In the next of our series of Expert Panel articles, we are going to answer a question from a community member and take a look at the use of reverb in drama production, whether that be TV or Film drama asking “How do you use reverb? What plugins do you use and how?”

The Question

Community member Keith Morrison asked….

“A mystifying aspect of post-production sound for me personally is the use of reverb. This is a topic I believe hasn’t been explored much outside the realm of music and I am sure there are many techniques to be discovered. I am looking to delve deep into the techniques relating to reverb on all aspects of the sound from the types of reverb used, layering reverbs, managing groups of sound such as dialogue, foley and SFX’s. What are the aims and what issues that can arise.”

Rather than one of us answer Keith’s questions, we sent them to a number of specialists to get a broad range of answers.

The Expert Panel

Roger Guerin (RG) comes from the music recording world, after several platinum albums he brings his quest for quality sound to the pictures. With close to 200 entries on imdb.com, he is a rare member of both the Motion Picture Sound Editors (MPSE) and the Cinema Audio Society (CAS). Always working toward promoting the artistic and emotional impact of sound, he achieves the most creative use of technology in the storytelling process, he is a true sound designer, re-recording mixer.

Sreejesh Nair (SN) has more than 250 film titles to his credit and has worked as a senior re-recording mixer for Rajkamal Studios (FutureWorks) in Mumbai in addition to his role at Avid as an Audio Application Specialist. He was part of the First Dolby Atmos Mix theatre installation in India and the first Dolby Atmos Premiere mix room in the world. He has also worked as a version mixer for Hollywood releases from the likes of Warner, Disney, and Paramount.

Iain Anderson (IA) is a mixer/editor at Savalas Post in Glasgow and has experience in a range of disciplines including ADR mixing, dialogue editing, sound design and re-recording mixing. Iain has over 15 years experience in the sound post industry working on a variety of sound to picture projects in almost all genres. Recent credits include, The Nest, Our Ladies and Get Duked.

Simon Jones (SJ) is an experienced Bafta Cymru award winning freelance sound designer, dubbing mixer and Foley artist. He has his own small studio with Avid S6 and Pro Tools where he can tracklay, premix, record voice and foley, or he can work at your place. He is also musical and composes for TV and digital media.

Korey Pereira (KP) is the owner and creative director of Soularity Sound, a post-production company based in Austin, Texas. They recently completed upgrading their space to Atmos. They work on everything from student films to features to immersive audio for 360. In addition to his work as an editor and mixer, he is a lecturer at the University of Texas at Austin and a guest lecturer at Texas State University.

Garrard Whatley (GW) owns Seismic Post Audio in Los Angeles and has worked as a Supervising Sound Editor and Re-recording Mixer for 24 years. His first company RocketWerks was located in Santa Monica, primarily catering to independent films. Still working on indies and larger film productions, he has added television series work over the last 10 years, bringing a cinematic sensibility to his broadcast work. Seismic Post Audio is also home to software development for post audio applications, with an eye toward making Pro Tools session organization and navigation faster and easier.

We asked our panel of experts a series of questions and here are their answers for each of the questions in turn…

What is your role, and when does reverb become of use for you?

SN: I am a Re-Recording Mixer. There are a few ways I think of reverbs. Firstly, it is used for creating a true space of the sound. Secondly, it is used for designs or even creating a disconnect in storytelling and thirdly, if carefully used, it can also be used to tame certain dialogues or foley.

RG: In my role as a re-recording mixer, I always put myself in the audience's seat. I want to be taken by the proposed story, and the use of reverbs permits me to do that. From the start, reverbs are an integrated part of my template, my workflow. I use reverb to homogenize the different pick-up of a scene and give credibility to ADR and foley.

IA: As a dialogue editor, reverb serves mainly as a corrective or matching function. When working with production sound we don’t always have the ability to use only the boom mic, and often we have to edit scenes using a variety of sources from boom mics, to lavalier or clip mics fitted on to actors and occasionally plant mics, as a result, it’s common to print (render) a reverb only clip on the timeline adjacent to the selected mic’s clip to help balance the scene better. The boom usually has some nice “room” on it, ie you capture the sound of the space plus the dialogue, whereas plant mics and clip mics contain far less “room” as they are placed much closer to the source. The same technique applies with printing reverb only clips when it comes to bedding ADR into a scene with production dialogue.

