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  4. TODD-AO IR's for Altiverb
  • P
    P

    Hetoreyn,

    Please send me your address information (to: peter (at) peterroos.com).

    I think you should also experiment with "fake" halls - I will send you my libs to experiment with.

    When I made my Lex960 library I tried it in AV with a friend of mine with a Mac and AV. I must say, I was very disappointed by the complex user interface, offering too much unclear options. I am a big fan of Pristine Space, which is just a very optimized, stable and no-nonsense plugin. Although I have no in-depth experience with AV, I have the feeling that I have more control over reverb with PS than I might have with AV. Just my personal impression... [8-|]

    All the best,

    Peter
  • B
    B

    Peter, I often try and use this setup myself:

    AV to represent a stage area and then add on Pristine Space with a Samplicity 'verb at the end.

    Do you have any recommendations for which specific reverb (from your collection) you might use in this case?
  • P
    P

    Hi James,

    That looks like my approach. I add ERs with TrueVerb as inserts on several input busses (for dry instruments - horns solo, woodwinds (2x), trumps and bones and dry percussion). Then I have two reverb busses (front and back) which go to a separate PC, where I run PS with two True Stereo instances. In this case it is recommendable to lower the ERs in PS, because of the added ERs and the "wet" input channels that I also have (ProjectSAM groups). For the strings I use a different trick: I have one bus that adds some ERs to all the string sections. This subtly seems to blend them into the same space, after the narrowing and panning the string groups with Waves S1.

    I really like the European Hall from the TC6000, with the "less ERs" option.

    But I have a few different templates, for shorter tails I also like the Lex960 Large Hall, which strangely enough has its ER portion AFTER the start of the tail (!) - I noticed this when I switched the ERs off on the Lex. Anyway, it's a completely different reverb style, but very usable.

    To be honest, I do not often check out other presets, but there are some very nice halls in both libraries.

    It IS important to watch the amount of ERs when you add them like you and I do, otherwise the 50-150 msec range can become too muddy.

    An interesting difference between the TC6000 and the Lex960 is that the latter is more based on psycho-acoustical research and less on "physical correctness". The ER range for instance is NOT how you would expect it from a real hall, but it does seem to give a better "experience" of space. See all the papers that Griesinger wrote on this subject. Really interesting material.

    Cheers,

    Peter
  • B
    B

    Wow, thanks for the info Peter! I have been using your advice and setting my reverb tails around 120ms and it is making quite a difference.
  • P
    P

    Don't change the pre-delay in PS, but draw a volume curve going upwards in the 0-150 msec range. Or use Samplicity presets where I reduced or removed the ERs. And in Pristine Space, make sure to lock the two IR files (locking their length etc.) and copy the volume curve for one IR file to the other.

    Note: I have compared ER-only presets with the ERs produced by TrueVerb, and I must say I find the latter more effective (to my own surprise). But I will do this comparison again, maybe this does not hold for all presets where I made the ER variations.

    Success!
  • H
    H
    I've been playing with the TODD AO set and think I may have found a good setting. At the moment I've been using just the Horns to experiment with and playing .. in endless loops .. soundtracks (With horns naturally :P), that have been recorded there. I have after much fiddling found a setting that allows me to play along to the music with my horns and it sounds like it was part of the recording. Still experimenting of course but I'll have some info on this soon. . This is using the technique of only one instance of AV and using it as a bus send .. (on pre not post) and thus adjusting depth via the instrument channel fader. Thus far I've been happy with the result which is that this sounds like it comes from the TODD AO stage with a very natural reverb sound. I am going to see what happens if I use 3 instances and using 3 different IR depths for more depth simulation .. although I suspect I'll end up only using 2 depths (near and far). . Let you know when I have something more to tell.
  • T
    T
    I've been trying out the TODD AO the same way, which is pretty much how do all the verbs, on a bus. I also add some verb from TC VSS3 (which is the 6000 in TDM). The results are pretty good. The boomy sound is an issue with the TODD AO for sure. But it's easily overcome by placement and EQ. I'm pretty sure that stuff in the real room didn't go without EQ as well. There isn't a room in the world that just works perfectly untouched all the time. I've been in enough studios to know that. They EQ'd strings in Abbey Road when I was there as well. My biggest issue is really more with stereo spread. You just can't get enough width with virtual - it's not like the real thing. Putting the AV on a bus against the dry does help though. You loose spread as soon as you run the whole thing through AV.
  • DietzD
    VSL Team
    DietzD
    I'm tempted to repost Tripit's message above in BIG LETTERS, because every word is true. I might add that the necessity of EQing and filtering is valid not only for cinematic-style music, but also for seemingly "puristic" classical recordings, in world-class halls like the Vienna Konzerthaus or the Musikverein.
    /Dietz - Vienna Symphonic Library
  • H
    H
    I can accept that EQ'ing is a given. But with this IR set it's not so much EQ'ing as it is all out WAR! on the frequencies :P
  • P
    P

    You mean the frequency spectrum looks weird?

    Have you read my reply to Rob Elliot in the other Todd-AO topic?

    Doei,

    Peter