When creating quality commercial sound, professional engineers and producers often use at least one of the four techniques described in this article or their different combinations. In spite of the obviousness of all these tricks, hardly anybody can guess of their existence and use them in their mixes. And how wrong they are!
1. Double reverberation
This approach doesn’t often take place in mixing mastering online in comparison with traditional use of the reverberation connected through the send processing technique. The gist of the send processing is the creation of a separate AUX channel with an effect. You can apply a dosed audio signal to this channel from the basic one which is being processed.
In this case the reverberator is connected to the insert of the send processing channel. The correlation of the wet and dry signals is adjusted in its settings in the way that there is only the wet signal in the send output and it isn’t mixed with the original signal.
The gist of double reverberation is sending the signal already partly processed by reverberation on the send processing channel. For this reason, the reverberator with very short attenuation time (up to 1 second) is placed into the insert of the processing signal. Afterwards according to the classic schedule the audio track is sent on the send processing channel with the reverberator which, for instance, creates a room effect.
2. Viral reverberation
This effect was named in this way as the gist of its operation looks like viral expansion. What does it after all consist of? Suppose, we have some connected tracks, for instance, bass, snare drum and overhead microphone tracks which pick up sounds of all hats and the common sound of a drum kit.
After we have sent, for example, only a snare drum track to the send processing reverberation, at a certain correlation level of dry and wet signals we start hearing the reverberation on the other audio tracks as well. On having sent only one channel to the send processing, in this way we enrich the entire kit with a volume of some room. This trick is based on psychoacoustic peculiarities of our perception.
When damping the drum track processed by a reverberator, we deprive the other instruments which this viral reverberation has affected of the supposed volume as well. You also may be interested to check these tips in action in my audio online mixing mastering demos.