Welcome to Sage Audio. Today let’s look at  the Top 10 Vocal Reverb Tips. But first,  
Welcome to Sage Audio. Today let’s look at  the Top 10 Vocal Reverb Tips. But first,  

If you have a mix that you need mastered,  
If you have a mix that you need mastered,  

send it to us to receive a free mastered  sample of it with the link in the description.
send it to us to receive a free mastered  sample of it with the link in the description.

Where to Insert Vocal Reverb
Where to Insert Vocal Reverb

When you insert a reverb plugin on  your vocal, it’s best if used later  
When you insert a reverb plugin on  your vocal, it’s best if used later  

in the chain after corrective EQ,  compression, saturation, de-essing,  
in the chain after corrective EQ,  compression, saturation, de-essing,  

and optional resonance reduction. The  reason being, you want your vocal to  
and optional resonance reduction. The  reason being, you want your vocal to  

be balanced and dynamically controlled  prior to adding multiple reflections.
be balanced and dynamically controlled  prior to adding multiple reflections.

Otherwise, you’ll likely exacerbate any issues  your vocal has, as well as make your reverb sound  
Otherwise, you’ll likely exacerbate any issues  your vocal has, as well as make your reverb sound  

unnatural. Let’s listen to the reverb inserted  at the beginning of the chain, then at the end.
unnatural. Let’s listen to the reverb inserted  at the beginning of the chain, then at the end.

Should Vocal Reverb be Parallel?
Should Vocal Reverb be Parallel?

Most reverb plugins have a wet/dry or mix  dial, meaning almost all reverb is already  
Most reverb plugins have a wet/dry or mix  dial, meaning almost all reverb is already  

being used in parallel since the plugin  itself is splitting the signal. That said,  
being used in parallel since the plugin  itself is splitting the signal. That said,  

you may want to insert a reverb on an auxiliary  track since it lets you process just the reverb.
you may want to insert a reverb on an auxiliary  track since it lets you process just the reverb.

For example, if I use a reverb  plugin on an aux track, I can  
For example, if I use a reverb  plugin on an aux track, I can  

insert an EQ after the reverb to shape the  reflections. Let’s listen to this example,  
insert an EQ after the reverb to shape the  reflections. Let’s listen to this example,  

and consider how reverb introduced with an  aux track offers some unique advantages.
and consider how reverb introduced with an  aux track offers some unique advantages.

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Pre-Delay and Vocal Reverb
Pre-Delay and Vocal Reverb

Pre-Delay is a great way to control the timbre of  the vocal’s reverb - for example, in most cases,  
Pre-Delay is a great way to control the timbre of  the vocal’s reverb - for example, in most cases,  

if I use a very short pre-delay more of  the vocal’s transient will be reverberated.  
if I use a very short pre-delay more of  the vocal’s transient will be reverberated.  

This will cause a more washed-out sound -  whereas a longer pre-delay does the opposite.
This will cause a more washed-out sound -  whereas a longer pre-delay does the opposite.

If you use too long of a pre-delay  the effect will sound unnatural - or  
If you use too long of a pre-delay  the effect will sound unnatural - or  

if you use a short pre-delay paired with  short reverb it’ll also sound unnatural.
if you use a short pre-delay paired with  short reverb it’ll also sound unnatural.

Let’s listen to reverb with a longer  setting and consider how the pre-delay  
Let’s listen to reverb with a longer  setting and consider how the pre-delay  

affects the intelligibility  and transients of the vocal.
affects the intelligibility  and transients of the vocal.

Hz.  
Hz.  

Specific Vocal Reverb
Specific Vocal Reverb

This trick is definitely more for creative  purposes since the effect is unnatural,  
This trick is definitely more for creative  purposes since the effect is unnatural,  

but let’s try it out nonetheless. I'm going to  set up 3 sends or busses from my vocal - on each  
but let’s try it out nonetheless. I'm going to  set up 3 sends or busses from my vocal - on each  

respective auxiliary track I’ll insert a linear  phase EQ, and isolate the lows, mids, and highs.
respective auxiliary track I’ll insert a linear  phase EQ, and isolate the lows, mids, and highs.

Next, I’ll insert my reverb plugins and use  different settings on each one - so maybe  
Next, I’ll insert my reverb plugins and use  different settings on each one - so maybe  

I’ll use room emulation on the lows, chamber  on the mids, and a bright plate on the highs.  
I’ll use room emulation on the lows, chamber  on the mids, and a bright plate on the highs.  

It’s really up to you what to choose, but  this gives you a lot of creative freedom.
It’s really up to you what to choose, but  this gives you a lot of creative freedom.

Let’s take a listen.
Let’s take a listen.

Layering Various Reverb Types
Layering Various Reverb Types

Although layering reverb types doesn’t create a  realistic sound, it’s very useful when trying to  
Although layering reverb types doesn’t create a  realistic sound, it’s very useful when trying to  

create a full and impressive vocal. Usually, I’ll  start with some form of room or studio emulation  
create a full and impressive vocal. Usually, I’ll  start with some form of room or studio emulation  

with subtle settings to thicken the vocal with  short reflections and help it blend into the mix.
with subtle settings to thicken the vocal with  short reflections and help it blend into the mix.

Then I’ll introduce a longer  stylized reverb like plate,  
Then I’ll introduce a longer  stylized reverb like plate,  

chamber, hall, or something to help the  vocal fill out a great amount of space.
chamber, hall, or something to help the  vocal fill out a great amount of space.

Let’s take a listen to it and notice  how the vocal becomes more impressive.
Let’s take a listen to it and notice  how the vocal becomes more impressive.

