Shopping Cart -

Your cart is currently empty.
Continue Shopping
This website use cookies and similar technologies to improve the site and to provide customised content and advertising. By using this site, you agree to this use. To learn more, including how to change your cookie settings, please view our Cookie Policy
Pocketmags Digital Magazines
Pocketmags Digital Magazines
   You are currently viewing the United Kingdom version of the site.
Would you like to switch to your local site?
Digital Subscriptions > MusicTech > May-18 > USING CHROMAVERB IN LOGIC PRO X


Logic Pro X’s ChromaVerb is a technicolour reimagining of synthetic reverb. Mark Cousins discovers why ambience creation has never sounded this good…



Of all the effects and signal processing we turn to, it’s probably reverb that gets the least attention in respect to tweaking the parameters, with most users simply dialling-in a preset and then continuing with the mix. Actively shaping your reverb – so that it fits the unique sound and properties of the track you’re mixing – can make a tangible difference to the sonic effectiveness of your music. With that in mind, Logic Pro X’s new ChromaVerb is a welcome addition to the application, specifically because it’s designed from the ground-up as an intuitive tool that invites itself to be actively melded around the sounds it’s processing – from the highly animated ‘raindrop’ display, through to the clear, easy to understand parameter set.


Before we delve into the specifics, let’s first understand the broad overarching principles of shaping reverb. For most novice users, the obvious example is the size of the reverb, alternating between small rooms that might be used on instruments like drums or rhythm guitar, and a more spacious setting used across an orchestra or synth pad. Most commonly, engineers think of ‘size’ as being largely defined by the length of the reverb with longer reverbs creating larger spaces. Tuning the length of the reverb, therefore, is at least the one parameter all engineers turn to as a means of actively shaping the dimensionality of their mix.

Purchase options below
Find the complete article and many more in this issue of MusicTech - May-18
If you own the issue, Login to read the full article now.
Single Issue - May-18
Or 299 points
Annual Digital Subscription
Only £ 2.33 per issue
Or 2799 points
Monthly Digital Subscription
Only £ 2.99 per issue
Or 299 points

View Issues

About MusicTech

Imagine some of those iconic cinematic scenes without the music. The scintillating establishing scenes of Blade Runner’s futuristic Los Angeles, Elliot and E.T. soaring past the full moon on their flying bicycle or Luke Skywalker staring up at the twin suns of Tatooine. In our cover feature this month, we present the complete guide to the process from a professional standpoint, with industry advice and even step-by-step guides to try some of the unique creative processes yourself. In addition to our main feature, we also speak with in-demand composer Junkie XL about his work on top-tier blockbusters and commemorate the 20th anniversary of Air’s Moon Safari in this month’s Recording Spotlight. Our expanded tutorial section now (once again!) covers Pro Tools, as well as our usual range of reviews, tips and the second part of our Essential Guide To Plug-In Effects. We hope you enjoy the issue…