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Fleer
KVRAF
 
2940 posts since 22 Aug, 2014, from Boston/Cambridge

Postby Fleer; Sun May 28, 2017 4:44 am Spitfire on the best orchestral reverb

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Fleer
KVRAF
 
2940 posts since 22 Aug, 2014, from Boston/Cambridge

Postby Fleer; Sun May 28, 2017 1:30 pm Re: Spitfire on the best orchestral reverb

Quite interesting that VRoom is mentioned but VVintageVerb is not, though it includes some of those Lexicon style algorithms. My personal favorites for orchestral are FabFilter Pro-R and EastWest Spaces.
ceemusic
KVRer
 
17 posts since 30 Nov, 2015

Postby ceemusic; Sun May 28, 2017 2:11 pm Re: Spitfire on the best orchestral reverb

Vss3 Native by TC gets my vote too. By far my favorite reverb out of those mentioned plus all the others I have in my arsenal.
Armagibbon
KVRist
 
417 posts since 20 Apr, 2017

Postby Armagibbon; Sun May 28, 2017 3:53 pm Re: Spitfire on the best orchestral reverb

Yea preferences. Good for them liking what they like. I'm stickin to atomic and altiverb because I know how they work.
dickiefunk
KVRAF
 
2388 posts since 22 Mar, 2006, from cornwall

Postby dickiefunk; Sun May 28, 2017 10:58 pm Re: Spitfire on the best orchestral reverb

I'm surprised Acon's Verberate and Liquidsonics Seventh Heaven + Reverberate 2 weren't on their list. They are by far my favourite reverbs for classical work. I haven't tried TC's VSS3 though. Valhalla Room is definitely fantastic value for money though I prefer Acon Verberate.
antithesist
KVRian
 
1398 posts since 8 Feb, 2012

Postby antithesist; Fri Aug 11, 2017 9:11 pm Re: Spitfire on the best orchestral reverb

"A digital fizz to the top end"?

What does that even mean? (actually, I don't care)

Everyone's an expert now... it was so much easier when it was just me.

Valhalla (or any other brand, in my opinion) does not have to be qualified by price... there are great plug-ins for $100 or less.

If anything, qualification should be on the high end.

OK, that's well beyond the amount of time this deserves.
WEASEL: World Electro-Acoustic Sound Excitation Laboratories
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djscorb
KVRian
 
643 posts since 3 May, 2007, from UK

Postby djscorb; Sat Aug 12, 2017 12:20 am Re: Spitfire on the best orchestral reverb

What a depthless and shit article. Meh.
I once thought I had mono for an entire year. It turned out I was just really bored...
AstroCastro
KVRer
 
10 posts since 4 Aug, 2017

Postby AstroCastro; Sat Aug 12, 2017 5:31 am Re: Spitfire on the best orchestral reverb

antithesist wrote:"A digital fizz to the top end"?

What does that even mean? (actually, I don't care)

Everyone's an expert now... it was so much easier when it was just me.

Valhalla (or any other brand, in my opinion) does not have to be qualified by price... there are great plug-ins for $100 or less.

If anything, qualification should be on the high end.

OK, that's well beyond the amount of time this deserves.


I'll try to explain on a simple example that it's not just another pretentious crap.
They were talking about harshness around 2000-4000Hz.
I've noticed that one too when I used these 2 presets for Valhalla Room:
https://valhalladsp.com/2011/05/25/valh ... ert-halls/

on Symphobia. That harshness became more obvious after I used some Concert Hall IR's from EastWest Spaces when there wasn't any, but the sound was much more pleasant, warmer, natural.
There was no need to "kill" any harshness with EQ in that frequency range.

Maybe this thing is not really obvious with some other sound libraries, but whoever has Symphobia and Valhalla Room is free to try those 2 presets on Symphobia, especially on violins and brass instruments and they can hear "A digital fizz to the top end" too, actually some sort of harshness.
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bmanic
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7777 posts since 3 Feb, 2003, from Finland, Espoo

Postby bmanic; Sat Aug 12, 2017 6:40 am Re: Spitfire on the best orchestral reverb

I feel like the main disadvantages of Valhalla reverbs is that they don't tend to "mix themselves" in complex projects.. which is kind of a feature with the traditional high-end stuff. Take any high-end TC/Lexicon/Bricasti unit and you can just sort of send stuff to them, raise the faders and be done with it.

The exact opposite is true with reverbs that are "stubborn" and don't mix themselves. Some classic units fall into this category as well, like various spring reverbs and classic plates that can indeed benefit a lot from EQ and "massaging" the send to make it fit. I'd also group the later Lexicon PCM series into this category.. except perhaps the PCM 60 which again just seems to "mix itself" very well.

For orchestral stuff it's very important that a reverb simply works immediately without having to babysit it with EQ so that it blends. Complex projects in particular benefit from a reverb that just works.. whereas sparse/spartan projects can get away with almost an kind of reverb (from a technical perspective that is - Artistically you of course choose the one you like the most or subjectively fits the project).
"I'm not trying to be anyone's savior. I'm just trying to think about the future and not be sad." - Elon Musk, TED talk April 2017
sfxsound3
KVRist
 
260 posts since 30 Mar, 2016

Postby sfxsound3; Sat Aug 12, 2017 7:19 am Re: Spitfire on the best orchestral reverb

bmanic wrote:I feel like the main disadvantages of Valhalla reverbs is that they don't tend to "mix themselves" in complex projects.


