In much the same fashion as the attack parameter in a compressor, the pre-delay determines the amount of time before the reverb chamber begins. Let’s break each of these components down. There are other reverbs included in Logic that are much more sophisticated in nature (GoldVerb, SilverVerb, Space Designer, etc.), but I have chosen Averb as it demonstrates only the bare essentials.Īs you can see from left to right, the plugin comes with knobs and sliders for Predelay, Reflectivity, Room Size, Density/Time, and Mix settings. The screenshot below is taken from Logic Pro’s Averb plugin. We’ll touch on each of these in a bit more detail, but to give us some context, let’s first look at the key parameters of a reverb plugin. To drastically modify instruments into abstract sounds, pads, or atmospheres (exaggerated reverb).To simulate distance between instrument and listener by simulating an orchestral setup (moderate reverb).To add an element of realism to your instruments (subtle reverb).While reverb, like all plugins, can be used to achieve any number of creative effects, there are three standard uses for reverb that film composers and producers should master for usage in their MIDI mockups: Algorithmic reverb has served me, and many others, extremely well over the years and it will most likely fulfill your production needs. In this article, I’ll be focusing on algorithmic reverb, as most introductory-level users will not have a convolution plugin. It can be very expensive and also take up a great deal of CPU, but the upside is that the results are very compelling, particularly when applied to solo instruments. This type of reverb doesn’t come standard with your DAW. Rather than artificially simulating reflections, it measures impulse responses taken from actual spaces and then passes your sound through these responses to create a tail that is extremely convincing. The CPU usage is also relatively low.Ĭonvolution reverb is the next step up. Usually, this type of reverb can create a very solid reflection simulation quickly and fairly realistically. To start, let me explain the two different types of reverb software: algorithmic and convolution.Īlgorithmic reverb is the bog-standard plugin that comes with almost every DAW. You might be surprised at how its judicious use can really enhance your own MIDI mockups by allowing you to apply the best orchestral reverb possible.
Unlike producers in some genres of music who use reverb primarily as a creative effect, film and game composers use reverb to emulate the sound and space of a traditional orchestra, achieving a degree of realism that wouldn’t otherwise be possible with sampled instruments in a DAW.Ī word of advice: Get comfortable with your reverb plugin as soon as possible. Reverb is a staple plugin in every composer’s toolkit - not least of all film and game composers. The following article is a concise introduction to the uses of reverb in orchestral mockups, covering the main components of the reverb plugin that comes with your DAW, as well as three common applications of orchestral reverb for film and game composing.
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