# Faking Sordino using Match-EQ and Convolution..listen



## SvK (Apr 21, 2010)

Faking Sordino using Match-EQ and Convolution..listen

Hi,

I wanted to see if I could get my Appassionata Strings to sound like effective Sordinos.
I have a reference Cue form Alan Silvestri from "What Lies Beneath" in which he does parallel 3ds first with High, Violins, then with Violas, then with Celli all on their own respectively (perfect!)

1)
Ok, so first I put those 3 Silvestri bits on an audio track. Next, I pull up Apass strings and sequence exactly the same 3 bits. 

2)
Now I pull up match-EQ and "learn" the SilvestriSordino VIOLINS. Then I "learn" the Apass-VIOLINS. Finally I hit "match". Now the Apassionattas sound really close to real Sordinos.

3)
I place a DigitalSpike on an audio_track and route it through that MatchEQ ( 100% wet ). Now I bounce the spike.

4) I now have an IR that makes the Apass Violins sound just like the silvestri Sordino Violins.

I repeat this process for the celli, violas and basses. 

Wanna hear the results?

Sord_Violins_ApassNormal.wav 
- These are the Silvestri Sordino Violins followed by regular, unprocessed Apassionata.

Sord_Violins_ApassFake.wav
- These are the Silvestri Sordino Violins followed by Apassionata with fake sordino IR...

pretty cool huh?
Celli Files are up there too.


I repeated this same process for the original Orch1 / 2 VSL strings, since they have a much greater array of short articulations.

After all this was done, I sequenced Herrmann's cue "Marion" from "Psycho" using only fake sordinos to make sure I wasn't wasting my time, ckeck it out:

Marion_VSL_SvK3.mp3



all files are here:
http://public.me.com/svonkampen

SvK


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## Christian Marcussen (Apr 21, 2010)

Great results...


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## SvK (Apr 21, 2010)

thanx guys:

dexter for verb IRs I use Todd AO and Hollywood Impulses by Ernest Cholakis:
http://www.numericalsound.com/hollywood ... onses.html

The EQ settings is what this thread is all about. The resulting Sordino IRs ARE the EQ settings.

SvK


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## germancomponist (Apr 22, 2010)

Ha, there is someone else who likes experimenting. 

Very cool results!


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## Hannes_F (Apr 22, 2010)

Haha, it is so funny how you use things that one normally tries to avoid in real recordings: Tape noise, stage noise, handling noise, and the abrupt breakaway at the end note which is in most cases either due to unsufficcient bow control or schmaltzy style. I see how these things add to the realism and they can be heard in original recordings too, but to a much lesser amount.

In short words I think you are overdoing the artefacts somehow. I is a bit like: Look, we have handling noise, too. Other than that nice results.


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## SvK (Apr 22, 2010)

Hannes, the abrupt breakaway on end note is because at the end of the day it's an eq test mock-up....you'll also notice the lack of a tempo map.

SvK


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## Guy Bacos (Apr 22, 2010)

I can't tell at all if it's good or bad with a fragment of 2 intervals, repeated a few times.


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## SvK (Apr 22, 2010)

Guy...check the Herrmann piece.....

Marion_VSL_SvK3.mp3


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## SvK (Apr 22, 2010)

Marion_VSL_SvK3.mp3

.... is ALL faked sordino....

http://public.me.com/svonkampen/Marion_VSL_SvK.mp3

SvK


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## Guy Bacos (Apr 22, 2010)

Oh that's better. I think muted strings are more muted then that, but your string sound is exquisite.


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## SvK (Apr 22, 2010)

Guy,

Thanx!
Go to itunes music store and type in "Marion" (Psycho) 

SvK


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## Hannes_F (Apr 25, 2010)

SvK @ Thu Apr 22 said:


> Hannes, the abrupt breakaway on end note is because at the end of the day it's an eq test mock-up....



OK I see, no problem with that. I thought you had gone the extra mile to give it an extra blop at the end, I have heard that in several mockups lately.


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## Nathan Allen Pinard (Apr 25, 2010)

Which VSL patch is that in the Marion piece?


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