Excellent work! Very nice composition, and I also like the simple but effective page layout.
I especially appreciate that you\'re not trying to be a John Williams clone (or ARE you and just failing miserably? - just kidding, sometimes I just get carried away! In fact here come those guys in the white coats again, gotta run...)
Keep up the good work, Peter.
BTW, I\'m shocked at how much better the Acoustic mirror reverb sounds over Waves...
I\'m struggling with reverbs, the Acoustic Mirror mix is also just a test of the stuff that I have.
Normally I run my \'orchestra\' through an analog Beringer mixer with a Yamaha Rev500, which is fine for playing. When I record a mix I keep it in the digital domain: capture in Gst and run the piece either through a plugin within SoundForge or Logic. At this moment my preference is the Emagic GoldVerb.
The Acoustic Mirror stuff has too much noise or other side-effects (or, I don\'t know how to use it).
Ofcourse, you can really improve the soundscape by submixing in groups and using different reverb settings. For now too much hassle, maybe when I have finished something serious.
For me judging reverbs and also programming them is really an advanced art. I guess this is not different when you have a lexicon (although it might help).
It\'s only partly the reverb quality, it\'s how you use it that really matters, like any other tool. I didn\'t notice any noise in the Acoustic Mirror demo, but listening to an MP3 with 1.5\" Labtec speakers is not going to really show all the detail.
I just felt the AM demo had a warmer, more natural character. It also was louder, that may have contributed.
It\'s nice to have a good understanding of reverb parameters and how they work together when you\'re trying to create a realistic orchestral setting. But today\'s digital reverbs and plugins have some quite good presets, enough that just a little tweaking is enough to give you the acoustic space you want.