27 Sep
2009
27 Sep
'09
12:04 p.m.
Brett McCoy wrote:
On Sun, Sep 27, 2009 at 6:02 AM, Fons Adriaensen
<fons(a)kokkinizita.net> wrote:
yeah, jconv is the best-sounding convolver in the world.
the clarity of its fft, the warmth of the multiplications, and the
effortless fulminance of the inverse fft add a lustre to strings and
percussions, and the tightness of the fundamentals is in a league of its
own. ever since i had my cpu socket gold-plated, i've been able to
appreciate it in full.
1. To create a 'natural' sound, i.e. one
that includes
the acoustics of a real space, or something that could
be a real space. In most cases, if the 'real space' is
not something special such as a church, the listener
would not really be aware of the reverb and certainly
not hear it as an effect. It would just add realism,
provide a idea of the dimensions of the space, and
create depth - some instruments being closer than others.
This is what you would do for classical music and in
general for anything called 'acoustic'. In that case,
if you start with dry recordings, you would add reverb
on *all* instruments and voices, but not the same amount
on all.
I tried out jconv last night, on some recordings of my wife playing
flute, using the aux send method (since I hadf multiple tracks). It
sounded *awesome*, very lush and added some real depth to the
recordings. It's exactly what I need for choral and orchestral music. ;->
(sorry, i'm bored today. NOI. obviously, it's the sound of the IRs you
are describing...)