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Tell me what you do, how you do it. 

Do you apply the same reverb across all your music?  Across all your orchestral music?  If not, what justifies your choice?

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Sounds good, Mike.  I hope to hear the results at some point.  Out of curiosity, what are your reference recordings?

Some Karajan recordings of the Tchaikovsky late symphonies with the Berlin Phil.

I am writing my 2nd symphony at the moment and the size of the band is the same as those works so I thought I'd match the sound as best as I can for the programming. I always try to approach each DAW representation of a piece in a different way when it comes to acoustic space - keeps me on my toes...:-)

I particularly like the warmth of the sound in these recordings but am finding it hard to achieve at present, without resorting to any eq or plug-ins. Having said that, I have a few more sets/combinations of samples and for that matter reverbs to try out before I give up chasing that particular holy grail.

I think I know the recording you're referring to!

If you have the inclination, you might want to check out the VSS3 Native plugin.  I have been quite impressed with it and you can test it out for 14 days free.

Yes, I have tried that verb John. I also have a TC powercore too although it is idle at present as I am working in 64bit only at present. The reverb I am interested in at the moment is by IRCAM called Verb...

If I'm not mistaken, I think you can trial that too.

BTW, got a warmer sound by using a couple of reverbs together along with MIRpro, more luck than judgement, but hey if it's working.....

Excellent idea Ray and Dave.

I have MIR Ray and it is indeed useful for creating depth, or at the very least placing an instrument in the field, but I agree that it is not the best sounding tool, but I wouldn't say I didn't like it. It is curious that VSL themselves also produce an enhancing verb called MIRacle, which I also have. MIRpro is mightily comprehensive though with a ton of options on mics, arrangement of mics (you can design your own trees!) and position of mics along with halls and live rooms. One needs to have a good engineering knowledge to get the best out of it I feel.

I'm in on this as it might be very useful. I can supply various MIR options for assessment, along with some other reverb options.

Another many verb companies offer free trials, we could also level the playing field and all download the same agreed product and mess around with it and post the results....just an idea. It'd show the different approaches and might be instructive.

Chaps (and chapesses, if any are reading!),

I downloaded a trial of Fluxs' IRCAM Verb3 and gave it a whirl, all you need is an iLok account for a 30 day trial.

It's GUI is clear, smart and self-explanatory and the tweaking possibilities are more than anything else I've seen in a reverb plug-in, including control on shapes, volume, mixing and density of just the early reflections, let alone all the other parts of the room. In fact, you can create a complete room from nothing, but would need good knowledge of the functionality of all the parameters and how to use them to achieve a great sound.

Re the sound, well the vienna concert hall is lovely but  there are only a handful of presets useful out of the box for orchestral mock-ups, however you can of course use these presets as starting points and create more options.

Is it worth the price tag?, well I'd say definitely, if you know how to use it. This is geared towards the pro-end of the market but don't let that put you off if you can afford it. There are cheaper options, John has linked TC's Vss3 above, which is less than half the price and is a good bet too.

Anyway, Dave if you upload your 4tet excerpt, I can put flux verb3 on it, or better still, download it yourself and play!

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