• Register
  • Help
Results 1 to 8 of 8

Topic: reverb for GPO

Share/Bookmark
  1. #1

    reverb for GPO

    I just was going through the brass masterclass of Danielle, and wanted to ask, the reverb that she is using in the mp3 files she puts there, is that the ambience reverb of GPO or any other, and if its the ambience of GPO, which setting is your favourite? concert hall?

    and in general, which reverb do u like using with GPO, the ambient? or any other? I heard of this called SIR , never used it, in general anyway , what do u recommend to use as reverb

    thanks loads

    Jav

  2. #2

    Re: reverb for GPO

    Danielle used Sonar and she used the reverb that comes with it. Not sure, however, not having Sonar, what settings she used.

    Karl

  3. #3

    Re: reverb for GPO

    I use the free SIR (PC only) with the free 350seat and 1800seat SETS found at www.noisevault.com . I use different stage locations ( a different impulse) for each instrument . Because SIR (and convolution in general) is CPU intensive, I use one overall impulse when I am composing/editting and then when "finished," output to audio each instrument separately (with its own impulse). Often the volume changes slightly when changing the impulse file, so a small of amount of remixing is needed. If I am feeling extremely masochistic, I also output for each instrument an additional FAR MICS audio and add a small (-10-14db) amount of the FAR MICS. The whole process takes me about an hour.

    I expect Gary's announced REAL SPACES product will be much better.

    Here are some examples:
    350seat Franck Violin Sonata w/FAR MICS http://www.wusik.com/song.php?id=362 ,
    1800seat Hurn Strings+Brass http://www.wusik.com/song.php?id=636,
    350seat YBaCuO (warning Modern!) Orchestra http://www.wusik.com/song.php?id=651

    YBaCuO

  4. #4

    Re: reverb for GPO

    thanks lots for all the info , im new to the reverb world so just one thing, whats 350seat and 1800seat , is that referring to different presets that represent the number of people,seats in the concert hall?

    in summary SIR is much better than the ambience that comes with GPO then?

    thanks lots
    Jav


    Quote Originally Posted by YBaCuO
    I use the free SIR (PC only) with the free 350seat and 1800seat SETS found at www.noisevault.com . I use different stage locations ( a different impulse) for each instrument . Because SIR (and convolution in general) is CPU intensive, I use one overall impulse when I am composing/editting and then when "finished," output to audio each instrument separately (with its own impulse). Often the volume changes slightly when changing the impulse file, so a small of amount of remixing is needed. If I am feeling extremely masochistic, I also output for each instrument an additional FAR MICS audio and add a small (-10-14db) amount of the FAR MICS. The whole process takes me about an hour.

    I expect Gary's announced REAL SPACES product will be much better.

    Here are some examples:
    350seat Franck Violin Sonata w/FAR MICS http://www.wusik.com/song.php?id=362 ,
    1800seat Hurn Strings+Brass http://www.wusik.com/song.php?id=636,
    350seat YBaCuO (warning Modern!) Orchestra http://www.wusik.com/song.php?id=651

    YBaCuO

  5. #5

    Re: reverb for GPO

    The 350seat and 1800seat Sets refer to free impulses that are found at www.noisevault.com - go there are look under impulses. These sets come with basic documentation. Only one impulse can be loaded into SIR at one time (for example, MidSideRow1Center ... the center of the stage/orchestra Row1). This will work pretty well, but for better spatial separation of the instruments and a fuller sound during crescendos, more impulses have to be used. Since, SIR is CPU heavy, only a one or a few instances can be run simultaneously, so I use one center impulse while composing/editting and then output each instrument separately (with different impulses) to audio and then mix the audio (my host does not have freeze). The left/right positions along the stage are the most important. And it all takes a lot of time.

    Does it sound better? That depends. Here is a NS thread for music using notation software and the Garritan Ambience Reverb:


    http://www.northernsounds.com/forum/...ad.php?t=32413


    I suggest that you browse the demo section and when you find REVERB (not necessarily the music) that you like, ask the composer what they did.

