11 Oct
2010
11 Oct
'10
12:50 p.m.
On Mon, Oct 11, 2010 at 03:31:58AM +0400, alex stone wrote:
On Mon, Oct 11, 2010 at 3:13 AM,
<fons(a)kokkinizita.net> wrote:
None of this means you need to use more than one reverb, and if
the target is to have more consistency you definitely should use
just one.
Reverb is a linear operation.
If F1, F2, F3 are linear operations (EQ, delay, gain), then
F1 (reverb (x1)) + F2 (reverb (x2)) + F3 (reverb (x3))
is the same as
reverb (F1 (x1) + F2 (x2) + F3 (x3))
which uses just one reverb.
* Set the reverb to 100% 'wet' and connect the outputs to your
main mixing bus.
* Send controlled amounts of each channel/group/section (after
fader) to the reverb input. You can even equalise or delay
these separately.
Ciao,
--
FA
There are three of them, and Alleline.
Mmm. Using 8 reverbs for a single orchestral mix
doesn't make
any sense - unless you are doing something psychedelic (*) they
all play in the same space. It's easy to share a reverb for any
number of channels even if the dry/wet ratio is different for
each.
Using sample libs, which can vary in the amount of "presence" that is
recorded with instrument/sections, means multiple verb instances can
bring a little more consistency across the entire orchestra. My
example is of the 3 complete Strings libs i have, where 1 has more
presence in the base samples than the other 2. So i have to be careful
not to add too much to 1, and a little more to the other 2.
(And this is also true when blending "bright" string sections with
those that are duller. the duller samples tend to need a bit more
presence, and the bright samples survive with less, but conversely,
also need EQ'ing a little, to not stand out so much.)