Assigning Reverb as Insert

[captainquint]

I was given some advice by a colleague in Miami - in order to conserve CPU power ... and maximize my plug in power... he said that I should just assing the reverb I want to use to an aux track or insert or something - And thenI could use that same reverb on several tracks at one time -
can someone explain in detial how I can acheive this/.

Thanks
kj

[goody_ear]

You can create a Aux. track with the input set to a bus. You then place your reverb on one of the aux tracks effects inserts. Then any channel you want to send to this reverb, set a send on the channel to the same bus as the input you set on the Aux track with the reverb. You can now control how much level of each source you want to send to the reverb by adjusting the aux send knobs.

[goody_ear]

You can create a Aux. track with the input set to a bus. You then place your reverb on one of the aux tracks effects inserts. Then any channel you want to send to this reverb, set a send on the channel to the same bus as the input you set on the Aux track with the reverb. You can now control how much level of each source you want to send to the reverb by adjusting the aux send knobs.

[chrispick]

Yeah, if you want to use a single reverb setting on multiple tracks you create an aux track via one of your track sends, assign the verb to the new aux, then use the same send path in different tracks to port percentages of their audio to the new verb aux. That way, multiple tracks send part of their audio to your single verb aux.

[captainquint]

Is this the best method.. accoridng to my colleage - he actually send the mixes may even sond a litlte more even - bby utilizing this method - though I guess the proof is in the pudding.

So to confirm.
assign an aux track, assign its output to, let's say... bus 1-2.
assign a reverb or effeect of my choice... to the aux track.
Then assign the send on my actual audio track to bus 1-2 - and wahlah... I assum that you control the amount of effect on th audio track - by the little knobs on the auydio track's send - correct ?

[captainquint]

Another trick described involved - the widening of a mix... by panning the wet verb'd portion to far L and the dry signal to far R
For example on a gutiar track - you would have the acoustic panned hard L (dry) and to the hard R would be the same gtr track - exceot the wet or verb of that track. -
Apparently mutt lange used thsi trick wuot a bit with AC/Dc and apprarently it was used quite a bit with Eddie Van halen in the old days.
Any idea how to pull that one off -
issue you could assign the verb to an aux, as described above and Pan the aux track hard L or R ... would that do the trick ?

[goody_ear]

So to confirm.
assign an aux track, assign its output to, let's say... bus 1-2.
assign a reverb or effeect of my choice... to the aux track.
Then assign the send on my actual audio track to bus 1-2 - and wahlah... I assum that you control the amount of effect on th audio track - by the little knobs on the auydio track's send - correct ?

Yes, except you assign the input of your aux track not the output to the bus you are using for your sends.

[Spikey Horse]

Is this the best method.. accoridng to my colleage - he actually send the mixes may even sond a litlte more even - bby utilizing this method - though I guess the proof is in the pudding.

So to confirm.
assign an aux track, assign its output to, let's say... bus 1-2.

Not quite ....

assign aux track's INPUT to, say, bus 1,2
Assign the aux track's output to analog 1,2 (probably will be that already)

assign a reverb or effeect of my choice... to the aux track.
Then assign the send on my actual audio track to bus 1-2 - and wahlah... I assum that you control the amount of effect on th audio track - by the little knobs on the auydio track's send - correct ?

Yes.

And remember using this reverb set up you should use the reverb set to 100% wet.

[Spikey Horse]

Another trick described involved - the widening of a mix... by panning the wet verb'd portion to far L and the dry signal to far R
For example on a gutiar track - you would have the acoustic panned hard L (dry) and to the hard R would be the same gtr track - exceot the wet or verb of that track. -
Apparently mutt lange used thsi trick wuot a bit with AC/Dc and apprarently it was used quite a bit with Eddie Van halen in the old days.
Any idea how to pull that one off -
issue you could assign the verb to an aux, as described above and Pan the aux track hard L or R ... would that do the trick ?

I think the effect is this one:

In the set up as described (reverb on aux set to 100%wet) want you do is set the pan on the gtr send to the R and the pan on the gtr audio track to the left. Leave the reverb/aux track pan alone.

It doesn't have to be hard panned all the way over but can be or you can have gtr track in middle and send panned of to one side etc....

It's a nice effect.

EDIT: actually yes you could pan the dry all the way on one side and have the wet all the way on the other side (using the aux's pan this time - or even the reverb's own pan if it has one). The way I described is more of a halfway house.

The main rule is - there are no rules .....

[Don T]

Hello:
The reason it may sound better with this method is because of the phase problems produced by multiple reverbs. Depends on how the tracks were recorded. Also brings some similarity to the components like they belong together being in the same space. Takes a good verb though to retain stereo 3D imaging this way. You really have to be on your game programming the verb. Puters are serial devices and two identical reverbs will not match up time wise. It's a little better now with hyperthreading and multiple cpu's.
This is not to say that source based reverb is not real cool for 3D imaging. It's how we did it in the old days of analog, sidechain FX bussing.

[kelldammit]

hehe. okay, so then use various very short (i.e. early reflection-short) delays as inserts on the channels you'll send to the aux-ed verb...routing 100% wet delay signal to the verb, but 100% dry to the main mix bus...

if not, then set up a bunch of the delays as above, but on aux busses, and route your dry track's aux send to one of those delays first, then route the delay outs to the aux reverb...
would that help create a sense of "space"...?
<twitch>

k