Reverb options Bus 5.1 on soundtrack

For my 5.1 soundtrack movie, I have a mono track with six clips of different twig on that break, each coming from different directions (so they will be exhausted after as such). I currently have this track sent a bus 5.1 to provide the reverberation.

Question 1: I don't know for certain, but from what I can tell, all the reverberations will work on a signal path by taking a mono, stereo (or in the case of the 5.1 surround reverb) surround and their treatment for each channel based somewhat (although more often out of control to management/development, with the exception of the surround reverb) surround (i.e. (, if I pan a signal mono L then the L in the 5.1 surround sound will be a little higher than the R, but not controllable). This is indeed the case for all the reverb and reverb Surround is the best reverb built to use for such a case?

Question 2: I know that you cannot ignore the individual effects automation on a track (some you can cheat by using dry), if I can't set up reverbs separate surround in my effects rack track so that each promotes a particular aspect of the sound field based on the meaning of the "break" from source to the over time When using a simple Reverb buss. In addition, I want to EQ each clip for a better effect, also have the reverb to be slightly darker than the source (or use would be UN - EQ source), but that requires me to use video effects, where are always before sending. The only way to work around these two problems is to have six separate tracks for each clip "break" and six buses of Reverb additional for each of them, although it might be possible to use a single reverb bus and use automation to move focus to the Surround reverb (or, if #1 is true hearing, let do it automatically for me based on the source). Anyone working on a viable solution for such a case or am I stuck with a bunch of extra tracks?

Audition CS6, Windows 7.

Thank you

Shane

You can automate all level controls in the Surround reverb effect. So, you can use the various envelopes to boost/cut the reverberation in certain directions according to your sources, providing, of course, that they do not overlap. But to counter that you also have a complete set of automation for panning envelopes Surround sends. If the worst comes to the worst you can split clips SFX separate on different tracks but still that they are sent to a common Bus of Reverb.

As with many features of the hearing there are different ways of "skinning a cat".

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