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How do you use Your reverb on orchestral samples?

Meetyhtan

Noise Maker
Currently, I have only one reverb channel and I link all my instruments to it. Then, I adjust the amount of reverb for each individually. It's a very fast workflow and I like when everything is playing in the same virtual room by only using one reverb instance. Also it's very CPU efficient.
However, I recently thought about splitting it up into sections. One reverb for strings, brass, percussion etc. seperatly. I hope to achieve a bit more flexibility by that.
My current reverb plugin is RC48.
 
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S R Krishnan

Member
Thanks :) RC 48 is from NI right?
Currently, I have only one reverb channel and I link all my instruments to it. Then, I adjust the amount of reverb for each individually. It's a very fast workflow and I like when everything is playing in the same virtual room by only using one reverb instance. Also it's very CPU efficient.
However, I recently thought about splitting it up in sections. One reverb for strings, brass, percussion etc. seperatly. I hope to achieve a bit more flexibility by that.
My current reverb plugin is RC48.
 

BenG

Senior Member
- I have every instrument routed through a single instance of VSS2 to get the rough stage/panning correct.

- Then, I have sends set-up for each section of the orchestra with a convolution reverb (Spaces). I.e. One for Woods, Brass, Strings, Perc, Choir, etc.

- Lastly, everything passes through the same algorithmic reverb (B2) to add a bit of tail and glue everything together.
 
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S R Krishnan

Member
- I have every instrument routed through a single instance of VSS2 to get the rough stage/panning correct.

- Then, I have sends set-up for each section of the orchestra with a convolution reverb (Spaces). I.e. One for Woods, Brass, Strings, Perc, Choir, etc.

- Lastly, everything passes through the same algorithmic reverb (B2) to add a bit of tail and glue everything together.
Ah nice! VSS2 is an alternate to MIR pro right? How do you compare that to MIR?
 

BenG

Senior Member
Ah nice! VSS2 is an alternate to MIR pro right? How do you compare that to MIR?
Yes, they are similar. I've always liked VSS2, but some are not a fan and say that it colours the sound slightly. Have never tried MIR, would love to hear from someone who has both!
 

Divico

Senior Member
- I have every instrument routed through a single instance of VSS2 to get the rough stage/panning correct.

- Then, I have sends set-up for each section of the orchestra with a convolution reverb (Spaces). I.e. One for Woods, Brass, Strings, Perc, Choir, etc.

- Lastly, everything passes through the same algorithmic reverb (B2) to add a bit of tail and glue everything together.
do you send your spaces instances through the glue verb?
 

Tice

Active Member
On my large orchestral template that I'm currently using I have 5 different fx tracks with reverbs, all the same Spaces reverb but each track has a little less direct sound to it than the previous one did. This creates an orchestra 5 rows deep. The brass is the exception to this, I'm using Spitfire Symphonic Brass in an otherwise VSL orchestra. But Spitfire recorded the space as well, not just the instrument (dry), so I use that without adding additional reverb. Figuring out how much of the room mics to use was a bit tricky, but I'm happy with the result in the end.
 

oxo

Active Member
depends on the libraries used (micposition, room, panning). my standard set up includes two different space instances. one with a stage IR. and one with a hall IR. all sends go to the hall IR for the tail. the very dry libraries go through the stage IR first (for positioning and ER) and then to the hall.
sometimes, for pieces with short notes (spicc pattern, etc.), i use an additional reverb for the shorts with other settings, so that it does not get washed out or the rhythm is influenced by reverb and pre-delay.
 

AdamKmusic

Active Member
I've always wondered, does, for example, Hans Zimmer @Rctec use additional reverb on his orchestra after he's recorded at somewhere like air. I guess it's kind of similar to using samples without the additional build up of noise/reverb from the millions of mics you're using when playing in samples.
 

goalie composer

Active Member
- I have every instrument routed through a single instance of VSS2 to get the rough stage/panning correct.

- Then, I have sends set-up for each section of the orchestra with a convolution reverb (Spaces). I.e. One for Woods, Brass, Strings, Perc, Choir, etc.

- Lastly, everything passes through the same algorithmic reverb (B2) to add a bit of tail and glue everything together.
Are you using vss2 on libs recorded in situ as well?
 

JohnG

Senior Member
I've always wondered, does, for example, Hans Zimmer @Rctec use additional reverb on his orchestra after he's recorded at somewhere like air. I guess it's kind of similar to using samples without the additional build up of noise/reverb from the millions of mics you're using when playing in samples.
If your question is, "in general, do major film scores add additional reverb besides the room sound?"

The answer is "yes," they do, typically.

About HZ in particular I don't know for sure, but I can hear some pretty unusual things going on with his mixes. Moreover, they vary considerably from project to project. He may be the one top composer who follows a varied and idiosyncratic path to post-production of orchestra. So a blanket "yes/no" answer for him in particular is going to pave over what really happens.
 

chimuelo

Star Of Stage & Screen
Marcato Pizz Cellos sounds fantastic with a reverse or even gated reverb.
But it’s just what I prefer live when doing Electric Light Orchestra style stuff, Trans Siberian, etc.
Adjust the slope or decay and have fun.
I’m using a Strymon Big Sky but it’s basically Code on a Custom Chip. So Native verbs should have similar Algos.

My recent favorite is a Reverse Gated Spring.
It’s just not normal which is why I like it more.
 

AdamKmusic

Active Member
If your question is, "in general, do major film scores add additional reverb besides the room sound?"

The answer is "yes," they do, typically.

About HZ in particular I don't know for sure, but I can hear some pretty unusual things going on with his mixes. Moreover, they vary considerably from project to project. He may be the one top composer who follows a varied and idiosyncratic path to post-production of orchestra. So a blanket "yes/no" answer for him in particular is going to pave over what really happens.
I only use Hans as an example as he is synonymous with Air studio and obviously that amazing room sound
 

Bear Market

Member
Hi S R Krishnan
Have a look >>> here... an old thread about reverb and orchestra.
I know this wasn't directed at me but I thought I'd try to sneak in a question anyway :)

What (if any) difference would you say it is between placing the ER portion of a reverb as an insert on a group channel as opposed to on a send?

Thanks by the way for all your contributions on this forum. :)
 
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