How to Add Reverb in FL Studio

Reverb is an excellent way to add space and depth to your mix. But mixing reverb can be tricky. If done wrong, it can sometimes take away from the clarity of the sound you want to add reverb to. But if done right, it’s a powerful and versatile tool that you can use to add some epic and spacious characteristics to your track. Let’s take a look at how to add reverb in FL Studio.

Step 1: Prep Your Sound

Use a Dry Signal

First, we need to make sure the sound we’re adding reverb to is relatively dry, meaning there’s no reverb or delay present in the original signal. Certain samples will have reverb already present in the audio – these are already wet, and not ideal because we want to add our own. Adding reverb to reverb can complicate things.

For this example, I’m using the Ancient Supersaw Sytrus patch in the pack you downloaded. I added it to the Channel rack, and went in and turned off the reverb.

reverb off sytrus

Have Adequate Space Between Sounds

I find that this technique works really well with broken chord progressions, since there’s enough space between the chords for the reverb to really shine through. Basically, we want to make sure that the time between sounds in our signal is moderately high. Below is the dry signal without any reverb yet.

broken chords in the piano roll

Broken chords in the Piano Roll

Filter the Low-End or Split the Signal

Finally, make sure there isn’t much low-end in your reverb. Adding reverb to lower frequencies can add excessive muddiness to your mix. There are a few ways to prevent this. You can add a high-pass filter to get rid of the low-end completely. Fruity Reeverb 2 has filters that you can toggle to control low-end energy in your reverb. But if you’re using a different plugin, it may not have this capability.

Another way to keep the lower frequencies in your dry signal, but only add reverb to high-frequency sounds is to split the signal into two bands, and add reverb to the high band only.

  1. Split the signal in two
  2. Add a linear phase EQ like Fruity Convolver to both
  3. Set the EQ to a low-pass filter on one and high-pass filter on the other
  4. Set the same cutoff frequency for both
  5. Recombine the signals
  6. Add reverb to the signal containing higher frequencies (Step 2)

Splitting signals is important to know how to do, especially if you’re not using Fruity Reverb. But for the sake of simplicity, we’ll just use the built in filters in Fruity Reverb to control the low-end spectral content later on in Step 3.

Step 2: Add Peak Controller to Dry Signal

Route your signal to an empty Mixer track if you haven’t already. Next, we want to add a Fruity Peak Controller to the beginning of the signal chain, preferably in the first slot in the FX panel. This will control the “WET” slider in Fruity Reeverb 2, which we’ll add in the next step.

The Peak Controller settings are somewhat dependent on the characteristics of the signal you’re adding reverb to, and you’ll need to tweak them for your specific situation. Below are the settings that worked for me in this particular example. Use your ears to make a good call.

  1. Go the the signal FX panel in the Mixer
  2. Add Fruity Peak Controller in the 1st slot
  3. BASE to 80%
  4. VOL to -74%
  5. TENSION to 100%
  6. DECAY to 49%

peak controller settings

Step 3: Add Fruity Reeverb 2 to Dry Signal

Next, we need to add Fruity Reeverb 2 to the signal chain. Make sure to add it after Fruity Peak Controller. Peak Controller uses the dry (before reverb) signal’s peak levels to control other parameters. In this case, we want to use the dry signal’s peak levels to control the WET slider in Fruity Reeverb 2.

  1. Go to the signal FX Slot
  2. Add Fruity Reverb 2 after Fruity Peak Controller
  3. Right-click WET slider → Link to controller → Peak ctrl – Peak → Accept
  4. Set L.CUT to ~250 Hz (this controls muddiness)
  5. Increase SIZE to your liking
  6. Increase DEC to your liking

Now when you play the progression, the WET slider is controlled by Peak Controller. It gives the synth an epic pulsing or breathing effect. The time it takes for the reverb to kick in after the note ends is controlled by the DECAY knob in Peak Controller. The WET slider start level in Fruity Reeverb is controlled by the BASE knob in Peak Controller. I like to keep BASE at 80% and just toggle the Reeverb mix level in the FX panel instead.

reeverb 2 settings

I added in some compression and filter automation to show how you could use this during a transition point or breakdown in your track. Sounds pretty epic, right? But we’re not done yet.

Cleaning It Up Some More

OK so we have our pulsing effect, and the wet reverb is ducking under the dry signal to add to the clarity of the sound. What else can we do?

I learned this method from KSHMR in one of his videos. Basically, you take the wet reverb signal and quickly reset it just before each chord. When you mute Fruity Reeverb and turn it back on quickly, it won’t pass any sound from the previous chord. This stops the previous chord’s reverb from interfering with the next chord, and makes things sound super clean.

All we need to do is creat an automation clip for the Mute/solo button in Reeverbs FL slot. Then we go in and add small step changes to reset the reverb just before each chord in the Playlist.

  1. Find Fruity Reeverb 2 in the Mixer FX panel
  2. Right click the Mute/solo button → Creat automation clip
  3. Go the othe playlist and turn off “Slide”
  4. Change Main snap to ‘(none)”
  5. Add small step changes to the automation clip before each new chord

Anyway, that’s it. You can use these on pretty much anything, if it sounds good to you. It always helps to clean things up. I hope you learned something new. Catch you next time.

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