When mixing drama, reverb can help in all sorts of instances, much like ADR or clip mics, a mono reverb can really help foley sit just right in the mix and long tails can help extend a music cue for just the right amount without interfering with the composer’s intention.

On more elaborate projects, reverb can also be used when designing creature vocals, flashback or dream sequences and add to a scene if confusion and disorientation are the desired outcomes.

SJ: I’m a dubbing mixer and re-recording mixer specialising in tv drama. Reverb is used for both practical and creative purposes.

KP: I work as a sound editor and mixer for film and television. While I occasionally use reverbs in the process of designing sound, I typically start thinking about reverb when I put on my re-recording mixer hat.

GW: As a Supervising Sound Editor and Re-recording Mixer, I break down reverb use into two categories across the spectrum of dialogue (DX), sound effects (FX) and music (MX): simply put, Technical and Creative. When prepping a film or TV project, my template includes 2 sends for room reverbs - a mono and a stereo (or surround) verb - a send to an aux for a stereo delay (for outdoor reflections), and two sends for “design”. These 5 sends will be found under dialog, music and effects sections of the template.

My goal is to prep FX, foley and DX with potential room reverbs throughout portions of a film or TV show so that those editors can test how their efforts will fit into the spaces by adding some basic reverb levels.

I leave the “Design” sends up to them - these are for any creative elements that they have leeway to add as they are building their stems.

What types of reverb do you use and what factors aid that decision making?

SN: I use a combination of Algorithmic and Convolution reverbs. The reason for that is, sometimes, a realistic space, or maybe a very odd space (like say a tin bucket), can be achieved quite quickly using convolution reverb. Pretty much all of my dialog mono reverbs for matching are convolution reverbs.

I use an algorithmic reverbs (like the Avid Revibe, Liquidsonics Cinematic Rooms, or Exponential Audio Stratus / Symphony) in cases where I need a 7.0 or a 7.0.4 reverb etc. Plugins like the Cinematic Rooms have a clever method of splitting the signal as well. For example, in a Dolby Atmos mix, you can also use the Screen wides and Screen Tops as well (that can only be addressed as Objects) to spill the reverb.

RG: Since the introduction of convolution reverbs I am all in, they emulate the acoustic environment in such a realistic way, keeping the algorithmic reverbs for fantasy or surround specific tails.

IA: Usually whatever I have to hand but much like all audio gear, I prefer to use plugins I am comfortable with and know how to quickly dial in a setting. I always use plugin reverbs as we use many instances in one Pro Tools session and all elements need to remain active until the final mix has been approved by the client. Instant recall when working on multi-episodic series is also crucial as we’re often working on a few episodes at any given time.

SJ: I use both room simulation reverbs and creative sound design type reverbs for dramatic effect.

KP: As far as decision-making, I go with the flow. When working as part of a team, I tend to use whatever they are using. When I am supervising or mixing, the reverbs I use have evolved over time. The ones I have been using the longest are ReVibe from Avid and Altiverb XL from Audio Ease. For years ReVibe was my go-to choice for film and television work because it was easy to use, didn’t tax my system and had built up a long list of presets that I could use as a starting point for each scene. At some point, I added Altiverb to have a nice convolution reverb. I still used ReVibe for most tasks, but would pull out Altiverb for certain spaces I couldn’t get sounding right. Bigger rooms and anything “through the wall” sounded a bit better with Altiverb.

I was a bit late to the Exponential Audio Party (a number of other mixers I know have been using the R2/PhoenixVerb combo for years), but when they were acquired by iZotope, I took advantage of an offer to pick up the Izotope Exponential Audio Everything Bundle. As I was setting up my new Atmos workflow at the time, I opted to use Stratus 3D for dialogue, effects and diegetic music and Symphony 3D for score. While it took a little more time to dial in spaces, the level of control you get with both of these interfaces is phenomenal. Especially working in Atmos, I like the level of control you have over what goes to the ceiling speakers.

Most recently I have added Cinematic Rooms Professional to my arsenal of reverbs. Like Stratus 3D and Symphony 3D, CRP also supports Atmos. For me, Cinematic Rooms Professional feels like a happy medium. It sounds great and has an intuitive interface to dial in the right setting. This has become my go-to reverb for dialogue, effects and diegetic music. For score, I still use Symphony 3D. It just sounds so good!

