Hi Bob, As I mentioned to Tim, I also have uses for over-the-top reverb, just not applied to room modelling. > Can't say I've had a lot to do with Synth reverbs, I come from a ' live' > sound engineering background so tended to use reverbs very sparingly. > As a recording engineer and moving to digital this is a different ball > game. I think it really depends on the type of music you are aiming for. Yes it does depend on the type of music, but again, most any kind of music sounds better in a good room where "good room" is up to you to design. As a live sound engineer, you probably chose specific venues for recording. > I must admit to struggling with reverb settings as they sound ok one > minute and then not the next as the track moves on. I'm just guessing, but with your experience in live recording, you're probably very sensitive to errors in the physics. As you know, there are simplistic approaches used for reverb, echo, and stereo separation. Although you can set all this optimally for one instrument at a particular time, the settings don't extrapolate to other cases well at all because the modelling is physically incorrect (it's signal-based). If you have a good math background, then you probably know that tuned polynomial models of things usually fail miserably outside the tuned space --- sometimes within the tuned space. Same thing here. If you turn the effects down, as you're used to doing anyway, then problems probably are not as obvious. If you turn the effects way up, then you have a new instrument, and it may sound OK. You're no longer attempting to simulate a room with a weak model. This discussion probably doesn't help you too much as a working engineer, but perhaps in the not-too-distant future, other methods will be developed which change the methodology or at least offer marketable alternatives. Meanwhile, you'll probably develop a useful bag of digital tricks that work for your customers. Regards, Dave.