Saturation Before Vocal Reverb
Saturation Before Vocal Reverb

Saturation helps control dynamics and make a  vocal sound fuller - if you use it before reverb,  
Saturation helps control dynamics and make a  vocal sound fuller - if you use it before reverb,  

the plugin is going to have more to  draw from so to speak. In other words,  
the plugin is going to have more to  draw from so to speak. In other words,  

the increased low-level details of the vocal  will be loud enough to cause reverb reflections.
the increased low-level details of the vocal  will be loud enough to cause reverb reflections.

Let’s listen to the reverb alone, and then enable  
Let’s listen to the reverb alone, and then enable  

saturation before the reverb to hear  how it increases the reverb’s detail.
saturation before the reverb to hear  how it increases the reverb’s detail.

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and learning new chords incredibly easy.  The Auto Chord feature lets you quickly  
and learning new chords incredibly easy.  The Auto Chord feature lets you quickly  

create chords within a specific key,  then transpose them if you need to.
create chords within a specific key,  then transpose them if you need to.

The chords it generates always  have a very musical progression,  
The chords it generates always  have a very musical progression,  

and the plugin even lets you switch the genre.
and the plugin even lets you switch the genre.

Also, you can drag and drop the midi Musia creates  
Also, you can drag and drop the midi Musia creates  

to your DAW, meaning you aren’t  limited to any particular sound.
to your DAW, meaning you aren’t  limited to any particular sound.

Right now they’re having a 30-day free trial, so  check that out using the link in the description.
Right now they’re having a 30-day free trial, so  check that out using the link in the description.

Parallel Compression Vocal Reverb
Parallel Compression Vocal Reverb

In chapter 2 we talked about the  benefits of using a parallel or  
In chapter 2 we talked about the  benefits of using a parallel or  

aux track for your vocal reverb -  one example is using compression  
aux track for your vocal reverb -  one example is using compression  

after reverb on this track. The reverb is going to  reflect and reverberate the vocal as you’d expect,  
after reverb on this track. The reverb is going to  reflect and reverberate the vocal as you’d expect,  

but then the compression controls  the reflections’ dynamics.
but then the compression controls  the reflections’ dynamics.

Furthermore, with the attack and  release, we can control the timbre  
Furthermore, with the attack and  release, we can control the timbre  

and ADSR of the reflections. Let’s listen to  it while using smoother compression settings  
and ADSR of the reflections. Let’s listen to  it while using smoother compression settings  

and auto make-up gain to increase the  quieter details of the reflections.
and auto make-up gain to increase the  quieter details of the reflections.

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Upward Compression on Vocal Reverb
Upward Compression on Vocal Reverb

Let’s do the same thing we  did in the last chapter,  
Let’s do the same thing we  did in the last chapter,  

but instead of downward compression,  we’ll use upward compression. This  
but instead of downward compression,  we’ll use upward compression. This  

uses a unique threshold to measure and  capture quieter aspects of the signal,  
uses a unique threshold to measure and  capture quieter aspects of the signal,  

compresses it, and then uses automatic  makeup gain to bring these details forward.
compresses it, and then uses automatic  makeup gain to bring these details forward.

When used on reverb, all of the reflections  that were being masked by louder ones  
When used on reverb, all of the reflections  that were being masked by louder ones  

become easier to hear. Let’s take a listen. 
become easier to hear. Let’s take a listen. 

How to Duck Vocal Reverb
How to Duck Vocal Reverb

Let’s go back to using downward compression after  the reverb, but this time keep the auto-make-up  
Let’s go back to using downward compression after  the reverb, but this time keep the auto-make-up  

gain off. Additionally, let’s sidechain an  instrument or signal that we want to attenuate  
gain off. Additionally, let’s sidechain an  instrument or signal that we want to attenuate  

the reverb - for example, we could cause the vocal  reverb to be attenuated whenever the snare hits.
the reverb - for example, we could cause the vocal  reverb to be attenuated whenever the snare hits.

This has both practical and creative  applications. Let’s take a listen to  
This has both practical and creative  applications. Let’s take a listen to  

it being used creatively by using a ghost kick  to unrealistically attenuate the reflections.
it being used creatively by using a ghost kick  to unrealistically attenuate the reflections.

How to Accurately Time Vocal Reverb
How to Accurately Time Vocal Reverb

This is something I’ve gotten wrong in the past.  I’ve said if you want to time your reverb to your  
This is something I’ve gotten wrong in the past.  I’ve said if you want to time your reverb to your  

BPM divide 60000 by the BPM to get a quarter  note in milliseconds; however, odds are the  
BPM divide 60000 by the BPM to get a quarter  note in milliseconds; however, odds are the  

reverb tail will drop below our threshold  of perception before the end of the note.
reverb tail will drop below our threshold  of perception before the end of the note.

With that in mind, let’s still use this  equation to find a quarter note, but then  
With that in mind, let’s still use this  equation to find a quarter note, but then  

increase the value by about 5% to keep  the level of the reflections audible  
increase the value by about 5% to keep  the level of the reflections audible  

long enough for us to hear the full note.
long enough for us to hear the full note.

Let’s take a listen to the difference  and keep in mind it’ll be subtle,  
Let’s take a listen to the difference  and keep in mind it’ll be subtle,  

but it adds up when used on multiple instruments.
but it adds up when used on multiple instruments.

If you have a mix that you need mastered, send  it to us to receive a free mastered sample of it  
If you have a mix that you need mastered, send  it to us to receive a free mastered sample of it  

with the link in the description.  Thank you so much for watching.
with the link in the description.  Thank you so much for watching.