GW: Since I have to think logically as well as creatively, I am thinking first in real-world terms for the spaces the characters inhabit. I like having surround verbs (though not overdoing it) to help envelope the viewer in the space the characters inhabit.

Beyond that, if I have specific ideas for reverb-related elements for sound design, I will talk it over with the sound designer. However, I do not like to box anyone in too much, although you do have to provide some guard rails, I like to think of it as putting a fence around the yard they can play in. The creativity of each individual adds so much to the uniqueness, the detailed fingerprint of the soundtrack, that having input from trusted sources is always welcome.

What is your approach to using reverb on production dialogue?

SN: I have 2 ways. One is a mono reverb that I use to fit the dialog on screen and also help with matching the foley as well, which is usually processed and placed. The other is a send that I use to create the Room space as a surround reverb.

That said, there are multiple approaches one can have with reverbs. If the production dialog has a room associated with it and it is a requirement for the distance of the character from the screen, I keep that. Unless there is less activity in the other channels, I leave the reverb as is. The reason is, this helps the dialog and the tonality to cut through the mix rather than having a surround verb and having to make that audible.

If the scene is more sparse, I use the surround verb send to create a sense of the space there. Personally, I have felt that the production sound effects along with the dialog don’t react well to a surround reverb compared to just dialogues. Now, when I have to match sound effects or foley to the production dialog, I first use a mono reverb on the effects and foley and then follow the same approach as I mentioned above to see if I need to have it as a surround reverb.

RG: My approach is fairly simple, as mentioned previously its convolution reverbs all the way. First I determine the acoustic environment of the scene, name the preset, then go to the next scene, determine its acoustic environment, name it and so forth.

Quick trick, I always ask for the BGs to be included with the dialogue edit, that way I can jump around based on the BGs edit. Don't forget to apply the same preset changes to the foley, because dialogue and foley come from the same source, with some artistic differences.

IA: Less is more I often find. I’ve never had a director ask for more reverb but I have been asked to reduce the amount on reverb on the odd scene. Usually, the picture leads the way and the quality of the production dialogue is also another factor. Well recorded and upfront sounding dialogue may need some artificial reverb to help put it in an onscreen environment, particularly if it was shot on a set or soundstage. Large spaces such as hangars, churches, halls, caves etc could always use some help from adding reverb to help sell the space in which the scene is set, particularly if it works to serve the story.

SJ: Most of the time reverb is used on production dialogue for matching lines or for clipped or perhaps overlapping. If there’s an interesting interior space that could be enhanced by the use of reverb. Also sometimes exteriors too, such as forests or a street.

Reverb is crucial for matching ADR to production dialogue of course, where mono reverb is useful.

KP: For me, I tend to pick a clean line of production dialog from one or two of the lead actors and then move them down the timeline, dialing in a setting for each scene in CInematic Rooms Professional. I tend to use an A and B verb send for dialogue, effects and music and checkerboard a setting for each scene and apply the same setting to each stem. Especially when working in Atmos I like to get the size and reflectivity of the room right bouncing off the surrounds and overhead channels.

GW: As mentioned above, I like to surround the viewer in the space that the characters inhabit - though not so much that it becomes distracting. I think it’s a bit of hyper-realism, but then again - most movies are. But it has to fit the overall tone, themes and motifs developed for the project. Also, sometimes, dramatically it is better to have a proximity, a dryness, and an intimacy to dialog that comes through stripping out reverb (or leaving it out).

The scope of the scene matters - as well as the scope of the shot. Within a scene, you may move to the more intimate sound (less reverb) as the shots bring us closer to the characters. It can be very effective if a scene has a particular line of dialog that can be highlighted by its lack of reverb as a conversation becomes more intimate.

How does the use of reverb vary for the different groups of sound? (Dialogue, foley, SFX, Ambience, Music)

SN: We are quite used to understanding how dialogues work with reverb, consequently most of my approach is as I mentioned above for dialogues. I do a high pass and a low pass on the reverb aux before the reverb plugin. This helps me to control the reaction some reverbs have to these frequencies. But then again, there are requirements where this may have to be tweaked. So, it’s all up for change at all times.

