Hey I recently took up on a $15 upgrade to the latest version of D16 ‘Toraverb’ reverb plugin. Among a few other new options the main thing I found enticing is the M/S feature. Which allows you adjust mid and side parameters for early and late reflections separately.
“The signal from Early and Late reverberation modules is blended together in the Mixer, which provides, apart from controlled Levels, also Stereo Balance parameters for both reflection types, which can work in L-R or M-S domain.” (Quite from a write up)
Just wondering if anyone has messed around with M/S functionality in reverbs or even delays? I would like to hear about any related techniques, since this seems pretty cool. Even if there’s any tips for m/s compression.
Seems like a lot of stuff is moving into M/S capability these days.
T-Racks VST's have MS function, except for their version of the Fairchild, which already has it with the LAT-VERT settings.
MS processing can be cool, but you have to be cautious too, as increasing the sides can pull definition away from the center of the mix.
I used their sim of the Focusrite Red Opto in MS mode several times on the last record I produced, for backing vocals. I found it gave a very nice depth and space to them.
The song I used it the most on, was "Love Is The Answer", where I added it to both the BV buss and also to the reverb aux return, and it gave a beautiful surreal and dreamy feel to all the backing Vox.
Were all the vocals panned off center? I’m thinking on something like a drum bus or overheads it would be useful to keep say less verb on the center and have more in the sides.
Several slate comps have the MS, I’m gonna try what you described one of these days, it sounds interesting.
They were backing Vox where each part (5part harmonies) was sung twice, so yea, I had them a bit off center. But the Opto in MS had a great center image as well. Adding MS compression to the vocal Bus, and then using a Plate Reverb in MS really added a haunting kind of quality to it. I also had the predelay set on the reverb for about 100ms, so the reverb didn't kick in immediately ... so there was still definition and body to the vocals.
kmetal, post: 453663, member: 37533 wrote: Several slate comps have the MS,
Which ones? I'm pretty familiar with Slate stuff, and with the exception of their FG-MU sim (kind of a Fairchild 670 representation) I can't think of any other Slate VSTs that offer MS processing. And their MU only has it because the original HW they were replicating had it, on the Fairchild 670 it was known as "Lat-Vert".
The only VST manufacturer I'm aware of that offers the MS feature on (nearly) all of their plugs - is IK's T-Racks.
Your right D. I have the virtual bus compressors. I was thinking of the mix knob. MS is only available on the vari MU.
That said several of Fabfilters plugs (Pro- comps and eqs) have MS. Some of the Ozone stuff does as well.
I messed around w my T-racks SSL style module A few months ago and enjoyed the sound of it. T racks has some cool stuff going on.
I usually use my EMT-Plate in MS.
I like the straight mono reverb for many things, but it can really kick in if you push the S-Fader in for the chorus or the freakout-part.
I look at reverb in two distinctly different ways; the first is "natural" reverb - spaces that exist, that we encounter in our day to day recordings. Natural spaces include small rooms, big rooms, a few halls... emulations of spaces that actually exist.
The second way is "supernatural". Reverbs that are designed to put the listener into a place that they've never been before...
Both are useful.
There are times - song dependent of course - where I want to put the listener right into the studio, or the nightclub..as if the performers were right there in their living rooms, or as if they'd be listening in a cabaret or nightclub.
And other times, where I want to put them into a certain space that only exists through the magic of artificial space emulation.