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Thank you! So happy to know it was helpful!

Srsly, this is pretty much the definitive guide!

Thanks! I hope so! :)

Thank you so much! Will do!

What is click-baiting about it?

Yes, indeed, it is important to control breathing. Sometimes it can be too loud. In this regard, I like how the de-breath feature in iZotope RX works-it manages to reduce the volume very naturally. As for controlling breathing in the signal sent to reverb, something like Waves DeBreath can be applied there if necessary. However, I usually control breathing only on the main track. Thank you for your comment! It’s definitely a relevant topic as well.

This is my website: romanstyx.studio/. The links also work; I’m not sure why they didn’t open on your computer.

Thanks! Glad it was helpful!

Glad it was helpful!

Statistics shows that this video has a 94.2% like rate, suggesting that viewers find the information useful. I hope that’s true, as my goal is to provide something valuable and helpful.

You're absolutely right! For demonstration purposes, I should indeed choose more exaggerated examples to make the differences more noticeable. However, the techniques themselves are effective and valuable-they just might be harder to perceive when applied subtly 😊

Judging professionals by the equipment they use, people by their race or orientation, or films by their cover reveals nothing but your own shallow understanding. Greatness is not defined by the tools, appearances, or stereotypes-it’s defined by skill, character, and depth. If your judgment stops at the surface, perhaps it’s time to look inward and ask what that says about you.

No, it means you can place an EQ plugin before your reverb plugin on the return track. This means the equalization will only affect the signal going into the reverb, not the main vocal sound.

⁠@@RomanStyxStudioYou can setup an aux track for the vocal to send to. Setup fx for the aux track: EQ, then Reverb, then EQ. Adjust the output of the aux track to taste.

@@RomanStyxStudio Oh I see. hm seems redundant. I can't imagine there would be much audible difference doing all the reverb EQ after the reverb.

oh no please don't! 😂

Love the Valhalla vintage verb. I use it on every production I do.

I chose an eye-catching thumbnail to effectively share valuable information and reach a wider audience. I believe everyone who watches the video will understand that Valhalla is an excellent reverb-I use it all the time. The thumbnail was meant to attract interest. Apologies if it came across as too provocative.

А че, неплохо говорит

ебать публика жестокая)что жж ты такой злобный то нахуй

хахаха чисто колхозник негодует. иди умойся, мамина радость.

Это так по-русски. Роман, успехов и развития каналу🎉

Это на молодёжном сленге называется байтить?

@@DmitriiNazarenko нет, на молодежном сленге это означает - лысый, бесполезный, никому ненужный скуф.

thats what i was thinking aswell

External EQs give more control. Like more bands, a different sound, maybe some soft saturation. Also the ability to sidechain an input or otherwise dynamically adjust the eq. Necessary? Maybe not.. depends on how far you want to go.

@@WBradleyRobbins kinda overkill if u ask me, but what works, works

Immediately thought that too

The issue is that all presets default to zero EQ, so you need to reapply it dozens of times when you wanna browse through Vintage verb presets

Are you mental? We've been EQ'ng sends and returns in studios since EQ was invented. If we're EQ'ing overall, and not just say early reflections, it's a hell of a lot easier to use a handy EQ like Fabfilter rather than use the internal EQ of almost all reverbs. Some Reverb plugs do have extensive EQ controls, but most of the time it's just easier and faster to EQ the send or return depending on what you're trying to achieve.

​@@stephenfleming8030 I think you misunderstood what I've written

@@bixenter That's always a possibility! Apologies if I offended you.

@@stephenfleming8030 I repeat again. I checked if there is a difference to set EQ before or after a digital reverb(using inverted signal technique) and the result is silence. Means there is no difference to place EQ before or after a digital verb(with convolution is the same). The difference might be for certain cases like if a reverb is saturated of modded a lot. But it's like going into field of placing reverb before or after saturation/mod. Check by yourself if you know how to set it up.

@@bixenter I've been an audio engineer for 35 years. Eq'ng send and/or return has always been the way to work, rather than menu diving on a hardware unit or plugin. De-essing reverbs, again either on send or returns, is also par for the course and often the only way to smooth out a slightly sibilant vocal with the artefacts associated with heavily de-essing the vocal itself.

почему?

Absolutely :)

Смотрим с субтитрами)

Thank you for the kind words! Indeed, Kush plugins are some of the most "analog-sounding" plugins, if we may put it that way. :)

@@RomanStyxStudio Agree. They make really high quality hardware, so they know what they're doing.

Thanks, will do!

The sound of an instrument can have as much brightness as desired, but excessive brightness in the reverb often sounds unpleasant and interferes with the primary instrument's tone. Of course, you should always listen carefully to what you're doing. I'm not writing a constitution here; I'm providing various tools and techniques that help achieve excellent sound quality. You can choose to use them or not.

@RomanStyxStudio mate I have to repsectfully disagree here (hope first com didnt seem rude) Especially point out that it lies heavily in the nature of the reverb. And in ambience, people are often even chasing the high end in glimmering verbs - especually for plate. I think modulating the verb helps a lot here. As well as for stuff like pianos, strings, brass And I have to point out that especially the mid freqs can be extremely problematic in verbs especially short room where it builds boxy resonance. Again, respectfully, not meaning to be rude

@@marcusstrymon693 thanks for sharing your thoughts! I appreciate the time you took to comment-it’s always great to have a discussion about different techniques. I agree with you that the nature of the reverb and the intended artistic outcome play a huge role. Bright, shimmering reverbs like plates or certain ambiences can absolutely benefit from emphasizing the high end, especially for creating that glimmering texture on instruments like strings, brass, or even vocals. However, the context of the video was more about cleaning up the mix and ensuring that reverb supports rather than dominates the main elements. Techniques like high-end attenuation (before or after the reverb) are aimed at maintaining clarity, especially when dealing with dense arrangements or busy mixes. For brighter styles, modulating the reverb or using multiband processing, as I demonstrated, can keep that high-end sparkle without letting it overpower. You’re spot on about the midrange being a trouble area, particularly in shorter room reverbs where boxy resonances can build up. That’s why I highlighted EQ adjustments both pre- and post-reverb-it’s a critical step to avoid those problematic frequencies from stacking up. At the end of the day, it’s all about adaptability and intent. Some mixes call for a clean, controlled approach, while others thrive on lush, shimmering tails. Thanks again for your input-it’s conversations like these that make audio engineering so fascinating and collaborative. Cheers! 🎛

@@RomanStyxStudio great stuff, thanks for the detailed answer 😊 agreed. And sorry if 1st comment was a bit rude

Stereo vocals are actually super common in modern production. Whether it’s mono-to-stereo processing, separate left/right/center tracks, or just a stereo export for convenience, there are plenty of valid approaches. I work with a lot of vocalists, and some send stereo tracks even if recorded in mono-it’s no big deal. The real point here is how tools like sidechain compression or Soothe 2 can clean up the center if your vocal is mono, or work in stereo if your vocal is wide. But if your main takeaway is that Abbey Road used mono vocals, it sounds like you’ve missed the bigger picture. And about the 'impression you actually know what you’re talking about'-classic! 😉 I guess modern techniques just don’t stack up to the Abbey Road handbook. Appreciate the critique, though!

Valid point made in a bit of a rude way...no need!

canecreek. with that thinking you will never be an engineer & producer! (i produced commercially for 25 years)

True