Hi everyone. Dietz, is it generally best to apply the EQ before or after the reverb on the strings send?
-
thanks for this post i will try it asap !! good for us ENG newbies.
now how do you get that big far sound in "air force one" without
sounding canned??
regards
-
To unconscious sound -
EQ, compression and the like is typically applied _before_ reverberation, if you work with the classic Aux-Send-scheme (i.e., the FX-signal is generated from a multitude of "dry" channels and added to them afterwards). - You _could_ use EQ and dynamic processors after the reverb if you would opt for an "Insert FX"-way of adding it to the signal. For professional work, this is not exactly wrong, but certainly unusual.
To Mike Harper -
Uh - the answer is more difficult than actually doing it ... if you're talking about the "Airforce One Theme"-demo on our site, I would have to ask Mr. Jerry Goldsmith (who wrote it), Mr. Herb Tucmandl (who programmed it) and Mr. Mal Luker (who mixed it on his SSL) ...
Maybe you get hold of this stick on the wrong end - but sometimes it helps _a lot_ to have things done by professionals .... 8-/
/Dietz - Vienna Symphonic Library
/Dietz - Vienna Symphonic Library -
@lamontg said:
I have not been over-whelmingly impressed with the new SpaceDesigner -- probably more my ability to tweak it at this time. I have actually had more luck with some of the other Logic 6 reverbs and stereo delays to create some of the smoothness you are talking about.
I have noticed a lot of references to AltiVerb in the forums but do not have it (currently). -Lamont
Hello Lamont,
How are things in Tennessee. We have just gone to one Mac G5 and have been experimenting with Space Designer. Compared to the previous reverb, which we still have, SD is actually seriously impressive.
However, I'm not sure that reverb, or indeed Altiverb will necessarily give you the effect you desire. We were discussing this harshnees issue re: strings the other day actually, especially at the top end, because of your previous topic.
One way around it, may simply be to push the strings further back in the mix, at the point where they become a little harsh. Reverb can certainly be part of that. You could also augment the sound with something like Atmosphere, which has that sort of analogue type warmth.
There is also a thing called Assimilator, which is part of the TC Powercore system. This allows you to A/B the EQ if you will, from a CD of your choice. So, if you like, say the string sound for instance, of a certain piece that is similar to what your'e trying to achieve, this piece of kit gives you a good reference point from which to start.
Appologies if you have already thought of all this and all the best.
Paul
-
@Dietz said:
Many people ask this, looking for "lush" strings (whatever that may be).
The most important way is to deal with the sonic appearance of the string-section _arrangementwise_ (... the big "lushness" everybody seems to expect "built in" to a string section is mainly proper voicing and dynamics) - but this is something I won't cover here. /Dietz - Vienna Symphonic Library
[Edited for typos ...]
To amplify this point, I read an article recently about mic selection for orchestral sessions. It featured one of the engineers at Air Lyndhurst in London. (Forgive me for forgetting names.)
After covering a lot of specifics about which mics and placement they use to acheive that gorgeous sound (and of course that HALL doesn't hurt), he told a story about two different sessions they did in the same week.
On the first session, everyone agreed that the sound was magic. In fact, they couldn't believe how rich and lush the orchestra sounded. They were so blown away they took careful notes on exact mic choice and placement.
For the second session, they meticulously recreated this setup, and were completely disappointed when the sound didn't even come close to first session. No matter what they did, they just couldn't get that sound back.
Then the same composer was back later in the week for pickups from the first session, and bang...the sound returned.
It was then they realized - it wasn't the mics or the room. It was exactly what Dietz mentioned...the voicings and dynamics in the orchestra. It all begins with the composition and great orchestration.
I filed this article away and read it several times. It's a great reminder of where it all starts.
Orchestral players know this, too. When I did a session with the London Symphony I overheard some of the musicians talking about a particularly enjoyable session they'd done recently. They all agreed, The thing that made it so enjoyable was how fine the orchestrations were. (Which of course, made me sweat whether MY stuff was going to pass muster.)
Fred Story
-
A well-kept secret is to modulate the _send_ into this dedicated reverb just a little bit, on behalf of chorusing or harmonizing, to make the resulting reverb-tail even more interesting and animated, while not disturbing the direct signal with artificial side effects.
Very well kept! Higher-end Lexicons have a parameter called Spin, which choruses the tail to smooth it out, and flanging the whole reverb is an old rock effect, but I hadn't thought of chorusing the send. Great tip.
-
Is this teechnique seriously also used for recording traditional orchestral music? Curious! [:)]
-
It depends! 8-]
If you talk to engineers with an dogmatic/puristic background, they will of course quaver with disgust. - OTOH, there are ruthless people like me following the "If it sounds right, it _is_ right!"-approach, doing things like this (and even stranger ones) pretty often.
Sound is not only science; it is an art, too.
****
.... a sidenote: Even the "puristic" guys have a dark corner within their shining souls where the dirty tricks reside - until nobody is watching! [6] (Yes, I know what I'm talking about ...)
/Dietz - Vienna Symphonic Library
/Dietz - Vienna Symphonic Library -
hehe [:D] ....One question though. Where do you apply these Hz settings? I haven't purchased any reverbs programs yet...
