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How to use Avon Deverberate?
Old 25th December 2019
  #31
Studer - thanks for your comments. The processed mix has a plate with 1 sec decay time, blended with a medium hall algorithm with a 1.25 sec decay. Most of these audition recordings are synced with video, so the reverb needs to sound at least sort of like what the actual scene in the video looks like it should sound. If it were audio only, yes, I would probably add a third verb to fatten it a bit more and give a bit longer tail. From your previous comments, though, I think I will work on tweaking the early reflections a bit more to see if I can get rid of the “walls”, maybe in the 0.1-0.25ms range.
Old 25th December 2019
  #32
Gear Guru
 
Muser's Avatar
my experience of it was to under use it, and then under use it again.
Old 23rd March 2020
  #33
For those following this thread, I have found a good user hint for those battling the “small room” syndrome - it is a way for the software to “learn” the early reflection correction in Deverberate 2 much more effectively than playing a complex music passage through it. From experimentation over the past months, I find that early reflections are the most trouble causing aspects of small room sound, and trying to record a music passage and using that for the software to “learn” the ER correction proved problematic at best.

Since a common way to create impulse responses (IRs) is to shoot a starters gun or pop a balloon - ie, a short transient sound - I record 4 or 5 sharp claps in the space (pianist’s living room, small classroom, etc) and play just those into the “learn” step for early reflections and then save it as a preset. I apply that to the recorded music tracks. I then add a second instance of Deverberate set to remove room ambience, and even a third instance with a longer reverb time setting if needed for echo-y small spaces.

Like most audio gear, the more time I spend with it the better it works...
Old 23rd March 2020
  #34
Gear Nut
 

This is an excellent tip, thank you!!!


Quote:
Originally Posted by jnorman View Post
For those following this thread, I have found a good user hint for those battling the “small room” syndrome - it is a way for the software to “learn” the early reflection correction in Deverberate 2 much more effectively than playing a complex music passage through it. From experimentation over the past months, I find that early reflections are the most trouble causing aspects of small room sound, and trying to record a music passage and using that for the software to “learn” the ER correction proved problematic at best.

Since a common way to create impulse responses (IRs) is to shoot a starters gun or pop a balloon - ie, a short transient sound - I record 4 or 5 sharp claps in the space (pianist’s living room, small classroom, etc) and play just those into the “learn” step for early reflections and then save it as a preset. I apply that to the recorded music tracks. I then add a second instance of Deverberate set to remove room ambience, and even a third instance with a longer reverb time setting if needed for echo-y small spaces.

Like most audio gear, the more time I spend with it the better it works...
Old 8th August 2020
  #35
For those interested in removing “small room” sound, there is now a new player to check out - Accentize DeRoom Pro.
https://www.accentize.com/DeRoomPro

There is also Proximity EQ from Soninke
https://www.sonible.com/proximityeq/
Old 18th August 2020
  #36
Gear Nut
 

Quote:
Originally Posted by jnorman View Post
For those interested in removing “small room” sound, there is now a new player to check out - Accentize DeRoom Pro.
https://www.accentize.com/DeRoomPro

There is also Proximity EQ from Soninke
https://www.sonible.com/proximityeq/
Have you used it on musical sources to compare against Acon? Acon seems to be top of the group to my ears.
Old 19th August 2020
  #37
Issa - no, I have not tried it yet. I did try Sonible proximity eq and it was pretty good. I threw another $1000 at acoustic treatment for my room and that really helped.
Old 19th August 2020
  #38
Gear Nut
 

Quote:
Originally Posted by jnorman View Post
Issa - no, I have not tried it yet. I did try Sonible proximity eq and it was pretty good. I threw another $1000 at acoustic treatment for my room and that really helped.
Nice! Spent on your tracking room or mixing room? Are you using the Sonible in conjunction with Acon or does it work well on it's own? Sorry, I am often tracking in less than ideal circumstances.
Old 19th August 2020
  #39
I did not hang the acoustic panels so I can move them about as needed for tracking or mixing, or if I need to take them with me for a location recording ( I often record students at pianists houses and most rooms need some help.)

