Hi everyone, I noticed the recent release of the VSL Synchron Stage Reverb. As someone who's already composed using Synchron Series libraries, I'm wondering: would purchasing this reverb plugin provide significant benefits in terms of "gluing" my mixes together?
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Need advice on VSL Synchron Stage Reverb for existing Synchron libraries
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you cant use it as a normal reverb, it lacks all the futures of a normal reverb. its more of a room emulation type reverb. it adds color and character to your dry sound . the only reason I am considering is the use as a send fx for a given track , since mir pro 3d cant be used that way. its more of a mir pro little brother that works for DAWs that mir pro cant . I did try on vocals as room fx and did add lots of character . I did like it. since is a mir pro philosophy concept , it make no sense to use it with synchron stage recordings, its meant to be used for dead dry studio samples .
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@ilirjan said:
you cant use it as a normal reverb, it lacks all the futures of a normal reverb. its more of a room emulation type reverb. it adds color and character to your dry sound . the only reason I am considering is the use as a send fx for a given track , since mir pro 3d cant be used that way. its more of a mir pro little brother that works for DAWs that mir pro cant . I did try on vocals as room fx and did add lots of character . I did like it. since is a mir pro philosophy concept , it make no sense to use it with synchron stage recordings, its meant to be used for dead dry studio samples .
Thanks, ilirjan, you make it clear to me. I would like to mix Synchron Libraries in a traditional way based on my ears.
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@Rokyo said:
Hi everyone, I noticed the recent release of the VSL Synchron Stage Reverb. As someone who's already composed using Synchron Series libraries, I'm wondering: would purchasing this reverb plugin provide significant benefits in terms of "gluing" my mixes together?
This reverb is actually intended more for “placing” (dry) instruments on a virtual stage at different room depths. Of course, each reverb glues different instruments together. For this purpose (gluing), however, I would recommend any other “normal” reverb with a normal reverb tail rather than this particular VSL tool.
Tip:
Switch off the extra reverbs in the output channel of all your SYNCHRON instruments. This means that your instruments without extra reverb are "only" placed on the synchronous stage but with no extra reverb tail.
Now, to glue the whole orchestra together, integrate a single reverb into the output channel of your mix. Choose any concert reverb preset for the start (approx. 2-3s reverb time) and start with a wet 15% / dry 85% ratio. Now you can increase WET until you like the result. This single reverb blends and glues the whole orchestra nicely. At the same time, the reverb result is quite lean - at least not muddy - because you only use this single reverb (once more: The VSL SYNCHRON Stage Reverb is not the best option for this task it is thought for giving positions on the stag).
Have also a look here (youtube) and here: https://www.beat-kaufmann.com/vitutorials/reverb-concept-2023/
Beat
- Tips & Tricks while using Samples of VSL.. see at: https://www.beat-kaufmann.com/vitutorials/ - Tutorial "Mixing an Orchestra": https://www.beat-kaufmann.com/mixing-an-orchestra/ -
And as an addition:
The following video shows with a very short example what is meant by spatial depth and “one gluing reverb tail over everything”:
Have fun
Beat
- Tips & Tricks while using Samples of VSL.. see at: https://www.beat-kaufmann.com/vitutorials/ - Tutorial "Mixing an Orchestra": https://www.beat-kaufmann.com/mixing-an-orchestra/ -
@Beat-Kaufmann said:
@Rokyo said:
Hi everyone, I noticed the recent release of the VSL Synchron Stage Reverb. As someone who's already composed using Synchron Series libraries, I'm wondering: would purchasing this reverb plugin provide significant benefits in terms of "gluing" my mixes together?
This reverb is actually intended more for “placing” (dry) instruments on a virtual stage at different room depths. Of course, each reverb glues different instruments together. For this purpose (gluing), however, I would recommend any other “normal” reverb with a normal reverb tail rather than this particular VSL tool.
Tip:
Switch off the extra reverbs in the output channel of all your SYNCHRON instruments. This means that your instruments without extra reverb are "only" placed on the synchronous stage but with no extra reverb tail.
Now, to glue the whole orchestra together, integrate a single reverb into the output channel of your mix. Choose any concert reverb preset for the start (approx. 2-3s reverb time) and start with a wet 15% / dry 85% ratio. Now you can increase WET until you like the result. This single reverb blends and glues the whole orchestra nicely. At the same time, the reverb result is quite lean - at least not muddy - because you only use this single reverb (once more: The VSL SYNCHRON Stage Reverb is not the best option for this task it is thought for giving positions on the stag).
Have also a look here (youtube) and here: https://www.beat-kaufmann.com/vitutorials/reverb-concept-2023/
Beat
Thank you, Beat, now I have a comprehensive understanding of this tool. Thanks again for your tips, they really help!
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@ilirjan said:
he only reason I am considering is the use as a send fx for a given track , since mir pro 3d cant be used that wayHi,
MIR Pro 3D can in fact be used in this way and Alan Meyerson sometimes uses it in this way as a second hall reverb, the same way you would put things like Cinematic Rooms on an aux bus and send to it. I did not understand this at first, but Dietz clarified it. I do this all the time for situations where I have libraries recorded in situ (pre-panned in proper orchestral placement) in other halls and want to add a touch of Synchron Stage.
For this purpose you can use one of the general purpose presets like the MIRx General Purpose ensemble rear, and turn up the wet/dry to 100% for that, something you normally would not do. Although the MIR positioning is always on, it forms a giant triangle with the main mic and so the MIR positioning should match the original panning of the source in this case. Then you should be able to use MIR like any usual convolution reverb. It is not the typical use case so it is not advertised, because people might try to do this to position dry instruments with sends, which is a bad idea with MIR as it is really meant to be used as an insert on individual dry sources.
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@mducharme said:
@ilirjan said:
he only reason I am considering is the use as a send fx for a given track , since mir pro 3d cant be used that way
Hi,
MIR Pro 3D can in fact be used in this way and Alan Meyerson sometimes uses it in this way as a second hall reverb, the same way you would put things like Cinematic Rooms on an aux bus and send to it. I did not understand this at first, but Dietz clarified it. I do this all the time for situations where I have libraries recorded in situ (pre-panned in proper orchestral placement) in other halls and want to add a touch of Synchron Stage.
For this purpose you can use one of the general purpose presets like the MIRx General Purpose ensemble rear, and turn up the wet/dry to 100% for that, something you normally would not do. Although the MIR positioning is always on, it forms a giant triangle with the main mic and so the MIR positioning should match the original panning of the source in this case. Then you should be able to use MIR like any usual convolution reverb. It is not the typical use case so it is not advertised, because people might try to do this to position dry instruments with sends, which is a bad idea with MIR as it is really meant to be used as an insert on individual dry sources.
first time I used mir pro , was as IR normal reverb . I realized was not very useful and poor on workflow . than I went back to study a bit on the concept. I realised was meant to be used as insert plugin, and more important I did realise the result was very good on VEPS than cubase (the daw I use). synchron stage reverb from the other side works very good as IR reverb, very settled and great work flow with cubase. I am not Alan Meyerson 😁😁, he know what he's doing and he can allow himself to push things a bit further 😁. so , my conclusion was , keep mir pro for dry sounds in VEPS , to blend with other sychron stages recordings and use synchron stage reverb as normal IR if need it inside my DAW for mixing. that was my opinion about the issue , I stiil read and learn man , from folks that share ideas and experiences here .
