>Another thought is to work with impulse-based modeling reverbs like
>Altiverb or waves IR-1 (there are quite a few, these are just the
>ones I remember off the bat; see recent Electronic Musician article
>on such).
>
>A reverb impulse could be made of an outdoor location, and the mono
>recordings played through the reverb of that location. Thus the
>sound could be placed in a more real space, with very-appropriate
>reflections, diffusion etc. Waves S1 (or other MS processor)
>afterward could be used to tweak image width and panorama.
>
>This has been an interesting thread. I just mixed a documentary film
>where all the source was mono. I was hoping to figure something out
>bring more sense of acoustic place into the film. Normally, ambience
>tracks or stereo room tone would do the trick, but the nature of the
>material (mono short-shotgun track with lots of busy background sound
>which was important to retain) didn't allow overt processing or
>mucking-about with image. I used a few filtered and panned delays to
>create a semblance of reflections, and used them judiciously along
>with a few stereo effects. Still, the mix ended up being almost
>entirely monow, which worked well in this case.
>
>thanks for everybody's ideas.
>
>-jeremiah
In a way, this discussion is about mimicking and whether one enjoys
learning more about the setting/situation in post as you describe so
well Jeremiah. I'd rather be able to "hear" what the artist is
hearing/doing than be tricked. I read the EM article too. I guess
I'm not looking for a shortcut to better reverb settings as much as a
tool to better understand what was there, acoustically, and in
relation to what I got. What if a convolution ap showed you a picture
of the space that it thinks it has detected? I'd like to be able to
take apart its assumptions. I agree, a couple of carefully eq'd and
timed reflections can often tighten-up the spatial image more than
sophisticated estimations of a similar space. Isn't it amazing that
a stand of trees can throw back a reflection not unlike that of a
solid wall (given the crude systems we have)? More often, I use full
fledged reverb settings when I give up and add a touch of mush .
Happens more than I'd like. Rob D.
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