# Confused about ER



## vlado hudec (Apr 12, 2011)

Hi,

I have one question regarding ER on reverb.

I read somwhere in this forum, the instruments closer to the listener have more ER, than far instruments. Is this correct?

So when I have reverb, which allows adjust predelay in miliseconds, it means strings may have more predelay (higher miliseconds value) like brass and percs?

Thanks

V


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## CR (Apr 12, 2011)

You're right.

As the direct sound of the instruments in the first rows of a concert hall (i.e. strings) will arrive earlier at the listeners position than the reflections from the walls (which will have to travel a longer distance), the predelay value should therefore be set to higher values than for those instruments in the back.

Does that answer your question?


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## CR (Apr 12, 2011)

This might illustrate it a bit more:

Picture


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## vlado hudec (Apr 12, 2011)

Thanks CR,

so when you have strings, woods, brass, perc..lets say, I put 50ms on strings, 40ms on woods, 30ms brass, 20ms perc...and as far as the tail of reverb, the tail is the same for all sections? lets say 2s..so the same 2s tail is applied for all sections, but more on perc and less for strings?


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## Dan Mott (Apr 12, 2011)

What!!

I thought the more ERs on the intrument, the further away it is??? That's what I was told??


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## jamwerks (Apr 12, 2011)

I’m not sure how to handle predelay for the different sections, but I’m pretty sure that the instruments in the back have more ER’s since they are close to the back wall.


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## vlado hudec (Apr 12, 2011)

Dan-Jay @ Tue Apr 12 said:


> What!!
> 
> I thought the more ERs on the intrument, the further away it is??? That's what I was told??



I thougt the same, but I read here in some old topic, where Peter Roos (if I correctly remember) said, the instruments near to the listener have more ER, so I am confused now :D


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## Dan Mott (Apr 12, 2011)

Well. I created a thread the exact same a while back. I was saying how I was confused with ERs. Everyone told me that the more ERs you put on the instrument its further away because its more into the verb,

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## musicpete (Apr 12, 2011)

Now the big question remains about the separate tails? I've read two approaches:

1) Leave the tails with a predelay of 0ms (zero).
2) Adjust the tail to start after the ERs (which begs the question of how the hell I am supposed to find out the EXACT lenght of my ERs and align this precisely within the clunky GUIs of IR-VSTs)

I have tried both approaches many times in the past years and both sound like crap every time... Must be doing something very wrong...


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## bryla (Apr 12, 2011)

Well since the ER are the EARLIEST reflections, the tail should not start at zero. Rather you know the first ER predelay and the last (strings and percussion). A good tail delay would be in between those two and fade in as the ER fade out - you know the decay of your ERs too.


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## SvK (Apr 12, 2011)

ER as it applies to DRY samples ( vienna ) and TODD Ao sets from Altiverb

Woodwinds : ER (todd 8meter) should be circa 2db lower than the actual samples

Brass: ER (todd 12meter) should be the SAME volume as the actual samples

Strings: you dont need them.


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## SvK (Apr 12, 2011)

http://books.google.com/books?id=q6BtnY ... &q&f=false

Read the 2nd paragraph....


SvK


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## jamwerks (Apr 13, 2011)

Great info !

I for one would watch the video. o-[][]-o


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## vlado hudec (Apr 13, 2011)

SvK @ Wed Apr 13 said:


> ER as it applies to DRY samples ( vienna ) and TODD Ao sets from Altiverb
> 
> Woodwinds : ER (todd 8meter) should be circa 2db lower than the actual samples
> 
> ...



Hi SvK,

why I don't need ERs for strnigs? Because they are too close to the listener and there are NOT any ERs to hear? If yes, where starts the distance, when I start to hear ERs? Depends of size of the room/hall?

So you put only reverb tail on strings, nothing more?


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## vlado hudec (Apr 13, 2011)

CR @ Wed Apr 13 said:


> > hmmm, could you tell any practical example in mixing?
> >
> > when I have, strings, woods, brass, perc. So I load 4 instances of reverb (only ER will be activated), each with different ER (predelay) value in miliseconds, for each instruments group? lets, say 50ms for strings, 40ms for woods, 30ms for brass, 20ms for perc.
> >
> ...



Good info Carl, but I'm also for video, it is better one time to see, like 100 times to read :D 

Thanks for your time !

