This looks to be it... they are sending around 90% to the reverb bus. You would drop it further for less verb.
If I’m reading it correct :/
Insert Effects and Send Effects
You can apply effects to audio channels by using insert effects or send effects.steinberg.help
This looks to be it... they are sending around 90% to the reverb bus. You would drop it further for less verb.
If I’m reading it correct :/
Insert Effects and Send Effects
You can apply effects to audio channels by using insert effects or send effects.steinberg.help
Strange.....it seems that to achieve the equivilant of 25% wet mix on 'insert'...when sending to the fx/group track with the reverb at 100% wet (as I'm told to do), the send level is around -6.20 on the single track in order to get the sound to be the same as each other.
I have no idea what sort of algorithm is used to get that number
I'd like to add that it's good to be wary of assuming the mix % in your plugins is always acting the same. Some mix % scale quite differently, or some have a "meet at the middle" approach, meaning both wet and dry are at a full 0dB at 50%, then tilting the mix knob turns down the respective side while leaving the other at 0dB, while others put logarithmic scaling into the throw of the knob, so it might not be super easy to "calculate" this in some cases (not to say this is the majority, most mix knobs do act how you'd expect)That means -6dB, which is dead right.The dB scale is logarithmic (-3db equivalent to 50%, -6db equivalent to 25%) When I used percentages I was just following your thinking. The actual figures in the mixer are always in dB. Use whatever sounds good to you. The idea is simply to always have the reverb itself at 100% wet when using it as a send effect. This is so you are not adding more direct signal to the overall mix.
Ok...ive had to take a step back and humble myself to my capabities and knowledge in regards to post mixing....especially reverb, delay, and room size/placement....etc
Composing is composing and you can either do it or you cant. Modulation, expression, velocity...melody...chord progressions....instruments that sound good together.....etc...i have lots of room to get better, but i have figured a lot of that out.
Post production and mixing however....is a different beast and i now understand why many composers hire people for post production.
Spaces II made me lazy. I just picked a room and chose an appropriate reverb for the instrument. I learned very little doing it that way. Now i could just purchase Spaces II and stay in that small space....
...but the question is for my type of music....arranged/orchestra classical type music with 100% VI libs with a concert hall type room.....is that sort of post production good enough?????
Ive heard it here at VI so many times...."just slap a verb on it and dont stress".
Which way is correct for me? Spend 100s of hours learning post production or just "slap a verb on it".....or is there a middle????
You're overthinking this a lot... There's a ton of great, very straight-forward information in the very 1st article you were linked to....
…..I'm just saying it sounds like you're overthinking some really great, and really approachable information.
"Feedback" is the most important part of learning. I can highly recommend picking reference tracks and trying to emulate the room/reverb through trial and error. Or trying to get one library to sound like one recorded in a different hall. Hearing the constant switch back and forth in a playback loop is your feedback. Just fiddle with the setup and listen carefully with eyes closed. When you start getting confused which is which, you're doing a great job. Don't worry if you don't get there any time soon. You're still learning and getting closer.That doesn't mean I learn blindly by repetition, but by doing it myself I actually learn what it is I'm doing by trial and error
I am guilty of overthinking....therefore I made an adjustment to my user title.
The first article was great....read it a couple times. It made sense, but different reverbs don't all label their knobs the same...some reverbs have more knobs...some less....some are simpler and have knobs missing....some add knobs that don't even really have anything to do with reverb...I was trying to figure out the technical part of it. I was having an issue understanding the software aspect and the technical terms....
The basics of how a room works in regards to reverb....I'm pretty much understand. Just trying to apply that to the software, DAW and instruments was getting the best of me.
So yes...I do agree....I was taking too much in at one time and it overwhelmed me.
Fair enough in terms of the parameter names, definitely true.
The one thing I disagree with in the article linked is using a preset. Although your final settings shouldn't be a preset, a preset is a great way to find some base settings you can start from... For example you might find that a darker hall actually sounds more flattering or vice versa. It also gives you a good sampling of the range of a reverb...
I personally think this is the best way for people to start when using an algorithmic reverb. Start with a preset that you find flattering, then adjust form there, and let your ear be the guide. Also don't sweat the stuff you don't understand... As the link says the main parameters you want to hunt for in a reverb are predelay and ER.
Pre-delays generally universal, ER can vary from reverb to reverb. Some have an ER mix or level slider, some let you adjust the parameters of an ER, others bake the ER into the algorithm. It's is one of those parameters that has a wider range of implementations.
The other really useful bit in the article is that reverb can be used to separate elements in a mix.. If you put a few things in a really tight room your brain has an easier time picking them out from elements in a larger space like a hall because it creates psychoacoustic depth of field differences... This is a great way to treat a few things, especially things that don't have to exist in an orchestral space, like synths, electronic percussion, maybe a few specific SFX, etc.
Also don't be afraid to use more than one verb... It's not uncommon to have two reverb tails for your orchestra, one being the primary reverb you 'hear', another longer reverb tucked way back in the mix that gels everything together. Way back, like -30 or quieter... You basically want to just barely hear this expect when there's a pause in the music.
This is a solid starting video for working with algorithmic reverb. Even though it focuses on Pro-R it explains a lot of the issues you're struggling with.. (Not to mention a great reverb!)
For crying out loud, are you trying to sell me Fab Filter Pro R? That looks so simple to use. Watching that video made me feel even lazier for using Spaces II for so long? I don't think I'd have any issues learning how to use that. The guy explains it really well too. Fab Filter Pro R looks even better than Valhalla Room. I wonder if there are good specials on that?