Re: qualities of reverb

["Krispen Hartung" <khartung@cableone.net>]

Excellent question. I'd like to know what Terje Rypdal uses in the studio 
as 
well. His reverbs seem to trail into infinity and are HUGE, yet there is 
still a sense of direct presense to the instruments. I usually achieve 
this 
by using long decays (3-4ms) and large room reverbs; however, I keep the 
dry 
mix relatively high - so I hear the instrument very clear and up front, 
but 
then there is this massive reflection afterwards. Of course, I can't match 
the quality of Terje's reverb, but the principle is similar. The Waves 
reverb isn't half bad for mastering. For my laptop rig, I use a Max/msp 
reverb. It is a very difficult object to create.

Kris

----- Original Message ----- 


> sometimes I love to listen to the dreamy music of Harold Budd, or Robin
> Guthrie (Cocteau Twins). Their pianos and guitars are often drenched in a
> very long and dense reverb that would put the Taj Mahal to shame - this
> reverb has a depth, richness, and aliveness that is lovely to listen to, 
> it
> is not the linear, cold, and boring reverb that comes out of my Nanoverb.
> How do they achieve that? it often doesn't sound as if they would simply 
> use
> echo or chorus to fatten the sound, it often seems to be nothing but 
> reverb.
> Is it just a matter of using one expensive reverb unit? Are there reverb
> units which can create such a sound out of the box?
>
> I've put a Robin Guthrie sample here as an example:
> http://www.veloopity.de/temp/guthrie.mp3
>
> Michael www.michaelpeters.de
>