My 2c...... as I understand it.

The Send/Return method is derived from Studio/Production techniques, and allows you to apply effects equally across all tracks, in cases where this is deemed desirable. Reverb is such an effect.

In theory, the System Reverb (Rev) allows you to place all performing instruments (Parts) in the same aural space, to sound more natural and cohesive.

Imagine A Guitarist, A Bassist, a Drummer and a Vocalist all get recorded in different parts of 2 Storey Studio. The Guitarist is in a Booth, The Drummer is in the Studio Main, the Vocalist is in the smaller Studio 2, and the Bassist is in a Basement room. The natural room reverb for each recorded track is different, and because of this, they don't mix/sit well together.

Ideally, each would be recorded in the same room (same aural space), at separate time periods (sessions)... so that each recorded track had the same natural room dynamics. Since in terms of cost, space and time, this is not practical, they forego room mics and opt to record each, direct to console... i.e. 100% Dry.

They then use Send/Return bus with a Rack Reverb to add-in Natural Reverb to each recording in equal amounts. The idea being, it sounds like all 4 musicians were playing together in the same "Space" when recorded.

That's the theory.

The reality is, if each instrument was recorded simultaneously in the same room, some instruments reverberate more than others, and sound "wetter" on the final track. Wetter sounds "further away" or distant from the listener.

So, cleverly, Reverb would be adjusted per instrument to position instruments in the 3D space... e.g. further back to the left, foreground on the right, middle centre (drums) and middle front (vocals). ** You achieve this by adjusting the REV SEND levels for each instrument (Part) relative to each other. **

This is why the there is a System Reverb.... its for mixing the whole Performance (all Parts) and hopefully making them sound better "together".

This all easier said than done, but having all Parts run through the same Reverb is a step in the right direction. Remember, you also have to balance Volumes, EQs, Pans etc.

If you want to test out the mechanics, turn off your Insert Effects, and work with a Single Part performance to Start with.

Turn off Var (Var Send 0, Var Return 0, Var to Rev 0). Turn off Master Effect also.

Choose REV-X Hall "Church" preset for REV.

Go to Home and select the Mixing Tab.

You'll notice there is a Part DRY Level as well as the Part Rev Send, and the Performance Rev Return.

Set Rev Send 64 and Rev Return 64.

Now set DRY = 0.

You will hear ONLY the Wet Reverb Signal.

Vary Rev Send and Rev Return to hear how those two controls interact. Play long notes, and short notes, staccato, slow, fast and listen for the differences.

When you've got a better idea of the Send/Return, bring your Dry level back up. The perfect "mix" is a balance of all 3 (DRY, SEND, RETURN).

But then of course, you'll probably want two or more Parts, so they will need to mixed/balanced also.

Then of course there are the actual Reverb Parameters to tweak.... Reverb Time, Decay, Predelay, Diffusion, Hi Damp etc... which will change everything again 🙂

It aint simple. But thats just life... not the MODX.

btw... if you want to drench 1 instrument in Reverb for a solo (where the Reverb is a one-off "Sound FX", like Flanger, Overdrive etc) then use the Insert FX.

With Reverb in the Insert FX you are given Wet/Dry controls (not available on the System Level where DRY vs SEND/RETURN is your Dry/Wet mix).

You can run InsA Delay to InsB Reverb to System Reverb to get some whacked out, "BlackHole" Reverb type ambience (Blackhole preset famous on Eventide Space Reverb multi-fx pedal).

I started with "Magnetic Fields" and edited the ARP note ranges so I could have "right hand" FM-X notes not generate ARPs. I could play F2 and C3 that would play the ARP then play above C3 which would only trigger the FM-X Part (and FM-X Part was set not to play below C#3).

The FM-X Part was just an initialized Part with Sine on op 1 (Alg 1). I turned up the feedback to 7 to brighten it up. For this configuration, the FM-X was Part 5.

I took Part 5's reverb send and cranked it up to 127. Rev Return was at 0. I heard no reverb. I could go to the FX menu (icon at top line of touchscreen) and turn off the system effects and heard no difference with system FX On or Off for the right hand. I also turned off Master FX just to get those out of the way.

Editing Common/Audio - as soon as I bumped up the reverb return to 1 (it was 0), I could start to hear reverb tails. Cranked up to 10 and they were significant.

That way works.

Crank reverb return up to 127 in Common/Audio.

Then I went back to Part 5 and turned Rev Send for that Part to 0. Played above my split and FM-X had no reverb. If I set Part 5 Rev Send to 2 then I could start to hear some faint reverb. At 8 there was more and scales fairly linearly up to 127.

I didn't experience the same thing as you did. Meaning I didn't see any issue.

With Rev Return set to 127 and playing the AWM2 arpeggio Parts I didn't hear reverb on the FM-X right hand Part either as expected when Rev Send for Part 5 was set to 0.

Dry as a bone.

Also note that "Var to Rev" is set to 0 for me. If this is non-zero then even though Rev may not be sending - your Var may be sending through to reverb. So check there isn't another path to reverb (it'd be mixed in with your Var effect - whatever that is).

so just more poorly designed and Yamaha Way™ implementation.

Got it.

btw:

"Also note that "Var to Rev" is set to 0 for me. If this is non-zero then even though Rev may not be sending - your Var may be sending through to reverb. So check there isn't another path to reverb (it'd be mixed in with your Var effect - whatever that is)."

this (var) was OFF!

The Yamaha Way™

The "technique" of good balancing and mixing is not "easy" per se.... but then the same is true across all platforms. Some level of knowledge and musical aptitude is required and it's what makes some fledgling producers millionaires, while others end up flipping burgers in McDonalds.

The System Effects are basically provided for Performance Level Mixing/Mastering... altogether a more subtle, yet pleasing, end result is assumed. Think of these as your Studio Rack Effects.

"In Yer Face" effects are best suited to the Insert Effects at Part/Element Level... i.e. per instrument. These are more akin to self contained Effects Pedals with an Input Jack and an Output Jack.

That said there's nothing stopping you from getting freaky with System and Master FX.

I trawled the web looking for "Best Practice" or Tips/Tricks in setting Send/Return levels. If you want to try yourself... good luck. If there is a "Best Practice" then it seems most Producer Vloggers aint willing to share it...

Presume most of what you're saying to be to a more general audience.

The issue here, if it wasn't clear, is having a part NOT be subject to the Performance Reverb, whilst all other parts milk it.

Jason, in his final sentence, touched on the reason isolation wasn't happening.

Yamaha circumvents common for general, again.

Var to Rev allows for series routing vs. parallel without this path. Seems common enough.

Generally speaking, no.

Common is a variable reducing contribution to reverb doing just that, assuredly.

Setting the parallel setting to off shouldn't set the series setting to off. Var to Rev is global - so, if set to non-zero, you're going to have to appreciate that any effect sent to var will flow through in series to rev. It's a bussed effect and you have control if this is the case or not at the global/Performance level.

As a shared bus you don't have the same surgical control over part-to-part.

I understand what you're saying - but "Var To Rev" says exactly what it does. A "backdoor" (if you want to label it as such) path for Parts to make their way back to reverb. Either turn the Part's Var Send to 0 (w/Rev Send at 0) if Var To Rev is non-zero (and you don't want anything going to reverb) or set Var to Rev to 0.

None of this is hidden/black-box. The block diagram in the Common/Audio (Effects) Routing screen summarizes both the architecture and current settings well.