Well, I dove in and got Precedence/Breeze. I need to dive into the manual now and learn it, and hope for future videos!
But it was super easy to figure out the basics ... Load P ... Load B ... Hit Link on B ... load in presets.
And really enjoy it.
Five quick questions:
1) I assume the idea of "dry/wet" is not relative with this since in some ways Precedence takes care of that, right?
2) I have typically used "Large Warm Hall" from VSS. What, in your mind, would be the top 2-3 large hall presets to try first?
3) Jake from Spitfire has advocated using two reverbs and mixing them ... curious if you think this setup could be used with that approach too.
4) I know this is probably either not possible, or not desired since another reverb product does this ... and maybe Precedence already does this and I don't know it yet! ... but I would love to change the visual to be an actual orchestral stage so I can move the location to the right spot. Like a cheaters map. Of course I can look at a pic and estimate it. But any chance we could get an option to turn on an actual orchestral map to visually see where to put the locater?
5) For a long time, I have applied the Beatles "Abbey Road" trick EQ to my reverb bus. If I continued that with this setup, would I just apply this EQ to either Precedence or Breeze? Or should I still continue to apply a separate EQ (which seems harder since I have to put on each channel being used).
0) thanks for the compliments! Glad you like it!
1) when using Distance Link DSP mode in Breeze (and typically Precedence Link together with it), wet/dry mix is repalced by Distance. Distance includes wet/dry as well as several other things. It becomes a macro parameter. It changes a huge number of internal settings within the Breeze DSP algorithm. You can customize the exact mapping of Distance to wet/dry by adjusting the "DR Adjust" value that is shown on the "Big Time" view in Breeze. You can also use the Gain slider in Breeze to adjust ONLY the wet/tail gain, therefore this will also adjust the wet/dry balance. I suggest to use this for fine tuning. Use DR Adjust to modify the general rule for the entire session/project/group, or just use the default/preset values. Then use Gain to make any per-track adjustments you might like. (be sure to disable Broadcast in this case, if you would like to introducte per instance varations within a group)
2) Well, they are all my (or Simon's or Den's or the other Andrew's etc) children, so it's hard to pick favorites.
But I tried to put some great starting points in the first folder in the Demo Presets folder where I have things that work very well with Precedence link. Try the hall examples there.
3) you could keep a B2 or Aether instance on a send, and use that either for extra tail glue over the whole mix, or to automate sends to it to accent ends of phrases and other "studio magic" that is not really authentic to a live concert hall performance, but generally sounds great in modern productions. In the vocal ballad above if you look at the screen shot you can see I have B2 on a send. Most of the song it is at -48dB, which is almost nothing, but at the end of some of the vocal phrases I bring it up to get extra tails in addition to the short space created by Breeze. Perfectly fine to do this sort of thing in hybrid orchestral work too on solos that you want to add extra studio magic to. and yes, this means the instace on the send is passing through P, then B, then the send verb. That is perfectly fine. Paring short decay time times in Breeze used in the PBJ per-track config with one or two extra tail glue verbs on sends could be very nice indeed. I mention this in passing in the manuals, but it deserves more exploration for sure.
4) A good suggestion for a future update I think. Thanks. Someone else requested a set of pre-made presets for common orchestral instrument locations. (BTW, I am peronsally NOT a huge fan of doing Violin1, Violin 2, Viola, Cello, Bass (left to right). I like the earlier method of: V1, VA, BS, CL, V2. This really gives nicer separation between voices and keeps the frequency balance more centered. It really makes call-reponse type conterpoint come alive too!
6) Breeze 2 has a Band Pass filter option. I use that a lot for EQ. Set the center at 512 or 1024 hz or so, and use a wide bandwidth setting of say around +50%. This does something similar already. You can see that in some of the screen shots above. You can even use this as a damping filter with careful settings. Sounds great. Adding additional EQ before or after anywhere in the chain is fine too, though you will processing the dry signal too then... We will make additonal EQ/Filter options in the next B2 for people who like extreme control!