That's one.
Two - all kinds of annoying artifacts can appear depending on source and/or setting. Nothing that should be there if you want a reverberation effect. But he has explicitly said that he's going for the lo-fi and dirty.
So who would even consider Valhallas for orchestral?

Raises eyebrows and moves on.
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valhallasound
KVRAF
 
3363 posts since 14 Nov, 2006, from Pacific NW

Postby valhallasound; Sat Aug 12, 2017 10:17 am Re: Spitfire on the best orchestral reverb

sfxsound3 wrote:
bmanic wrote:I feel like the main disadvantages of Valhalla reverbs is that they don't tend to "mix themselves" in complex projects.


That's one.
Two - all kinds of annoying artifacts can appear depending on source and/or setting. Nothing that should be there if you want a reverberation effect. But he has explicitly said that he's going for the lo-fi and dirty.
So who would even consider Valhallas for orchestral?


Junkie XL, for one:

https://www.youtube.com/watch?v=Amftd4M ... e&t=38m32s

(scroll to 38:35 for the discussion of ValhallaRoom)

In the video, Junkie XL (composer for Max Max: Fury Road, Deadpool, The Dark Tower, etc.) shows how he uses 2 instances of ValhallaRoom for orchestral tracks: one for the front, the second for the rear.

Alan Meyerson (engineer for Hans Zimmer) also uses ValhallaRoom alongside his Bricastis:

https://film-mixing.com/2016/07/28/film ... -meyerson/

A lot of other film composers and engineers use the Valhalla stuff, but these are two of the folks that have talked about it in interviews.

Sean Costello
antithesist
KVRian
 
1398 posts since 8 Feb, 2012

Postby antithesist; Sat Aug 12, 2017 11:16 am Re: Spitfire on the best orchestral reverb

AstroCastro wrote:
antithesist wrote:"A digital fizz to the top end"?

What does that even mean? (actually, I don't care)

Everyone's an expert now... it was so much easier when it was just me.

Valhalla (or any other brand, in my opinion) does not have to be qualified by price... there are great plug-ins for $100 or less.

If anything, qualification should be on the high end.

OK, that's well beyond the amount of time this deserves.


I'll try to explain on a simple example that it's not just another pretentious crap.
They were talking about harshness around 2000-4000Hz.
I've noticed that one too when I used these 2 presets for Valhalla Room:
https://valhalladsp.com/2011/05/25/valh ... ert-halls/

on Symphobia. That harshness became more obvious after I used some Concert Hall IR's from EastWest Spaces when there wasn't any, but the sound was much more pleasant, warmer, natural.
There was no need to "kill" any harshness with EQ in that frequency range.

Maybe this thing is not really obvious with some other sound libraries, but whoever has Symphobia and Valhalla Room is free to try those 2 presets on Symphobia, especially on violins and brass instruments and they can hear "A digital fizz to the top end" too, actually some sort of harshness.

Thanks for trying... I didn't think it was so much pretentious crap, but that at least one of those guys is an idiot.

Digital fizz... ha!

Anyway, if your sample library needs de-fizzing, don't blame your reverb for not doing it automatically.

Here's the thing: humans oversimplify (I'm doing it now) and jump to unfounded conclusions.

I have no doubt they were hearing something they thought they didn't like at the time.

Tomorrow it could be: "Mate, this TC 6000 does not have enough digital fizz."

See People Just Do Nothing and now, What Would Diplo Do? (both on the VICE cable channel here in the American heartland).
WEASEL: World Electro-Acoustic Sound Excitation Laboratories
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martinjuenke
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364 posts since 28 Dec, 2015, from Germany

Postby martinjuenke; Sat Aug 12, 2017 11:56 am Re: Spitfire on the best orchestral reverb

I wonder why the reverb which is my favorite has not been mentioned here... Me as a fanboi should do some marketing for it... That will persuade everybody here to change their minds... :hihi:
Music was my first love ...
ambient music
http://www.mrtnjnk.bandcamp.com
Armagibbon
KVRist
 
417 posts since 20 Apr, 2017

Postby Armagibbon; Sat Aug 12, 2017 5:03 pm Re: Spitfire on the best orchestral reverb

martinjuenke wrote:I wonder why the reverb which is my favorite has not been mentioned here... Me as a fanboi should do some marketing for it... That will persuade everybody here to change their minds... :hihi:

One hand, I should tell peeps to pick up altiverb and use it for everything. Other hand, I'm not a fan of the devs. So it cancels out right? Just don't care ahahaha
antithesist
KVRian
 
1398 posts since 8 Feb, 2012

Postby antithesist; Sat Aug 12, 2017 9:53 pm Re: Spitfire on the best orchestral reverb

Are you guys doing Diplo or Grindah... or one of each?
WEASEL: World Electro-Acoustic Sound Excitation Laboratories
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