Sir2 Reverb Crack
Dimitri Rajawi
The original SIR (Super Impulse Reverb) convolution plug-in has become a huge underground hit, and not just for reverb usage either. Its a simple yet effective plug-in thats suitable for all your convolution needs.
You can also set a pre-delay, stretch the IR to give the impression of a larger or smaller reverb space, and easily reverse it, too, for those ghostly reverse 'verbs. One neat touch is that if you save patches as SIR files, you can add a JPEG to represent them in the GUI.
The included HDIR reverb presets dazzle with spatiality, and are comparable to the very best convolution reverbs around (though the HDIR Extra Package will be a mandatory purchase for all IR addicts).
Convolution reverb uses the response impulse of a room, a place, objects etc. and through a process of multiplication between the partials of the original sound and the impulse responses creates a new result. Using the reverb not only as an imitator of the surrounding world but as a structural musical effect for your compositions is something that can define you as an artist.
SIR2 is an easy to use native audio-plugin to use for high quality reverberation. It's available for the plugin formats VST and AudioUnit. It offers zero-latency processing with low CPU-consumption and non-destructive audio processing of impulse responses. SIR2 includes high definition impulse responses (HDIR) of real places produced by Pinguin, Hamburg. You can also use various impulse responses from free or commercial sources.
Reverberate 2 introduces Fusion-IR, an innovative approach to convolution reverb creating a lively, organic reverberation that is impossible to achieve with traditional static convolution. By using a modulated mix of two separately controllable true stereo or Fusion-IRs incredibly musical and convincing reverbs are possible far surpassing traditional convolution plugins.
Altiverb 7 is the industry standard convolution reverb plug-in for Mac OS X and Windows. It features top quality samples of real spaces to create reverb, ranging from Sydney Opera House to the cockpit of a Jumbo Jet. Altiverb 7 is efficient on the cpu, offers many parameters to tweak the reverb, it is total recall automatable, and it has 64 bit support. Every month Altiverb 7 users receive new impulse responses for free.
Sib. 7.0: Plug-in convolution reverb
Posted by Mark Starr - 24 Aug 04:02AM Hide picture Is it possible to plug-in a convolution reverb VST -- such as SIR2 -- into Sibelius playback or to Sibelius export of WAV files.
If so, is all that is necessary is to copy the reverb's dll file into Sibelius' VST folder?
MS Back to top Allthreads Re: Sib. 7.0: Plug-in convolution reverb
Posted by Daniel Spreadbury - 24 Aug 08:06AM Hide picture That would certainly do it, yes. Make sure the VST DLL is in the right place, then add it to your playback configuration on the Effects page of Playback Devices. If you're using Sibelius 7 Sounds, you already have a convolution reverb built-in, so you would probably want to disable that via Play > Interpretation > Performance (which setting only affects the built-in reverb, and not any reverb you add yourself).
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Contact Sibelius technical help by phone (charges may apply):
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Posted by Robert A Schottland - 20 Sep 04:47AM Hide picture I have put the SIR2 dll in the Sibelius 7 VSTPlugins directory. After restarting, shouldn't it appear in the "Playback Devices" "Available Devices" window? It's not showing up there. A VST Instrument I am using does appear, and the VSTPlugins directory is in the "Virtual Instruments and Effects" folder list in the Audio Engine Options page. Are there VSTs that are not recognized by Sibelius7 that don't appear, or is there a separate place that effects VST appear? Back to top Allthreads Re: Sib. 7.0: Plug-in convolution reverb
Posted by Daniel Spreadbury - 20 Sep 07:43AM Hide picture SIR is an effect, so it will only appear in the Effects page. Make sure that SIR is 64-bit if you're using the 64-bit version of Sibelius: otherwise you'll have to run the 32-bit version of Sibelius.
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Contact Sibelius technical help online:
Contact Sibelius technical help by phone (charges may apply):
USA & Canada: +1 650-731-6106
UK: +44 (0)20 7561 7997
Australia: 1300 652 172
Other countries: www.sibelius.com/support Back to top Allthreads
Convolution reverbs are reverb effects which use impulse responses (IRs) to simulate an acoustic space. These are the best freeware convolution reverb effects in VST plugin format for digital audio workstations on PC and Mac.
