Regarding ER/LR balance in Breeze: there is not technically any way to
completely remove the ER's from Breeze as there is with Aether. However,
there are ways to minimize the perception of the ERs so much that there
electively becomes no ERs and the tail simply starts at full density.
To be considered an "ER" this particular aspect of the IR/sound should be
two things:
1) Early
2) A Reflection
This sounds sophomoric and maybe even condescending, i know, but it's an
important distinction, and we can use this info to achieve the goals we
are after here.
We can for example undo the "early aspect" simply by adding more
pre-delay. If we add say 100ms or more of Pre-Delay, we have absolutely
nothing happening in the first 100 to 150ms (depending on size and alg) of
the impulse response. Hence we don't have anything at all in the "early"
state of the reverb. "ERs" in this case would more be considered
"Echoes".
We can also minimize/obscure the "Reflection"/"Echo" aspect. A reflection
is a discrete echo or delay tap. To perceive a reflection as a
reflection, it must be distinct from the background. This means it must
be significantly louder than anything happening in the Impulse Response
say +/- at least a few milliseconds. So a single sample spike in the
impulse surrounded by 10ms of silence before and after the single sample
spike, would be a very good, or even ideal "reflection". If we have
several of these type of events in the first 150ms or so, this is
generally what we consider as "Early Reflections".
If on the other hand, the impulse response simply started at full density
white noise, where each sample value had a random value between -1.0 and
+1.0 (float) and then decayed exponentially, there would not be any
perception of "early reflections" at all. This would be more like a plate
verb -- or at least a reasonable approximation of one. In the first
1second there might technically be 44100 "reflections" -- one for each
sample at 44.1K SR, but they would be so close together that you would not
be able to perceive them as reflections and instead would hear this as a
single unified event.
So the way to minimize the perception of "reflections" is basically to
make the impulse response very dense. If you turn Breeze's Density
control to something close to +50-100% this will do the trick. If you use
Hall, and more-so Chamber, Plate, or Colored (special FX mode), alg modes,
this will make the response even more dense. For these modes you can also
use Density values of close to -100% to achieve similar results and this
will even undo any potential ripple/flutter in the early energy.
You can minimize the perception of strong "reflective energy" (even
diffuse energy) even more by using Negative Contour values. This will give
a slower attack envelope to the early energy.
If you combine all of the above, it will give you something like Aether's
"LR" engine. You basically won't have any ERs at all.
Now, there is one final trick in Breeze 2, and it is quite novel:
The mix/balance label is actually a switch between two different mix modes:
1) When the label shows "MIX", the numerical mix value simply shows a mix
between the completely dry signal and Breeze's normal wet output. This is
the standard setting, and this can be used on sends or inserts.
2) When the label shows "Balance" this is a "special feature mode", where
we apply spatialization to the DRY signal. This spatialization is
typically subtle, and happens instantly. You can think of it as early
reflections in some way, but for reasonable sizes it will happen so
quickly that you will not be able perceive any "Reflections" per say. It
is therefore better to think of it as "instant early energy" or
"Ambience", or simply instant spatial impression if you want to be
technical. The numerical value then becomes the balance control between
this instant invisible ambience, and the normal wet signal which can then
be considered more as late energy.
This works best with the Chamber modes, but it can also work well with
Hall modes if Size is kept at moderate values, as well as Plate at small
values. It can be used with Colored modes for special FX, but it is not
transparent in this case. I can be abused for various special FX also as I
am sure some people will figure out.
You should consider it a special features, and should not use it in every
case. Check the presets I made in the Simply Better expansion. I think
maybe 25% to 40% or so use it.
It is best used when using Breeze on an insert instead of a send. Since
Breeze is so efficient now this is a highly recommend way to use Breeze:
directly on tracks, and save the sends for Aether or B2.
Perceptually the effect of using this will be that it will instantly
recess the source sound back into the mix a little bit, so that lead
instruments and vocals don't feel like they are floating in front of the
mix or are detached from the imaginary sound stage. You can then use less
tail to achieve a similar same sense of space, thus keeping the mix
cleaner.
It can be used with low numerical values on lead vocals for example to
give them an instant sense of space and width while keeping them sounding
almost completely dry, without resorting to obvious chorus effects or
other tricks.
It's great to spatialize mono sources also. You can think of it as a way
to position sources on the virtual stage, or to randomize the position of
stereo mics in the space. Try loading multiple instances of the same
preset and apply them to different tracks. The result will have an
incredible sense of realism where each source will have its own space even
without panning, but with a unified tail gluing them into the same space.
Try the randomize button to get different variations.
So the Balance Mode can create an instant burst of "Early Energy", but
this will happen instantly with 0 pre-delay and it will be incredibly
dense and it will be quite short. Therefore it will not create the
perception of any "reflections" but instead will simply recess the source
sound back into the sound-field some. You can then think of this as an
advanced/modernize "ER engine" and if you combine this with techniques
above, with some extra pre-delay, you can effectively recreate things
quite similar to what you describe in Aether.