mikehende wrote:It sounds a hell of a lot better and works to perfection running the PC's OUT directly into the fx machines then back out into the line. I don't get why everyone is against this if this is the way it sounds best, I just don't get that??
No one is against it. You should do whatever sounds best, and works best, for you.
All they are saying is that the standard 'professional' approach is to run reverb effects in a send/return configuration using aux sends to route the source(s) to the reverb and extra desk channels to bring back the 'wet' reverb signal(s).
This configuration allows the dry/wet balance to be controlled on faders, and allows multiple sources to share the effects processors in the the most flexible way. (This naturally assumes the reverb unit is set up appropriately to function correctly in this arrangement).
However, if you prefer to run the source directly through the reverb processor(s) that can work too. Your control of the effect and the dry/wet balance then resides entirely on the processor itself.
To work this way you also have the option of wiring the effects processor(s) directly between the source and the console. Or, with the right cabling, you could insert the processors into the desk channel's signal path using the console channel inserts. There are minor pros and cons to both techniques.
It would be well worth your while finding and reading a book on basic studio techniques to build an understanding of how consoles work and typical studio configurations since these appear to be new concepts to you.
There are many to pick from, but one that I grew up with and which still provides a good, solid foundation is: The Sound Studio by Alec Nisbett