V


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## bryla (Apr 13, 2011)

Vlado: VSL has ER's in the samples and therefore extra ER's to the strings would increase the volum of the ER's thereby making them seem further away. SvK actually talks about the same procedure I explained.


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## vlado hudec (Apr 13, 2011)

bryla @ Wed Apr 13 said:


> Vlado: VSL has ER's in the samples and therefore extra ER's to the strings would increase the volum of the ER's thereby making them seem further away. SvK actually talks about the same procedure I explained.



I thought VSL samples are completery dry 

I use EWQLSO Gold, they are also recorded with ambience, so in this case, do I have add any ERs here, or there are enough ERs as they are recorded? 

I don't know if you have EWQLSO Gold, so anybody can answer this


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## CR (Apr 13, 2011)

vlado hudec @ 13/4/2011 said:


> I use EWQLSO Gold, they are also recorded with ambience, so in this case, do I have add any ERs here, or there are enough ERs as they are recorded?
> 
> I don't know if you have EWQLSO Gold, so anybody can answer this



You don't necessarily need to setup ER's for EWQLSO - only if you have the close mics.

Do you only use EWQLSO or is there any other library?

-CR


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## CR (Apr 13, 2011)

vlado hudec @ 13/4/2011 said:


> bryla @ Wed Apr 13 said:
> 
> 
> > Vlado: VSL has ER's in the samples and therefore extra ER's to the strings would increase the volum of the ER's thereby making them seem further away. SvK actually talks about the same procedure I explained.
> ...



Well, they are. All VSL samples are close mic'd with some exceptions (i.e. Appassionata Strings) and if you are using VSL, you should really add some ERs to the signal. Otherwise, you won't be able to blend them in nicely with EWQLSO for example. 

I have to point out that all this is quite a matter of taste - there is no "right" or "wrong" with this. Everyone has to find the way which suits him or her best.

I will post a video as soon as possible - hopefully not later than a day or two.


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## Dan Mott (Apr 13, 2011)

I would iove a video too!!!


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## SvK (Apr 13, 2011)

I can explain it in an easier way.

The ER on its own, is a really short reverb. Now if we take a bone-dry clarinet staccato from vienna it will sound like its right next to your ear instead of the middle of the stage.

however if we send that bone-dry saccato clarinet to a very short ER that is playing just as loud alongside the bone-dry sample it will have this short intense reverb smear on it right? this will make it sound like its a couple meters further back instead right next to your ear.....And since the ER is on its own buss, by turning it up we arent also turning up the long tails which would make everything muddy swimmy and bad........Just the ER.

And remember we still haven't turned on the tails.......we do that LAST, since we want to dial in those ER of the winds and Brass after that we turn on tails and on those make sure thay are hitting a few db BELOW the dialled in ERs otherwise your smearing / covering up all that hard work you did trying to put the horns behind the winds right?

the tails are actually of little imporance to simulate where on sage the instrument is, the ERs do that.

The tails purpose is to inform the listener of the size of the venue.

This is why i am a strong proponent of having the ERs on seperate busses from the Tails......because for each instrument you can dial in a slightly different ER/dry relationship, thus placing it at any distance on stage.

We are using / hyping the ER volumes to achieve depth-staging of individual instruments.


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## Ashermusic (Apr 13, 2011)

I have a lot of respect for SvK but I fooled around with this methodology of separate instances for ERs and tails for quite a while and at the end of the day, i found no appreciable difference in the quality of my mixes.

John Rodd told me he is also not a fan of that approach, but horses for courses.


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## SvK (Apr 13, 2011)

Jay,

no worries.....You do understand that my system is for close-miked and dry samples only right?

Your buddy John records live orchestras on stages and in halls, so none of what I said would apply to his recordings.

PS:in the tutorial video for "QL SPACES" Nick devotes a segment to the IRs called "ACME storage" to pump life into close miked libraries such as Vienna.....Its the SAME concept as what I am describing....Using short verbs LOUDLY on close-miked instruments that you want to have coming from further back..........this is rudimentary mixing 101.

SvK


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## SvK (Apr 13, 2011)

some more info :


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## SvK (Apr 13, 2011)

last paragraph...this APPLIES TO VIENNA...
(this is from "Mixing Audio: Concepts, Practices and Tools By Roey Izhaki")

I could find you 10s of books that will say the same thing, but none that would dispute it. 

