Depth and sense of space are two aspects that most serious producers try to achieve in their tracks. Since reverb is an effect that does wonders for a dull and lifeless sounding mix, we can’t specify enough how crucial it is to use it in a proper way and right amounts. Read the following tutorial and learn how to achieve a multidimensional reverb effect.
REmatrix by Overloud
In its essence, REmatrix is a convolution type of reverb effect. This means that it uses pre-recorded impulse responses, and that’s something that is out there for quite some time now. Convolution reverbs are great when you need to replicate a sampled space. However, the typical IR offers only simple adjustments and does not allow more creative changes to the nature of the generated ambiance. What makes the REmatrix different from the ordinary convolution reverbs is its ability to fundamentally change an underlying element originally captured inside the impulse response. REmatrix combines five convolvers working simultaneously and in parallel without any phase issue. After a brief introduction, let’s jump into this tutorial, where we will introduce you to this awesome plugin.
Let us start by adding a new instance of REmatrix to a previously created audio track, which contains the vocal line. Here is how it sounds without any effect.
~Vocal – DRY
The Interface
Upon opening of the REmatrix interface, you can see an interface that resembles more like a mixer that an actual reverb effect. In the top part, there is a representation of the signal path, The left part is reserved for the preset list, and the bottom for the fader view. This all looks very simple, but let’s explore further.
Room impulse
I will first create a basic preset using a room type impulse response. To begin, I’ll click on the fader icon in the “ROOM” section, marked in red, as you can see from the picture below. Furthermore, I’ll choose the desired impulse response from the presets menu. You can see in the left part of the interface.
Here is how my vocal sounds now. Keep in mind that this is all that you can usually do with the standard convolution reverb, apart from changing the impulse response length or using an EQ. If the IR isn’t quite right and it doesn’t fit with the mix, then all you can do is to use a different IR.
~Vocal – REmatrix – Room
HALL impulse
I’ll save this basic preset by clicking on the empty slot of the lower preset menu and then clicking save. Now, let’s move on to discover all the unique features that REmatrix has to offer. REmatrix allows you to add up to 4 different impulse responses. You can now add a “HALL” impulse response to this basic preset to increase depth. To search for the right “HALL” impulse, you can click the solo button on the halls section and listen to it while browsing through impulse response presets, just like I did for the “ROOM” section. Here is how the vocal sounds now.
~Vocal – REmatrix – Room+Hall
Plate
Next, I will add a “PLATE” reverb to smooth the overall reverb and glue everything together. The process is the same as for the previous reverb types. It is best first to solo the “PLATE” section to isolate it from other reverbs. So, here is how it sounds now.
~Vocal – REmatrix – Room+Hall+Plate
Early
It would be great to add some extra impact to the reverb, so I’ll add another impulse response in the “EARLY” slot. Once again, the process is the same as before.
~Vocal – REmatrix – Room+Hall+Plate+Early
Special
Furthermore, you can add some character to the preset by using the response from the “SPECIAL” category. This impulse gives a pleasant, almost micro modulation effect. You can also extend the stereo width of the “SPECIAL” category responses through the extended panel. It is marked in red in the picture below. Now let’s take a listen to it together with the other four impulses.
~Vocal – REmatrix – Room+Hall+Plate+Early+Special
MOD
Moving forward, by clicking on the master tab and selecting the modulation, you can add a subtle amount of continuous movement to the otherwise static nature of convolvers. The default setting of spread, motion, and intensity of this feature should work well for most situations. Let’s hear it now.
~Vocal – REmatrix -All reverbs + Modulation
Drive
Next, I’ll add a bit of harmonic distortion with the “DRIVE” control. This will not only increase the density but also bring a warm, rich sound to the reverb.
~Vocal – REmatrix -All reverbs + Modulation & Drive
Comp
For the last step of the reverb processing, I’ll use the built-in compressor. You can access it by double-clicking on the “COMP” tab. Consequently, this “glues” the sound together and makes it more present.
~Vocal – REmatrix -All reverbs + Modulation,Drive & Compressor
Just compare the first unprocessed audio example with the last, fully processed one. It seems to me that I’ve achieved a great result in no time thanks to the many different parameters and editing capabilities available in this fantastic plugin.
