So I often get these 2 phases confused and never sure how to do this properly, but sometimes I will be tracking a part (could be any instrument), but I feel it just doesn't sound right unless it has a reverb on it or some EQ. I always thought you are supposed to record in dry and then in the mixing phase bring in all the FX, but the problem for me is that I sometimes don't know if my tracking is ready to be sent in for mixing if I don't hear that sound I want.
I know people will be replying (just do what sounds right), and I do agree, however - I don't want to screw anything up for myself later on in the mix. Here is an example: let's say I add some different reverbs to an electronic drum kit (the snare with the most reverb, the kick with the least, and other cymbs/percussion with somewhere in the middle), I get it to sound really nice, BUT... I really don't know how it will sound after drum buss compression and other FX that I might add later. What if I want to use a final Reverb FX bus to make the drum kit sound together? Now I will have 2 reverb layers.
Just wondering how people tackle this, and forgive me if I am overthinking this.
Thank You!

A lot of times, effects will be non-destructively applied during tracking to help get better performances.  Many vocalists like the vocal in their headphones to have some reverb as it makes them sound better to themselves and gives them more confidence.
 
My advice is to non-destructively apply effects to enhance tracking without spending too much time selecting/dialing them in.  Try to save the mix decisions for the mixing stage.
 
Basically, yes you are overthinking it.  Save the mixing stuff mixing and only do what you need to do get a good recording down.

for me,
tracking = performances.
 
that's what i try to do........
capture performances.
 
i do not even think about mixing,
until i have a full track set of performances,
then this becomes what i mix.
 
it's just that simple.
 
no plugs,
no busses,
just audio tracks sent to master.
one after the other.
 
 
 
 
mixing = working towards final stereo bounce.
it's that simple.
and whatever works is fair game.

Here is an example: let's say I add some different reverbs to an electronic drum kit (the snare with the most reverb, the kick with the least, and other cymbs/percussion with somewhere in the middle), I get it to sound really nice, BUT... I really don't know how it will sound after drum buss compression and other FX that I might add later. What if I want to use a final Reverb FX bus to make the drum kit sound together? Now I will have 2 reverb layers.

 
Just use a 'placeholder' reverb on a bus while you're getting a rough mix together if it helps to get the 'vibe' going, but don't print reverb on anything while you're tracking.
 
When you have all your tracks done, take out the placeholder reverb and experiment with a few different ones to see what works.
 

AdamGrossmanLG
Here is an example: let's say I add some different reverbs to an electronic drum kit (the snare with the most reverb, the kick with the least, and other cymbs/percussion with somewhere in the middle), I get it to sound really nice, BUT... I really don't know how it will sound after drum buss compression and other FX that I might add later. 

 
first off,
don't mix, until you are finished tracking.
make tracking decisions first, get the arrangments right, do not put a single plug on anything.
when you are ready to MIX,
then,
 
i would simplify your approach.
 
if you are going to have a master buss compressor, have it on from the get-go.
mix everything into it.
use it sparingly, and add other compression before it, for multiple layers of compression, which always sounds better than one big hammer full of compressor.
then........
 
mix multiple tracks INTO a sub buss compressor.
have it on from the beginning as well.
 
then, you will not have anything change on you later.
make those decisions upfront.
 
it's easier to take a compressor off, and tweak the mix then, 
than it is to add a compressor after you finished mixing, and have it change the entire character of the drum track.
 
 
same with reverbs, 
keep a sub buss dedicated to reverb, and do not use it on the master.
only send it to the individual sub busses, that way you have more control over the overall reverb sounds, and you don't layer them up.
 
if you just have to have reverb on the lead vox, and not on the backups, i'd seperate the backups out and send them to their own sub buss, and have the lead vox go to it's own sub buss, and add reverbs on the sub busses, not the individual...
 
 
the idea is, use the least amount of plugs for the most amount of work.
you CAN just set sends on every individual track if you want,
but i think that's a can of worms.

batsbrew,
 
thanks for the detailed write up.  I like your approach, but what if say the snare doesn't sound right without say a big reverb on it or something.  I feel like I need to hear it with that reverb BEFORE I send it off for mixing.   I mean how would the mixing engineer know I even want a big reverb snare?
 
someone else will be mixing my music that is why this is important.
 
thank you!
adam

AdamGrossmanLG
batsbrew,
 
thanks for the detailed write up.  I like your approach, but what if say the snare doesn't sound right without say a big reverb on it or something.  I feel like I need to hear it with that reverb BEFORE I send it off for mixing.   I mean how would the mixing engineer know I even want a big reverb snare?
 
someone else will be mixing my music that is why this is important.
 
thank you!
adam

Ah, well that makes a lot of difference. You'll have to send dry tracks and make notes about what you want. No point sending tracks with reverb on them, he won't be able to mix them.

AdamGrossmanLG
batsbrew,
 
thanks for the detailed write up.  I like your approach, but what if say the snare doesn't sound right without say a big reverb on it or something.  I feel like I need to hear it with that reverb BEFORE I send it off for mixing.   I mean how would the mixing engineer know I even want a big reverb snare?
 
someone else will be mixing my music that is why this is important.
 
thank you!
adam

ok, never mind,
i thought YOU were the mix engineer!!
 
LOL
 
if you are sending stuff off to another mixer,
then send him everything dry,
and let him decide how to apply.
 
you simply experiment at home, apply something you like, give him the parameters,
and let him decide which plug to use....
 
if you are using impulses, you could always just send him the same file you used at home to experiment with!
 
once you send tracks off to another mixer,
you kinda have to let go of it.
 

Thanks for your reply.  Yes I figured as much.  The thing is I record mostly electronic synth pop music, so reverb to me is more than just an effect.. its part of the patch, it becomes one with the instrument.  I mean some synths have reverb built right in.
 
I just always feel weird turning it on knowing that kind of stuff should be in the mixing phase.

AdamGrossmanLG
Thanks for your reply.  Yes I figured as much.  The thing is I record mostly electronic synth pop music, so reverb to me is more than just an effect.. its part of the patch, it becomes one with the instrument.  I mean some synths have reverb built right in.
 
I just always feel weird turning it on knowing that kind of stuff should be in the mixing phase.

i would NEVER work with samples that have effects as part of the sound.
 
you have just hamstrung yourself doing so.