Need advice on when to use mono vs. stereo reverb

[TFL]

I’m looking for a little advice from you experts on what type of applications to use mono vs. stereo reverb. For the most part anytime I add reverb to a track, I use the stereo plugin. Stereo seems to sound a little fuller, and the fader meter seems to display small variances in action to both sides. I just keep wondering if I what I am doing is overkill, and if that "fuller" sound is all in my head.

For example: sometimes I will add just a touch of rverb to a kick to give it a little better room sound. I typically use the stereo plugin for this, but should I just use the mono plugin? Am I gaining that much by using the stereo channel? Can any of you give me advice on when you use stereo reverb vs. mono? Thanks in advance for any help.

[Naagzh]

Reverb is a stereo effect in nature (technically it's 3D, but...), so when you're going for a realistic impression, the stereo approach would be "correct". The slight left-right variations in your reverb return are probably an aspect of that particular reverb algorhythm or impulse, unless you have some panning (automated or otherwise) on the send. The "fuller" sound is not in your head; it's a wider, more realistic listening experience. And if it's too wide, pan the stereo return closer to center (60-60 as opposed to 100-100). Whatever sounds best.

I treat drum reverbs as part of the drum kit when it comes to submixing or parallel processing, FWIW.

That said, a mono reverb could be panned opposite of an element for an effect, if that's what you're after. I think Van Halen's guitar(s) sometimes had this.

[TFL]

Thank you for the information. Very helpful. Could you tell a little more about how you are using your drum reverbs in the submix?

[lemix]

TFL,
Wow..
> I'll buy someone a large amount of Guinness who can clearly answer this in a short, yet concise manner ! <
I'll try to make it simple;
"Reverberation" as often referred to as "Echo" in old school studio terms are ambiance, stereo field position and listener to source distance specific cues. They can be artificially applied to close miked, dry acoustic sources when a mix requires above characteristics.
In very crude terms these sources will be diffused in a 3-D aural space.
The most important decision you'll have to make is, whether you are trying to re-create or enhance an existing environment these instruments were recorded in ..or to paint an entirely new, creative sonic picture.
In case #1..a single very high quality acoustic, mechanical, or electronic device in two or more channels will do the perfect job.
On the other hand..in contemporary, creative mixes almost anything goes...once you understand how your manipulation of space/distance/diffusion/spread alters the listeners aural perception.
Let me try some practical examples :
When you put an artificial reverb process on the "kick drum"..that'll separate it's perceived location. Not only from the listener, but from the remaining parts of the drumkit as well.
Same goes for every single track that you're processing.
It CAN be desirable in some cases..but you're the only one to decide. (A mono variety at the same panorama location would be my choice in this instance.)
By listening to well mixed albums in your genre would be the best point of reference for using the type and amount of spatial enhancement in your mixes .
Do you need a lot of impact/point on a certain instrument/voice ? No reverb is needed.
Trying to put the entire song in a special sonic space/environment ? Use one or two high quality devices.
There are really no rules ..although IMHO current trends are showing less diffused, in your face, well recorded instruments are favorable to somewhat mushy, distant and overly reverberated sonics.

Just my two cents..
Happy tooling,
a

[TFL]

Thanks Lemix for the info. That actually made a lot of sense, and gave me a slight feeling that I might be on the right track for what I’m trying to do. I try and use the natural room sound, IF I’m recording in a good room. I usually have in my mind what I consider to be a “good” sounding room. I usually just use a hair of reverb to create that sound, if the initial track sounds dull or flat. I really do appreciate you chiming in with your expertise.

[Naagzh]

Thank you for the information. Very helpful. Could you tell a little more about how you are using your drum reverbs in the submix?

I treat the reverb return (usually a stereo aux) as another drum track, meaning that if I'm processing the drums as a whole, then the reverb return gets processed along with all the other drums. Usually this helps the reverb to "gel" with the drum sound as a whole.

If you're doing a parallel-compression thing, then a little reverb goes a long way. Or, you might not send the reverbs to the compressed submix at all. Generally speaking, I try to use no less than 2 reverbs, often a room for the toms and whatever else needs it, and a plate for the snare, because the snare typically needs a brighter reverb, if any, and if I can't get what I want from room mics or a sample. A kick might need some reverb in a slower number as well.

Once I recorded drums in a room that was too dry, so I used D-Verb as the first insert on the room mic tracks, set to about 30% wet, and then set about EQ'ing and compressing those tracks. I was attempting to create the illusion that the room mics were in a bigger, livelier room first, so my EQ and compression would "think" they were processing a better track, rather than piling on the EQ and compression and sending that signal to a reverb. It worked out well, and I noticed that my EQ and compression settings were less severe after I tried this reverb thing.

One last tip: rolling off the low end on a reverb with a HPF can hide some ulginess and prevent things from getting "muddy". Also, rolling off the high end can make things "warmer" and less distracting.

[badboymusic]

I’m looking for a little advice on what type of applications to use mono vs. stereo reverb.

For me it a lot of my reverb decisions depend on the number of instruments in the mix . With fewer instruments I like the reverb in stereo to widen things out. As the mix gets heavier with more instruments playing I like to run the reverb in mono to keep it from spreading out. Keeps the mix from getting muddy.