As i have bought the P100 and as i can use my STW Pro reverb again (i had lost the activation key...), i had few questions :
1) PLATE reverb : I mainly use the P100 for mastering by now. Great ! It would be interesting that every owner explains his use of this wonderful reverb. I mean when should we use a plate reverb(as this is a plate one)?
2) HALL reverb : i also have the STW Pro Reverb (a kind of 4080L) and i do love the color option (filter). What do you think about the utility of this reverb (Hall). When should we use a HAll reverb?... i use it on real instruments to give a "color" to a room but may be there are typical uses for a Hall reverb?
thanks !
Jo
<font size=-1>[ This Message was edited by: bill3107 on 2006-09-08 01:52 ]</font>
reverb : when using a Plate and Hall ?
Well... It's a bit like if a painter would ask you : "I have this wonderful blue paint which is awesome, can you tell me when and where should I use it?"
There is no definite answer to this question, for there are too many factors to consider, and first and foremost the personal taste of the creator (or engineer). Other than that, the audio material involved, the context, the musical style, the mixing style, the frequency content of the mix, etc. etc. can all be determining factors in any mixing choice.
This reverb is powerful (the P100, haven't tried the other), it is really worth trying and tweaking on a variety of material in a variety of contexts, so to understand the essence of this tool and your own relationship with it.
I've used it successfully on voice, ambiant textures, flute, clarinet tuned percs, and many others. I think it is in the same league as the reverbs I hear in pro recordings.
<font size=-1>[ This Message was edited by: eliam on 2006-09-08 14:16 ]</font>
There is no definite answer to this question, for there are too many factors to consider, and first and foremost the personal taste of the creator (or engineer). Other than that, the audio material involved, the context, the musical style, the mixing style, the frequency content of the mix, etc. etc. can all be determining factors in any mixing choice.
This reverb is powerful (the P100, haven't tried the other), it is really worth trying and tweaking on a variety of material in a variety of contexts, so to understand the essence of this tool and your own relationship with it.
I've used it successfully on voice, ambiant textures, flute, clarinet tuned percs, and many others. I think it is in the same league as the reverbs I hear in pro recordings.
<font size=-1>[ This Message was edited by: eliam on 2006-09-08 14:16 ]</font>
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hubird
I'd prefer the plate on sounds that benefit from a little 'sparkling' upto those turned into 'metallic' atmospheres.
The hall just as the name implies, big empty space to be filled, either droning or with a faint fading sound.
For what Hubird mentions I'd prefer an ambience algo - like the A100...
Invaluable to put sounds in a pure spatial context - and the only Scope plugin (I'm aware of) that I'd use for it's 'artifacts' (instead of what it's intended for)...
It can completely 'analogize' sounds, honestly there are settings that bring back the sound you usually find on first class 70's vinyl recordings - the dry(!) sound, not the the shatter verbs
cheers, tom
The hall just as the name implies, big empty space to be filled, either droning or with a faint fading sound.
For what Hubird mentions I'd prefer an ambience algo - like the A100...
Invaluable to put sounds in a pure spatial context - and the only Scope plugin (I'm aware of) that I'd use for it's 'artifacts' (instead of what it's intended for)...
It can completely 'analogize' sounds, honestly there are settings that bring back the sound you usually find on first class 70's vinyl recordings - the dry(!) sound, not the the shatter verbs
cheers, tom
I guess that the character of plate vs hall reverb is marked by what the algorithm is trying to emulate (and how much the programmer succeded in achieving that emulation).
What I mean is that a hall algorithm will emulate sound being reflected on walls i.e. a natural 3D space. So, the typical use of a hall reverb is to make instruments sound as if located in a real space (room/hall).
On the other hand, a plate algorithm will emulate reflections produced in the edges of a metal plate when sound travels through that plate, which in the end is an artificial reverb. For that reason I guess it is preferred for more agressive applications, or for adding "sparkle" to sounds, as said in previous posts.
Well, once written, all this sounds pretty obvious.
By the way, does someone have an idea of what an ambience algo tries to emulate? Is it essentially different to a hall algo?
What I mean is that a hall algorithm will emulate sound being reflected on walls i.e. a natural 3D space. So, the typical use of a hall reverb is to make instruments sound as if located in a real space (room/hall).
On the other hand, a plate algorithm will emulate reflections produced in the edges of a metal plate when sound travels through that plate, which in the end is an artificial reverb. For that reason I guess it is preferred for more agressive applications, or for adding "sparkle" to sounds, as said in previous posts.
Well, once written, all this sounds pretty obvious.
By the way, does someone have an idea of what an ambience algo tries to emulate? Is it essentially different to a hall algo?