linuxaudio.org

On Mon, Oct 11, 2010 at 03:31:58AM +0400, alex stone wrote:
> On Mon, Oct 11, 2010 at 3:13 AM,   wrote:

quoted text
>

> > Mmm. Using 8 reverbs for a single orchestral mix doesn't make

> > any sense - unless you are doing something psychedelic (*) they

> > all play in the same space. It's easy to share a reverb for any

> > number of channels even if the dry/wet ratio is different for

> > each.

>

> Using sample libs, which can vary in the amount of "presence" that is

> recorded with instrument/sections, means multiple verb instances can

> bring a little more consistency across the entire orchestra. My

> example is of the 3 complete Strings libs i have, where 1 has more

> presence in the base samples than the other 2. So i have to be careful

> not to add too much to 1, and a little more to the other 2.

> (And this is also true when blending "bright" string sections with

> those that are duller. the duller samples tend to need a bit more

> presence, and the bright samples survive with less, but conversely,

> also need EQ'ing a little, to not stand out so much.)

None of this means you need to use more than one reverb, and if

the target is to have more consistency you definitely should use

just one.
Reverb is a linear operation.
If F1, F2, F3 are linear operations (EQ, delay, gain), then
  F1 (reverb (x1)) + F2 (reverb (x2)) + F3 (reverb (x3)) 
is the same as
  reverb (F1 (x1) + F2 (x2) + F3 (x3))
which uses just one reverb.
* Set the reverb to 100% 'wet' and connect the outputs to your

  main mixing bus.
* Send controlled amounts of each channel/group/section (after

  fader) to the reverb input. You can even equalise or delay

  these separately.
Ciao,
--

FA
There are three of them, and Alleline.
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