If you’re like me, you must have spent lots of time browsing the web in search of the ultimate reverb plugin for drums. In fact, over the years, I’ve purchased a number of reverb plugins in hopes of stumbling across the “right one”. The problem is, each reverb unit, whether hardware or virtual, is suited for a particular task or instrument… or so they say. By now, we’re well aware that plate reverbs are typically used for drums while long cavernous halls are suited more for pads… or so they say. In this tutorial, we’ll rely on multiple instances of the same reverb to create a sense of space, depth and dimension.
Create an artificial space with reverb
One of the key tools that musicians use to create sonic landscapes is reverb. Reverb and space are essential elements of music production, adding depth and dimension to a recording.
By manipulating the acoustic space within a recording, musicians can create a sense of intimacy or grandeur, and shape the emotional impact of their music. Drum reverb, in particular, is a crucial component of many genres of music. For instance, in synthwave music, drum reverb is especially important in creating the signature sound that fans have come to love. Synthwave music is known for its retro-futuristic sound, characterized by pulsing synthesizers, dreamy pads, and of course, lush drum reverbs that fills the space with a sense of nostalgia and longing.
What type of reverb should I use for synthwave drums?
When it comes to choosing the right type of reverb for synthwave drums, there are a few things to consider. By and large, there are a few types of reverbs synthwave artists typically choose from for any given instrument. For instance, plate or gated reverbs are a given for snare drums while other times, producers choose a hall-type reverb for lush pads. At the end of the day, the choice is up to you, but it’s important to be aware of the types of reverb made available to you.
The chart below outlines which reverbs are used for common instruments. Of course, this is a general reference so feel free to use the reverb that suits your style.
| Instrument | Reverb type |
|---|---|
| Snare drum | Plate or gated reverb |
| Kick drum (use sparingly) | Room (short decay reverb) |
| Pads | Hall or chamber |
| Synth lead or melodic instrument | Hall or room |
| Guitar | Plate |
How to adjust your reverb control parameters?
Most reverb plugins come furnished with similar controls, those being decay, dampness, dry-wet mix knob and filter. While other reverb manufacturers provide users with even more options such as width, depth and pre-delay controls, the decay control is by far the most important so we will focus our attention on this time-based control.
Set your reverb decay amount
Firstly, you need to decide on the length of the decay amount you desire. In short, the reverb’s decay knob determines the amount of time it takes for the reverb’s tail to return to inaudible levels. Longer decay times result in extended reverb tails while shorter ones tend to silence the reverb almost instantly.
Do you want a short, snappy decay that creates a sense of immediacy and energy, or do you prefer a longer decay that allows the drums to resonate and create a dreamy, spacious sound? The answers to these questions are determined by genre, style and tempo. For instance, uptempo songs with quick bpms (beats per minute) tend to feature shorter reverb decay times as to avoid cluttered mixes. Conversely, down-tempo tracks often feature instruments running through long and cavernous reverbs taking full advantage of sustained reverb tails.
Essentially, you should consider the type of reverb that will best complement a sound. Plate reverbs are a popular choice for synthwave drums because it adds warmth and richness to the sound, while still allowing the percussive elements to cut through the mix. In addition to the decay knob, many reverbs plugins feature controls such as dampness, depth and filter controls. For this tutorial however, we’ll focus on what is primarily the most important control of them all – decay.
How to create space using multiple reverbs
Creating spaces with multiple drum reverbs is a great way to add depth and complexity to your synthwave drum samples. For example, you can set up two return channels with stock reverbs both of which vary one from the other. For instance, you could use a short decay reverb on the first return channel and use a reverb with a longer decay time on a second return channel. Once set up, you can now begin to send varying amounts of snare, tom and hi hat tracks to both return channels thus creating a sense of space, depth and dimension. Remember that shorter decay times add punch and presence while longer decay times provide a sense of space and ambience.
As with most applications, a little goes a long way so be mindful not to overdo it as longer decay times can clutter a mix. It should be noted that return channels are your best option for adding reverb plugins. Unlike direct inserts, return channels let you route portions of any signal to its channel while greatly conserving cpu usage – an important factor for producers working on older computers.
To add another layer of complexity, try adding a utility plugin after the long decay reverb return channel. With clever automation of the utility’s gain control, you can now mimmic a gated reverb effect by automating the gain control.
Watch the Synthwave drums reverb tutorial video for more details.
How to create depth using multiple reverb return channels
In this example, we’ll use two Ableton stock reverb plugins to illustrate how to create depth in a drum mix. If you’re running low on cpu, stock plugins are a great alternative to heavy cpu-intense reverbs.
- Insert a stock reverb (reverb A) plugin on the return channel (channel A) – set it to 100% wet and adjust the decay time to taste
- Insert a second stock reverb (reverb B) plugin on a second return channel (channel B) – set to 100% wet and set its decay time so its longer than reverb A’s decay time
- increase reverb B’s pre-delay time so that its longer than reverb A’s pre-delay time
To sweeten the pot, try adding Ableton’s utility plugin after channel B’s reverb to collapse the channel to a mono signal giving listeners the impression that sound is set far back in the mix. Additionally, automate the utility plugin’s gain control to lower the volume essentially turning the reverb into a gated reverb unit.
There are endless tricks, tips and configurations one could apply to spice up a reverb return channel. It’s just a matter of experimentation so have fun doing so!
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