I sometimes use a dynamic EQ like the Fabfilter Pro-Q3 after the send on the lower mid-frequencies. The reason I use a dynamic EQ and not an EQ is so I get the control of the tonality for the overall reverb. This helps keep the low mid buildup under control.

For Foley, I follow the same approach as the Dialogues. Having a mono to match Dialog / Scene and a surround to spread. Another approach I have is to use the SPL Transient Designer to tame down the transients, especially on footsteps and incidentals. The reason is that reverbs have a different reaction towards transients and has a tendency to smear.

SFX verbs are again used as sends. These are almost always surround reverbs to make them feel bigger and also fill the space depending on its distance from the screen. So, say a gun cocking can be LCR if it’s a parking lot shootout scene, for example.

Music verbs are probably the most creative ones. There are approaches to this where a certain set of reverbs are used to create the space of the recording room or to match overdubs, while the longer lush reverbs are used to create the grandeur or a creative call.

Although I must admit I have also done some extremely wild usages of reverbs. In a film that I mixed, we had the opportunity to create a very experimental mix. One of the things I did was to have reverb on the master of the score and ride the wet/dry mix as per the dialogues instead of ducking it. This won’t work across all genres and is most certainly not something that shouldn't be done without consideration, but the film in context lent itself to this. In this format, I was able to smear or defocus the score against the dialog. Of course, this required all on the team to agree with it as it was a radical departure from the convention!

RG: As you might have guessed, the dialogue and foley get the same convolution reverb with the same preset changes.

Since foley is part of the SFX stem the convolution reverb is also present for the SFX, with the addition of an alternate reverb (convolution-algorithmic), for that magic touch when needed.

Added to that, I use a third reverb, with a longer tail, that is usually panned towards the surrounds.

Ambiences (BGs) don't really get a reverb send. If a particular sound needs a touch of reverb, I drag it down to the SFX, but they get a DDL send for that extra slap.

Music of course gets its own reverb, and usually from a different manufacturer, just to get those subliminal differences. It should be noted that if a music cue comes from an on-screen device, I copy over the Dialogue-Foley convolution reverb aux, so that the acoustic treatment matches.

Even voiceover (narration) gets a small amount of reverb, like a drop shadow, just a little bit, as an insert with 2-4% mix.

IA: Reverb is used generally to help "bed things in” to an onscreen environment or “fix” less than ideal recordings, whether it be ADR, foley or sound effects in which the content of the sound is desirable but won’t work in the scene unless processed to sound like it’s in the “space”.

With Music, however, reverb can be used more creatively, it can be used to extend the tail of a cue so it fades naturally or it can be used to slowly and respectively drift a cue into silence or dream sequence etc. Reverb can also be used for source music, to place a music track in a space such as a room, nightclub, bar etc.

SJ: I use grouped reverb plugins across dialogue and fx stems as a starting point as fx need to match any dialogue reverbs. Sound fx tend to be recorded dry and so need room reverbs for interiors to bed them in.

Music reverbs are different, of course, and tend to be used less. Source music such as club/ pub scenes get similar room reverbs as fx and dialogue. Composed music is usually left alone and dry if the mix is right, except perhaps for extending cue tails if a director wants to come out of a cue early perhaps.

KP: I touched on this a bit earlier, but I like to use the same reverb settings across all three food groups. Typically, I then have a third reverb send for the music stem with an instance of Symphony 3D for any score. Depending on the type of music I then choose either a hall or room that suits each cue.

GW: As mentioned above, each category has both technical and creative use. I am looking to look at each category in turn…

DX -TECHNICAL: My mono reverb is used in the event of, say, a line of dialog that is not matching the sound of other lines around it due to its dryness - or, more commonly, if an editor has cut a line of dialog short or mid-sentence, having some ring-out just at the end of it will make it sound less “cut-off” and can save the day (of course you may need to bring in some “Dialog Contour” from iZotope RX to help with other aspects - but that is another topic!)

DX - CREATIVE: I think of the addition of the stereo or surround verb of the space the characters occupy as part of the ‘creative’ aspect, though it really straddles the line between technical and creative. Beyond that, if a scene calls for something more extreme - like a subjective shot from a character’s point of view who is, say, drunk, we might EQ, pan and reverberate in unique ways to underscore and support what he is experiencing - and have the voices of those around him sound differently than his own voice when he speaks.