Proximity eq is effective as the Acon and I have tried using them together, set for different reflection times. About the same result as using multiple instances of Acon. There is a 30 day trial version of proximity eq - try it out.
I was able to purchase a greatly discounted license for Acon on eBay, and I am keeping my eye there for the sonible and the new de room licenses. I am also going to buy 2-4 more panels (I bought six for mobile purposes and have several cheaper foam panels mounted in my tracking room and above my mixing station.). The real 2” thick panels from acoustimac are much more effective than my older 2” foam panels and were quite affordable. GIK makes similar ones which also look good.
Old 19th August 2020
  #40
Gear Nut
 

Quote:
Originally Posted by jnorman View Post
I did not hang the acoustic panels so I can move them about as needed for tracking or mixing, or if I need to take them with me for a location recording ( I often record students at pianists houses and most rooms need some help.)

Proximity eq is effective as the Acon and I have tried using them together, set for different reflection times. About the same result as using multiple instances of Acon. There is a 30 day trial version of proximity eq - try it out.
I was able to purchase a greatly discounted license for Acon on eBay, and I am keeping my eye there for the sonible and the new de room licenses. I am also going to buy 2-4 more panels (I bought six for mobile purposes and have several cheaper foam panels mounted in my tracking room and above my mixing station.). The real 2” thick panels from acoustimac are much more effective than my older 2” foam panels and were quite affordable. GIK makes similar ones which also look good.
Thank you for the info Jnorman. Bringing panels with you to small gigs is a great idea.
Nice that you got a good deal on the Acon. I paid full price but was under pressure with a job that needed it. It had paid for itself I suppose. I will give the demo of Proxeq a go.
Old 20th August 2020
  #41
Lives for gear
Quote:
Originally Posted by jnorman View Post
Issa - no, I have not tried it yet. I did try Sonible proximity eq and it was pretty good. I threw another $1000 at acoustic treatment for my room and that really helped.
You might want to revamp that investment strategy...or at least claw it back some....?

https://www.youtube.com/watch?v=pABvTWSxOes
Old 20th August 2020
  #42
Studer - ha! I exaggerated - I really only spent about $250 on the six panels, which I thought was quite a bargain. I think I am going to buy a few more, though I am also considering some diffusion panels
Old 20th August 2020
  #43
Lives for gear
Quote:
Originally Posted by jnorman View Post
Studer - ha! I exaggerated - I really only spent about $250 on the six panels, which I thought was quite a bargain. I think I am going to buy a few more, though I am also considering some diffusion panels
If the DIY guy is right, the whole acoustic foam thing is overrated, or at least far less capable than it could potentially be ? I wonder if the towel versions would also de-humidify the room...
Old 20th August 2020
  #44
I used to have a set of heavy packing blankets that I hung from pvc frames - they were helpful. The foam panels damp HF pretty well but are useless for LF.
Old 20th August 2020
  #45
Lives for gear
 
nightchef's Avatar
I've rarely used Deverberate on anything but voiceover, but FWIW, one thing I've found from that process is that, in addition to the reverb time, the interaction between the two reverb level parameters (source and output) is crucial.

Basically, if you set the source reverb level high enough to give you optimal reverb reduction, this will generally produce an unacceptable degree of artifacts (i.e. loss of clarity/dimensionality). You can get around this by a combination of reducing the source reverb level and increasing the output reverb level. I find that reducing source reverb level is best done with the "difference monitoring" button checked, so you can hear the point where direct signal seems to disappear from the audio. Then uncheck it to set the output reverb level. You may find that to get the right sound, you need to raise the source reverb level back up a little, and then raise the output reverb level a bit as well. I find that every source signal requires a slightly different compromise in this regard.

HTH, FWIW, YMMV, etc.
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