How do I reverb wet sample libraries to sit with dry ones?

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Just wondering which type reverb would be a good bet to make a wet string library like Symphobia sound like they are in the same space as a dry sample library like VSL (I don't have VSL but just as an example) Should I maybe send the two to an aux use scoring stage impulse responses then vary the amounts based on what's wet and what's dry?
(I have Altiverb 6 but also 2cAudio B2 and IKmultimedia's Classik Reverbs).
Interested in the most common way that's dealt with.
tia

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Send the library to two aux with different reverbs. Experiment a bit, it's the best way! :)

Also check this out. This guy rocks!

https://www.youtube.com/watch?v=G8VM7ZXHOMs
Guitar, Drum and Bass sample libraries for Kontakt
www.pettinhouse.com

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pettinhouse wrote:Send the library to two aux with different reverbs. Experiment a bit, it's the best way! :)

Also check this out. This guy rocks!

https://www.youtube.com/watch?v=G8VM7ZXHOMs
Hey pettinhouse.Thanks for your input and the link. Very helpful video.He's offers alot of helpful tips.

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you're welcome! :)

Yes, I suggest to watch the other videos from that guy. Very helpful!
Guitar, Drum and Bass sample libraries for Kontakt
www.pettinhouse.com

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If the "wet" reverb libraries are really only wet because of their inbuilt reverb, then turn it off in favour of using a couple of global reverbs on the effects busses. That way you can put everything in the same space.

Instruments towards the back should have more reverb level and less direct signal, just slightly, and their stereo imaging should become a little more defuse.

If you're dealing with multiple mic positions that are contributing to the wet signal, then it gets a bit more fiddly. In all honesty, though, you could probably turn off the Surround mics, or run them very low and just feed the close, or mid stage signal into a reverb on a buss.

If you have a good quality reverb like the IR-1 or H-Reverb, it'll make it a lot easier to attain a good wet sound, although you will still have to work a bit at it just to make it even more convincing.

Surround mics are up towards the back of the hall, so there would definitely be a bit of delay before the signal gets there, and it would probably be already a bit diffuse. So you might want a denser reverb setting with quite bit of pre delay to start with.

The idea of picturing a person sitting in the audience and mixing your reverb like they have two ears isn't really the correct way of thinking. The orchestral music we are all accustomed to listening to these days have all been mic'ed from different positions all over the hall. Those mics all contribute to capturing the space, then the signals are processed, mixed and mastered before it gets to our ears.

So really it helps to picture the reverb in terms of a microphone, its positioning and any contributing characteristics then what ever processing may have been applied to those signals.

In short, you don't want picture reverb as traditional reverb, you want to picture it as emulating mic positioning.

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simon.a.billington wrote:If the "wet" reverb libraries are really only wet because of their inbuilt reverb, then turn it off in favour of using a couple of global reverbs on the effects busses. That way you can put everything in the same space.

Instruments towards the back should have more reverb level and less direct signal, just slightly, and their stereo imaging should become a little more defuse.

If you're dealing with multiple mic positions that are contributing to the wet signal, then it gets a bit more fiddly. In all honesty, though, you could probably turn off the Surround mics, or run them very low and just feed the close, or mid stage signal into a reverb on a buss.

If you have a good quality reverb like the IR-1 or H-Reverb, it'll make it a lot easier to attain a good wet sound, although you will still have to work a bit at it just to make it even more convincing.

Surround mics are up towards the back of the hall, so there would definitely be a bit of delay before the signal gets there, and it would probably be already a bit diffuse. So you might want a denser reverb setting with quite bit of pre delay to start with.

The idea of picturing a person sitting in the audience and mixing your reverb like they have two ears isn't really the correct way of thinking. The orchestral music we are all accustomed to listening to these days have all been mic'ed from different positions all over the hall. Those mics all contribute to capturing the space, then the signals are processed, mixed and mastered before it gets to our ears.

So really it helps to picture the reverb in terms of a microphone, its positioning and any contributing characteristics then what ever processing may have been applied to those signals.

In short, you don't want picture reverb as traditional reverb, you want to picture it as emulating mic positioning.
Hi Simon. Very helpful post and I appreciate you taking the time for a detailed response.
I'm using Symphobia which was my main concern because I always thought the reverbs that came built into these high end kind of plugins was necessary for it's "sound" and it never occurred to me to turn all the reverbs on these off and to use a unifying verb for all. This is great. In addition to Symphobia I have ,Session Strings Pro and Eastwest Leap orchestra. My main reverbs are Altiverb 6,Quantum Leap Spaces,2CAudio B2 and IKmultimedia's Classik reverbs .
I checked the Symphobia manual and yes the reveb can be turned all the way down effectively bypassing the effect so being able to do that will make a huge difference.

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There are de-reverbing vst plugins. Guessing they don't work amazingly though.

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arkmabat wrote:There are de-reverbing vst plugins. Guessing they don't work amazingly though.
I have Acon Digital's DeVerberate.It actually works pretty well for reducing tails on reverbs but it can have some pretty nasty effects if you push it too much. Just bypassing the reverb would still leave the quality of the sound intact.

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You can use isotope RX to either remove the reverb or you can use it's sound matching algorithm to make the dry sounds get the reverb sound of the wet ones ( I believe) I've used RX to remove breaths from a live recording of Marimba for a sound pack, I was still able to preserve the reverb or reduce it so that when I made the sound pack in Kontact you could add reverb as needed.
Hope this helps.

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simon.a.billington wrote:
In short, you don't want picture reverb as traditional reverb, you want to picture it as emulating mic positioning.
Never occurred to me to try and approach things in terms of mic positions. Interesting way of looking at it.

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Brian Cortex wrote:You can use isotope RX to either remove the reverb or you can use it's sound matching algorithm to make the dry sounds get the reverb sound of the wet ones ( I believe) I've used RX to remove breaths from a live recording of Marimba for a sound pack, I was still able to preserve the reverb or reduce it so that when I made the sound pack in Kontact you could add reverb as needed.
Hope this helps.
That actually does help. I never checked out RX.That might be pretty cool to try.
Thanks Brian.

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