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Hi Everybody,
some Vienna Suite Impulse Responses feature a variety of presets (e.g. Teldex, Maria Strassengel Church) and it is quite clear what they do. However, i would love to learn a little background on mic positioning for each presets, if possible. I didn't find this information on the user manual.
As always, thank you in advance for your time and dedication. 😊
Best Regards
Francesco
These presets were created by Vienna Suite-mastermind Martin Saleteg. They are based on the same recording sessions as the respective MIR Venues, but using a dedicated set of microphones. As far as I remember he treated all IRs by ear, using a wide range of DSP-tools. Personally, I have no notes available regarding the positioning of these mics, but maybe Martin (a.k.a. as "MS" on these pages) will chime in with first-hand information. :-)
Kind regards,
Hi Dietz,
thank you so much for your reply.
This kind of information might come in handy on the journey towards orchestral depth... 😊
Hoping Martin Saleteg will join the conversation.
Best Regards
Francesco
On the topic:
in this track i've picked up the near IR in Maria Strassengel for Strings, Woodwinds, Harpsichord and the far IR (same venue) for the Brass, Percussion and Organ. I am interested to know if these two Impulse Responses were meant to be used in a set up of this kind..... or is perhaps the far IR meant to recreate a more distant listening position (e.g. the listener is at the church's entrance)?
I am happy with this mix, however, i look forward to gaining better understanding of those IRs and how to use them appropriately.
Kind regards
Francesco
I am happy with this mix, however, i look forward to gaining better understanding of those IRs and how to use them appropriately.
Hi Francesco
Your mix sounds great... because I love mixes with clear and different depths. It makes them more interesting and also transparent in my eyes. Nevertheless: Your example is probably a bit overdone. There seems to be a bit a too large gap between "close and far". But as always: This is a matter of taste as well.
...gaining better understanding of those IRs...
IRs are room prints of real rooms. So when they have very natural "implemented" distances in the recorded sample you can have those distances back together with dry sampled instruments. As Dietz mentioned above: Only the one who recorded the IR and gave them the names could tell us what "rear" really means from case to case.
Approach:
It counts the result. Try to use more your ears and less your eyes (text) for making decisions. Some IRs are not able to put an instrument very far away even if they have got the names "rear". Play an instrument 100% wet "through an IR" and the sound tells you immidiatly whether it sounds "rear (far) or not".
I personally searched VSL's IR-Library for all those IRs which really can make samples sounding "rear". Funny: There are some IRs of smaller rooms which can do this job in a much more better way than others of large rooms...
All the best
Beat
Hi Beat,
thank you so much for your detailed comment! 😊
First of all i am glad you liked the mix....i agree with you that's a bit overdone on purpose. It sounds kind of grotesque to my ears this way.
I will treasure your advice, as usual. Thanks for your time and dedication.
All the very best
Francesco
