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  4. Using MIR Pro's convolution reverb to match Albion's Lyndhurst Hall?

  • Using MIR Pro's convolution reverb to match Albion's Lyndhurst Hall?

    J
    J

    I'm trying to match the sound stage where Spitfire audio recorded their Albion orchestral  sets to VSL's MIR reverb.  Unfortunately, the recording of the samples they create are not recorded dry like VSL's technique (it would be waaay easier to just bring them into MIR and apply the reverb there).

    So I'm trying to match the reverb of Lyndhurst Hall to something close in MIR so both can be played simultaneously.  Has anyone ever tried this?  If so, what MIR room did you use and what percent of reverb did you employ?

     Thanks for any help you might be able to give me.
  • J
    J

    Nobody replied to my question but I think I may have found a decent match.

    Spitfiire's Albion package and the Berlin Teldex Studio Room IR seem to match fairly well (I can still hear a little difference but good enough for this.
  • C
    C

    I think nobody has really tried to do that before since the libraries have such different philosophies from one another and the task of matching one convolution reverb with another is incredibly daunting.  You might have better luck with an algorithmic reverb where you can sort of mathermatically program in your decay time, etc.
  • J
    J
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    @Casiquire said:

    I think nobody has really tried to do that before since the libraries have such different philosophies from one another and the task of matching one convolution reverb with another is incredibly daunting.  You might have better luck with an algorithmic reverb where you can sort of mathermatically program in your decay time, etc.

    Thanks Casiquire,

    Using an algorithmic reverb is an interesting idea.  I was also thinking about asking the VSL guys if they'd be interested in doing an IR sweep sample of the same hall and making it part of their room packs.  It would be a great way to marry these two great libraries in a new way.

    I'll give what you suggest a try and see what happens.

    John 
  • C
    C

    Getting a sweep of Lyndhurst?  Absolutely not, they are proud of the sound of their hall and are quite protective of it.  Hence why I always go with dry libraries--the more prestigious the hall, the harder it will be to match, and the less likely it will be to get an IR of it because of the protective nature of the owners of many famous halls.

    But I would never want to steer VSL away from at least trying to sample more content for MIR!  I'm so in love with that plugin, it's almost disgusting.
  • P
    P
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    @jgbsound said:

    Nobody replied to my question but I think I may have found a decent match.

    Spitfiire's Albion package and the Berlin Teldex Studio Room IR seem to match fairly well (I can still hear a little difference but good enough for this.

    I've tested this with both the Vienna Suite and MIRx Teldex. They are close are in color with Spitfire.
  • C
    C

    Are they really?  That's interesting since I was under the impression that Lyndhurst was far more "wet" than Teldex.  In practice, and in your experience, do you believe this is not the case?
  • J
    J
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    @Casiquire said:

    Are they really?  That's interesting since I was under the impression that Lyndhurst was far more "wet" than Teldex.  In practice, and in your experience, do you believe this is not the case?

    I actually am thinking about a new idea:

    How about freezing the audio of a snare hit, or some other fast transient in Albion, then taking that reverb tail information, and trying to turn it into an impulse response in something like Altiverb?  I know that AV 7 has the ability to use Slates, Starter Pistols, and sine wave sweeps to create your own, so why not a fast attacking transient such as a snare?

    Then, because they have multiple mic positions in Albion, I could do several IRs based on each individual mic sound, then add in combinations that I most frequently use to create "compound" IRs.
  • A
    A

    You could always use Vienna Suite convolution reverb.......
  • J
    J
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    That's a great idea and I do have the Vienna Suite. However has anyone tried to build an impulse response with a snare drum?  Do you know how to eve create an impulse response in Vienna suites convo reverb?

    If you do perhaps you night be able to shed some like on how to do it.

    John

    @andyjh said:

    You could always use Vienna Suite convolution reverb.......
  • C
    C

    I know the AV7 demos regarding recording your own reverb impulses using non-standard means like starter pistols talk about a loss of quality using those over using a standard sine sweep.  Sounded good to me in their demos though.
  • A
    A
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    Looking at http://www.airstudios.com/the-studios/lyndhurst-hall/images-lyndhurst-hall/ I thought, Lyndhurst Air Studio is more a church than a studio. First I tried MIR Teldex, but it's to 'warm' and the reverbration time is to short. A church is 'cold', because of the massive walls. Combining Spitfire Albion 5 (wet, recorded at Lyndhurst) with Spitfire LCO Strings (dry) and VSL (dry) the following works for me:

    I route the dry instruments via

    MIR: Maria Strassengel (very good)

    Main Mic=Stereo - Tripple-8 Spaced (Var.2)

    Main Mic Position: 2 - Middle of Nave

    Secondary Mic: On

    Secondary Mic Position: 4 - Organ Gallery

    Reverberation Time: 2.2 sec

    Dry/Wet: -50%

    Position of instruments: Front

    or as alternative solution

    EastWest Spaces: Berlin Church C TS Fr 2.2s (good)

    No tweaking

    Reverbration time: 2.2sec

    I always use a little reverb on top in the mixchannel (Waves: Abbey Road Plates - helps clueing everything well together).

    ____________

    Alexander

    www.alexanderstein.com
  • DietzD
    VSL Team
    DietzD
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    It's funny that this old thread pops up again at a time when I'm just about to add the finishing touches to a new MIRx Venue - based on Pfarrkirche Pernegg (a.k.a. MIR RoomPack 5: Pernegg Monastery). This beautiful church is considerably more spacious than the aforementioned church of Maria Strassengel (which is more like a chapel in size), but still not even close to the endless "swoosh" of reverb you would get inside of a cathedral.

    While I didn't actually try to match anthing else than the sound I heard in this incredible hall itself, I found myself having a great time when reducing the Global Dry/Wet-Ratio to something like 25 to 30% after shortening the reverb time to roughly 2 seconds. Instant beauty ... 😉

    (... and before you ask: There's no offcial release schedule yet, but I think it is save to say that these brandnew MIRx settings will be available later this spring.)

    /Dietz - Vienna Symphonic Library