jeffsw6 @ Wed Jul 01, 2009 9:47 am wrote:
I send a fairly hot signal to my EFX and attenuate it at the return fader. If you spend a little time on gain structure here you can avoid introducing (much) additional noise by under-driving the EFX processor and then adding a bunch of gain to the return signal.
In my current configuration, my FX inputs will clip a little above where my mix buses would clip. This means I won't get digital clipping noise from the FX unit unless I am already clipping a console bus anyway.
Good gain structure includes dynamics and FX as well as your other out-board processing and power amps.
Absolutely agreed 100%. Set your gain structure properly, and feed a strong signal to your EFX units. If you feed a low level to your EFX units, it absolutely destroys the signal to noise ratio of that unit and you'll notice it in the returned signal.
As far as mixing in reverb on vocals, it all depends on the piece your mixing. Many slower songs should be drenched in reverb and possibly some delay as well. Usually more upbeat tunes the reverb should be only slightly detectable to the ear, just enough to know it's there. Even within the same song there are times where a completely dry signal may be called for (often times the first verse or during a bridge) and other times where you bring in extra (like adding delay only on the chorus parts or more verb on a the final chorus, etc). If you don't know for sure, go with what sounds good to your ear. If all else fails and you're not sure, light reverb is your best bet.
reverb is the only effect I use really. I the bars I work at, room acoustics suck, and there is very little "natural reverb." Most of the "warm" sound I get comes from my system. I add just a hint to music itself, and make it a little heavier on the vocals. I add a little more to the monitor speaker for the singer's benefit.
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