13043 Views 4 Replies Latest reply: Mar 28, 2009 1:48 PM by siderealxxx
as we talking about classic,
I would play a little with the reverb, give it more room,
as you almost close micked the Violin.
Send the violin Reverb to a bus (2) (Remember to turn off the dry slider of SD on both busses to avoid phase problems). There's loads of reverb spaces for you to play with, I'm positive that you'll find one that works for you, don't be afraid to try real rooms, halls etc.
Also, don't forget that the close mike, can be an advantage, as you can choose more freely the space.
I usually find the "warmth" of a violin at +/- 250-300 Hz - maybe +3-4 dB with a pretty wide Q factor and a rather steep Low cut (36 dB at 70-100 Hz), but it really depends on the Eqs you're using. Logic's Eqs work quite well with electronic sounds but I find them a bit thin and coloured for string instruments and vocals. Since I switched to the Sonnox Eqs I'm amazed what a great Eq can do to your material.
Anyway after warming it up, get rid of some of the harsh string scraping sound by first enhancing the disturbing noises (around 1500-3000 Hz) and then getting rid of them. Some brilliance at 4500-10000 Hz might freshen up the violin, it really depends on the Mic you used as well.
Use a slower Attack (6ms upwards) and medium release on your Compressor, you want to keep the natural Attack phase, rather than shaping it with a fast attack. Don't use the Platinum mode if your using Logic's Comp but try the analog emulations instead.
The "warmth" button in the Sonnox dynamic Plug can do wonders, so can the exciter in Ozone 3/4 if applied to lower frequency ranges to add warmth and depth to "thin" sounding instruments.
Message was edited by: Sampleconstruct