Spitfire on the best orchestral reverb

[Fleer]

https://www.spitfireaudio.com//product- ... l-samples/

[Fleer]

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]

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]

Yea preferences. Good for them liking what they like. I'm stickin to atomic and altiverb because I know how they work.

[dickiefunk]

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]

"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.

[djscorb]

What a depthless and shit article. Meh.

[AstroCastro]

"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.

[bmanic]

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).

[sfxsound3]

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.

[valhallasound]

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]

"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).

[martinjuenke]

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...

[Armagibbon]

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...

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]

Are you guys doing Diplo or Grindah... or one of each?