I've spent years getting vienna to "sit"...and these techniques are working for me.

best.
SvK


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## PMortise (Apr 13, 2011)

I'm glad someone mentioned SPACES with EWQLSO. Since that library is recorded with it's own "room" and all, I'm a bit fuzzy on it.

The SO manual says "The objective of using release trails is to reduce the need for artificial reverb, which can seriously degrade the realism, especially of the notes’
attacks." - but of course this is a pre-SPACES statement, and in the SPACES videos I'm assuming that Nick is using HS with the RT's on.

So my neophyte-at-mixing questions are:

1. If the goal is to use SPACES to blend EWQLSO(room mics) with non-EW samples - should I be turning down SPACES predelay (same as ER, right?) as well as turning off EWQLSO RT? 

2. If only using EW libraries, don't use SPACES and keep the RT's on?


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## CR (Apr 13, 2011)

SvK @ 13/4/2011 said:


> i respectfully disagree with CR.



SvK,

thanks for the respect. But honestly, I think we don't disagree at all, just on the number of tails.



> Your buddy John records live orchestras on stages and in halls, so none of what I said would apply to his recordings.



This on the other hand is something where we disagree. There is an interview with John somewhere online where he talks about mixing VSL and other libraries with and without recorded ambience and he clearly points out that he doesn't use multiple tails because he finds it "not worth the additional effort".
(Can't locate the link to that interview right now, but I think its somewhere here on the forums - its an interesting read.)

Anyway, we very much agree on the basic principle I guess.

Best,
Carl


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## Ashermusic (Apr 13, 2011)

SvK @ Wed Apr 13 said:


> Jay,
> 
> no worries.....You do understand that my system is for close-miked and dry samples only right?
> 
> ...



Ah, I forgot that, you are right to point that out Stephen.


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## PMortise (Apr 13, 2011)

PMortise @ Wed Apr 13 said:


> I'm glad someone mentioned SPACES with EWQLSO. Since that library is recorded with it's own "room" and all, I'm a bit fuzzy on it.
> 
> The SO manual says "The objective of using release trails is to reduce the need for artificial reverb, which can seriously degrade the realism, especially of the notes’
> attacks." - but of course this is a pre-SPACES statement, and in the SPACES videos I'm assuming that Nick is using HS with the RT's on.
> ...



Anyone :?:


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## SvK (Apr 13, 2011)

With EW libraries , if you own SPACES , turn off the EW RTs ande use the ones from SPACES (the disney hall ones..) instead......

now when it comes to close miked stuff from EW...you can thicken it up and set it further back with the ACME stuff AND in addition turn on the DisneyHall tails for the long tail........

make sense?

SvK


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## SvK (Apr 13, 2011)

Carl,

Hi ....I see he's talkin about not using additional tails NOT ERs......

I agree with that. The differences in the sound of the TODD AO 12m Tail compared to the 8m TAIL are minimal BUT the differences between the 8m ToDD ER and the 12m Todd ER are huge.

best,
SvK


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## PMortise (Apr 13, 2011)

SvK @ Wed Apr 13 said:


> With EW libraries , if you own SPACES , turn off the EW RTs ande use the ones from SPACES (the disney hall ones..) instead......
> 
> now when it comes to close miked stuff from EW...you can thicken it up and set it further back with the ACME stuff AND in addition turn on the DisneyHall tails for the long tail........
> 
> ...



Got it - many thanks.


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## vlado hudec (Apr 15, 2011)

SvK @ Wed Apr 13 said:


> With EW libraries , if you own SPACES , turn off the EW RTs ande use the ones from SPACES (the disney hall ones..) instead......
> 
> now when it comes to close miked stuff from EW...you can thicken it up and set it further back with the ACME stuff AND in addition turn on the DisneyHall tails for the long tail........
> 
> ...



RT means reverb tail? How it is possible to turn of the reverb tail, when sample is recorded wet?


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## bryla (Apr 15, 2011)

release tail.

and yes VSL has some ER's in their samples and EW (even close-mics) has lots of ER.


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## vlado hudec (Apr 15, 2011)

bryla @ Fri Apr 15 said:


> release tail.
> 
> and yes VSL has some ER's in their samples and EW (even close-mics) has lots of ER.



but how can I turn off the release tails in East West samples, when they are recorded wet?


