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  3. Vienna MIR & Vienna Suite
  4. Tips for making the timpani big?
  • N
    N
    Well, you're getting there by the third one. To me the whole thing is still too dry, although I admit to be a reverb gourmand when it comes to orchestral cues.

    I'd slap a big, expansive reverb on that drum (and probably more on everything else as well). Don't be afraid to use a gross amount! Your cue is dramatically OTT (and I mean that as a compliment), so why not make it huge. Give it some predelay...but I always say that.

    Nice cue, by the way.

    All my opinions - please take them or leave them; I don't profess to be an Expert on Everything.
  • N
    N
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    @Nick Batzdorf said:



    All my opinions - please take them or leave them; I don't profess to be an Expert on Everything.


    Isn't this a famous quote from someone I know?
  • N
    N
    Professor Edwin Corey, or something like that? There was a TV personality in the '70s.

    Or am I clueless about what you're getting at? [*-)]:
  • J
    J
    thanks guys.

    Audun-this was written as a demo for a WWII video game. they requested one piece with a sneaking around section and a medium combat section. i threw in the intro and outro because i wanted to give them my idea of an overall theme for the game, even tho they gave me limited info to work with.

    Nick-i go back and forth with how much reverb i like. i think i'm pretty happy with what i have on this piece, it helps keep the sneaky section more in your face. i'm running altiverb into a lex300, i might try cranking up the lex a bit. i've definitely gone with more slather on other pieces.

    i'm still not completely happy with the timp hit, tho i may be approaching the point of diminishing return as far as more tweaking is concerned.

    and nick, why aren't you an expert on everything? geez, get it together man. . .
  • I
    I
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    This thread is pretty old and I must admit that sitting timpani in orchestral sound is pretty hard. I dont manage it yet and I did not find any helpful sources on net instead of this thread. But even with MIR Pro, MIRx settings, comp, EQ, distortion, etc. it is not right there {too bright or too muddy or very defined......}. I wonder how you guys make it these days. I am completely helpless for now 😔
  • P
    P

    MIR Pro character presets and Vienna Suite presets, they work wonders for me. I set the character preset to 'big', and use the compressor and EQ from Vienna Suite. I forget the names of the presets (*not* 'distant and deep', I remember that), it took only a little while to figure out the best combination, but thanks to the presets it's almost a one-stop shop solution.

    Hope that is perhaps of some use to you.

    Pyre

    AMD Ryzen 7 3700X 8-Core 3.59Mhz Processor, 64 GB RAM, Windows 10.0.19045, Cubase 10.5.20, Sibelius 7, VEP 5.4.16181, VIP 2.4.16399, Symphonic Cube, MIR Rooms 1-5, Suite, Choir, Organ, Imperial, Solo Voices, Dimension Strings, Historic Winds, World Winds
  • T
    T

    I've always had problems with the tinny sound of the VSL timpani, and used other libraries for that. However, I'm currently demoing MIRx and I must say I was amazed by what a MIRx venue + Pre-EQ did to the sound. It is huge now. I'm just discovering the product so I can't say much more but proper reverb + EQ certainly seems to be the way to go...
  • DietzD
    VSL Team
    DietzD

    +1! :-)

    Now add a bit of tasty saturation and maybe a touch of compression, and you can have your Timpani as huge and fat as you like. ... but don't forget that size isn't everything. 8-)

    /Dietz - Vienna Symphonic Library
  • T
    T

    I'll venture out and say that in the case of timpanis, even played pianissimo, size is pretty much everything...

    I forgot to mention that the transformation to the timpanis using MIRx wasn't just about making it huge, it was making it right. Since you're apparently the person responsible for the MIRx presets, I would like out of curiosity to know how this was done : is it basically a combination of a predefined impulse with a big boost of the low end, or is there some other magic involved? The timpani I knew so well was unrecognizable when going through MIRx...
  • DietzD
    VSL Team
    DietzD
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    @Talino said:

    I'll venture out and say that in the case of timpanis, even played pianissimo, size is pretty much everything...

    I forgot to mention that the transformation to the timpanis using MIRx wasn't just about making it huge, it was making it right. Since you're apparently the person responsible for the MIRx presets, I would like out of curiosity to know how this was done : is it basically a combination of a predefined impulse with a big boost of the low end, or is there some other magic involved? The timpani I knew so well was unrecognizable when going through MIRx...

    Let me share my trade secrets with you .... 😉 (see attachments).

    In the end, it's just placement, pre-EQ (a.k.a. "Character" in MIR Pro) and a bit of Room EQ.

    HTH,

    /Dietz - Vienna Symphonic Library
  • T
    T

    Thank you very much. The amount of effort and precisiosn that goes into these things is impressive indeed.

    Unfortunately I'm starting to realize that the cost in CPU usage is too big for my system, I didn't think it would go that far. It's off-topic, so: http://www.vsl.co.at/community/posts/t38676-MIRx-increases-VEP-connect-time#post233734

    Thanks again for sharing.