How to Setup Reverb
If you’ve ever felt overwhelmed by all the reverb options in your DAW, you’re not alone. Whether you’re producing in Pro Tools, Logic, Ableton, or Studio One, reverb can be set up in a few different ways—and each method serves a different creative or technical purpose.
In this article, I’ll break down the three main ways to set up reverb in your DAW: Aux Send/Return, Insert (Directly on the Track), and Processed into the Audio File. I’ll share what each approach is good for, when to avoid it, and how I use it in real-world mixing sessions for artists and producers around the world.
1. Aux Send/Return – The Classic, Flexible Method
This is the most common—and in my opinion, most powerful—way to apply reverb. It involves routing your dry signal to an auxiliary (aux) track where the reverb lives.
Here’s how you’d set it up in Pro Tools:
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Create an aux track and insert your reverb plugin on it (say, a plate reverb).
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Assign that aux to a bus—let’s say Bus 1-2.
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On the track you want reverb on (like a snare), add a send to Bus 1-2.
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Control the amount of reverb by adjusting the send level.
The big advantage here is efficiency. Multiple tracks can share the same reverb instance, saving CPU power and keeping your session more organized. You also get the flexibility to EQ or compress the reverb return independently from the dry track.
In my mix template, I typically have three reverb sends ready to go: a plate, a room, and a hall. This lets me blend space around vocals, drums, and instruments without overloading my session with plugins.
2. Insert Reverb – Great for Unique or Specialized Effects
Sometimes, a sound needs its own reverb. That’s where inserting the reverb directly on the track comes in.
You just slap the plugin on the channel strip and dial in your wet/dry balance. No need to route anything. It’s fast and intuitive—especially for producers who want to get a vibe going quickly.
This method shines when you want a very specific reverb character on a sound that doesn’t need to blend with anything else. For example, maybe you want a gritty spring verb on a guitar or a super short ambient reverb on a background vocal.
The downside? It’s resource-heavy. If you use this on 10 or 15 tracks, your CPU will start to complain. I usually limit this approach to one or two tracks per session that need their own space or texture.
3. Processed Reverb – Printing It Into the Audio File
This is the most “committed” method. You apply the reverb and then render or bounce it directly into the audio clip. Once it’s processed, the reverb becomes part of the waveform.
That means no more tweaking—so use it only when you’re sure about the sound.
Personally, I rarely use this method unless I’m going for a creative effect, like reverse reverb. In those cases, committing the effect lets me line it up exactly how I want it. Fun fact: Pro Tools’ D-Verb now has a built-in reverse mode, which makes this effect way quicker than it used to be.
But overall, this method is less about mixing and more about sound design.
Which Reverb Setup Should You Use?
There’s no one-size-fits-all rule. The best reverb setup depends on the context—what the track needs, how much flexibility you want, and how heavy your session is.
For most mixes, I recommend starting with aux reverbs to save CPU and maintain control. Use insert reverbs when you want a sound to live in its own unique space. And only print reverb when you’re going for a bold, irreversible effect.
Final Thoughts
Reverb can give your mix space, depth, and emotion—or it can bury your track in mud. How you set it up matters. As a mixing engineer, I rely on a combination of these methods depending on the track and the goal. If you’re still unsure which way to go, start simple: set up an aux reverb and get familiar with how it changes the space around your sounds.
If you need help getting your mix to sound pro, I offer professional online mixing and mastering services for artists and producers at any stage. Whether you’re just starting or prepping for release, I’d love to help you get there.