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## Hicks (Apr 15, 2011)

Hi all,

the main issue I have with my samples is that everything is in the front.
I wasn't able to space in 2D my instruments, only using the pan to get them on left or right.

So I followed all your comments and ideas (plus some tuto from VSL website).
I want to mix my chamber strings.
I got four types of instruments: Violins 1 and 2, alti and celli.

First I tried the ER method, but with poor results. I have open for each instrument an aux pre bus in logic with space designer.
I have put a short ER A from LASS preselection, 100%, 0% dry with some ms predelay, depending on instruments.

First issue, I have to volume level to setup, the one from the bus to the aux and the one of the aux!
I have decided to put both to 0db.
I am putting the direct signal from violin to -infinity. So only wet and I am increasing volume of direct signal to space my violins!
However, the violins are playing pizz and the wet signal is something really muddy, and I can't recognize the pizz. When increasing my direct signal, I can hear the pizz more clearly, but there is this muddy sound!
So let's decrease the volume of aux 1, but when I get decent pizz sound, they coming back to the front of the room!

So it didn't work.
I tried another stuff. I have setup a hall IR in AUX 1 and sending all my instruments to aux 1. So no more ERs, but only one IR.
Aux 1 is set to 0db, 100% wet.
By playing with the bus volume of each instrument and the direct signal volume, I have far better results to space my instruments (it seems to my ears that ER doesn't add much and IR only is sufficient, but I'm pretty sure to miss a thing).

However, I can't find a reverb I like (I compare with some chamber strings recordings in which I love the mix). Is it an issue with space designer and I should get Altiverb or Vienna Suite?
Or maybe I am using wrong Space designer?

Thanks a lot for your help.


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## bryla (Apr 15, 2011)

vlado hudec @ Fri Apr 15 said:


> but how can I turn off the release tails in East West samples, when they are recorded wet?


In the articulations pane:
http://www.majormusic.com.au/images/ew_ewqlso_play_screenshot_550.jpg (http://www.majormusic.com.au/images/ew_ ... ot_550.jpg)
It's the middle-section of this photo, and you turn of the articulations ending with RT


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## CR (Apr 17, 2011)

Ok guys,

I've uploaded the video here.

Feel free to add comments or ask any questions.

-Carl


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## jamwerks (Apr 17, 2011)

Hi,

Thanks for the video! Very informative. That does leave me with a question. By leaving the ER’s in the dedicated tail reverb, aren’t you contradicting yourself, since there everyone will have the same ER’s? In other words, shouldn’t the tail contain only the tail?
o-[][]-o


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## PMortise (Apr 17, 2011)

He set the pre-delay in the tail to "0". I don't use Cubase so I wouldn't know - but wouldn't that have the same effect a taking them out?


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## rayinstirling (Apr 17, 2011)

CR @ Sun Apr 17 said:


> Ok guys,
> 
> I've uploaded the video here.
> 
> ...



Hi Carl

The unfortunate consequence of your video could be showing that a good enough arrangement and vsti orchestration will sound just fine without the need for us being blinded in the headlights of promotions for the latest must have upgrade to our fx collections. o-[][]-o


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## CR (Apr 17, 2011)

Hey Jamwerks,

good point. I see I haven't been clear enough on this. By setting the predelay to '0', you'll get a tail without ERs on most reverb plugins. Another variant would be to use an IR plugin like Altiverb on your master output instead and load just a tail impulse. And its evenly possible to use IR plugins on the Near/Mid/Far busses as well with different ER impulses loaded. That might give you even better results. The drawback is that every additional IR plugin will put more strain on your CPU. Besides that, your ear should be your primary feedback (as always). The basic setup would be the same for all variants.

-CR


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## CR (Apr 17, 2011)

rayinstirling @ 17/4/2011 said:


> CR @ Sun Apr 17 said:
> 
> 
> > Ok guys,
> ...



That's why I only used "basic" plugins for the video.. :wink:


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## vlado hudec (Apr 18, 2011)

CR - thanks, it is good informative video !


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## robibla (Apr 18, 2011)

Thanks a lot for this video! I quite like the idea of using pre-fader in the send to adjust placement a bit more.


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## Dan Mott (Apr 18, 2011)

Hey CR. Thanks so much. I was wondering why you choose no diffusion??


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## CR (Apr 18, 2011)

Hey guys,

glad you like the video.



