From reading this and other forums, the general consenus of opinion seems to be that Nemesys\'s reverb NFX is of poor quality. Which got me wondering: what possible advantage is there in adding reverb during the sampling stage? There are at least two other possibilities--without plugging in an expensive hardware reverb unit like Lexicon or TC: (1) adding reverb during recording, with VST plugins to Cubase or DirectX plugins to Cakewalk; and (2) adding reverb directly to the samples themselves with WAV editors like Sound Forge or WaveLab. Have any of you compared the various methods of adding reverb at different stages, and can you describe any significant advantages or disadvantages to the various stages?
Contrary to opinions thatI have read on forums in the past, I am experiencing quite good final results by adding a modest amount of reverb directly to instrumental samples with Sound Forge. Since GigaStudio cuts off the natural release of most sampled notes (with its room reverb) and replaces it with timed digital decay, the addition of digital reverb directly to samples doesn\'t seem to mess up the texture--as I had feared it would. The result, if applied judiciously, seems to be a warmer tone than the original sample. However, I will have to experiment more with reverb on more samples to see if it causes problems later on that I can\'t handle. I would be interested to know if any of you have experimented with or even adopted the practice of adding reverb to samples.
[This message has been edited by Charles-Valentin Alkan (edited 01-09-2001).]
Adding reverb to the WAVs themselves in a Gig would not only be a huge amount of work, it would also make your samples unusable for two reasons:
1) Any loops would not sound good anymore.
2) You would loose the reverb during the release. So if you have a 0.2 second decay on a sample, you would only get 0.2 seconds of reverb too. The reverb would stop at the same time as the sound itself, which of course is totally unrealistic and would without any doubt sound very strange.
I prefer a HW reverb for any DX or VST plugin I tried, because I think it generally sounds better, and I can add EQ to it through my mixer, quickly try a lot of different settings, alter values etc. The only downside is that it is destructive so you can´t change your reverb later without having to record it again.
LHong, I don\'t know if I am the one you\'re referring to regarding the MP3s and verb. But in case it is, I can say that I only did about 2 or 3 recordings for those pieces, and only one for the example called \'Wandering\' on my page. Basically I record all strings at the same time, then all winds and then percussion. If I have a piano I might do that separately as well, but I don\'t do it track by track, that would be zzzzzzzzzzzzzzz!
Wow, reverb??? We\'ve discussed about it many times before, right???
It seems be tough to discuss without knowing the kinda music that we try to produce! Especial in orchestral world for clasical and/or firm scoring. We don\'t have clearly whole picture that how much dollars you can afford to archieve correct your taste. I\'ve heard some of your MP3 sample songs (film styles), I realized you have done very great works on the verbs, I don\'t know how you all can handle them, it must be taken so much time...If someone would ask you that, can you re-produce them exactly like those songs with same scoring??? Too hard, right? The matter of difference time (feeling by ears), difference sub-mixes? reverb setting??? How many tracks need to be recorded and/or mixed?
Quality? Someone even mentioned about 80 tracks, damn it takes three months to have the completed mixdown that what you wanted their verbs...
Realistically, it depends on your hardwares and softwares, within the PC is still tough to have the verbs (effect processing) in proffesional ways. likely, you must have all the tracks being mixing down at once (no sub-mixes), each tracks can be sent and returned effects (multi-verbs, delays, flangers, choruses, etc) individually, also can be inserted par-EQ and/or dynamic-effs (comps, limiter, etc). It\'s exactly how digital mixer works, you know, right?
Of course, you need the good reverbs but how you mix them together is other matters to void the possibility of harmonical results.
Just a thought,