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Topic: Reverb for orchestra samples

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  1. #1

    Reverb for orchestra samples

    I know a lot of people out there are using the reverb built-in to their samples with Giga or even using the Giga effects for verbs. I don\'t have Giga, so I\'m kind of stuck. Anyone using outboard boxes or software plugs for their reverbs?

    I\'ve got AltiVerb, which is great as a \"finishing\" reverb, and was looking to beef up my TC verb in the digital 8 bus with an outboard box. TC, Lexicon, and specifically the Kurzweil KSP8 all come to mind. Anyone fond of one or another?

    I\'m intested in the KSP8 because it can process four different stereo verbs at the same time AND is linkable via lightpipe to the d8b for all 8 (mono) channels. Cool!

    It seems once we all get the samples sounding really good, the only other thing making it sound like midi is the sound space itself. Any experience and opinoins welcome.

    Thanks - GREAT forum!

    Jason

  2. #2

    Re: Reverb for orchestra samples

    The new acoustic impulse responses from Numerical Sound are showing great potential for orchestral music, for both sampled and real instruments.

    Kip

  3. #3

    Re: Reverb for orchestra samples

    A \"finishing\" reverb? There\'s only one hall for your orchestra - that could be where you\'re going wrong. I would reccomend getting the Numerical Sound Pure Space impulses and experimenting more with the Altiverb IRs.

  4. #4

    Re: Reverb for orchestra samples

    By \"finishing reverb,\" I mean a verb I apply to a two track master after muting the other \"preview\" verb (the one I can monitor in real time with different sends on different instruments - like more on the percussion than on the strings). since AltiVerb is a plug-in, I can\'t hear it on any of my midi tracks until I mix down into the computer.

    I\'d really like a good, outboard verb that I can use my fx send settings with in my mixing board. Hence the post!

    So the acoustic impulse responses from Numerical Sound can be imported in AntiVerb, or do they require their own engine?

    What\'s everybody else using for verb on their orchestras?

    Thanks,

    Jason

  5. #5

    Re: Reverb for orchestra samples

    Jason

    The Numerical Sound Reverb Impulse CD\'s will be in a Mac format that Altiverb can read which is non-interleave SDII- a stereo sound designer file represented as 2 mono sound files with the .L and .R extension.


    Ernest Cholakis
    Numerical Sound
    www.numericalsound.com

  6. #6

    Re: Reverb for orchestra samples

    Originally posted by Ernest:
    Jason

    The Numerical Sound Reverb Impulse CD\'s will be in a Mac format that Altiverb can read which is non-interleave SDII- a stereo sound designer file represented as 2 mono sound files with the .L and .R extension.


    Ernest Cholakis
    Numerical Sound
    www.numericalsound.com
    <font size=\"2\" face=\"Verdana, Arial\">Heh?....299$ per CD in 44.1? Isn\'t that a bit expencive...they do sound amazing, but still?

    Alex

  7. #7

    Re: Reverb for orchestra samples

    So let me get this straight, you use Altiverb for the final reverb and so you want an outboard reverb that you can use while you\'re working just to see how its roughly gonna sound? Does it matter that much really? Surely its just the final reverb that needs to be top notch?

    Personally I use Altiverb with either the GOS impulse (developed by Ernest Cholakis) or the Utrecht Chapel from Audio Ease. Some of the time its a combination of the two if it has to be. ie the strings may go through the Utrecht but the brass, pecussion and probably woodwinds will go through the GOS impulse.

  8. #8

    Re: Reverb for orchestra samples

    Alex

    This question came up a couple of weeks ago on this forum here was my response.

    Considerable amounts of time, design, testing, energy, skill and capital were
    elemental in the development of this product. Here is a brief outline of the
    process - but please keep in mind that most of these stages include
    proprietary technologies that I have continuously evolved since the mid
    90\'s.

    First, the reverb impulses are not \"starter\'s pistol\" samples recorded in a
    hall. This and several other methods have been used to generate
    an acoustic recording of the RI of the space in question.

    In the next step after the recording process, each RI is analyzed with custom
    software designed to reveal the \"key ambient components\" of the hall. Often,
    several RI\'s of the same acoustic space need to be analyzed before the
    \"correct acoustic signature\" is revealed. Intense processing time can be
    required in this phase for just one \"true\" acoustic RI signature. The final
    stage reconstructs the RI in 64 bit floating point architecture with
    conversion into the SDII and Wav 16/24 formats. (Please note that the same
    RI at different sampling rates has to be recompiled from scratch and its
    waveform optimized for the best sound at the given sampling rate.) If you
    listen to the same RI at 44khz, 48khz, 88.2khz, 96khz, 176khz and 192khz,
    all will sound similar but each will have its own unique and subtle sonic
    idiosyncrasies.

    Processing/rendering was all performed on a 867MHz dual processor Power Mac G4
    using OS X and System 9.22. This machine is about 4 times faster analyzing
    and reconstructing RI than my PowerMac 9600 with a G3 300MHz accelerator
    card. The signal processing for this and all my other sampling CD\'s since
    1993 has been custom proprietary scripts developed using DSP Designer which
    works inside Apple\'s MPW environment . One round of calculations (110 RI\'s)
    took a number of \"round-the-clock\" weeks, at which point all data was
    recalculated again 3 additional times to derive the best possible, most
    accurate sounding RI.

    The production of these Reverberation Impulses are the culmination of years of
    research, and as anyone who is involved in the field of research knows,
    return rarely equals the time invested.

    Ernest Cholakis
    Numerical Sound

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