Altiverb: Different Stalls for different instruments?

[Felix Bartelt]

Sorry to open another Altiverb Thread, but I could not find this in one of the others and didn´t want to mess up the other thread:

Do U recommend, to use different Stalls for different instruments in the tail and positioning?

Example: Should I give the solo violin a "Sydney Opera larg Hall" - 02-Stalls 6 m
reverb tail, but use the 18m Stalls for the timpani?

If yes, should I change the Stalls also in the track positioning altiverb?

Following my ears, I´d say yes, but I´m so much more away from knowing, what´s an realistig sound than most of U guys.

[Peter Roos]

Ideally you'd need distinct IRs for distinct "emitter locations" on the stage, recorded at the SAME seating position. Suppose the IRs have been made with a speaker as emitter, it should have been positioned at all the important Left and Right positions of the instrument groups and for each speaker location you would need a stereo IR file made at one location in the hall. (And this process could be repeated for different seating locations)

Otherwise the early reflections and the reverb tails would (theoretically!) not correspond to a correct listener's experience. In practise it may work out to use different "seating IRs" but you have you use your ears carefully if they give you want you want.

Cheers,

[hermitage59]

@Peter Roos said:

Ideally you'd need distinct IRs for distinct "emitter locations" on the stage, recorded at the SAME seating position. Suppose the IRs have been made with a speaker as emitter, it should have been positioned at all the important Left and Right positions of the instrument groups and for each speaker location you would need a stereo IR file made at one location in the hall. (And this process could be repeated for different seating locations)

Otherwise the early reflections and the reverb tails would (theoretically!) not correspond to a correct listener's experience. In practise it may work out to use different "seating IRs" but you have you use your ears carefully if they give you want you want.

Cheers,

Peter,
I know very little about this, so i may be talking crap here.
Given what you've said, is it possible to 'mix' a left and right IR and pan balance them to position the combined IR in the correct 'listening position' from a seated perspective? It seems to me this would provide an even greater definition of placement, but there may well be aural and digital mechanics and challenges i'm completely in ignorance of.

Of course if this was possible, i guess we'd need a CRAY to run the lot!

Alex.

[Peter Roos]

No, personally I would not mix left and right IRs, as that would mess up the early reflections that should have clear positioning information in them.

When I mention Left and Right impulses, I mean them to be used in the "True Stereo" application: containinging four single impulse (mono) responses, that contain the information from a stereo source to your binaural hearing apparatus (aka "ears") [;)]

In my DAW's mixer, I have 12 stereo inputs, for different groups in the orchestra. I would LOVE to have a True Stereo IR set for each input, containing the appropriate positioning information for each group. Hence I was talking about Left and Stereo emitter positions for each orchestral group.

Even better: for brass I'd like to have the IRs created using a directional emitter and for other groups, like strings and percussion omnidirectional emitters. For the French Horns I would direct the emitter to the left, slightly backward, to capture the strong reflections from the left and rear wall (as the horns' bells are in this direction).

I have been making plans for doing IR recordings this way, but I probably won't have any time this year, as I just got signed for a fulltime project, probably for 4-8 months.

And yes, this would require quite a lot of computing power. This might be reduced by stripping the tails from all IRs (when used as positioning "inserts" in the mixer, and then using a True Stereo single tail in a bus.

Best regards,