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6

To add to the other ideas here, it's often the layered complexity of outdoor reflections that gives them a natural feel. Real spaces, indoor or outdoor, never sound exactly like a reverb preset. I find it fun to design a bunch of options and mix-and-match—my usual strategy is to take 3-4 sends from the dialog/FX tracks and create corresponding aux tracks, ...


6

Usually a convo verb can give decent results, as Dave mentioned. I find that even with that, it all comes down to the predelay and late delay parameters which 'sell it' though primarily, in my opinion. Predalys and late delays, and how they're used, are what give the reverb that character "slap" off the walls (or, the trees) that we recognize in real life. ...


4

Yes, pretty much any delay - hardware or software - can do this. Delay devices have a 'feedback' setting which you would want to turn to zero, and a wet / dry setting which you would want to turn to 100% wet.


4

We call 'wet', the return from an FX processor. 'Dry' is the input signal to the effect. So if you turn 'wet' down and 'dry' up, the signal will pass through the effects unit unchanged. The reason many effects units have a dry/wet setting is so you can either use them as insert effects, or send effects. An insert effect is one where all of a channel's ...


4

Personally, i use the pre-delay settings in reverb plugs, as that's what they're designed to replicate. From my experience (YMMV), pre-delay acts in the same way as a delay plug would, if it came before your reverb in the chain. It delays your first reflection, and the diffuse reflections that follow. So, for a large space, you want to set an appropriately ...


4

Have you tried any convolution reverbs? Most of those would have an outdoor sample. I know the stock one in logic has a few. Convolution is really IMO the best approach for recreation of a real space like this. Good luck dude.


3

This diagram helps explain pre delay and early reflections. http://www.torgny.biz/images/Reflextionsmonstret.jpg Some reverbs have a pre delay before the ER section and another before the reverb section. The pre delay helps determine the size of the space you're in, since the longer it takes for the first reflected sounds to get to your ears, the larger ...


2

Pre-delay and early reflections are not the same thing. Pre-delay is the time of dry signal that exists before early reflections arrive. A lot of reverb plug ins allow you to control all this without the need of anything else.


2

There is a plug in called Auto Align that I used quite successfully on a show recently, where I had two actors in a green screen studio each with their own mic. Because of the nature of the performance - a beatboxing performance - I needed both mics and the plug in did an admirable job of putting the two mics in phase. However that is a "best case" scenario ...


2

If I have to do it, I do it by hand. I practically never use both at the same time though. I much prefer to use EQ and multiband compression/expansion (and a touch of reverb if necessary) to match the two as closely as I can, then edit between them...always leaning more towards the shotgun than the lav. Mixing the two together is often a recipe for a ...


2

I've used the "Outdoorverb" by xoxos on a few projects and have had good results. It's a freeware VST plugin for PC, so unfortunately PT (and MAC) cannot run it. It's a tap delay-type unit which incorporates a pitch variance. It's an interesting little plugin. Recommended if you can run it. http://rekkerd.org/xoxos-releases-outdoorverb/ Good luck with the ...


2

Solution: Send a MIDI SysEx "reset all" message. What worked for me: Download MIDI-OX for Windows or KMidimon for Linux. I use Windows so these steps will continue with MIDI-OX. Start MIDI-OX. Go to Options->MIDI Devices. Select your MIDI input ("E-MU Xmidi1X1 Tab" for me). I actually selected Microsoft GS Wavetable Synth for my MIDI output, but I don't ...


2

It has to do with the MP3 codec algorithm. I don't know the exact science behind it but it's something you have to deal with when using MP3's because it can't be prevented.


2

You can recreate the vocal sound at 1:24 by using a taking the vocal and "drenching" it in reverb (preferably a plate reverb) and then adding a pitch shifting reverb (but take care to lower the mix of the pitch shifting reverb or else it will mess up the sound). The VSTs which will be the most appropriate for doing this are Valhalla Vintage Verb and Valhalla ...


1

The most likely culprit is that you are using a non-integer frame-rate with your camera, but when you are bringing the footage into the computer it is finding it's way into the timeline at a different frame-rate. Check the frame-rate of the camera. Sometimes the frame-rate is not what it seems.


1

Here I am slightly older and slightly "smaarter". I attended a system tuning training by Rational Acoustics and was able to get an answer to my question! Mix coherency refers to the ratio of change between a measurement and reference signal. When tuning a system you would typically use software like SMAART or SysTune to generate a test signal (pink noise)....


1

Uh, clap your hands once. If that doesn't give you an in-the-face clue in the audio waveforms, I don't know what will. Movie takes use clapperboards for a reason.


1

In general the order matters a great deal. You'd generally want your chain to go something like Filters/EQ -> Compression -> Time effects (Reverb/Delay). EQ first because you usually wouldn't want to be compressing frequencies that aren't going to be there after passing through the EQ. Specifically with Reverb / Delay that would probably come down to ...


1

That is most likely a real Space Echo (RE-201 / RE-301) and not some plugin chain. We have one in the studio and use it for exactly such things. Those tape delay devices are very tough to imitate using software. The exact same question has been discussed at Gearslutz - one reply states that Kevin is using the RE-20 Space Echo (the pedal version) along with ...


1

I don't think anyone would advise you to migrate your tracks/stems using the mp3 format.. especially when using them with uncompressed files in the same project. Not forgeting the loss of quality/imagery in your production. Recommend mp3 only as a final mix format for distrobution on iTunes etc..


1

The difference is that "moving" means relative to the medium through which the waves are traveling. So if the source is moving relative to the medium, the waves actually propagate differently than if the source is stationary relative to the medium. "Notice that in both cases, moving observer and moving source, if the source and observer are moving together, ...


1

I generally call the tool I use for this "a sound guy". You can automate it though by doing some dynamics processing on the input to the effects unit. You need to use a device called an expander on the feed going to the effects unit (or have an effects unit that provides it's own expander). An expander is a lot like a compressor, but the ratio goes in the ...


1

I have experienced the same issue, including just yesterday preparing for a live performance, and thought the unit was broken. Apparently based on your post, it is a bug in the 1x1 itself. To resolve the problem, unplugging the 1x1 and re-inserting it usually rectifies the issue. Very annoying... This effectively resets the unit.


1

Had the same problem with E-Mu MIDI 1x1, windows 7 64 bit. Disconnectng and reconnecting the MIDI USB solved the mystery delay. Thanks.


1

This exact thing is happening to me. I tried updating the drivers, but that didn't help. The only consistent feature that seems to take the lag away is to unplug the USB device, wait at least 10 seconds, then plug it back in. Once plugged in again, it works like a charm. Having the device plugged in during boot-up slows it down for some reason. I'm ...


1

in Ableton you have following parameters on every Delay Plug-In: Simple Delay, Ping Pong Delay, Filter Delay and Granular Delay. The time between the synced Repeats is determined by the Numbers in the Yellow Boxes (Lower numbers -> faster delay). By the Number with the % you can let the Delay groove by offsetting it from the synced Repeat. By pressing the ...


1

The most common reason to have lots of reverb units in a film mix is that film sound is mixed in stems and each stem needs at least one reverb unit. It's common to have separate stems for DIAL, ADR, Loop Group, BGs, FX, DESIGN, FOLEY, MUSIC, etc., as needed for the particular film and depending on capacity of the bussing and the recorder(s). So in this ...


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