On 22 Dec 2006 at 20:51, Dennis Bathory-Kitsz wrote: > At 08:41 PM 12/22/2006 -0500, David W. Fenton wrote: > >On 22 Dec 2006 at 19:54, Dennis Bathory-Kitsz wrote: > >> Roomsize is the presence; > > > >What do you mean by "presence?" How does that translate into actual > >reverb sound? I found that I actually got better results with smaller > > rooms and wetter settings. > > Sort of inverse presence. The smaller the room, the more intimate the > sound.
Hmm. I couldn't really get it down to something that simple. > >I had been using my synthesizer's reverb and chorus before recording, > > because it made my weak orchestral strings sound better. Should I > >make the recording from MIDI completely dry and then use the Kjaerhus > > chorus and reverb filters on that? Or should I just the synthesizer > >chorus and the plugin reverb? Or is this something I'll have to > >experiment with to find out? > > Experiment. I wish I had a faster PC. > I record completely dry and add the room sound later. Two reverbs can > create some unpleasant results, with the soundstage all muddied and > instruments wandering around. Position the instruments carefully (the > apparent separate of a real hall with your choice of seat) and record > dry. Then add the reverb to match your seat position. In other words, > if it's a string quartet, don't pan the first violin hard right and > the cello hard left unless you plan to add reverb with the > understanding that the hall is somewhere behind you. :) What about chorus, though? Any suggestions on that? I'll experiment, of course, but I'm wondering if you have a principle on that? > Also, don't use headphones unless you mean the results to be heard > that way. I don't know the psychoacoustics, but a good headphone mix > seems to sound too wet on speakers. Huh. Didn't know that. I'm working with terrible PC speakers, actually, but I'm not really working that hard to produce something really great, just acceptable. > Quick advice, but the reality is to experiment. You might also try > some of the convolution plugins. They 'extract' the ambience from an > actual recording and then create a resulting reverb you can apply to a > recording. Google audio convolution; you'll find hundreds of concert > halls modeled as reverbs. that's fascinating! I didn't realize things had come that far! But it does look expensive and not something I'd be able to do with my old equipment. Thanks again! -- David W. Fenton http://dfenton.com David Fenton Associates http://dfenton.com/DFA/ _______________________________________________ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
