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AIR Studios Reverb Discussion Thread

  • Thread starter Thread starter syrinx
  • Start date Start date
  • Watchers Watchers 227
Migma said:
Hm that's weird. This is the video I recorded. Btw, you can hear it better with headphones and Mono signal in AIR reverb. I tested it with some single instruments, with a whole song, different volumes and dynamics, as insert or sends effect - but the noises are always there.
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I've tried again but I can't reproduce it. I tried different headphones with more high-end clarity (my mixing headphones instead of the tracking headphones I had on when I first tested). I tried the mono signal in AIR, and tried doing everything you do in the video. What I notice is that it takes your system longer to turn the direct signal on and off. So I wonder if the crackling is a performance-related thing that just happens to affect the backs and canopy more readily because of something in the software that requires more processing with those. If Spitfire's only testing on high-powered computers and it's a performance-related thing, that might be why they can't reproduce it. I imagine the stretch mode would take more processing than having the stretch mode off, so it would be interesting to know if you still get the crackling with that off.
 
Migma said:
Hm that's weird. This is the video I recorded. Btw, you can hear it better with headphones and Mono signal in AIR reverb. I tested it with some single instruments, with a whole song, different volumes and dynamics, as insert or sends effect - but the noises are always there.
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Confirmed. In some cases the crackling disappears if the source position (player position) is changed. I find that if it's close to the tree mics, the crackling always occurs, move it further away, it disappears. Only did a quick test though.

Edit: I'm doing this on a AMD 9950X with 64GB RAM, so performance shortage should not be a factor. My buffer size is 512.
 
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James Brecknell said:
I've tried again but I can't reproduce it. I tried different headphones with more high-end clarity (my mixing headphones instead of the tracking headphones I had on when I first tested). I tried the mono signal in AIR, and tried doing everything you do in the video. What I notice is that it takes your system longer to turn the direct signal on and off. So I wonder if the crackling is a performance-related thing that just happens to affect the backs and canopy more readily because of something in the software that requires more processing with those. If Spitfire's only testing on high-powered computers and it's a performance-related thing, that might be why they can't reproduce it. I imagine the stretch mode would take more processing than having the stretch mode off, so it would be interesting to know if you still get the crackling with that off.
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Interesting that the noises don't occur for you. I turned off the stretch mode and it doesn't change anything. I'm on a laptop with a AMD Ryzen 7 8840HS.
 
HotCoffee said:
Confirmed. In some cases the crackling disappears if the source position (player position) is changed. I find that if it's close to the tree mics, the crackling always occurs, move it further away, it disappears. Only did a quick test though.

Edit: I'm doing this on a AMD 9950X with 64GB RAM, so performance shortage should not be a factor. My buffer size is 512.
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Yes you're right. When you place the source position in front of the canopy mic (closer to tree or backs), the noises appear in almost every position. If you place the source position on the lane of the canopy mic or behind it, the noises disappear. This is on both, Canopy and Backs mics.

My buffer size is also 512
 
olvra said:
I wouldn't be surprised.

They faked round robins on Albion One (and others).
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If you're referring to using some samples from the set or a borrowed one, this is typically done because there wasn't enough usable takes for the round robin, so it gets replaced with one that's already there. It's actually quite a common practice. Though do clarify what you mean, I'd like to know
 
olvra said:
Not sure about all the patches but the one I tested had "Round robin x 8" on the UI
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Yeah, not all of them. I would have to assume that is a graphical mistake since one of One's biggest downsides is how few rr's it has, usually 4 at the highest average. For all the bread and butter patches of typical staccato, they should be or around 4rr and listed on the interface. It definitely wouldn't surprise me if something got messed up somewhere along the line and mystically it says 8 which is going to be incorrect most of the time as One is overall a 4rr library, few things have more than that here. I can say for sure that in other versions the listed rr was accurate
 
Paul Thomson said:
HI all -

Just a quick note on this, the team are investigating this and we will respond within 3-4 weeks (two sprints just so you understand where that comes from!)

