Could I be so bold as to comment on this, and maybe I'll do a quick tip to back it up in the future.
Many many films are recorded in different rooms, vastly different rooms, I know of blockbusters that have recorded at Air Studios and Abbey Road simultaneously and you would never know. Often you're also hearing soloists recorded in the same room as the composer writes that the director has fallen in love with and has made stick. You don't hear it, save the odd tell tail fan whir. So for me it's about balance, positioning and reverb.... loads of it.
Evo3 has our own IR which really does work very nicely, so before investing I would say try that first. My theory is put the dry instrument in the 'room' first then, soak both this signal and the wetter one (ie something sampled or recorded in the hall at Air) with the same amount of the same reverb.
I have found that overdubbing or what I call underdubbing (ie recording say an ethnic flute before the sessions) a wind instrument in my completely arid environment is relatively easy to place in the room. The key is that fine balance of room, relative volume and mutual reverb love. I find that soloists are easier to work on, sections and sampled sections in particular are a tad more difficult to blend. But just a tad.
I think this boils down to what the ear recognises, and strings are our most familiar friends, so IMHO the most difficult to cheat, sample and hack.
So my advice would be to make sure your sampled sections recorded in different rooms aren't playing unique parts. So for Tutankhamun which I just finished today, I used a blend of Olafur, Mural and live. Whatever Olafur's evos were doing I matched in samples and sometimes live. This meant that Olafur 'emerged' out of the wider string section as a legitimate smaller sub section of the strings who were doing weird stuff. Sorry Olafur lovely weird stuff. My ear never goes "no, that sounds like something recorded in Berlin". But the balance is crucial, you don't want Mural to obliterate the wonder and interest of the Berlin efforts, but you also don't want it to suddenly leap out and feel too disparate.
On the subjects of verbs, first try reducing the reverb length on the one we have provided on the front panel (we've worked hard at this one and its very good) and use this as the "room" emulation then balance with your bigger samples and add your fave splosh across the two.
I haven't had time to try in anger yet but a friend demo'd me TVerb by Eventide and it literally blew my mind. At last something that differentiates between verb and room effect (even though they've called it Verb). Other than that I have to admit that I hate convolutions, for me you're running the same sample again and again and again and I swear I can hear verb machine gunning like you used to get with samples without round robins. My vote goes with anything that uses the TC VSS33 alg' if you can find an old Powercore and make it work, grab it! Or pick up an old TC6000 or a new one if you're rich. Virtually though I haven't heard anything beat the random hall on the native Lex pack... but if you're on a budget, our internal IR and Valhalla will get you across the line.
Sorry for indulgent waffle.
CH.
