if you feel the need to do this: rather than adding reverb to the whole thing - why not try ‘bussing’. various portions of your mix and adding the reverb to certain busses and try different areas? adding reverb to a whole mix is at best dodgy in my opinion as it messes with the whole dynamic of the summed track . the alternative method id suggest is adding a reverb to the master channel then duplicate that as a dual layer effect… wet/dry. turn the wet one down then adjust the dual layered ==effect to taste and see what works. with reverb your bass will be the main thing thats messed with, so do a a bit of a high pass on the wet layer. all in all its just a hassle. add reverb as youre mixing to areas that need it is the best way. no mastering engineer would want your mix to to blanketed in a reverb.
I buddy of mine who mixes for a studio in LA told me he sometimes puts the tiniest bit of verb on the entire mix. Like .2 to kind of “bind” things.
I do it sometimes. I don’t hear much diff, but I’m also a rank amateur.
[He also does rock bands…I do not do rock]
depends on the reverb quality i suppose. using a ‘very nice’ stereo in out reverb then yeh man … best to start as if you were a pro even if you arent… eliminate bas practice. adding anything to the master mix buss isnt great but many would tell me im wrong i suppose. one can get used to a sound thats not their own adding to much to a master channel pre master… then switch off the master buss effects to send to a master tech and ‘oh… dear…’
This thread kind of got me thinking it might be fun to have a thread dedicated to processing where people can post a track to be sent through various peoples set ups for a minute or so. I suppose it is always a bit hard to get people to do free processing work.
I did a little reverb test starting at 1 min in on your track, first few seconds are no reverb and then I turn it up to a subtle reverb until 20 seconds, 20-30 seconds is medium, 30-40 is high, 40-1:40 is the highest I might go. Past the 1 minute make I do mess with some tilt filters a bit, and at 1:25 I feed back the reverb and you hear a bit of a tone swell in. Last 5 seconds or so are dry again.
The reverb itself is the mono spring reverb in the Syntrx, it is being subtly ringmoded and has a tiny bit of feedback on as well as likely getting a bit of feedback from my speakers, there might be a tiny bit of saturation added from running through the Syntrx as well, reverb is running in parallel with the stereo input.
What’s the take away? I dunno your track sounds great as is but I think it also sounds kinda nice with this reverb, I don’t think it really takes away from the grit of the track. I think your music you definitely could even get even more creative with the processing if you wanted but it also doesn’t need it.
I set the track to private / link only, but if this is weird to you in any way I will take it down right away.
Did a quick run through Bam’s algorithms (not exactly sure how to link dropbox files…). I think a little bit of the Room algo (first setting used) is nice.
yea the forum software doesn’t always stream dropbox audio properly, best to just make it a hyperlink… 
I actually love that Idea! That would make a really interesting thread imo
Thank you. This is the highest form of flattery. I truly appreciate you taking the time to try this out.
I like the result. It’s certainly not worse, it adds depth and space and feels like it works really well. It’s just different - so it seems like it comes down to voice. As in, what’s the music really like when it’s at its most true? I don’t quite have the answer but this really helps. Again, thank you.
And the same goes to you @LaughingAnimal I’m really grateful you also took the time to work with this. Truly a kind act, to just make the effort when it wasn’t even asked for. I like the results here, as well, for the same reasons as above.
You guys have given me something to think about. Gonna listen to this on and off through the day, and not listen to the original for awhile, and see what it’s like to come back to it after some time i reverb land.
Yeah it sounds great as is!
It shows how different each and everyones situation is - from instrumentation to writing. I tend to use a lót of one-shots - I think because I’m a former drummer and will never get thinking in long sounds into my autopilot way of thinking. So for me, with lots of transient staccato, one shot sounds, some air/glue is really needed, for which I think I like reverb. It’s sort of a “pad” for me who keeps forgetting about pads. But your sounds all have so much air, glue, movement, length, and lightness in them, it seems like your sounds are space enough as is:)
Thank you. That is such a nice thing to say. I really appreciate you taking the time to listen and say these things.
Maybe you’re right, though I do think the examples provided by @bwo and @LaughingAnimal provided some space that made the track wider, kind of. If subtle reverb can add that, it’s an option worth exploring, for sure.
Good point on rock bands. The big difference with rock mixing and dance
tracks (what I make) is the rock mix should collapse to mono well but it’s not an absolute must like I believe Dance is. For example in rock, many times Hi hats are panned, and drum overheads are hard panned. Where as in dance, I barely pan anything, and use individual stereo effects on certain tracks to create some width and depth.
I am constantly checking my mix so it still sounds good in mono. What I have found is too much panning or reverb/chorus/ping pong delay can really reduce impact when I fold it into one track. So lots of little decisions have been made. By the time I get to the mastering, I’m mainly focused on gain staging a buss compressor/saturator and getting to a competitive LUFs level. I’ve never felt the need to add reverb to it. But most of the time I am just premastering so the track sounds competitive in volume to other submissions and once I send it off, I strip everything off besides the 2 buss comp.
Just my experience, I know Izotope has a mastering verb but I haven’t used that plugin in years.
Done some experimenting with those over the weeks now. My conclusion is, in my case, reverb on the master adds width and depth to the overall sound room, which just makes the track exist in a wider space. It’s not so much the effect itself as the tails and subtle trails reverb can add, which just sort of seems to move the walls for the track to a more appropriate place.
So I’m gonna work this into my rig now and see what it yields for a few tracks.
Here’s my first result, a Chase Bliss CXM 1978 -
This is really beautiful reminds me of Helios -Engyia which is one of my favorite albums by anyone.
Thank you so much 
that is a fantastic compliment. You made my Friday.
I tried the Blackhole from my H9 as master reverb for techno-ish stuff, yesterday. AR and Bassbot going into OT, OT into H9.
Low mix, size set to 2 or 3, negative gravity, lows almost completely cut, hi level around 1/3rd boosted, but varies throughout tracks and I might turn up hi level during transitions.
Really impressed, gives a really nice soundscapy ambience and glues everything together. Nice movement when ducked by the kick.
Thanks for the Tipp!
I’ll try the Dynaverb later which is a reverb with two band eq and Eventide Omnipressor capable of compression and expansion + sidechain compression so I don’t need anything after the H9 for ducking.
I use the Dark Reverb on Octatrack T8, set as Master track.
-Short Decay, that I can make longer for breaks using the crossfader
-HPF pretty far up there, to still have a clean (IMO this is essential for any master reverb, at least if you don’t want mud in your mix)
- Mix at about 10-20
So this reverb is basicly just about getting some air in the high frequencys, but the crossfader allows me to use it as an extreme effect during breaks, because i can get more decay, less HPF and more wet mix, all by just using one hand
What kind of amount are we talking here? Like 40 or really 64 or more?
And the feedback knob, or not?
Modulation (depth) at / close to zero?
Depends on the sounds in the Mix, but more often than not it’s above 64.
Best done by ear IMO. I try to get a reverb that is giving the mix more space and is not to obvious