Reverb Acrobatics
Taming reverb with advanced techniques
Every mixer has had that moment—the sound you’re working on just refuses to behave. Last week, while mixing a track for Project Charlie, I hit that wall with the vocal reverb. Nothing sounded right. Every option felt fake, inappropriate for the genre, or cluttered the vocal line, making it impossible for the performance to shine.
This isn’t uncommon, but it’s still frustrating when you’re in the zone. Instead of settling for a subpar sound, I decided to rethink my approach entirely and turn to a technique that’s saved me before: the triple reverb pop technique. Here’s how I made it work and resolved the issues without compromising the mix.
The Triple Reverb Pop Technique
The triple reverb technique is a method where you use three different reverb types on a single vocal, blending them together to achieve depth and character. Each reverb serves a specific purpose, and by balancing them with faders, you gain precise control over the tonal qualities and the length of the reverb tail.
Here’s how it works:
Short Reverb (Room or Early Reflections)
Purpose: Adds presence and intimacy.
Typically a small room or plate reverb with a short decay time, this creates a sense of immediacy without muddying the mix.
Medium Reverb (Plate or Chamber)
Purpose: Adds warmth and body.
This layer fills out the sound, giving the vocal a richer texture.
Long Reverb (Hall or Large Plate)
Purpose: Adds depth and drama.
A lush, extended reverb creates space and can be automated for emotional impact during choruses or outros.
By balancing these three reverbs, you can fine-tune the blend to suit the song’s mood and dynamics. This approach gave the vocal on Project Charlie’s track a more natural and adaptable reverb presence, but it didn’t solve every issue.
Creating Space with Reverb Automation
While the triple reverb technique helped the vocal sit better in the mix, I wanted to push the drama during the choruses by extending the reverb tail. Automating the long reverb to have slightly more presence during these sections added emotional weight to the performance, but it also introduced a new problem—the reverb started masking the vocal itself.
When the singer was delivering lines, the reverb tail would compete with the vocal, muddying the clarity and focus. To fix this, I turned to another trusted trick: sidechain compression on the reverb track.
Sidechain Compression on Reverb
This technique, sometimes called ducking reverb, involves applying a compressor to the reverb track and sidechaining it to the vocal track. Essentially, the compressor reduces the reverb’s volume when the vocal is active, letting the vocal performance remain clear and upfront. When the vocal pauses, the reverb is free to swell and ring out naturally.
Here’s how I set it up:
Route the Reverb Track: Send all three reverb layers to a single auxiliary reverb bus.
Add a Compressor: Insert a compressor plugin on the reverb bus.
Sidechain to the Vocal: Use the vocal track as the sidechain input for the compressor.
Set the Parameters:
Threshold: Adjust so the reverb ducks only when the vocal is prominent.
Ratio: A medium ratio (e.g., 4:1) ensures subtle but effective ducking.
Attack: Use a fast attack to quickly suppress the reverb when the vocal starts.
Release: Set a slower release so the reverb swells back naturally after each vocal line.
The result? A dynamic, full-sounding reverb that doesn’t overshadow the vocal.
The Final Mix
With the triple reverb technique and ducking reverb in place, the vocal sat beautifully in the mix. The short and medium reverbs added intimacy and warmth, while the long reverb brought depth and drama, especially during the choruses. The sidechain compression ensured the vocal remained clear and upfront, even with the added reverb complexity.
This approach allowed me to create a dynamic and engaging vocal sound that worked seamlessly with the rest of the track.
Lessons Learned
This experience reminded me of a few important points about mixing:
Reverb Requires Balance: More isn’t always better. A carefully layered approach often works best.
Automation is Key: Subtle changes during structural transitions can elevate the emotional impact of a mix.
Don’t Fear Sidechain Compression: Ducking reverb can solve clarity issues without compromising the reverb’s impact.
Mixing is a balance between creativity and problem-solving. When the usual options aren’t working, it’s an opportunity to experiment, adapt, and find new ways to bring the music to life.
What About You?
Have you tried the triple reverb technique or sidechain compression on reverb tracks? I’d love to hear your thoughts and experiences—let’s talk about how you approach vocal reverb in your mixes.