# Convolution reverb vs algorithmic reverb??



## dannymc (Mar 20, 2017)

hi guys this might seem like a simple question but what are the main differences between convolution reverb and algorithmic reverb? now i know with convolution reverb they are recordings of real spaces like halls and churches etc but what exactly is algorithmic reverb? also in the context of production when would one use one over the other? would i be right in saying that if you want to go really big in sound and almost unrealistically over the top you would go for algorithmic over convolution? i know there are no rules but i'm just looking for the general approaches that pro composers do here.

Danny


----------



## sazema (Mar 20, 2017)

dannymc said:


> hi guys this might seem like a simple question but what are the main differences between convolution reverb and algorithmic reverb? now i know with convolution reverb they are recordings of real spaces like halls and churches etc but what exactly is algorithmic reverb? also in the context of production when would one use one over the other? would i be right in saying that if you want to go really big in sound and almost unrealistically over the top you would go for algorithmic over convolution? i know there are no rules but i'm just looking for the general approaches that pro composers do here.
> 
> Danny



Algorithmic tend to use calculation based on defined values within plugin itself (calculating reverb based on abstraction of assumed values), while convolution uses parameters based on live recording.
More info here (for example): http://brian-doyle.com/2011/10/28/convolution-vs-algorithmic-reverbs/
You can use whatever you want, whatever sounds good at the end 
Some producers prefer convolution, some algorithmic and some mix of those two.


----------



## rrichard63 (Mar 20, 2017)

sazema said:


> ... More info here (for example): http://brian-doyle.com/2011/10/28/convolution-vs-algorithmic-reverbs/http://brian-doyle.com/2011/10/28/convolution-vs-algorithmic-reverbs/
> ...


Another explanation that I find helpful is here: http://www.emusician.com/blogentry/1024


----------



## Beat Kaufmann (Mar 22, 2017)

Both types of reverbs have advantages. If you need to letting sound an instrument in a certain room depth convolution reverbs with good "IRs" are probably the better choice. Because these "Room-Prints" are static recordings which always sound the same way algo-reverbs can be better for the fading out "tail" of the reverb, because the have built in algorythms which are calculated in a random way. So the fading out sound can appear more natural than the one of a convolution reverb. This is the theory. 
Keep in mind that the developpers know these facts. So good Convolution Reverbs have randomizing circuits for the tail and good Algo-Reverbs have high quality algorhythms for the Earlyreflections so that real impressions of room depths are possible as well.

Personally I am combining the two systems. For the first part (Early-Reflections) I use some perfect *I*mpulse *R*esponses with a convolution reverb for creating the wanted room depth and then an Algo-Reverb for the tail.
This is a good system when you need to mix an orchestra with depths from close to far. If you are mixing rock music you do not need those depths of an orchestra. A good aglo-reverb is absolutely right and enough then.

Soon or later every user finds his own way in using reverb. So there are thousands of meanings about this theme. And all of them are right. As mentioned above: Finally it counts the result.


----------



## dannymc (Mar 22, 2017)

thanks for that beat. 

what my ears have noticed rightly or wrongly is that convolution reverb is better for real instruments such has brass and strings where-as algorithmic reverb works better for synths and ambient pads etc. not sure why that is exactly but that has been my work flow to date. 

so what you're saying is you would send an instrument to a convolution reverb first something like QL spaces and from there send this signal it to a good algorithmic? what do you mean by the tail? 

Danny


----------



## chimuelo (Mar 23, 2017)

Sorry, I couldn't resist...


----------



## Joram (Mar 24, 2017)

dannymc said:


> i know there are no rules but i'm just looking for the general approaches that pro composers do here.


The approach of pro composers and mixers is to use what sounds best. There is no rule. I use a combination of algorithmic and convolution reverbs but most often I prefer algorithmic reverbs for orchestral scores.

Recording is creating a new reality. However, with orchestral music, which is most often performed and listened to in a concerthall, most people are looking for a concert hall sound. There a a few studio specialising in filmscores. As we are familiar to the recorded sound of these score, we probably aim for a similar sound.


----------



## dannymc (Mar 24, 2017)

> The approach of pro composers and mixers is to use what sounds best. There is no rule. I use a combination of algorithmic and convolution reverbs but most often I prefer algorithmic reverbs for orchestral scores.



hey Joran when you say you use a combination of the two do you mean from track to track or from instrument to instrument within the same track?

i've heard alot of good things about the the algorithmic reverb B2. i mostly write cinematic & epic orchestral. is this reverb i got choice for those styles?

Danny


----------



## Joram (Mar 24, 2017)

dannymc said:


> hey Joran when you say you use a combination of the two to you mean from track to track or from instrument to instrument within the same track?


I use the convolution reverb when I need a particular sound of a particular reverb unit. Perhaps I am lazy but I do not modify the IR too much. I like a rich sounding reverb on most orchestral sections. Often it is a combination of Bricasti IR's and a Lexicon 480 (I am a big fan the lexicon's lush reverbs). For percussion it is less predictable and it really depends on the track. I have more than 10Gb of impulse responses and next to that springs reverbs and tape delays and I like to experiment with that.



dannymc said:


> i've heard alot of good things about the the algorithmic reverb B2. i mostly write cinematic & epic orchestral. is this reverb i got choice for those styles?


I tested it last year and I was quite impressed. I believe it is a very useable reverb with a really good sound. Since I have quite some choice it would have been overkill to get this one as well.


----------



## Beat Kaufmann (Mar 24, 2017)

dannymc said:


> thanks for that beat.
> 
> ...so what you're saying is you would send an instrument to a convolution reverb first something like QL spaces and from there send this signal it to a good algorithmic? what do you mean by the tail?
> 
> Danny



Your question is one of the most discussed here. Have a look here... http://vi-control.net/community/threads/adding-space-to-a-mix.32372/#post-3712553
A possibility of using the two types of reverb. The Algoreverb over all does another helpful work: It "glues" all the different signals together in a way.
I like this "reverb-system" and I use it very often for larger sample-orchestra mixes.
For smaller ensembles, rock- or other modern music styles you can choose one reverb either... or... Use then the "send-" possibility for giving individual reverbs to each instrument.

All the best
Beat


----------



## germancomponist (Mar 24, 2017)

And, if u use a Convolution reverb in an effect channel, you can there also use eq, modulation effects e.t.c. . Yes, this makes sence very often!


----------

