Hey Folks!
 
I've just completed a mix that I want to master in WaveLab, but I think I've run into a little snag.
I've never used any of the Sonar mastering plug-ins or features before, because I've always used WL, but there seems to be a limitation in WL that is going to make me use Sonar for the entire mix (audio track) and I've never done that before.
 
What I want to do is add a little reverb to the entire track for the duration of the track, but I want to automate the level or wetness of the reverb just during the choruses. Since it will apply to the entire bounced track (mix), I'm guessing I just need to add another bus and route the mix to it and apply the reverb and automation envelopes that way.
 
Is that the best method for what I want to accomplish with the reverb, or can you think of a better way? I'm still going to master the track in WL, which means I'll need to export the audio file from Sonar with the reverb printed into the file.
 
Any ideas? What do you like for master bus reverb in Sonar X3 on a 80's influences Alternative pop rock song?
 
Thanks!

Whatever you choose should be fairly subtle if it's across the whole mix.
 
But I would suggest doing it the hard way and insert a send on EVERY track and spend as much time as necessary to really fine tune the send levels on each track.
 
Listen to groups of instruments noting the contribution your verb is making, listen to just the wet reverb by soloing the reverb bus. Then if you solo different tracks you'll be able to "hear" into the reverb really critically.
 
This sort of function should well be suited to a convolution reverb like Rematrix. I'd start there.
 
Don't forget that a reverb used in this way will benefit greatly from EQ'ing it, before & after if necessary.
Filter out the lows going in (so no subsonic rubbish is subject to reverb), then cut the highs after the verb to make it less splashy at the top end.
 
Levels can also be contained with a touch of compression.

Bristol_Jonesey
Whatever you choose should be fairly subtle if it's across the whole mix.
 
But I would suggest doing it the hard way and insert a send on EVERY track and spend as much time as necessary to really fine tune the send levels on each track.
 
Listen to groups of instruments noting the contribution your verb is making, listen to just the wet reverb by soloing the reverb bus. Then if you solo different tracks you'll be able to "hear" into the reverb really critically.
 
This sort of function should well be suited to a convolution reverb like Rematrix. I'd start there.
 
Don't forget that a reverb used in this way will benefit greatly from EQ'ing it, before & after if necessary.
Filter out the lows going in (so no subsonic rubbish is subject to reverb), then cut the highs after the verb to make it less splashy at the top end.
 
Levels can also be contained with a touch of compression.

Yes, very subtle. I'm considering a slight delay instead of reverb to simulate a common space that all instruments and vocals share.