FX - TECHNICAL: Be it foley or SFX, it may be helpful (as with dialog) to have a bit of mono ring-out for cut-off or non-matching sounds.

FX - CREATIVE: As I said above, I like to leave this to the sound designer, but love to discuss ideas and give a starting point for where things may grow. Designers have wonderful bags of tricks for creating interesting design through the use of stereo delays or reverbs. Additionally, though it may sound strange to use a mono reverb, I find that if I am trying to sell something as “real” in a documentary or reality-based television program, using a stereo reverb for elements that are supposed to be “caught on tape” sounds like bad ADR imposed on a scene (this is just my sensibility, please understand). So, the use of mono reverb in making something seem “more real” may in fact be considered the preferred creative choice in such circumstances (again, depending on the overall tone of the piece).

MX - TECHNICAL: As above, you may want to end a song on a downbeat that isn’t the true end of the song (in other words, the song is cut short by the editor). Having it ring out with a reverb may help tremendously. Also, if you have music that is meant to be a part of the scene (source, or diegetic music), you may want to make it more real by EQ’ing it, maybe even making the cue itself mono, and adding reverb on top of it that matches the room (the reverb will provide stereo elements to the mono source). I personally find it unrealistic to hear normally panned-out music in a scene (guitars left, keyboard more on the right, etc.) that is supposed to be coming from a single-point source. Now, if it’s supposed to be the score, then of course pan it wide as originally mastered. But if it’s playing in a scene, I think fitting the scene and maintaining the reality of the space is more important.

MX - CREATIVE: Composers know what they are doing in writing the score for specific scenes, so I generally use an upmixer to create the space there. Occasionally I’ll add some reverb if I feel a scene calls for it, or feel it can enhance a mood. Sometimes, though, we get canned music from libraries where it makes sense to change it up a bit, EQ it, add verb or delay, give it a different feel that is better suited to the mood of the scene.

How do you use reverb to create a sense of space and depth?

SN: Personally, the sense of space in cinema comes from the spread. When I talk of depth, I usually refer to the distance the character has from the screen. Those are almost always mono reverbs that I process. Predelay has a huge role to play in this as well. Having a well-placed value will add immensely to the cohesiveness of the mix as well as the depth of the sound.

RG: In my template, every reverb send is set to pre-fade, and when the main character leaves a room, I follow. Of course, if the character is in an exceptional circumstance, the second reverb kicks-in.

The same goes with every stem, even the music cues have sends in pre-fade. There is nothing better to give a push at the end of a cue to spill over to next scene.

IA: In my template, I have a number of different instances of reverb. I tend to have a mono reverb for dialogue and FX to help bed in lav mics, foley and close SFX recordings. In addition to this, I’ll have a stereo reverb for all dialogue, ADR and loop group for use in scenes where I’d like to add a bit of space and weight to the screen channels to help support the centre channel dialogue.

An example might be a kitchen, bathroom, small office space etc, I’ll have a couple of 4.0 reverbs for putting all the dialogue into a space that matches the larger location on the screen, it could be a large foyer, church, a hall, or other large space where the reverb would be heard all around the space. I’ll have another design reverb that I keep up my sleeve for when the moment is right to use a really long tail for creative purposes or special effect.

I use a similar technique for FX and Foley but typically use an LCR over a stereo instance so that I can keep those sounds anchored to the screen but provide extra width rather than it being all mono. Occasionally I’ll use a 5.0 or 4.0 reverb for FX and Foley but only if it doesn’t distract the listener from the onscreen action.

In the odd occasion where I have used a specific setting on a plugin that has no 4.0 or 5.0 equivalent to a stereo impulse response, I’ll use 2 stereo instances with one panned to left and right on the screen channels and the other panned to left surround and right surround with a small delay on the rear plugin so I can control how much of the rear signal goes to the back of the room whilst checking phase compatibility on the stereo downmix.

SJ: I’ve probably covered this in answers so far, but for me, reverb is used mostly to create the illusion of reality from the palette of sound fx and dialogue.

KP: I know every mixer approaches this differently, but especially when working in Atmos, I like a little bounce coming off of the surround and overhead channels. When done right, having that little bit on the voice or footsteps really establishes the space.

