Hi Markus,

glad to hear you are enjoying the Vienna Suite, which i love. I think there are many ways to achieve what you have in mind: some people simply increases the send for Brass and Perc, other people uses up to 8 different instances of the Reverb and a combination of sends, panning and Eq.

Here is a method i find to be really manageble, it's from Beat Kaufmann's:

i create 4 groups for the sections and i route each instrument to the respective section. I insert one Reverb to each bus group, which means i have 4 instances of the Convolution Reverb. For a close section i use less wetness, for distant sections i increase the wetness and roll of the high frequencies (with a separate Eq in the bus chain).

Please find an example of this method: VY Canis Majoris

I hope it helps, please let me know if you might be interested to know more about the above setup.

Best Regards 😊

Francesco


P.s. Unfortunately, i can't tell you much about predelay.

Rule of thumb: The closer the source is meant to appear near your virtual listening position, the longer (!) the pre-delay has to be between direct signal and the reverb tail, because the reflecting walls are farther away from the source.

@Another User said:

So If I have now use 1 Instance VE with Instruments and I want the same Reverb filtered trough a different Bus with more Depth for Woodwinds, what you would change in the Reverb ?

I'm not sure that I understand the question ...? "Reverb filtered through a different Bus" ...? 8-/

Kind regards,

@mw design said:

 Dietz You mean a distant Sound dont need predelay but a close Sound ? I thought its the other way around.

Study my "reverb-image". Think that the speaker is very close at the man. Of coarse the direct sound (red) has a very short distance "to travel". Take the first reflections: If we are looking for the first reflection from a side wall then it goes on really some long ms until it will arrive as well. Second situation: Of course we always have some early reflections from the ground which will appear soon but the most of those early reflections need as least the time from the speaker to the closest walls and back...  

Think the speaker far far away from the listener. The difference between the direct sound and the first early reflections will be less as farther away the sound is and also the ration direct:indirect sound will be lower as you can imagine...

This is the theory what happens in reality but with effects it also counts how it sounds... Nevertheless, using the predelay in connection with convolution reverbs is probably not the best solution. I would search for IRs which make your brass or what ever sound farther away. Take into account that the IRs have all those early and other reflections have included! So go through all the IRs of the Convolution Reverb Library. use 100% wet and you will see that some IRs let your sound appear farther away and others more closer. Larger distances not always are from those IRs which have got "large" names...

Convolution Reverb: Check out (with 100% wet) Mozartsaal Near, Graz Far wide, Schubertsaal Near, Neuer Saal Far...

Go as well through all the ER-Impulses with the Hybrid Reverb (at Edit-Page). Mute the direct Sound and "switch through" the impulses. Some of them let the sound appear really far away. If you have found one which also sound with a nice "colour" and with a nice stereo image you can nicly adjust the distance by adjusting a certain balance between the direct and the wet sound.

And as Francesco mentioned above: A possibility is to install 2-4 (Group-) channels with 2-4 different depths for routing instrument sections through the corresponding distance you want to have the sound. Normally Strings closer, Brass farther away. This procedure is - of course - not my invention... 😉

Here is a mix, done with this (close-far) procedure.

I wish you a lot of success.

Beat

Thank You Dietz for this Information, Im now in the Testing Mode of Vienna Suite and really surprised how much this can enhance the Sound and it dosnt take much System Performance at the same Time. I wished that for MIR too, I cant even start the Demo because of the High System Requirements.

Thank You Beat, I will test the Hybrid Reverb. wow there are so many Options there and I dont have a clue what their mean ;)

I will take some Time for Theory

Cheers

Markus

@Another User said:

[...] wow there are so many Options there and I dont have a clue what their mean ;)

I will take some Time for Theory

Don't miss the video tutorials and manuals! 😊

Kind regards,

I have Intel Xeon W3505 2,40Ghz, 24Gb RAM, NVidia Quadro FX3800 1Gb.

The Error Dialog Box I got was about the Graphic Drivers I think

Thank You, Maria Strassengel sounds like the biggest Reverb I ever heard, As I was testing this I had a Bass Clarinet loaded and the Levels were just here and then Booom :D ;)

My Favorite at the Moment is ORF Sendesaal, this has so nice warm Sound, but the Problem here is how to make the Woodwinds and Brass more distant and at the same Time clearsounding in Articulation as SFZ in a small Room.Setting.

So I will use the Sendesaal as my primary Reverb and make some more Tests using 3 Bus Groups or maybe 4.

I think Compression in Relation to Reverb also can make some Differences, Or ?

Cheers

Markus

You are welcome. 😊

Yes, Maria Strassengel Church is a huge reverb, you are absolutely right.

You might wish to compress an individual instrument to limit some peaks, this kind of treatment will not affect the sound of the room as you are compressing before the reverb. Compressing the reverberated sound might bring the room to your attention (depending on Comp's settings) whether you are doing it on a stem or in the mastering chain.

Best Regards

Francesco