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Posted on Mon, Jan 06 2014 01:21
by jgbsound
Joined on Tue, Jul 01 2008, Los Angeles, California, Posts 20

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.

John Bennett

www.soundslikepostproduction.com
Posted on Thu, Jan 09 2014 19:37
by jgbsound
Joined on Tue, Jul 01 2008, Los Angeles, California, Posts 20

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.

John Bennett

www.soundslikepostproduction.com
Posted on Fri, Jan 10 2014 08:09
by Casiquire
Joined on Sat, May 01 2010, Posts 325

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.

Posted on Sat, Jan 11 2014 06:06
by jgbsound
Joined on Tue, Jul 01 2008, Los Angeles, California, Posts 20
Casiquire wrote:

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 

John Bennett

www.soundslikepostproduction.com
Posted on Sat, Jan 11 2014 06:32
by Casiquire
Joined on Sat, May 01 2010, Posts 325

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.

Posted on Sat, Jan 11 2014 07:34
by Peter Alexander
Joined on Wed, Aug 21 2002, Virginia, Posts 642
jgbsound wrote:

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.

Peter L. Alexander
Author, Professional Orchestration Series
www.soniccontrol.tv
www.alexanderpublishing.com
Posted on Sun, Jan 12 2014 06:41
by Casiquire
Joined on Sat, May 01 2010, Posts 325

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?

Posted on Mon, Feb 10 2014 00:34
by jgbsound
Joined on Tue, Jul 01 2008, Los Angeles, California, Posts 20
Casiquire wrote:

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.

John Bennett

www.soundslikepostproduction.com
Posted on Tue, Feb 11 2014 22:11
by andyjh
Joined on Wed, Dec 15 2010, Posts 600

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

Posted on Wed, Feb 12 2014 07:37
by jgbsound
Joined on Tue, Jul 01 2008, Los Angeles, California, Posts 20

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 wrote:

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

John Bennett

www.soundslikepostproduction.com
Posted on Wed, Feb 12 2014 07:43
by Casiquire
Joined on Sat, May 01 2010, Posts 325

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.

Posted on Sun, Feb 26 2017 16:15
by alexanderstein
Joined on Thu, Nov 29 2012, Posts 3

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

Posted on Sun, Feb 26 2017 21:34
by Dietz
Joined on Tue, Aug 06 2002, Vienna / Europe, Posts 7609

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
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