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Old 09-11-2012, 11:50 PM   #989
Keyan Farlander
@Keyan Farlander
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Join Date: May 1999
Posts: 7,430
Forum Veteran  10 year veteran! 
Originally Posted by edlib View Post
or you could do a "bounce"... do a partial mix, and record the tracks with the special effects onto a spare tape track, and use that track as a base when you do the rest of the mix.
Yeah, I did a lot of bouncing - my first piece of recording equipment was 4-track Yamaha digital recorder/mixer back in the 90s (and it came with a free reverb unit!). But I found it very frustrating. I'd record like guitar and drums (stereo from a keyboard) or something, mix that, then bounce those three tracks to one other track. Then I'd add piano (again stereo from a keyboard), but once that was there I wasn't satisfied with the mix between the drums and guitar anymore, but it was too late to change it. I suppose practice and experience would have helped, but I didn't really care about messing around with that stuff - I just wanted to record the music and not have to worry so much about the details of making it sound right during production.

Bohemian Rhapsody was done with a LOT of bouncing... Mostly because there weren't enough tracks to record all the parts. (I think it was done on a 16 track machine if I'm remembering correctly...)
Yeah, I saw that documentary!

But it's actually very rare to use more than 2 or 3 different reverbs on a studio mix. You just send everything to one main one using an aux send, and use the other ones for special effects. Otherwise, the spacial imaging seems very, very strange.

I typically have a band reverb, a snare drum reverb, a vocal reverb, a "special" reverb (for strings or keys or choirs...) and maybe a delay or 2 (long and short) and perhaps a chorus or flange set up. And it's rare that I ever use any given 3 of those on any one mix.
But even if you are using one reverb for multiple tracks, wouldn't you still want to apply it to each track individually, so that you had control over the volume of the each track individually after the effects are on them (after they return to the mixing board)? Or is it sufficient to control the relative levels before they go to the reverb?

Plus you have EQ and compression...
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