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Help putting Chris Hein solo french horn in the same room as CSB solo horn

VibrantSoul

VibrantSoul

New Member
Creating a unison ensemble but my mixing skills still need a lot of work. Using the solo horn from CSB as the forefront of the ensemble (doubled once with the transposing trick), and I need to put the Chris hein solo horns in the same room as those. I have Reverberate for convolution, Valhalla room and stock plugs for Algo, and Vss2 for room placement. It sounds good enough with presets, but I would like to try and get a better sound.

Are there any specific ER and late settings you would recommend specifically in relation to replicating the room sound of CSB? I'm gonna spend a lot time with these plugins regardless but it would be helpful to have a starting point.
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If you can't do it with the tools you have, maybe Deverberate can be used as a demo to see if that helps? And then Re-Reverberate from there?

I'm no pro, but, to me, it seems like you'd want to remove as much of the room ambience as possible from one, without losing too much of the life of the recorded samples, so you can then better match it to the other. Worst case would be removing the room from both and then adding it back in under your control to both.

I'm pretty sure there's other tools as well. But I'd just try shortening the release as much as sounds OK and then adding the same reverb to both before resorting to further technical trickery. Good luck!
 
Apparently, CSB was recorded at Trackdown Stodio in Sydney.

Find an Impulse response from Trackdown (Altiverb has one) load it into your convoltion reverb and voila.
 
vitocorleone123 said:
If you can't do it with the tools you have, maybe Deverberate can be used as a demo to see if that helps? And then Re-Reverberate from there?

I'm no pro, but, to me, it seems like you'd want to remove as much of the room ambience as possible from one, without losing too much of the life of the recorded samples, so you can then better match it to the other. Worst case would be removing the room from both and then adding it back in under your control to both.

I'm pretty sure there's other tools as well. But I'd just try shortening the release as much as sounds OK and then adding the same reverb to both before resorting to further technical trickery. Good luck!
Click to expand...

Preferably I would like to match the dry instruments to CSB. I just currently don’t have the ear to listen to the reverb attributes of one and then dial it in on another.
 
Have you ever tried double convolution? I did this in my latest comp, sending to two convolutions to get the right tone. Worked like magic for me!
 
labornvain said:
Apparently, CSB was recorded at Trackdown Stodio in Sydney.

Find an Impulse response from Trackdown (Altiverb has one) load it into your convoltion reverb and voila.
Click to expand...
wouldn't say viola, but it's a decent start.

I would use the positioning tool, since CH is mono, and pre pan the dry signal then blend the wet.

some pre-EQ should likely help as well.
 
VibrantSoul said:
Very interesting! Can you elaborate more on this?
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It's pretty easy. You know how to send an instrument to a reverb, right? So you set up a reverb, and send the instrument 100% to that reverb. Then you add a second send on the instrument, and send it to the same reverb.

Essentially, you're placing the instrument in that hall A LOT!

If you want to hear an example, check out one of my tracks which I Just finished. The DUDUK woodwind,(plays on section 2, right after the solo piano) was recorded in a completely dry room with acoustic panels. To get the super dry recording to fit the strings in a hall, I had to setup a Hall Convolution reverb, and send it to that twice. I also added a long tail algorithmic reverb to sweeten things up.

listen to this if you want:



Other tips for close mic'd instrument meshing into a hall:
Try doing some EQ as well. I believe I faded the low end out on this one since a close mic recording picks up more bass than a far mic does(at least on the mic I use). But in general, I believe far instruments have high end chopped off as well. So you have to play w/ it.
You can also soften attack times to get things to sound more distant if they are close mic'd
 
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