My CPU isn’t powerful enough for 32 channels of reverb that I need with NFX1 reverb. I am considering something like Sound Forge or Cakewalk FX for adding the reverb after I’ve recorded the audio but I don’t fully understand the way it is used to still retain wet/dryness and relative positioning of the instruments.
Do I turn off the reverb effects in Gigastudio and record to separate audio tracks and reposition each separate audio file and then merge them into a stereo image? Or would it be better to set the NFX reverb effect strength to 0 and keep the “Dry” specific to the instrument then just apply a single concert hall reverb to the audio in Sonar?
I use Sound Forge 5 and I just realized that I can use the acoustic mirror to use as reverb (supposed to be better then the synth verb). I am going to map out 0-100 of instrument panning with the aid of a standard orchestra seating chart. I might release it here if anybody would be interested. But first I have to test my newest piece with it first.
P.S I will use the hollywood reverb settings and adjust it to the 20 band EQ in SF 5, thus no need for any NFX effects.
I think I found a better way of dealing with my puny Pentium 4 CPU and the heavy demands of reverb.
Previously, I used 32 different pan, reverb, and dryness settings - one for each midi channel or instrument. This was a huge strain on my CPU as one can imagine.
Now, I just created four broad categories of reverb and dryness:
• Very close: flute, oboe, violins
• Close: clarinet, bassoons, viola, cello
• Far: horns, trumpets, bass, etc.
• Very Far: for low brass and percussion
Each instrument handles its own panning so what I hope to get is a much less CPU intensive version of dryness specific to each instruments location on the synthesized soundstage. This seems to save my CPU by having an eighth as much reverb to process though is better than having every instrument using the same dry setting.
There can be a problem with using acoustic mirror repeatedly for individual instrument groups when trying to achieve a common orchestral blending of all the sections playing together in a concert hall. Namely, the acoustic mirror type of reverb does not \'add\' very well, ie. you will notice that the overall mix can get very \'muddy\' sounding. I would suggest not using NFX at all, and tracking each instrument grouping with a small amount of acoustic mirror processing, then apply an overall reverb to the whole mix. I would do this AFTER any mastering such as multi-band limiting, eq, etc. Doing this as a final processing step yields, at least in my experience, a more natural sounding orchestral mix. You may also find that some orchestral samples already are pretty \'wet\' in their recorded ambience, and so only need to be processed under the final reverb method I described. And BTW, this is good for tracks recorded from synths or another sampler too ( in terms of an ORCHESTRAL type of recording). The trap you want to avoid is adding too much reverb, a common error in orchestral synthesis. Hope this info helps!