How To Use Reverb In Film & TV: Answering Comments Response Video!

Main ideas / concepts covered

• The creator responds to viewers’ questions about using reverb in film/TV sound mixing, focusing on practical workflow choices rather than rigid “rules.”
• A consistent theme is experimentation plus taste: reverb settings should be adjusted to what sounds good in context.
• The speaker demonstrates how to use reverb via send/return vs. return automation, and how to integrate reverb into a dialogue and effects (SFX) workflow.
• The response emphasizes using reliable, transferable stock reverbs rather than always chasing expensive or complex plugin chains.
• Several viewers’ workflow questions are answered with “what works for me” templates that have been used successfully on many projects.

Methodology / instructions (detailed)

1) Send/return vs. automating reverb parameters

Decide how to control reverb based on what fits your workflow:

• Send-based approach
  • Send audio into the reverb and adjust the return level to shape how much reverb is heard.
  • Commonly used for grouped production workflows (e.g., effects “food groups”).
• Return automation (or alternate automation approach)
  • Automation can be done, but the creator argues the key is still what works for you.

Guiding principle: Experiment until the setup sounds correct for the scene and track type.

2) Using reverb differently for effects “BGs” (backgrounds)

For background groups (BGs), the creator prefers using sends rather than inserting reverb per track with return automation.

Example workflow (restaurant scene concept):

• Use isolated “clinks” tracks with interior reverb only where appropriate (e.g., room-specific character).
• Keep other elements (room tone, stereo movements) treated differently so reverb placement matches the intended space.

Why this is chosen:

• Works well with VCAs per group (organizing control per food group).
• Lets the mixer grab a reverb return and “write”/ride it quickly while keeping send levels already initialized (often at 0).

3) Dialogue testing: dry vs. exterior vs. interior vs. “dreamy”

The creator sets up a practical dialogue test:

• Listen to dry dialogue first.
• Add exterior reverb and audition how it feels as if it’s outside / against building surfaces.
• Compare with an interior reverb setup and audition how it feels inside a room.
• Demonstrate a more extreme “dream sequence” style by using reverb more heavily / with more extreme settings (described as becoming muffled/“dreamy”).

4) Reverb “mix” percentages (wet/dry) and whether to use 100%

Viewer question: Why not set reverbs to 100% wet?

Creator’s explanation: The creator’s templates use less than 100% wet for some reverbs:

• Interior example: ~60% wet
• Exterior example: ~54% wet
• Dream/other preset: ~100%

Why they keep it that way:

• The creator inherited/started from a template where these percentages were already experimented with.
• They treat it as a “set and forget” baseline.

Demonstration:

• They show what happens when switching to 100% wet for interior/exterior compared to the template values.
• Outcome: results vary; the “best” setting is ultimately personal preference, but the template values have worked across many hours of TV/film.

5) Using stock plugins vs. expensive plugins

The viewer observes heavy reliance on stock reverbs.

Creator’s reasons:

• Earlier in their career they didn’t have money for paid plugins.
• They chose stock tools (notably Reverb One and Revibe, plus general stock availability) because they were transferable to other studios/stages.
• Familiarity and workflow consistency outweighed novelty/gear.

Philosophy:

• Don’t rely on having the “best” reverb plugin—make it sound good using simpler tools.
• Ear training and listening to big movies/TV are key to improving.

6) Stereo FX / surround-style panning question

Viewer question: Why use a stereo output with a stereo plugin, then control placement (opening it up) using panning, rather than starting from a dedicated surround/center layout?

Creator’s response:

• They already have a template variant with two instances positioned differently:
  • One set more front
  • Another set more back
• They keep this setup because:
  • It prevents accidental reverb audibility in the wrong spatial zone.
  • It helps maintain consistent placement (e.g., avoiding rear reverb when something is meant to be front).
• Acknowledgement: Bigger surround-capable reverbs can do detailed positioning, but the chosen setup “just works” for them and has for many hours.

Lessons / takeaways

• There are no universal reverb rules—use templates as a starting point, then adjust by taste and scene needs.
• Workflow design matters (sends/returns, VCAs, group control), not only the reverb algorithm.
• Wet/dry settings and “how much” reverb to use should be driven by what sounds right; templates may intentionally use less than 100% wet.
• Mixing quality doesn’t require expensive plugins; transferable stock reverbs and strong ear training go a long way.
• Build setups that reduce mistakes (e.g., wrong spatial placement) and make it easy to audition quickly (dry vs. interior vs. exterior).

Speakers / sources featured

• Primary speaker: Joel (the video’s creator/mixer; referenced as “Joel” repeatedly)
• Other referenced speakers/viewers (commenters):
  • Jay (from Ireland; asks about mix verbs on dialogue tracks; mentions St. Patrick’s Day)
  • CL audio (asks why reverbs aren’t set to 100%)
  • Matt Mato (asks about why stereo FX vs surround/center routing and panning approach)
  • “Brandon” (referenced as “dialog edit by my guy Brandon” when importing a dialogue source)

No external sources (articles/books/studies) are cited; the discussion is based on the creator’s workflow and viewer comments.