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.

>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 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. :)

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.

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.

Dennis




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