Reverb Approach - What's your style?

[composer22]

I saw an interesting thread a while back discussing different reverb units that are on the market, but the search engine seems broken right now to xreference it here.

One thing I haven\'t been able to determine in the past from posts is what people use to emulate orchestral recording. A mix of ideas but it wasn\'t clear what is the current call?

First, record each section or instrument dry. Then...a number of options...

1 reverb approach
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Use one reverb to adjust for depth, adjusting a mix between source and reverb in\'s for each section or instrument.

2 reverb approach
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Same as above only the first stage is applied on either an individual instrument or group to get a small resonance and then applying a second reverb (either same unit or another brand) to the entire mix. Apply a depth mix between source and reverb in\'s on either the first or second stage. Which one?

EQ
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And how are people using EQ? Separation only? WWinds? Strings?

Delay
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How is this being utilized with the above chain?

[KingIdiot]

I use somewhat of the second approach with reverb.

Depends on the sound I\'m after in the end.

EQ is usually instrument by instrument...and library by library.. Usually before reverb.

I dont use actual effect delay in orch arrangements. I do use some big pre delay settings on brass tho http://www.northernsounds.com/ubb/NonCGI/images/icons/smile.gif

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Really...I am an Idiot

[composer22]

So, hypothetically:

Instr Group 1 ==>EQ==>Reverb==>50/50 mix
Instr Group 2 ==>EQ==>Reverb==>30/70 mix
.
.
.

Mix1, 2, n ==>Master Reverb==>90/10 mix==>Disk

[MikeGraybill]

That\'s basically how I set mine up real time in Vegas, though I\'m not satisfied with the end sound I get still. This is probably due to a lack of experience, though I experiment for hours on end sometimes if something just \"isn\'t right.\"

I\'m on my way in just a few hours to purchase a hardware reverb unit and test it out. I\'m probably looking at the Lexicon MPX-110 or MPX-200. Any other suggestions? What have some of you been happy with?

[composer22]

I heard the TC M3000 is good?

And avoid the Lex for orchestral stuff

[This message has been edited by composer22 (edited 04-09-2002).]

[Micheal Chase]

I use a mixture of different reverbs, usually for different groups. For strings I use a PCM90, for some woodwind I use an absolutely blinding little software rev called Silverspike (which has a beautiful, rich sound) but often for brass I like the rev built in to my DPS factory soundcards (based I think around the Rev500). There\'s a part rev/part chorus template called Sympho/rev (or something like that) that does wonders for a big brass sound in a tutti. I wouldn\'t use it on a solo oboe but its a brilliant effect if used at the right time.

For positioning, there\'s not much more user friendly and enjoyable than the Cakewalk soundstage.

[composer22]

I heard the Cakewalk FX3 - you can hear tails. I was thinking of getting this plug...also Waves Rennaisiance is supposed to be fantastic

I heard that a mac product called altiverb...
http://www.audioease.com/IR/ (\"http://www.audioease.com/IR/\")

is supposed to be fantastic...based on threads...

[This message has been edited by composer22 (edited 04-09-2002).]

[MikeGraybill]

Woah, that\'s the first negative comment I\'ve heard from anyone regarding Lex verb. My other contender was TC, but that\'s what I was going to explore today at the store, finding differences (I\'m going to bring in a few dry tracks of instruments on a cd and run them through various machines, but its a far cry from taking it home and getting to know em.)

Please, I\'d like to hear more about why lexicon is inappropriate for orchestral stuff? I haven\'t heard this even from my engineer friends (though they record bands, and have made it clear to me they are not orchestral engineers, so maybe they\'re just not thinking of the purchase from the standpoint of my needs?) Either way, I\'d like a little more info if ya don\'t mind comp22?

[composer22]

This is all through my search here.

The TC M3000 recommendation came from BardsTownAudio who posted a response a while ago. There was another Reverb unit Quan-something which was better for orchestral but there is nothing I can find online in any of the stores...And I cant search so I cant find the original thread.

The MAC product people were gaga over...but I dont have a mac

And I dont have 2k to purchase a high end reverb.

I will prolly go with the waves and short term with the FX3

[This message has been edited by composer22 (edited 04-09-2002).]

[MarkusH]

quantec yardstick


edit: addition:
do you mean the waves RVerb, or trueverb? How\'s the 480L (for stereo) or the 960L (stereo and 5.1) \"not suited\" for orchestral productions?

[This message has been edited by MarkusH (edited 04-09-2002).]

[composer22]

<BLOCKQUOTE><font size=\"1\" face=\"Verdana, Arial\">quote:</font><HR>Originally posted by MarkusH:
quantec yardstick<HR></BLOCKQUOTE>

Yup thats the one!


Markis: Im just quoting what i heard here in posts... Again, the search engine is broken so I cannot provide links


[This message has been edited by composer22 (edited 04-09-2002).]

[RobertKooijman]

As so often, it boils down to taste and what the type of soundscape you\'re after.

Regarding Lexicon reverbs: I don\'t see any reason why these should not be applied to orchestral pieces. When for instance given reverb setting \'washes out\' too much, a little EQing or editing of the reverb\'s parameters will do the trick.

Someone posted some time back the tip of using the Lexicon\'s PCM80\'s Glide and Hall program for orchestral purpose.

Being a lucky owner of a MPX500, PCM80 and PCM 90, I can tell from experience that you most likely will not be dissapointed with a Lexicon unit.

These days I use the PC for almost anything, including some weird plug-in effects. But nothing I tried adds the \'magic\' some PCM90 programs have. Even the relatively cheap MPX500 outperforms all the native stuff I\'ve tried.

All in all, both these Lexicon units AND the TC 3000 are IMO up to the task.

I dare to say that when it comes to realism and \'flavour\' of a piece, a good set of well recorded samples and dito arranged piece is at least as important as your reverb.

You can get for instance better results from a cheap second-hand Alesis quadraverb put over a carefully done MIDI arrangement that uses a decent library, then a high-end reverb applied to a mediocre input source.

As so often, it\'s not the technology but merely creativity and talent that make the difference. And if the talent is somewhat lacking, then a healty dose of persistence might bring you there as well. Isn\'t life great?

All the best, Robert