How To Use The ChromaVerb In Logic Pro | Best Stock Reverb

There are many techniques and tools that music producers use to turn raw and unprocessed audio signals into colorful tracks with interesting dynamics. One of the most critical audio effects for any sort of music creation project is the reverb.

Typically, audio is recorded in acoustically-treated rooms where sound waves don’t bounce back and forth on the walls. This helps capture the dry signal coming from a vocalist or an instrument. Then, producers use reverb plugins to emulate an atmosphere (a concert hall, for instance) for the track.

Apple’s Logic Pro comes with a long list of high-quality stock plugins. Among those plugins, the ChromaVerb is a killer multi-purpose reverb that you can use for both vocals and instruments. ChromaVerb’s interface gives you many tools, such as attack, decay, wet EQ, and stereo within its interface, making it impressively easy to shape your sound with surgical precision.

In this post, I will give you a step-by-step guide on using the ChromaVerb plugin in Logic Pro to get professional-sounding results.

Getting Started: ChromaVerb’s Main Interface

You can use the ChromaVerb plugin on any type of track, whether it’s audio or MIDI. First and foremost, let’s see how you can add it to your tracks:

•  Press “I” on your keyboard to open the Inspector menu.
•  Click the “AUDIO FX” slot to open the plugins list.
•  Hover your pointer on “Reverb” and select “ChromaVerb.”

ChromaVerb’s interface is very user-friendly. Let’s break down the basics:

A graph for dampening the wet signal dominates the main window (1). Depending on the room you choose, you’ll have two or four dots on the graph that you can use for dampening different signals of your wet channel. As a rule of thumb, the more you attenuate higher frequencies, the darker your reverb sounds, and the more you boost them, the brighter it gets.

During playback, the plugin visualizes your audio signal and how the plugin is affecting it. You can turn the visualizer off to save on processing power (2).

In the bottom-right corner, you have two faders to control dry and wet signals (3). The dry signal is the original sound of your track coming to the plugin. The wet signal consists of the added reverb effect. You can adjust them to create different dynamics.

The Distance knob (4) sets the perceived distance from the source by altering early and late energy. Increasing distance results in a warmer sound that adds a subtle chorus to the reverb, whereas decreasing it gives the reverb tonal characteristics more similar to the dry channel.

Next, the Decay knob (5) controls how much the reverb sound lingers. It works like a feedback control for your plugin. The more you add decay, the more intense your reverb sounds. Under the Decay knob, you have a freeze button that allows you to recirculate the signal infinitely inside the chosen room.

In the bottom-left corner, you have your Attack, Size, and Density knobs (6). The attack knob affects the build-up time of the reverb’s volume and density. More attack value results in a slower build-up, whereas lower values make the reverb build up quicker. ChromaVerb emulates a room for your audio signal. You can adjust the dimensions of the room with the Size knob.

Moreover, the ChromaVerb plugin gives you 14 different emulated rooms you can choose from.

The Concern Hall gives you a more dampened high-end, Synth Hall has a really wide-sounding reverb with minimum density, Digital has a coarse-like reverb, and Strange Room gives you a spring-like reverb effect. Try them for yourself to see which one sounds best on your track.

ChromaVerb’s Advanced Features

In the top-right corner of ChromaVerb’s main interface, you can switch from the "MAIN” to  “DETAILS” view for more advanced controls and features.

First and foremost, you have a multi-band equalizer that allows you to adjust what frequencies from the dry signal are targeted for the reverb effect. This is not the same as the Dampening EQ feature you have in the Main view.

Moreover, you can change the quality of the wet signal (1). Low results in a grainy reverb with noisy modulation, high sounds clean and precise, and ultra delivers a smooth and expensive-sounding effect.

Next, you have an LFO to modulate the reverb sound (2). You can choose from sine, noise, and random waveforms. Moreover, you have two faders to control the modulation depth and speed. The Smoothing fader smoothes the random waveform and saturates sine and noise waveforms.

The Width fader (3) allows you to stretch out your reverb across the stereo field. You can even turn on the Mono Maker feature to add a filter on lower frequencies. This way, only frequencies above a certain threshold will be spread in stereo.

Final Verdict on Using Reverb In Logic Pro

Using reverb can uplift your tracks and create an interesting atmosphere in your musical projects. Remember to use reverb effects to taste; beginner producers often overdo reverb and delay effects.

You can take your production skills up a notch and use buses and sends for your reverb plugin. Not only does it help manage CPU usage, but you can also create a consistent atmosphere throughout different tracks within a project.

If you need more help regarding using Logic’s reverb plugins, click here to watch my YouTube Video beginner’s guide on how to add reverb in Logic Pro.

For a more linear approach and other lessons in music production, mixing, mastering, and songwriting, check out my Free 6 Pillars To Learn Logic Pro Faster guidebook.