It’s definitely one of the best, if not the actual best software reverbs out there, and if it’s within reach or you’re in a position where you’re recording those types of ensembles then altiverb is a great purchase. I haven’t used altiverb but I’ve certainly done my reverb research. For the everyday musician or producer that is probably still using a Scarlett box or something however, smaller things make a huge difference in end quality like having accurate monitoring, an interface that isn’t powered by the USB bus, better sounding instruments (up to a point $-wise), and gentle room treatment. If I were in your position I would certainly agree, especially if you already own a lot of essentials for recording. Granted, the recording is not 100% dry so the faint sound of a small room baked into the dry recording might be crucial here but I'm not sure.īy the way, I'm on reason so I have access to the built-in RV7000 (where I can load impulse responses) and the Softube TSAR-1R I bought a while back. What settings should I look out for when trying to design a digital reverb that sounds as close to a real concert hall as possible? I've already cut quite a bit of low frequencies on the dry recording to make it sound farther away but the reverb sounds artificial.
I've tried to find impulse responses of reputable spaces but couldn't find any so I went back to algorithmic reverbs.
The client requested to add reverb to add so that it sounds more like a real concert hall. Not ideal, but the best I had access to during quarantine. I have a recording of a classical piece for cello, recorded in a fairly dry room with a close A/B pair.