On Tue, Mar 24, 2009 at 08:52:07PM +0300, alex stone wrote: > It's an experiment into what happens when i use multiple instances of ER, > and try and position them 'over' the source. > > Example > > If my stage is 200 units wide, (100L, 100 R) my 1st violins will be about > 50L. (Just as an example.) > That is, my dry signal in from LS is positioned at 50L. > > I add a send in Ardour, on the 1st violins track, and send this out to Jconv > 'multi' to input 1st VL 1. (Mono in.) > > The Jconv ER 1st violins out is then brought back into Ardour, and it does > so dead centre, at 0, neither left, nor right. > > In my experiment, i want to move that particular ER 'over' the 1st violins > to 50L, and then, using dry and ER gains, attempt to balance between the two > signals, and see what happens. (There's a further challenge here with depth, > but i'm just working with L/R position at the moment.) This does not make any sense. Early reflection are the first 80-100ms of a room's response. There will normally be a number of reflections in this interval, and they come from all directions. In a good concert hall there will be some strong ones from the sides. Reducing them to mono and giving them the same direction as the direct sound does not correspond to any real acoustic process. A jconv setup meant to reproduce ER should at least be stereo if your mix is stereo. You just mix it directly into the stereo master bus. Most stereo reverbs will just produce one set of ER, while they should be different for each source position. If you separate the ER from the reverb tail there are some things you can do to have more variation. One is to create a second set by just swapping L and R, or for an AMB reverb, by rotating it. Much more interesting is to play with delays and levels. For a close source the ER will be weaker and arrive later. For a more distant source the ER will be close to the direct sound, and stronger. An alternative is to use a reverb that provides a number of different ER patterns. The reverb I captured in the concert hall of la Casa della Musica does provide this, IIRC there are at least 4 ER patterns corresponding to different on-stage source positions. In the jconv configuration they have separate inputs (as does the reverb tail), and a common output. Nothing is lost by the common output, as separate ones would just all be mixed into the master bus anyway. You can enhance the set of 4 by using different delays. On each channel you should have a post-fader send to set the level of the ER and a second one for the reverb tail, and insert a short variable delay into the direct sound path (after the point where the delay send is taken). Or you put the delay into the reverb send and use it in the opposite sense. Of course doing this in Ardour is a nightmare as you end up with three of four plugins per channel. For a typical orchestra this means you'd have something like 50 plugin windows on screen, or being forced to re-open and close them for each adjustment. I'm developing a mixer app that has a more ergonomic layout for this sort of thing. It wil also do ambisonics and provide filters, dynamics, equaliser and delays on each channel. -- FA Io lo dico sempre: l'Italia è troppo stretta e lunga. _______________________________________________ Linux-audio-user mailing list Linux-audio-user@xxxxxxxxxxxxxxxxxxxx http://lists.linuxaudio.org/mailman/listinfo/linux-audio-user
