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7

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. ...


5

If you want high quality, then don't use a digital audio recorder as your microphone. Get a good condenser mic, a sound hole mic or a mic you can mount in the sound chamber of the guitar itself and then if you need more reverb you can use a traditional effects unit or effects petal depending on if you are using a powered mic or not.


5

Yeah, forests are tough. Altiverb has some good forest verbs. Try an in game worldized reverb with heavy damping, a short tail and a longer predelay. I've found predelay to be the most important setting for real world verbs like this. It should almost sound like a long slapback verb. Try more than 80ms and experiment.


5

In theory, yes. A filter is known as linear if it is both additive and homogeneous. For an additive filter, the filtered sum of signals is the same as the sum of filtered signals. (Homogeneity means that gain or attenuation can come before or after the filter.) Most digital reverbs, including all convolution reverbs, are linear filters. In practice, also ...


4

I've toyed around with the demo quite a bit, and it's on my "to purchase" list. There are just a couple of higher priority items ahead of it at the moment. It's an impressive piece of software. Like RX2, I always describe it as a "reduction" tool, not a "removal tool. While it's got a bit of learning curve before you start getting the best results, those ...


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.


4

Hey Geronimo, why don't you experiment with re-amping the dialogue track through a slightly open door. Even if the result isn't usable, you'll at least have a very solid reference that you can aim for with regards to verb and eq. speaker in room A -> half open door -> mono mic in room B from camera perspective alternatively you could shoot an impulse ...


3

ValhallaRoom for warmth Revibe/Reverb one for hifi/bright LX480 for natural/transparent space - might replace with the newly cheap LXP bundle from Lexicon or Michael Carnes new Exponential Audio "Phoenix" depending who goes AAX first DVerb for small room/ambience TL space and Valhalla Shimmer for more out there stuff - not including delays like Echoboy ...


3

Headphones. You will sacrifice dynamics but considering the sound of the room, it may be worth it. How many mattresses? Anything less than 5cm thick will only tackle high frequencies.. Record a slow sine sweep or pink noise then look at your room modes. You might get away with corrective EQ? Nothing will help the flutter other than wall treatment or throwing ...


3

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 ...


3

For the guitars retro reverb would be vacuum tube driven springs as found in a 1963 to 1965 Black Face amp such as the Super Reverb, Deluxe Reverb, etc,. Also Fender and others had a standalone tube driven spring reverb that was far superior than the amps mentioned. Many effect boxes emulate this sound, Zoom does it pretty well. I have a replica Uncle Spot ...


3

Yes, there are ways to try to reduce echo, but they also negatively impact the sound with artifacts. You can use features like gates to try to cut off when someone stops talking directly, but those are probably best applied after recording. There is nothing that you can apply, in software, at the time of recording that you can't apply later. You don't ...


3

Resonance and reverberation are, indeed, more or less just two aspects of the same phenomenon. The difference is whether you focus on what happens to the time-domain representation (reverb) or frequency-domain representation (resonance) of a signal. For instance, when you seed a room with a short impulse and observe how a microphone picks up a far longer ...


2

Checkout this page. If you want go deeper try this one from J. Smith


2

I did a test drive with this plugin, and I honestly didn't like it at all. Call me old fashioned, or say that I may enjoy a pleasant bit of organic noisefloor in my dialogue tracks, but I wasn't turned onto this tool. I was turned onto the concept, but in implementation I didn't like it. The interface although cool looking, I didn't find very intuitive. ...


2

One thing that always helps to get something in a special Place -> Reverb/Impulse Response Reverbs. One thing so -> Don't always think you need a big reverb for wide locations. Sometimes small reverb create a better image of a big wide place, imho. If you want go get your hands dirty -> Go into a wide,rock canyon (or similar, maybe a stadium etc.) and ...


2

Try clean 909(first)/808(second) Kicks and tune them to around 45 Hz. Then use gates reverb if you want but really be careful with the amount ant eq setting on the reverb channel. Also fine-tune the pre delay a good amount of time. Then something that i think he used is parallel compression with some distortion. This can help you make the reverb tail rumble....


2

It's rather obvious, but anyway sayin': whatever device produces the reverb, it will do so as an electronic signal, not as sound right away! So you foremostly need a PA to make this audible in a large hall. With such a somewhat large-scale PA, there comes a console that nowadays almost always has a DSP unit built in (or a proper 19" reverb unit). Using a PA, ...


2

If you want to add reverb to your signal, then you need a reverb unit. There are two ways to approach this. You can use a standalone reverb unit, or you could use a plugin running on a computer (as well as an audio interface to get audio in and out of the computer). The computer gives you more flexibility, but it also gives you more latency (that is, ...


2

I will have multiple reverbs with the same setting routed accordingly if I need a room for more than 1 group. Otherwise it stops you from printing your mix and all the associated splits and deliverables in one pass.


2

I'd be far more inclined to try fix it at source first. There are several plugins I've tried that attempt to de-verb, but none anywhere near as successfully as just not recording it in the first place. Simplest trick would be to hang a heavy blanket, duvet or similar on the wall behind you [or hang it over a spare boom stand etc, close up behind you], ...


2

See previous discussion here, SPL De-Verb is probably what you're looking for. You can watch a comparison between SPL, iZotope, Zynaptic in this YouTube video.


2

The definition you gave seems to have the definitions for resonance and reverb built into one, which makes it more confusing. From a physics perspective, everything has various resonant or natural frequencies. Here's a little tidbit if you're interested. These characteristics are known better to musicians as harmonics. As I learned in physics: Resonance ...


2

Convolution reverb would be your best bet here. Find an impulse response that is recorded inside a stadium and run the plugin via auxilary send so you don't wash out the initial sound source. Make sure to also EQ the reverb if needed, Space Designer comes with a built-in EQ but you can also use a typical channel EQ as well.


2

So as I understand you want to add effects on the "live monitoring" while not adding effects on the recording. This can be done. You just need to run the "live monitor out" of your yeti microphone through a reverb effect, and then to your headphones. So how can you do that easily? The simplest way is to just buy a hardware reverb, and run the live ...


2

Have you tried worldizing your samples? It won't cost you anything but your time and you'll undoubtably learn a lot in the process. Also, try reaching for complex delays in lieu of reverbs. Soundtoys EchoBoy is a great choice if you have it, otherwise nearly any delay plug will help get you started.


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