An impulse response captures the sound of an acoustic space or an artificially simulated space (when recorded from a hardware reverb unit, for example). Loading an impulse response in a convolution reverb effect will apply the reverb properties of the sampled acoustic space to the processed audio signal. This way, we can simulate recording an audio track in a natural environment (by using impulse responses of outdoor spaces) or mimic the sound of expensive hardware reverb effects.
The plugin features a selection of impulse responses captured from legendary hardware reverb units such as the EMT 240, AKG BX 20, Lexicon PCM96, and the Bricasti M7. The presets can be customized using detailed envelope and tone control parameters. The user can adjust the pre-delay time, attack/release times, and trim the loaded impulse response. The plugin also features a 3-band tone control and a damping control for shaping the tone of the reverb tails.
Due to its relatively affordable price and well-designed user interface, Fog Convolver is our recommended commercial convolution reverb VST plugin. It comes with a huge library of impulse responses and features a slick user interface with plenty of customization options.
Question 1: I've noticed that using different reverbs and reverb engines creates not only different reverbs, but changes the sound as a whole, for example bringing some instruments to the front and losing others in the mix. Is this the reason why there is obviously no recommended EQ settings for different instruments? I had originally expected to find something on the web that says, "Trombones: 3 KHz +2 DB", "Cellos: 80 Hz -1 DB" or whatever. There is nothing or at least I haven't found it. My assumption now would be that this may be useless because of the change of sound that happens when the signal goes through the reverb. Is that so or what's the reason there is no "EQ settings for dummies"?
Question 2: There's often talk of dry-wet-ratio, like 80:20, particularly to bring some instruments to the front and others to the back. If I use a convolution reverb as a send effect, how do I calculate this ratio from the decibel settings for different channels (in Cubase)? For example, my Violins channel has -3 DB Send Level and SIR2 convolution reverb as used in the Effect Channel says Wet Signal is at (around) DB 0. So what's my ratio? (Please forgive me if the question is totally silly. I'm still trying to cover some basics but it's hard.)
Uh yes, I played around with the EQ and reverb settings within Cubase to achieve something like a John Barry sound. (I'm considering using Vienna Studio in the future, but until then I'm trying out all kind of stuff). If anyone of you would like to listen in and tell me what's exactly wrong/right with the mix, I'd be very happy! The hastily crafted sound snippets are here: =165
Uh yes, I forgot another question regarding the dry-wet-ratio (Question 3): I read somewhere on the web, that instruments in the front need less reverb (let's say dry:wet 80:20) than instruments in the back of the orchestra (20:80). Is this really true, because when I listen to orchestral music, strings always seem to a nice, particularly long reverb tail, much more anyway than let's say xylophone which as part of the percussion section in the back would have more reverb according to this rule. Why is this, or is the truth more complicated than that? Thanks in advance!
ad 2. All the talk about dry/wet ratios of reverberation mean nothing without knowing the original "dry" signal, without knowing the way the reverb engine technically works, and without knowing how these techniques are actually implemented*). Ideally these values you quoted can give you a rough idea what the they are meant to achieve ("more reverb", "less reverb"), but they are meaningless without context.
ad 3. What you read is a nice example of possible misunderstandings due to (certainly well-meant) information on the web without context. :-) It is most likely that closer instruments will seem to sound "drier" than those further away - but that's not necessarily just a function of reverb level (i.e. "dry/wet ratio"). The shape and sound of the so-called "early reflections" as well as the initial delay between the signal and the appearance of the first reflections are at least as important as the actual reverb level.
If you are looking for a quick and easy way to get great reverb with VSL instruments, (without being an audio engineer) MIRx and MIR are amazing! And, MIRx is very inexpensive, just be aware that it is not a plug in, it can only be used on VSL instruments inside of VIP (not sure if it works in VI or not).
Delay Time calculator can be used to sync your reverb and delay times to the tempo of your song. Some people also use it to time their percussion instruments to begin and end (ring out) in time with their song.
I primarily use this tool for reverb to get a tighter rhythmic affect. Generally, I use shorter time on percussive sounds (I tend to like punchier drums) and longer times on other instruments (with the exception of lowers frequencies.) It's often a good idea to roll off lower frequencies, but always use your ears in context with the mix.
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