GW: Although I think I’ve covered this question to a degree, let me add that using stereo or surround reverbs that match a room, from a technical standpoint, can have a wonderfully subtle, almost psychological effect in enveloping the viewer in the characters’ spaces. Experimenting with pre-delay in your reverbs can help in defining spaces, especially as you move closer or farther away from the subject.

Delays are great for outdoor spaces - besides being realistic, they can bring a sense of emptiness (if that’s what you’re going for) or scale/width. In a normal application, I find this better used subtly, or at least closer to subtle on the paradigm of dry to wet.

Do you prefer convolution reverb or algorithmic reverb?

SN: I use both as per the reasons I mentioned above.

RG: Both have their uses, however, I am a big convolution fan, but some things are better processed by an algorithmic reverb, it just depends. It should be noted that since the arrival of convolution reverbs, algorithmic reverbs have got a lot better.

IA: Ha, the million-dollar question. I like to use a combination. When bedding production dialogue or ADR into a scene I use AudioEase Altiverb, it sounds so good and natural and is very quick easy to select a preset that will get you close then tweak to suit. When I’m looking for something more fun and to use for special effect, I’ll use an algorithmic where I have more control and not necessarily looking to replicate the sound of a real-life space. When I’m editing dialogue, I use whatever is handy. I know and have made a few specific presets for a number of stock reverbs that will just work or be tweaked more easily than a convolution.

KP: In general, algorithmic. They use less computer resources and for me at least, are a bit more dynamic when it comes to dialing in a space. There are certain times I will still go for a convolution reverb, like Altiverb. For example, big spaces (like a stadium) or anything “through a wall, window or door.” Also, sometimes when trying to match ADR to production, I will open up a mono instance of Altiverb as an AudioSuite and dial in and render a little reverb that way.

GW: Convolution for practical use - that is my main focus in creating space for a film. I welcome other reverb types from designers and musicians.

Which plugins do you use?

SN: Depending on the requirement, I use a combination of Avid Revibe, Altiverb, Cinematic Rooms, Seventh Heaven Professional, Slapper and Symphony / Stratus 3D.

RG: My convolution reverb of choice is TL-Space (now Space from Avid), I have an exhaustive library that keeps growing over time. Then Excalibur from Exponential Audio for the crazy-magic stuff.

An all-time favourite is Avid's Revibe for its sound and the large number of controllable parameters it has.

Since going to Atmos, I followed Alan Sallabank and went for the Symphony 3D also by Exponential Audio.

Finally, to be compatible with incoming projects I have a couple more such as D-Verb, Abbey Road Plates, Renaissance Reverb, IR1 Convolution Reverb and Waves TrueVerb.

IA: AudioEase Altiverb for convolution, and for algorithmic, I use Avid’s own Reverb One, ReVIbe and Acon Digital Verberate Surround. The Acon Digital verb is fairly new to me but I like the small spaces the best. It has a nice clean interface too, and I have been using it a lot recently to help bed ADR into small spaces.

SJ: Revibe is good and flexible for my needs. I try to stick to popular fairly standard plugins due to moving around studios.

KP: I started with ReVibe from Avid and Altiverb XL from Audio Ease then expanded to Exponential Audio Stratus 3D and Symphony 3D. Most recently, I have added Cinematic Rooms Professional to my arsenal of reverbs.

It is also worth noting that having a solid delay, like Slapper, can be an important part of the equation. In some cases, I will turn off the early reflections of my reverb and let Slapper handle this task. Since moving to CInematic Rooms Professional I have had to do this less, but for certain spaces, say a reflective hallway with marble floors, sometimes using a discrete delay, like Slapper, in combination with your reverb can get the space sounding just right.

GW: Primarily Altiverb for verbs, and (sorry to disappoint those anti-Waves types) Manny Marroquin Delay for my exteriors.

Do you use hardware reverb units? If so which ones?

SN: I used to use the TC 6000 and the Lexicon 960 L. But I prefer plugins now.

RG: I have to admit I don't make use of external units, firstly it would cost me a fortune (my sessions could have up to 15 different reverbs). Then the use of recall is a given in a software version, is more difficult for hardware. The implementation of automation isn't that deep in hardware, essential in my workflow. Lastly, the software versions sound so great.

