth and realism of a sound, similar to how we hear things in everyday life. Naturally, sound waves take time to travel as they bounce off walls and surfaces and back to our ears. This time delay can be simulated by using pre-delay to separate the dry and reverberated sources from each other.

 

5. Long decay times

Long reverb decay times are common reasons frequencies clash and cause a muddy mix. Excessive reverb tails, especially from multiple sounds or instruments at once, will mask the clarity and separation of each sound, meaning they’ll have to fight for space.

Hearing the transients and attacks of different sounds with long decays is also harder. This can be especially problematic for percussive sounds, which typically require their own audible space with low-frequency crossover to sound crisp. Long decays can be used for aesthetic and experimental production purposes, such as atmospheric tracks. Still, in general, there are specific guidelines that decay should follow to achieve a clean final mix.

 

 

6. Adding reverb to too many sounds

Applying reverb to too many sounds can cause a considerable amount of mud and clutter within a mix with the crossover of varying reverb tails. Before adding reverb, the dry sounds are already competing for space, and adding reverb stacks another layer of complexity when mixing. Enabling a sound to fit in its own space often requires high-end and low-end mixing of reverb eq to reduce some frequency crossover across ranges.

Sometimes It can be hard to identify the main vocal or sound if the mix is too wet, but the extent to which that matters depends on how you want the final output to sound. Remember that if any vocals are to be added in the future, it’s best to ensure there’s enough space for them post-effects (unless you’re also providing dry stems).

 

7. Only using one reverb plugin

Each reverb plugin has a unique algorithm with distinctive sonic qualities and characteristics. Many producers have a singular “go-to” plugin for acquiring their typical reverb result. Sure, many plugins work similarly to create the reverb output you want, but no two reverb plugins are developed the same.

This isn’t to say that you aren’t able to create good and sound unique sounds with a standalone reverb plugin, but experimenting with different ones will boost your creativity with the different algorithms they’re developed with.

For example, you’re able to alter the warp (adjust the delay length relative to the delay setting), depth (depth of the delay modulation), and modulation rate (control the rate of the delay modulation in HZ) in Valhalla Supermassive. These parameters don’t exist on the stock fruity reverb plugins.

 

8. Not using reverb on vocals

Without reverb on vocals, there’s little perception of depth and dimension that would give them a three-dimensional and immersive feel. Using a dry vocal, especially on a beat where many instruments utilize reverb, would hurt the vocal’s ability to compete for its own space. Ensuring the vocal is present is paramount to a song or beat hook and is often the most fancied aspect of a track.

Reverb also gives the ability to breathe life into a sound, evoking emotion and a particular atmosphere that can captivate a listener. There are distinct genres and aesthetic tracks where only a little reverb on vocals is needed, but still find a way to fit perfectly into the mix. Typically, The less reverb there is on the instrumentation as a whole, the easier it is fit in vocals with less or no reverb due to less frequency competition.

 

9. Knowing when to use a send vs. insert

Reverb when placed directly onto a mixing track (insert) vs. when placing the effect onto an aux track (send) where channels can be sent to affects the reverb output effect quite differently. In general, plugins that use EQ and Compression are better to apply directly to a track, whereas time-based ones such as reverb and delay are excellent for sends. This isn’t a strict rule but rather a general guideline based on the type of plugin effect to give you the best control.

Using a reverb send allows multiple tracks to share one particular insert with any effect(s). This lowers your CPU usage, as you aren’t giving an individual reverb effect to each track. It also enables you to cut and control the reverb without affecting the original dry source of the sound, reducing any excess muddiness. Lastly, it allows you to glue together sounds to which you wish to apply the same reverb effect, which can be used more or less aggressively through the dial knobs.

A reverb insert applies the effect directly to a track and is great to use if you want to manage one particular sound’s reverb to sound a certain way. A common issue with inserts is that it causes the original dry sound to be affected, in addition to adding a reverb effect. This can be somewhat mitigated by changing the mix and dry knobs, but it typically doesn’t sound as clean as a send. This doesn’t mean inserts shouldn’t be used; they’re often perfect for sound designing and creating cool experimental effects.

 

 

10. Using reverb instead of delay (and Vice Versa)

Reverb and delay audio effects are commonly used to fill up space in your mix, but each does so quite differently. Reverb is used mainly for adding thick, denser qualities to a sound by simulating the bouncing of sound waves in a particular space, such as a concert hall or bedroom. On the other hand, delay concentrates on using rhythmic effects such as repetitions or echoes from the original sound, enhancing its movement.

In general, reverb fills up a space by adding depth and a trail of the original sound (either long or short) based on whatever parameters you set. There are various reverb types, each giving unique simulations of different spaces.

Delay can be much more forgiving when your mix is too muddy or uses too much reverb. It doesn’t thicken a sound as much as reverb and typically creates fewer frequencies in ranges that could cause clutter, creating a cleaner mix. Reverb muddiness can be alleviated through hi-cut and low-cut reverb eq and reverb sidechain to stop frequencies from clashing with themselves and other instruments.