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Completely Dry
#1
If you remember from a previous post about turning the master eq and limiter off.

Im now of the opinion that reverb whilst good for creating soundscape, in actual fact in a lot of cases it can do more harm than good.

Is also good to turn off all effects, because it exposes any issues when layering sounds.

One advantage of keeping everything dry is if you play in different environments there is no issues with reverb etc conflicting with a rooms acoustics. 

Just my observations.
General Music WK4, Technics Kn5000, Solton Ms60, Yamaha Psr K1, Tyros 4, Korg Pa50sd and Korg Pa700, Korg Pa5x Paas Mk2 Speaker and Yamaha Genos
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#2
(03-10-2026, 01:26 AM)musicalmemoriesuk Wrote: Im now of the opinion that reverb whilst good for creating soundscape, in actual fact in a lot of cases it can do more harm than good.


Reverb can very quickly create a too big soundstage, and without EQ, raw reverb - particularly on complex sources like vocals or drums - can create a muddy, "washy" mess that fills up the frequency spectrum and masks other instruments.

There are multiple examples of this on the Pa5X's internal styles, where Korg has used reverb on bass and drums, which makes the bass notes for bass and drums muddy.

Proper EQ is extremely important for reverb (and other effects), and this must always be added before reverb and others, because effects are controlled with EQ.

The worst mistake that can be made in mixing is using too much reverb and other acoustic effects - the entire soundstage is effectively ruined, and it is always better to use a little too little than a little too much.

I deliberately always use a little lower reverb than what sounds ideal, and this is largely because I always use headphones when mixing, and when this is tested (every time) with speakers afterwards, the room acoustics will affect the result.
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Aune S6 32 bit DAC - connected through USB Isolator ||| MOTU 32 bit Audio Interface ||| TEYUN Q26 32 bit/384 kb Audio Interface ||| FM Acoustics FM 300A Power amp ||| MBL 6010 Pre Amp ||| STAX SR-L300 (Lambda) electrostatic headphones with STAX SRM-252S Amplifier ||| beyerdynamic T70 headphones (without pads) ||| Baffle horns equipped with Seas Exotic 8" fullrange units ||| JBL horns with Planar membranes ||| Fountek NeoPro 5i (Special Edition) ribbon tweeters with Planar membranes ||| Hexagonal subwoofer with 12 pieces Push&Pull coupled Seas Prestige 8" units, 1 item 10" slave unit and built-in XTZ power amplifiers & Cambridge Azur 640A as pre amplifier ||| Yamaha HS-5 active monitors connected to all keyboards
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#3
Im finding even styles mixed dry sound so much better.
General Music WK4, Technics Kn5000, Solton Ms60, Yamaha Psr K1, Tyros 4, Korg Pa50sd and Korg Pa700, Korg Pa5x Paas Mk2 Speaker and Yamaha Genos
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#4
(03-10-2026, 02:28 PM)musicalmemoriesuk Wrote: Im finding even styles mixed dry sound so much better.


I can agree with that, because the sound becomes cleaner, and the perspective more precise.

It takes some work (and knowledge) to add the right type of reverb, and assign the right amount to each instrument individually to maintain purity and perspective.

In my opinion - here the same rule applies as for Global EQ - do not use Global reverb, but assign it as an Insert effect that can be varied for each track.

In many cases, different types of reverb are required for some tracks, and then a global reverb is poorly suited.

Another significant reason why different types of reverb are often required for all tracks is that all instruments have different amounts of reverb and Ambience recorded, and therefore require different types and amounts of reverb.
Shared knowledge provides increased knowledge
If we all share everything we have, we all have everything
Every theory is only a hypothesis until it is practically proven

KEYBOARDS, SYNTHS & MODULES I HAVE HAD AND HAVE
Casio CTK 811-ex ||| Roland EXR-7 76 ||| Yamaha DGX-620 ||| Yamaha PSR-550 ||| Yamaha PSR-S700 ||| Korg Pa800 ||| Korg Pa3X 61 ||| Deebach XMS-Pro ||| Ketron Ajamsonic ||| Casio WK-7500 ||| Yamaha Tyros5 61 ||| vArranger ||| Ketron Audya5 61 ||| Yamaha PSR S950 ||| Solton X8 Chromatic ||| Yamaha Tyros4 10th Anniversary ||| Korg Pa4X 61 ||| Roland BK-7m ||| Technics KN-6000 ||| Technics KN-7000 ||| Roli Seaboard RISE 49 ||| Deebach MAX Plus ||| Yamaha Genos ||| Korg Pa700 ||| Korg Kronos2 73 ||| Tyros4 61 ||| Deebach BlackBox ||| Korg Pa2X Pro ||| Yamaha A3000 ||| Ghenos Plus ||| Medeli AKX10 ||| Korg Nautilus 73 ||| Yamaha DGX-670 ||| Korg Krome EX-88 ||| Korg OASYS 76 Sondius-XG version ||| Korg Pa5X 76 (Pythagoras Tuned) ||| Yamaha Tyros1 ||| Ketron Audya 76 (Own developed OS) ||| Yamaha PSR-3000 ||| Yamaha 9000 Pro ||| Yamaha MODX M8 ||| Korg Grandstage X ||| Roland Juno-D7 ||| Korg Kronos 1 73 (Pythagoras Tuned)

MY PA EQUIPMENT NON-ACTIVE AND ACTIVE
Aune S6 32 bit DAC - connected through USB Isolator ||| MOTU 32 bit Audio Interface ||| TEYUN Q26 32 bit/384 kb Audio Interface ||| FM Acoustics FM 300A Power amp ||| MBL 6010 Pre Amp ||| STAX SR-L300 (Lambda) electrostatic headphones with STAX SRM-252S Amplifier ||| beyerdynamic T70 headphones (without pads) ||| Baffle horns equipped with Seas Exotic 8" fullrange units ||| JBL horns with Planar membranes ||| Fountek NeoPro 5i (Special Edition) ribbon tweeters with Planar membranes ||| Hexagonal subwoofer with 12 pieces Push&Pull coupled Seas Prestige 8" units, 1 item 10" slave unit and built-in XTZ power amplifiers & Cambridge Azur 640A as pre amplifier ||| Yamaha HS-5 active monitors connected to all keyboards
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