Dan-Jay @ 18/4/2011 said:


> Hey CR. Thanks so much. I was wondering why you choose no diffusion??


When you enable diffusion on the ER channels you will have a much less defined "room" spacing. The result will be a blurred, less distinctive sound. On the reverb tail on the other hand you would want diffusion as all instruments should sound like they are together in the same room. But once again, let your ear decide. If you think it sounds better with a little diffusion - crank those knobs! :wink:

Best,
Carl


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## Mark III (Apr 20, 2011)

A good video CR, but whats the formula for working out the pre delays to room size etc.. :D Is it the 1 foot per msec one?


Cheers.


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## CR (Apr 23, 2011)

Hey Mark,

no, the calculation depends on the size of the actual venue. The 1ft/1msec will give you a rough estimate (rule-of-thumb) though. 

The formula I used is the following:

ITDG = {(Distance 2 + Distance 3 - Distance 1) m} / {343 m/s} * 1000 ms

This picture shows how the distances are measured. Obviously, you'll have to know how large the actual room is that you would like to "recreate". Please forgive my amateur drawing. :oops: 







Happy Easter! o-[][]-o 

CR


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## Mark III (Apr 23, 2011)

Thanks for that CR, perfect illustration ! :D 

Aha yes the 343ms air speed.



Cheers. 

Happy Easter! o-[][]-o


p.s ...look forward to another Video demonstrating the above :wink:


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## Patch666 (Apr 23, 2011)

Am I doing something really wrong .. I do the exact same thing as this vid in my logic setup but my furthest away stuff has the longest pre delay .. and the strings at the front the shortest... Which is the exact opposite to the vid. Surely your early reflection depends on where your orchestra is positioned in the room for example if the conductor is quite near 'the front' wall (and im pretending to be him) the first reflections are going to come from the strings? rather than saying the strings have to travel the furthest to hit the back wall and come back again? CONFUSED FACE :? :? Please someone sort me out haha. 

Thanks, Great Discussion :D


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## rayinstirling (Apr 25, 2011)

Ok I've used the Steinberg Roomworks ER Near Middle and Far as suggested by Carl, on this cue although not for the tail which is 2C Aether Concerto Hall tweaked a little.
Hmm! I'm not really happy with the result but I post anyway 'cause I want to move on.

EDIT: OK no Roomworks now. Replaced with Altiverb 6 ER

http://snd.sc/eWYcnF


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## CR (Apr 25, 2011)

> Am I doing something really wrong .. I do the exact same thing as this vid in my logic setup but my furthest away stuff has the longest pre delay .. and the strings at the front the shortest... Which is the exact opposite to the vid. Surely your early reflection depends on where your orchestra is positioned in the room for example if the conductor is quite near 'the front' wall (and im pretending to be him) the first reflections are going to come from the strings? rather than saying the strings have to travel the furthest to hit the back wall and come back again? CONFUSED FACE Please someone sort me out haha.
> 
> Thanks, Great Discussion



This is something that most people would probably think - but its the other way around. I'm currently doing a second video in which I will try to explain where this comes from.




rayinstirling @ 25/4/2011 said:


> Ok I've used the Steinberg Roomworks ER Near Middle and Far as suggested by Carl, on this cue although not for the tail which is 2C Aether Concerto Hall tweaked a little.
> Hmm! I'm not really happy with the result but I post anyway 'cause I want to move on.
> 
> http://snd.sc/eWYcnF



Hey Ray,

just listened to the piece quickly - what's the point you are unhappy with? 
To my ears it sounds like the tail is a bit loud in the mix and might be slightly too long - long tails tend to interfere with the ER's.

Don't forget that my tutorial only gives you an advice on how to create depth in your mix - its no guide on how to make the mix itself. I.e. you will have to use shelf EQ's to round of high frequencies of instruments that are further back in the mix and likewise. :wink:


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## rayinstirling (Apr 25, 2011)

Carl,

I agree about the tail being too long, but it's more than that. I'm working on it again using Altiverb ER and it's much cleaner and yes I know the eq thing is important.

EDIT: ER changed now to Altiverb


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## Jean Paul (May 4, 2011)

*Mixing Wet libraries (EW, SYM, CS) with Reverb enhancements*



bryla @ Fri Apr 15 said:


> vlado hudec @ Fri Apr 15 said:
> 
> 
> > but how can I turn off the release tails in East West samples, when they are recorded wet?
> ...



