01-22-2018, 07:48 PM
(01-22-2018, 04:17 PM)Michael Willis Wrote: There are a number of things [re: reverb] that can be adjusted, and I'm not always certain which ones to use.
Generally I just choose a hall reverb, then adjust the amount of signal each track sends to it. Even when soloed I try not to make the amount of reverb too obvious on a track. I'm not looking for a distinct echo, just a little ambience and depth.
(01-22-2018, 04:17 PM)Michael Willis Wrote: In this case, would you say that the decibel level on the reverb is too high, or is the decay time too long? My eventual goal is to blend in full orchestration
I don't mess with decay times. Just the percentage of the signal each track sends to the reverb.
(01-22-2018, 04:17 PM)Michael Willis Wrote: do you think that it's possible that my current settings would be suitable if I had more instruments filling out all of that space?
The danger is that adding together instruments that when soloed have too much reverb can end up in an amorphous blob of sound for a final mix.
(01-22-2018, 04:17 PM)Michael Willis Wrote: Ha! I'm glad to got a good laugh.
Not because of the performance or composition or anything like that but just because I could picture you, after the last note, simultaneously lifting all your fingers off the keys without realizing how well the microphone would pick that up.
(01-22-2018, 04:17 PM)Michael Willis Wrote: ... releasing all of the keys at once is a lot more noticeable as you pointed out.
Yes, a more staggered approach, lifting one finger at at time, or waiting to provide an easily editable gap of silence before releasing the keys, might be better.
Paul Battersby
My free orchestral sample library: Virtual Playing Orchestra @ http://virtualplaying.com
My free orchestral sample library: Virtual Playing Orchestra @ http://virtualplaying.com