I agree with Mark that experimentation with a
good Parametric EQ plug is worth a go. Maybe try
to lessen the presence/volume of the resonant
room-produced frequencies created before trying
any additional reverb. If you boost 200-600Hz for
warmth, you'll probably get more, no less room
content. The hard surfaces could be adding
stridency or maybe the mics are. There could be
some narrow, exaggerated bands between 1.6K to
4K. Lessening these with parametric EQ will make
the overall balance warmer. Same technique used
to take some bite out of harsh animal calls. A
transparent flexible EQ plug like Eqium or Firium
is needed. Might be tough to imitate another
space-- something different, more interesting
might be all you can expect. Even a short sample
delay between channels can form a different
foundation to build on. There are dozens of pro
reverb plugs. Some allow you to import an impulse
and since the space is still at hand, starting
with a patch that imitates the room might help
you discover something interesting you can build
on. The tie to field recording is that one is
always recording some sort of enclosure. Rob D
At 1:00 PM +0900 12/3/05, Mark R. wrote:
>Hi Romilly,
>
>
>
>Try adding a touch of compression and a nice parametric eq used delicately
>before adding the reverb. The compression should bring a more focus sound
>whereas the eq will allow you to accent the warm. Then you can have some f=
un
>with the reverb, although in my experience adding reverb to a recording th=
at
>already has room ambience is very difficult. If your recording is full of
>the room ambience, there may not be much you can do to get it to sound lik=
e
>it was recorded in a concert hall. Those ghost echoes from the corners wil=
l
>haunt you ;^)
>
>
>Best,
>
>
>Mark R.
>
>
>On 12/3/05, Romilly Hambling <> wrote:
>>
>> Sorry this is some way off-topic, but I believe there are quite a few h=
ere
>> who have experience of music recording.
>>
>> My friend is recording songs by Faur=E9 and Debussy, so me and my Porta=
disc
>> have been called out of the woods for duty. Microphones are a pair of
>> Neumann TLM 103s, the "studio" is the pianist's quite small, typical
>> London
>> two-rooms-into-one drawing room - I'd guess about 12ft by 30ft.
>>
>> The raw results are very nice, but we need a good reverb filter to add =
a
>> touch of spatial depth. We've tried Sound Studio's, Amadeus's and even =
the
>> $900 Altiverb plug-in (we work on Macs), but all give results that are
>> rather unsubtle - they tend to sound as if the recording was made in an
>> empty space with hard walls! The filters also degrade the quality of th=
e
>> sound from this nice true mic. Of course we've fiddled with settings ev=
ery
>> which way from minimal to moderate.
>>
>> Anybody have any ideas? We're looking for a reverb filter that'll give =
a
>> softer, more sympathetic sound, something more like a recording made in=
a
>> small concert hall with bodies and less like one made with an indiffere=
nt
>> microphone in an empty rock chamber. Or is it not possible with softwar=
e?
>>
>> Thanks
>>
>> Romilly Hambling
> >
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