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Topic: Scheherazade mockup with Gigapulse

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  1. #1

    Scheherazade mockup with Gigapulse

    If anyone's interested in hearing an excerpt from the 1st movement of Rimsky-Korsakov's Scheherazade please check out the link below. The mockup uses VSL samples and Gigapulse.

    http://vsl.co.at/english/demos/Class...t_movement.htm

    Best,
    Jay

  2. #2

    Re: Scheherazade mockup with Gigapulse

    great !
    can you tell us something about which impulse and mic setups?

  3. #3

    Re: Scheherazade mockup with Gigapulse

    Mike-- Thanks for listening.

    I used three Gigapulse instances (Strings, Woodwinds&Harp, Brass@Timpani) with the following settings:

    1) Bank: Large Hall
    Mic Level: 100
    Perspective: 1
    Wet/Dry: 100
    Pre-delay: -13
    Placement selection: L2, R8
    Original mic: flat
    Preplacement mic: U47 Emulated

    2) Bank: Large Hall
    Mic Level: 100
    Perspective: 157
    Wet/Dry: 100
    Pre-delay: -13
    Placement selection: L2, R8
    Original mic: flat
    Preplacement mic: U47 Emulated

    3) Bank: Large Hall
    Mic Level:100
    Perspective: 1
    Wet/Dry: 100
    Pre-delay: -13
    Placement selection: L11, R17
    Original mic: flat
    Preplacement mic: U47 Emulated


    I placed the 3 instances on the Aux returns and then mixed in various levels of dry signal for the various orchestral sections. Adding in some dry signal seemed to improve clarity and improved stereo imaging.

    Best,
    Jay

  4. #4

    Re: Scheherazade mockup with Gigapulse

    Quote Originally Posted by JBacal
    I placed the 3 instances on the Aux returns and then mixed in various levels of dry signal for the various orchestral sections. Adding in some dry signal seemed to improve clarity and improved stereo imaging.
    I have been experimenting with the same approach of using Aux returns and mixing in different levels to create some sense of distance perspective. Could you tell us exactly what levels of the different GP instances you used for each instrument group? And how much dry signal did you add (and was it the same for all instruments)? And, a further question, if I may, what was the rationale for the U47 emulation?

    The demo sounds really great BTW. One of the best orchestral mock ups I have ever heard!

  5. #5

    Re: Scheherazade mockup with Gigapulse

    It's best to run everything 100% wet with GigaPulse. That gives the correct impulse response. Vary the wetness with the perspective control.

    Of course, you can experiment with wet/dry mixes to create non-standard spaces. It's cool that they left the handle available to us.

    -JF

  6. #6

    Re: Scheherazade mockup with Gigapulse

    The following is what Larry Seyer (the creator of many of the impulses) said on the subject of Wet/dry Vs. Perspective on another forum:

    QUOTE

    "By using the perspective instead of the wet/dry, you retain the sound 'signature' of the room."

    "In other words, the wet/dry let's the original source material pass through GigaPulse un-altered... and then GigaPulse adds the sound of the room reflections to the original sound."

    "The perspective control is something totally different. It allows you to place your sound in the room and retain the 'color' of that room while still controlling the balance between the original sound and the room color."

    "So when you are placing instruments in 'rooms' using GigaPulse, you will want to use the perspective control to make sounds seem to be 'placed' in the room...."

    "Where as using the wet/dry is more like a send/return in a standard mixing console. The original sound does NOT receive any 'color' from the room... "

    "The two controls are totally different sounding..."

    "Finally, using the perspective instead of wet/dry allows you to NOT have any 'phasing' between the original sound the the sound of the instrument in the room."

    "Most of the time, we used the wet/dry set to 100% here... and then used the perspective to control how 'wet' the sound was... "

    END QUOTE


    However, I currently like the way adding some dry signal sounds (note the word "currently"--my preferences keep changing the more I experiment with Gigapulse). I think it adds detail and improves imaging while maintaining a "wet" overall sound. There might be a better way to achieve similar results with the perspective control but I haven't found it yet.

    Here are the specific Aux Send settings I used:

    Ensemble Strings:
    Fader: 0.0
    Aux Send: -22

    Solo Strings:
    Fader: 0.0
    Aux Send: -25

    Woodwinds:
    Fader: 0.0
    Aux Send: -25

    Brass:
    PRE - enabled
    Fader: -3.0
    Aux Send: -21

    Timpani:
    PRE - enabled
    Fader: -1.0
    Aux Send: -21


    There was very little rationale for using U47 other than I liked the sound (seemed to have a warmer, more "vintage" sound to my ears). I would love for someone knowledgable in microphones to describe some of the differences in the replacement mics and tell us which mics recording engineers use most frequently and in what situations they use them. Any takers?

    Everyone, please post the Gigapulse orchestral solutions that work for you. Since this great piece of software is under-documented IMO the more we can share information about it, the better.

    Best,
    Jay

  7. #7

    Re: Scheherazade mockup with Gigapulse

    Was this done solely with the instruments included with GS3 Orchestra?

  8. #8

    Re: Scheherazade mockup with Gigapulse

    No, this was done using mainly the VSL Pro Edition but also some of the VSL Horizon Libraries including French Oboe, Epic Horns, Woodwind ensembles and Chamber Strings.

    Best,
    Jay

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