    YBaCuO

  6. #6
    Senior Member
    Join Date
    Jun 2004
    Location
    Brooklyn, NY
    Posts
    326

    Re: reverb for GPO

    I am curious as to the settings you use for the SIR reverb - how do you break up the sections and what degree of wetness do you apply to each? Is there a general formula you like to use and do they differ between a 350 and 1800 seat house?

    In answer to the above question, the SIR reverb (or any impluse reverb) differs from the Ambience reverb that comes with GPO in that an impulse reverb derives its calculations based on actual recordings of reference sounds recorded in actual spaces. This sound could be something quick and loud like a starter's pistol or an air horn. The ambience reverb (or any digital reverb) derives its settings based on purely mathematical calculations and could be considered more of an "educated guess".

    Oops, you already answered while I was writing this

  7. #7

    Re: reverb for GPO

    I encourage everyone to try SIR and find settings that pleases them. I would not rely on my set of ears.

    For the examples that I posted, the SIR settings were 0db dry, and about -7db to -8.5db wet.

    For the 1800seat, usually I prefer the Blumlein mics, but in the Hurn example, I used 3-4 impulses from the NOS set and virtually no left/right positions and just some front/back ones to help push the brass further back. I don't remember the settings.

    In the 350seat examples, I used the MidSideRow set. I use an impulse that is close to the pan positions automatically set up in the GPO player, with the brass and percussion in the back row3, woodwinds row2 (sometimes cellos too), and the strings in row1.

    Sometimes I add a small ADDITIONAL amount (but can't remember exactly how much) of the "Far Mic", which are the FarSpCardRow Set. In this case, be carfeul of the Row3. It can really muddy up the sound, which sometimes works for brass. If the Row3 sounds bad, then I simply substitute a Row2.

    In general, be careful of the floor and back or Row3 positions - sometimes it is better to use something more in the middle (your ears can tell). But the left/right positions really work well.

    I really wish someone would investigate these impulse sets further (dry/wet settings, different mic positions, seating placements, mixing in far mic positions, etc.). I am a time-constrained hobbyist and I'm just learning too.

    If you need more detailed answers, then just ask away.

    YBaCuO

  8. #8

    Re: reverb for GPO

    thanks loads for all this detailed info
    mmm, really this SIR stuff seems to be complex , surely must have more quality than the ambience, but then the ambience seems easy to manage, i dont think I have time for now to investigate the SIR so I will have to stick to the ambience for now, thanks lots again for the info
    Jav


    Quote Originally Posted by YBaCuO
    I encourage everyone to try SIR and find settings that pleases them. I would not rely on my set of ears.

    For the examples that I posted, the SIR settings were 0db dry, and about -7db to -8.5db wet.

    For the 1800seat, usually I prefer the Blumlein mics, but in the Hurn example, I used 3-4 impulses from the NOS set and virtually no left/right positions and just some front/back ones to help push the brass further back. I don't remember the settings.

    In the 350seat examples, I used the MidSideRow set. I use an impulse that is close to the pan positions automatically set up in the GPO player, with the brass and percussion in the back row3, woodwinds row2 (sometimes cellos too), and the strings in row1.

    Sometimes I add a small ADDITIONAL amount (but can't remember exactly how much) of the "Far Mic", which are the FarSpCardRow Set. In this case, be carfeul of the Row3. It can really muddy up the sound, which sometimes works for brass. If the Row3 sounds bad, then I simply substitute a Row2.

    In general, be careful of the floor and back or Row3 positions - sometimes it is better to use something more in the middle (your ears can tell). But the left/right positions really work well.

    I really wish someone would investigate these impulse sets further (dry/wet settings, different mic positions, seating placements, mixing in far mic positions, etc.). I am a time-constrained hobbyist and I'm just learning too.

    If you need more detailed answers, then just ask away.

    YBaCuO

Go Back to forum

Bookmarks

Posting Permissions

  • You may not post new threads
  • You may not post replies
  • You may not post attachments
  • You may not edit your posts
  •