I find the 'early reflections' component of Waves trueverb amazing for adding distance. It doesn't work on its own (unless you want to add the not terribly nice reverb built in), but in conjunction with reverb. So I have for each section of the orchestra requiring extra distance (woodwinds, horns/'left brass'. trumpets/trombones etc./'right brass', percussion - send to a reverb bus and a reflections bus. So for each group I run a Waves Trueverb for reflections and another for reverb (convolution). It's probably overkill to have so many components in there at once, but I like being able to adjust, say, the reverb colour for one group without affecting another. In addition I like Waves S1, especially to position wide stereo sources such as the ensemble strings. It's all in Waves Native Powerpack...

but yes, I too am looking forward to more developments... [:)]

Simon

Want some good advice? Wait for Giga 3.0 and Gigapulse. Or just wait for Gigapulse alone. It's also convolution but taken a few steps forward.

Take a look at http://www.tascam.com/product_info.php?pid=324&nav=computer_recording&page=1">http://www.tascam.com/product_info.php?pid=324&nav=computer_recording&page=1 and see why. Note that you can place your instruments at several places (distances) in any given room/studio/hall/church/etc.

---------------
Alex Cremers

@Alexcremers said:

Want some good advice? Wait for Giga 3.0 and Gigapulse. Or just wait for Gigapulse alone. It's also convolution but taken a few steps forward.

Take a look at http://www.tascam.com/product_info.php?pid=324&nav=computer_recording&page=1">http://www.tascam.com/product_info.php?pid=324&nav=computer_recording&page=1 and see why. Note that you can place your instruments at several places (distances) in any given room/studio/hall/church/etc.

---------------
Alex Cremers

Is gigapulse an GS 3.0 something that will be released after the NAMM show?
If not, when are they going to be released?

Most likely, yes, right after Namm. I only hope Giga 3.0 also gets released then. Something you might want to take under consideration just in case it doesn't, Gigapulse will also be running under the VST protocol.

---------------
Alex Cremers

@tattie said:

The MIR project is underway but it might be a little time before we see it. And I predict it will be quite a learning curve to be able to use it to great effect [...]
tattie

On the contrary: The whole idea behind the MIR-concept is to _get rid_ of the learning curve. The MIR will be much more than a "reverb engine": consider it a 3D-mixing frontend for the Vienna Symphonic Library. If things work out as we plan, you will be able to make absolutely convincing mixes without any "technical" considerations, both spatially and sonically.

... enough secrets broken ... ;-]

/Dietz - Vienna Symphonic Library

[:D]

[[:D]] [[:D]] !!!

Those darn lotteries never cooperate... will not only need VSL but also MIR [:'(]

Peter Roos
www.PeterRoos.com

Your song assisi, what choir library have you used? Have you tried Peter Siedlaczek's Classical Choir? Is it any good?

Happy hollydays
Audun Jemtland

@Audun Jemtland said:

Your song assisi, what choir library have you used? Have you tried Peter Siedlaczek's Classical Choir? Is it any good?

Happy hollydays
Audun Jemtland

Hello Audun,

On that older piece I only used SOV (Symphony of Voices from Spectrasonics) for the choirs, together with Advanced Orchestra strings and Ultimate String, some loops from Liquid Grooves and a DX7 synth. (I ran this with sequencer and GigaSampler96 on one PC. The soprano line was edited from 3 short phrases in SoundForge. You als hear some Gregorian lines, Boys Choir, BC phrases (Kyrie, way too often [;)] ) and several Mmm and moving vowel patches.

I am not familiar with Classical Choir, sorry. Last year I also bought Voices of the Apocalyps, which is a very good complement to SOV. It offers some word building support and has a more direct, in your face sound. SOV is mostly mellow (and VERY well recorded and edited).

Cheers,

Peter

drum sounds, bass sounds. What do you use? And I really do mean sounds(samples) NOT LOOPS! I hate loops. Everytime I look for SAMPLES it says: with these loops you can bla bla bla..... [:@]

Isn't that annoying!? [8o|]

Pardon me, this is probably a language issue, but I do not understand your reaction...

You ask me about what I used on a piece, and you start ranting about loops and "sounds"? Isn't that what this forum is about?

I really don't understand your post. Did I do something wrong? Something wrong with the rest of the world? You have a bad mood today?

Take care,

Peter

no you did nothing wrong and I'm not in a bad mood [:D]
I didn't mean it that way. But I was wondering what other samples you use that is non-orchestral for example(dan's upright bass or something like that)

you've had some experience with SOV, but have you had any experience with drums or bass samples that isn't loops.

When you compose you arrange a drum beat all by yourself(no loops)
After my opinion loops is something you add or start with your song if your schedule is a little tight....

People use loops all the time but I like to make ALL sounds that you hear using only samples, not loops.

Better explanation? [:D]

Yeah, it's ok of course.

Well, loops are often just long samples [;)]

The bass sound I used on this cue is from Will Lee (AKAI library converted to Giga). It is a simple basic Fender Precision sound, if I remember well (3 years ago). I recently also bought Scarbee's basses, which are considered by most people as the ultimate, super-realistic bass libraries. But I haven't used them yet, as I experiment mostly with orchestral music now.

A lot of percussion and drum libraries contain both single hits AND loops. So with libraries like Liquid Grooves, Burning Grooves and Back Beat (all from Spectrasonics), you can build a basic rhythm pattern using loops and add additional hits on cymbals, toms, etc. If you set the sequencer's tempo to the same tempo as the loop, you just have to hit one note per measure, for example.

Other loop libraries are more flexible, because they offer handy tricks to manipulate the tempo (like Groove Control, also a Spectrasonics trick).

Loop libraries can be real life and time savers, but if you don't like them (maybe too predictable or too "polished"), don't use them. I think building convincing drum and percussion parts from scratch, by programming all notes yourself can be A LOT of work!

Don't forget that also a lot of loop libraries have very nice processed sounds (for instance from band-width filters, resonance, etc) which can also be quite some work to create yourself.

Yeah it's a lot of work, but it's worth it after the song is done. When you have listened to your song and said: YEEEES!
I love those moments...
[:D]

@tattie said:

The MIR project is underway but it might be a little time before we see it. And I predict it will be quite a learning curve to be able to use it to great effect [...]
tattie

On the contrary: The whole idea behind the MIR-concept is to _get rid_ of the learning curve. The MIR will be much more than a "reverb engine": consider it a 3D-mixing frontend for the Vienna Symphonic Library. If things work out as we plan, you will be able to make absolutely convincing mixes without any "technical" considerations, both spatially and sonically.

... enough secrets broken ... ;-]

/Dietz - Vienna Symphonic Library

Hello Dietz,
will MIR be "only" usful for the Vienna library, or as well as a reverb for other sample libraries? Or something in between?

something in between ... [;)]
sorry dietz, i couldn't resist
christian

I came here, right now.. to ask that very same question.. cool...

Can we get a clearer answer? and when will details about release and pricing be available? [:)]

@Christian Marcussen said:

[...] Can we get a clearer answer? [...]

Sorry Christian, but not yet. - We still believe that a first incarnation of the MIR will see the day of light later this year, though.

/Dietz - Vienna Symphonic Library

PS: ---> http://community.vsl.co.at/viewtopic.php?t=1793

/Dietz