Fascinating, Joel. I like how you emphasize the physics of sound, the foundation of audio engineering; and remind us to try to get it right at the source - Al Schmitt comes to mind. Once again, learned a lot. Thank you so much.

Great video Joël, thank you! Exactly that, most reverbs are meant to emulate reflections, not place the dry source on the stage. That's why most reverbs sound weird at 100% wet, because it's just the reflected signal. At 100% wet, it's as if the dry source were removed from the soundstage but its reflections were still there. As you said, at more reasonable values, the result is a basic layering of the original dry sound and the room, which isn't realistic either. The predelay has a big role too.

Eye opening! Thank you for this. Adding proper depth has been one of my biggest challenges when mixing.

Super helpful and excellent explanation! Thanks Joel!

Excellent tutorial as usual, Joël. Thank you very much.

I just love this video. So enlightening and at the right time now that I‘m building my new orchestral template.

Great advice as always, thanks !

Very cool!!! Thank you

The limiting technique looks very cool. We have also "room simulators" and mic positions, but also binaural panners . The convolution reverb like Ir1 with direct function turned off also helps. The most archaic and hard core technique i guess is to low the volume and increase velocity.

Very helpful! Love the idea of fixing the the source first before adding the reverb. Now im deciding which reverb to get. Eventide 2016 seems to be the one pros are using for mixing orchestral music. Especially Alan Meyerson he uses a lot. What do you recommend? Is 2016 reverb worth it or could I get the same effect on a lot less expensive plugin?

Thanks for addressing this extremely common mistake I see from composers. I personally thought your drum loop examples would have been an excellent way to show how narrowing the width can make it sound further back, but I admit, there's an element of taste. Another common mistake is to have a large pre delay in the reverb, which is the opposite of what one wants when trying to push a signal further back in the mix.

Awesome content Joel! What do you think about Mir Pro 3D for this? Works best with dry sounds? Have you tried it out?

Merci pour tes tutos c'est vraiment utile ! Je compose de l'orchestral et bien qu'une partie du mix se fasse dans l'orchestration j'ai vraiment des difficulté pour savoir ce que je dois faire à part mettre une reverb par ci et par là. Dommage qu'il est pas les sous-titres en français mais bon ça fait travailler l'anglais !

ÉVIDEMMENT ! 😄

Would JD Room Widener be appropriate for this same situation, adding it before sending it to the reverb sweetener? Or, maybe a future JD plugin heading our way that tackles this? 😃

Super intéressant ! Pourquoi n'évoques-tu pas aussi la possibilité d'une reverb en insert 100% wet ? C'est (ou c'était) par exemple l'usage traditionnel sur des banques ultra-dry genre Samplemodeling, avec une reverb à convolution.

Why don’t you put the reverb as an insert instead of a send and mix the dry/wet knob? On peut parler en français si tu veux :)

ça se lâche de plus en plus sur les titres Joël 🤣