IA: None, instant recall and quick customisation is a must for me, I’m solely an "in the box” mixer.

SJ: No. Sessions need to be self-contained and portable generally.

KP: All software. Maybe if I only worked in one room all the time, but I like the flexibility of bringing my reverbs with me anywhere.

GW: No.

What techniques do you use to aid the movement with the picture?

SN: I have the FMP enabled on the tracks that I want the reverb to be able to match the movement. This was also one of the reasons I started processing with the mono reverbs instead of sends. This makes the depth of the audio stay consistent with the pan while the room spread then gently helps with placement.

Another method I occasionally resort to us using Spanner on reverbs. Especially if we have, say concert halls, and there are camera pans that require the sound to move along with it to aid the urgency on screen or the experience needed.

IA: If following a specific action or character on screen, panning a mono printed or a rendered version of the reverb with the dry sound to follow is useful.

Another technique when spreading musical elements is to print a delayed or offset reverb only version and pan it to the opposite side of the soundtrack to give the feeling of width. I’ve also used this a number of times when placing dog barks and other off-screen sounds by having the direct signal on one side but the reverb or reflection on the opposite.

SJ: I’m only generally trying to fake reality. The channel controls in Revibe can be useful.

KP: Once I dial in the settings for a room, I really just ride the send automation to decide how much I need to feel right. Every once and in a while, I might automate a second setting, on the alternate reverb send if two sounds need to come from a different space at the same time.

GW: I’ve made some reference to this throughout, but changing your aux level sends, or changing the pre-delay can aid you in “following the action” and the intimacy or distance in the scene. Altiverb also gives you the option of moving the source-point around, giving weight to a particular area for the reverb to reflect back to; as well as options for raising or lowering separate speaker elements (like front vs surround) which can also have interesting effects on a scene or a moment.

Is there anything else you would like to share on using reverb in drama production?

IA: Reverb can act like glue. When dealing with multiple different sources, be it production dialogue, ADR, foley recorded in a dry and quiet studio, an alarm sound generated from a synth or some source music to be playing on a kitchen radio, the right reverb choices can really make a big difference in providing a convincing and believable soundtrack.

Having the ability to EQ the return of a reverb plugin can be invaluable in putting the final polish when adding artificial reverb.

Some reverb plugins offer a reverse function built-in, that can be helpful for some interesting special effects. Character vocals and ghostly voices.

Reverb time is often shorter than you think it is or needs to be so dialled in to where it feels right then make the tail a bit shorter.

It’s important to remember that if when an artificial reverb isn’t getting the sound you need, it can be more effective to record the source sound in a space you like the sound of, “worldize" it if you will. Sling up a speaker and a mic and record the sound in a real space. A technique not often used but can be very helpful.

KP: There are so many reverbs on the market right now. Honestly, a lot of them can get the job done. If you work as part of a team it is best to all pick ones that serve your collective needs. Beyond that, most companies let you demo their products before buying.

While you can read for days about what other people think of reverbs, the best thing you can do as a mixer is to give a reverb a go and really listen to how it sounds to you. The user interface is also a huge factor. When choosing a reverb, you want a product that will let you get to the result you are looking for in the least amount of time. Find what works for you, build up a collection of personal presets, and stay the course until it no longer works for what you need.

GW: Ultimately, the story, the characters, the emotions and the director’s intent need to drive the bus here. We can come at it with our sensibilities, and if we’re lucky, things will mesh. The first thing that needs to happen is to watch the film, watch it again and take notes, then talk about it with the director and creatives - figure out who they are, from watching their film, then figure out who they are, by discussing it with them. As an example, look at the role reverb plays in FIncher’s films - nearly every space has a hyper-real reflection. Then see the movie “Munich”, which has a very 70s vibe and has a documentary-like feel. Much of the dialog there sounds like it’s lavalier throughout, with little change in dynamic range and level. This subtle detail places it in its time to our ears, as much as the slow camera zooms that were common in that era do the same. So here, a lack of reverb is something that helps the story and the drama.

The goal is to get the feel for the film, then decide how you can define your spaces so that the emotions of the characters can best be portrayed through sound.

In Conclusion

We hope that this article has been helpful and goes a long way to answer Keith’s questions as well as help others with tips and tricks on using reverb in drama production.