Hi,
Thats a very interesting topic. After reading through several threads on this, I have one question. For strings I use a combination of Symphobia, EW, and Cinematic Strings. For Brass I use OBC and EW. For Percussions True Strike. I have Altiverb, 2C Audio Aether, and Lexicon PCM.
All these librairies have a 'closed' and 'stage" mic. While the procedure described by svk and CR works great on dry samples, I am experimenting and was wondering if it would be easier to:
1. use the 'stage' mic from each library for the depth effect, 
2. but since they were recorded in different halls, enhance that by inserting a reverb on each section bus having the right pre-delay and ER amount ad RT,
3. play around with the dry/wet mix to tweak the depth further
4. No sends, because I find having a direct dignal sounds a lot of close mic'ing, so I try to have a short ER / reverb tail with maximum wetness rather than a long RT with lower mix % or send levels.
5. no reverb tail on the whole mix bus, as these are already present in each section with varying amounts.

It's hard to make them all 'sit' together, but I really like the 'stage' mic samples from Symphobia and EW, and its a pity not to use that natural warm reverberation. 
With the Lex PCM, I use the Chamber algo for the strings, the Hall for the Woodwinds, the Random Hall for the brass, the Plate for percussions, all with a minimal touch of reverb, enough to glue things together. I will try to post something when done experimenting.

Any comments / suggestions if this would work would be greatly appreciated.
thanks


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## TheUnfinished (May 10, 2011)

Hmmm... Since I've seen ERs mentioned so much recently, I thought I'd try out the process in CR's video. Luckily I have Cubase so was able to follow it precisely.

However, I don't know if I was doing something fundametally wrong, but I could hear no discernible difference when the ER channels were live and when they were bypassed - except for the fact that the track got slightly louder. That was all. No sense of space, no hint of reverb.

What might I have got wrong?


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## CR (May 25, 2011)

Odd, I didn't get any notification that there was a new reply.. :? Sorry you had to wait that long.



> However, I don't know if I was doing something fundametally wrong, but I could hear no discernible difference when the ER channels were live and when they were bypassed - except for the fact that the track got slightly louder. That was all. No sense of space, no hint of reverb.



Do you have a very dry instrument like Vienna or something that has close mics? Then try the following: Set the dry/wet ratio on the relating ER channel to 100 % and disable the reverb tail. Set the volume level of the instrument track to 0 and play some notes. When your routing is done correctly, you should still get some audio. If not, you will have to check your channel routings, esp. the "Pre-Fader" setting. When there is audio, during playback toggle the ER reverb on and off to get an A/B comparison. There should be a difference. I don't know if you used RoomWorks as I did in the video - it is not the optimal plugin to create good ERs, but it should at least give you some results.


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## leafInTheWind (Aug 1, 2012)

BUMP!
Great video by CR above, seems like good advice for putting instruments in place!

Could I get some advice if I'm doing things right - I'm using a convolution reverb - specifically Logic's Space Designer. 

For my ER with Space Designer, what I did was
a) set pre-delay to around ~40ms, tweaked so that it does not echo.
b) reduce the IR length from 11s to about 0.5s (I was testing on the [strike]Cathedral[/strike] Conservatory+ IR, it is 11.7 seconds long)
c) This is on an AUX bus, so I've set the reverb to be 100% wet.

For the LR/Reverb, I basically used the exact same IR as above, but
a) pre-delay is set to 0
b) Full length of IR used
c) Tweaked the envelope so that the IR fades in from 0%, and hits 100% after 0.5 seconds (after the end of the ER).
d) Used the built in EQ to gently reduce the highs.

It sounds good to me, but I'm mixing on headphones >.> But would these be a way to use a convo reverb instead of an algo reverb? I'm using the above on VSL Solo Strings btw. Thanks!


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## Cosimo (Feb 11, 2016)

CR said:


> Ok guys,
> 
> I've uploaded the video here.
> 
> ...


I followed this, it seems like a great concept! Although I have an issue...

When applying this technique to Altiverb 6 (for ERs & Tails), setting the 'mix' of the ERs to 50% lets some of the original signal come through, therefore boosting the overall volume and limiting the amount of adjustable depth on individual instrument sliders.

Are you familiar with any case like this and would you possibly be able to lend a hand?

Thanks.


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