Tim Wyatt

Listening to Wayne Rowley's orchestral compositions (see 'Quickies' section), it was obvious to me that he actually needed one Concert Hall-style reverb across the entire mix rather than the separate ones built into the sound modules. When diverse manufacturers are involved, supposedly similar reverb settings are often nothing of the kind, particularly in terms of decay length and tonal character, and of course samples don't always have a 'dry' alternative. On this particular project, given that so many sounds were being triggered via MIDI, recording the sources as audio to the PC and using a plug-in reverb was not an option. Even mastering to the PC and using a plug in-reverb across the mix (where software allows) removes the opportunity for individual send gain control to the reverb from source signals. The solution leads us back to the simple outboard reverb unit and line mixer (Wayne actually says he's looking to purchase a Lexicon MPX200 and already has a Spirit Folio mixer). So don't throw out that old reverb unit just yet — you may occasionally need it to emulate a single acoustic space for multiple sound sources!

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