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Topic: Reverb and hall samples recording

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  1. #1

    Question Reverb and hall samples recording

    Hi,

    This question is related to orchestral libraries recorded on stage. I use EWQLSO silver which has no release trails.

    Using the dry version, from the listener perspective, strings should have a shorter delay and percussions longer delay. theoretically Equing and decay need no adjustment. Are those statements true ?

    If using only one reverb, are those all specificities destroyed ? Is it better to use 3 reverbs having different delays and decays to increase the depth and give a better rendition ?

    Thanks,

    SergeD

  2. #2

    Re: Reverb and hall samples recording

    Serge:

    Good question. I would also like to find which is the better way to do this. I would like to hear other peoples recommendations and comments on this. You may already know about this site, but it talks about setting up different depths in the stage.

    http://www.beat-kaufmann.com/tipspcm...tics/index.php

    Dd

  3. #3

    Re: Reverb and hall samples recording

    Quote Originally Posted by Serge
    Hi, ...Is it better to use 3 reverbs having different delays and decays to increase the depth and give a better rendition ?
    Thanks,
    SergeD
    Hi Serge
    ddarwin7 already gave you the link. I only can make it more
    precise:
    http://www.beat-kaufmann.com/tipspcm...48296f901da501
    Or another Tutorial (about placing musicians on the virtual stage)
    Step3 to Step8
    http://www.beat-kaufmann.com/tipspcm...46996180042f2e

    All the best
    Beat

  4. #4

    Re: Reverb and hall samples recording

    Beat,

    thank you for your tutorials. I've spent the day up to now with studying them, and they are excellent!

    Hannes

  5. #5

    Re: Reverb and hall samples recording

    Thanks Dd and Beat,

    Of course I know this wonderful site, what a gift ! I started to experiment reverb combinations after reading these tutorials.

    Yesterday I left Sir (mono-to-stereo technology) and switched to Pristine Space (stereo-to-stereo technology) which makes a big difference in the final result.

    So I applied 3 combined reverb and the mix gived more clarity and crunch. The delays used (and provided by DpDan in some thread) were about 10 Ms for strings, 17 Ms for woodwinds and 25 Ms for brass and percussion.

    The question about dry versus onstage reverb settings remains appropriate. Perhaps someday Bruce will catch this one and elaborate some thoughts in the Virtual instruments magazine


    SergeD

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