Discussion in 'Mixing, Post-Production, and Effects' started by S R Krishnan, May 13, 2019.
Thank you sir.
No. You have to pan the individual audio channels and route them (panned) through the corresponding depth bus. That's why you should adjust left and right. Therefore, you should set the right-left position along with the selected depth.
The important thing is that the reverb in the main channel really does not produce ERs any more. It was supposed to deliver only the part of the reverb that we turned off in the bus. Unfortunately, you can not hide the ER part with Breeze without some tinkering. There are reverbs that can do that better. Also, this added tail-effect is often not larger than 20%.
So try to find reverbs where you can hide or decrease ER.
Set the Predelay to about 60 - 100ms (earlier the tail can not occur).
Set about 18% wet and for orchestral music about 2 - 4 seconds Tail Decay. That's it.
Unfortunately, I do not own Space II. The individual depths should themselves contain as little "tail" as possible. So what comes from the depth groups sounds like this:
Just ER Timpani (Close, Depth1, Depth2, Depth3)
With ER and Tail Timpani (Close, Depth1, Depth2, Depth3) ...a bit too much tail to my taste
If you can not produce such "dry" distances with Space II, you just leave the tail in the main channel and let your depths together with their tails. That works too - but without the "glue-effect" in the Main-Channel.
As already mentioned: It only counts the result. How to achieve it does not really matter.
thanks Beat, I should try with other algo reverbs, could you advise some which can hide ER?
Great posts, thanks all.
So, what about say EW Hollywood Orchestra. I only have the Gold, so only have the default Mid mic position. Would you still send this to the same bus that my dry libs are using?
Doesn't this also make Spitfire C, T, A setups redundant? The more I learn the more I'm confused on this :S
I’m guessing that he sends to an Aux; EQ’s it there and sends that to the reverb? (Or that’s how you would do it if you don’t have EQ on the sends.)
to be honest putting an eq before the verb on the aux will do fine
having different mic positions is a different beast. Ambience from a room mic is different when just reverb on a close mic.
But people seem to be just using the close mics?
Would I then bus the room mics and mix them separately if required?
I think people use lots of mics. //Depending on your needs on horsepower you can either mix your mic positions while composing or export all of them to different stems. As stated above Alaln Myerson likes to put reverb only on the ambient mics. Think of your close mics as a detail and clarity tool. You have a solo, give it some close mic. Want some chuga chuga spiccato celli, give them some close mics for more precise and crispy chug a chug action.
Thanks! Makes sense
I certainly need some chuga chuga in my life
Probably your DAW-Reverb
Some newer Reverbs at KVR (Paid, but not very expensive)
https://www.kvraudio.com/product/ircam-verb-session-v3-by-flux (this I know, nice tail-sound)
https://www.kvraudio.com/product/eareverb-2-by-eareckon (this I know, nice tail-sound)
https://www.kvraudio.com/product/phoenixverb-by-exponential-audio-llc (this I know, nice tail-sound)
... Search at KVR...
No need for an additional aux - just use the aux the verb is sitting in - got it.
thats waht im saying
It would be very nice, if you could explain, how to disable the ER in Breeze2.
You can use Hall Alg-Modes, use high Density, large Pre-delay (like 25-100ms or so), and perhaps negative Contour values... This will make Breeze behave as if it were only tails....
We are almost ready to share with you guys the next step in the evolution of our approach to these topics also, FYI...
Did you RTFM yet? I'm 90% sure that would answer all your questions about those knobs and switches.
m8 that's the problem that 90% -RTFM would answer some questions -and that is one crap, but experience is always another story!!!
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