I'm quite surprised as I haven't noticed this and I have used it extensively.

Just to quell the slightly more odd suggestions! We haven't faked any IRs. In fact we recorded well over 150k IRs in the studio, of which approx 67,000 are in the released product.

We also didn't fake RRs in Albion. Very odd suggestion! But hey.

So in summary - we're on it - and if there's an issue it will be found and fixed.

All the best,

Paul
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Paul, any updates on this issue?
 
Sorry, I haven't read the full thread.

Is Air Studio Reverb Essential worth it for Orchestral music or is the bigger version a must?

I already have outstanding reverbs so what would be of interest to me is the plug-in as a positioning tool.

Are they purely stereo or atmos/multichannel compatible?
 
I have the full version so can't comment on what the Essentials does. But the full version is a positioning tool and has a graphic layout to aid this. I don't work in atmos/surround so can't comment on that. I suggest you check the Specs on the Spitfire site for that.
 
cedricm said:
Sorry, I haven't read the full thread.

Is Air Studio Reverb Essential worth it for Orchestral music or is the bigger version a must?

I already have outstanding reverbs so what would be of interest to me is the plug-in as a positioning tool.

Are they purely stereo or atmos/multichannel compatible?
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Wether the full version is worth it depends on your needs. Would you be satisfied with predetermined (albeit very good) instrument placements? Or do you want the freedom to position instruments everywhere freely?

Do you want control over which microphones are used? Or do you want to be able to pick your own ones?

Are you the type of person who is satisfied with the basic sound of the reverb as is (which is very, VERY good)? Or are you someone who cannot live without the ability to tweak the tone to your absolute liking?

If your answers to all the above is the first answer, get Essentials. If your answers are the second, get the full version.

I immediately bought the full version (Essentials wasn't out yet) and, while expensive and not without fault, I see it as one of the best investments I have ever made. I myself would find Essentials too limited.

However, in order to really get the most out of the full version, I highly recommend knowing your reverbs, also at a bit of a technical level. The full version is not a beginner's plugin. It's not obtrusively difficult, but you have to know your stuff to really fully utilise it.

Hope that helps.
 
You can use the positioning tool freely in the essential version. The things missing from the full version are:

1. The ability to change mic mix. There are 4 mic positions available in the full version for you to tweak.
2. The ability to change mic placement facing direction. Your source will always be placed horizontal.
3. The ability to change ER/tail volume.
4. The ability to make minor changes to the room.
5. The ability to use a built-in parametric EQ.
 
cedricm said:
Are they purely stereo or atmos/multichannel compatible?
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when it came out Paul said that an immersive or surround version would be released at some point. for the time being the only way to work with it in immersive is to use multiple instances and route each mic accordingly.
 
locture said:
The things missing from the full version are:

1. The ability to change mic mix. There are 4 mic positions available in the full version for you to tweak.
2. The ability to change mic placement facing direction. Your source will always be placed horizontal.
3. The ability to change ER/tail volume.
4. The ability to make minor changes to the room.
5. The ability to use a built-in parametric EQ.
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3) above is the only thing I wish was available in Essentials too.

But then again, it sounds stellar the way it is, so I don’t see any reason personally to upgrade.

NB. I am a hobbyist, so YMMV.
 
Hey there. Would anyone here happen to have links to some of their favorite examples of using this reverb with orchestra? I'm normally using different mic signals (combine close + stage + far) combined with seventh heaven, but I've always been a fan of the AIR sound and might be looking to convert.

Of course, I'm not sure what would be the canonical usage in that scenario - my guess is most people use close mics + reverb rather than mixing different mic signals + reverb.
 
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This might already be known, but just to clarify:

There's still an unresolved issue in the AIR Studios Reverb plugin where some of the microphone outputs - like Tree and Outriggers - are actually identical. This has been reported a few times here over the past few months. So if you're trying to build a wide image from those channels, it's worth checking the signals closely.

Hopefully it gets fixed at some point - it's a beautiful space, and many people would love to use it to its full potential.
 
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