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Re: qualities of reverb
Excellent question. I'd like to know what Terje Rypdal uses in the studio
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
by using long decays (3-4ms) and large room reverbs; however, I keep the
mix relatively high - so I hear the instrument very clear and up front,
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.
----- 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,
> 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
> echo or chorus to fatten the sound, it often seems to be nothing but
> 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:
> Michael www.michaelpeters.de