LiquidSonics, makers of the acclaimed Cinematic Rooms and Seventh Heaven, sat down with some top producers and engineers and got some really cool reverb tips. We’ve assembled them here, they are well worth checking out and trying on your own tracks.

The tips shared so far are for using reverb on vocals and drums. Although created by LiquidSonics they are not product specific and can be used with any reverb units.

Here’s some examples of the reverb tips, transcribed from the videos.

Jonas Westling - Vocal Reverb Tip

Don't be afraid to use several reverbs and vocals.

I use several reverbs in different parts of the song. So maybe in the first verse a smaller room or a smaller plate, a more narrow plate. Then for the choruses, you might add a longer tail reverb on top of that. And for the the third chorus, you might add a brighter reverb.

So the song progresses with a different spaces for each section.

Also try to EQ reverbs to fit the song automating reverbs as required. For the first verse might be a drier sound than the second verse. The first chorus might be a smaller sound than the second chorus and they might open up really big for the last chorus.

So you get this nice progression and make every part interesting and a little bit different to each other

Steve DeMott - Drum Reverb Tip

My big tip for keeping the drums spacious and wide is an MS Eq on the returns, where I take a lot of the low out of the sides and I dip somewhere around 2K in the mid and then boost the top end on the sides. So it feels like the reverb does this (gestures arms in Y shape) as you listen to the drums.

So the cymbals spread out and they sort of hug the rest of the sound, versus just being kind of there in the mix. I think it's a special sound, I like it. It keeps the drums out of the way of it keeps them feeling really big.

Dom Morley - Vocal Reverb Tip

My number one reverb tip on vocals is if you want to keep the vocal sort of present and close to you, but you want a big reverb on it. Your biggest problem is when you put a big reverb on it, the vocal disappears back into the room.

If you still want the vocal close, put a pre- delay on that reverb.

The pre- delay makes the room still sound big, but makes the artist, the singer or the guitarist, whatever you want upfront, it makes that stay up front. And it just sounds like the room behind them has got bigger rather than they've been lost into it.

William Wittman - Drum Reverb Tip

When it comes to drums and reverb, I very rarely want to hear the low end of the kit in the reverb . I will often only send things like snare drum, perhaps toms into the reverb. I will very rarely send the whole kit or the bass drum or the cymbals into the reverb, because those are things that I might want to create a little space around them with something like Cinematic Rooms.

But if it's an actual noticeable reverb tail, I might want it on a snare drum, but I very rarely want that on something like bass drum or cymbals that are the fundamental rhythmic element of the bottom, I don't want that smeared. So I guess my tip would be choose whichever elements of a drum kit get reverbed and which ones don't.