I want to pass on little tips on a regular basis, bringing up points which are the subject of people's questions here on the various Forum pages.
REVERB IN ARIA
Many of using DAW software bypass using the reverb built into ARIA. Since our software programs usually have a variety of reverbs available to us, it can make sense to only use ARIA as the engine for getting the dry sounds into our projects, saving the use of a reverb plug-in for mix down time. We usually insert a Bus dedicated to reverb. We insert the reverb plug-in we want on that Bus, then use the Sends on the audio tracks to send various amounts of signal to that reverb Bus, so that each track can potentially have its own unique amount of reverb.
But it's also possible to use ARIA's reverb instead of what I described above. People using notation programs rely on ARIA's reverb for adding the very important venue ambiance to their projects. And some people using sequencers/DAW software may prefer working that way also.
That was the background info about using reverb, so we're all on the same page for understanding the tip I'm passing on:
--The wet signal coming from ARIA (the amount of instrument sound which has reverb added to it) ONLY COMES OUT OF ARIA'S FIRST SLOT.
So, if you bounce all of your ARIA MIDI tracks to Audio (something many of us always do)-you will find that all of the tracks are dry, devoid of reverb, except for the Audio track from that first instrument slot in ARIA.
If you had an instrument inserted in ARIA's first slot, then the bounced track will have both that instrument as well as the sum total of all the wet signals from all of your other instruments.
That's why it's a good practice to NOT insert an instrument in that first track. That will give you a lot more flexibility during mixing.
The audio track from slot #1 (either the bounced track, or the "empty" audio track present during pre-bounce) is functioning the way a dedicated reverb Bus does in the scenario I described in the first paragraph. If you want the over-all reverb level to change during a recording, then you would want to automate the volume of that reverb track, perhaps bringing the level down when you have a lot of tracks playing at once, minimizing the muddy effect reverb can sometimes have in sections which are heavily orchestrated.
The limitation of working this way with ARIA's reverb is that the only way you can change the amount of reverb on each instrument is with the Send controls in ARIA's mixer. If you've bounced to audio, and decide you need different amounts of reverb on the instruments, you would need to delete that track #1 track and record it again, with ARIA's Sends set to their new levels. But if you're using a reverb from your recording program, you can continuously experiment with different Send amounts, without ever rendering that reverb signal until the very final mix.
--Awhile back I asked the ARIA developers why they couldn't program ARIA so that each instrument's reverb was added to its own track, rather than having all the processed signals coming from that one slot. I was told that would be totally impractical, and that they'll never re-do ARIA to work that way.
But if one isn't aware of how reverb is handled in ARIA, it can cause some confusion when you're trying to mix a project.
SO - to re-cap - This Tip Of The Week is that ARIA's reverb only comes out of the first stereo pair - "1/2." You need to take that into consideration when putting your projects together.