IN VALHALLA VINTAGEVERB

<ValhallaVintageVerb pluginVersion="1.0.0" presetName="My Hall" Mix="1"

PreDelay="0.186000004" Decay="0.349999994" Size="0.870000005" Attack="0.698000014"
BassMult="0.44600001" BassXover="0.455000013" HighShelf="0" HighFreq="0.405000001"
EarlyDiffusion="0.649999976" LateDiffusion="0.832000017" ModRate="0.0179999992"
ModDepth="0.25999999" HighCut="0.324000001" LowCut="0.128000006" ColorMode="1"
ReverbMode="0.0416666679"/>

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IN VALHALLA VALHALLAROOM

As a quick example, here is a preset based on the measurements of Boston’s Symphony Hall, as
described in Leo Beranek’s Concert Halls and Opera Houses:

<ValhallaRoom pluginVersion="1.0.5" presetName="SymphonyHall" mix="0.333000004"

predelay="0.0671999976" decay="0.0180180185" HighCut="0.408053696"
earlyLateMix="0.699999988" lateSize="0.74000001" lateCross="0.730000019"
lateModRate="0.111111112" lateModDepth="0.720000029" RTBassMultiply="0.400000006"
RTXover="0.0313131325" RTHighMultiply="0.533333361" RTHighXover="0.216778517"
earlySize="0.0394394398" earlyCross="0.0299999993" earlyModRate="0.0909090936"
earlyModDepth="0" earlySend="1" diffusion="1" type="0"/>

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A quick tweak of the above, with a change of the Reverb Mode from Large Room to Large
Chamber (just to shake things up), and we have a model of Vienna’s Grosser Musikvereinssaal:

<ValhallaRoom pluginVersion="1.0.5" presetName="GrosserMusikvereinssaal"

mix="0.425000012" predelay="0.0240000002" decay="0.0194194186" HighCut="0.371140927"
earlyLateMix="1" lateSize="1" lateCross="0.709999979" lateModRate="0.103030302"
lateModDepth="0.720000029" RTBassMultiply="0.433333337" RTXover="0.0909090936"
RTHighMultiply="0.5" RTHighXover="0.258389264" earlySize="0.0441441424"
earlyCross="0.0299999993" earlyModRate="0.0909090936" earlyModDepth="0" earlySend="1"
diffusion="1" type="0.333333343"/>

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Set DECAY to 1.6 to 2.1, depending on the type of music that will be played in the space.
Set HIGH CUT to a fairly low frequency, between 4500 Hz and 7000 Hz, to simulate the air absorption in the
space.
PREDELAY should be set to match the initial time delay gap of the hall being modeled, with 25 to 35
milliseconds being a more “realistic” setting, and shorter settings useful in generating intimacy.
The Early Size parameter should be between 20 and 50 msec, with Early Send turned up full and Early
Diffusion at max, in order to product a diffuse onset of reverberation.
The Late Size should be set greater than 0.5. The largest settings of Late Size may produce audible
reflections, depending on the mode used, so tune this by ear.
The Late High Xover should be set low enough to cause a bit of rolloff in the decay (around 2 to 4 KHz), and
the Late High Mult should be set to values significantly lower than 1.0X.
Late Cross should be set higher than 0.0, in order to simulate the envelopment of real halls. Late Cross
values less than 1.0 will help retain the spatialization of stereo inputs, so this should be tweaked according
to taste ñ start at 0.5 and work your way up or down.
The Early Mod Depth should be set to 0 for realism ñ higher values result in an unnatural panning of the
early decay. The Late Mod Depth can be set higher than 0, and a little bit of modulation helps enhance the
realism, but keep the Late Mod Rate in the 0.25-1.0 Hz range to avoid obvious pitch changes.

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For a midi/sampled orchestra...I use convolution reverb to both create distance/depth in the
orchestra...and create the room sound. But then I will run that end product through an algorithmic reverb
(Lexicon, Valhalla Vintage Verb, or UAD EMT Plate 140, etc....) to give it the "traditional" reverb we are all
fairly use to hearing. If you think about it...this is what happens when recording a live orchestra in a room
or scoring stage. You record the instruments with the close mics (dry signal "like"), the room mics / decca
tree (convolution reverb recreating this)...and run that all through an algorithmic reverb.

So....5 verbs on AUX tracks. BUT...not all have tail.

Reverb AUX 1 -> Altiverb Scoring stage Close distance mics, **EARLY REFLECTION ONLY
Reverb AUX 2 -> Altiverb Scoring stage Mid distance mics, **EARLY REFLECTION ONLY
Reverb AUX 3 -> Altiverb Scoring stage Far distance mics, **EARLY REFLECTION ONLY
Reverb AUX 4 -> Altiverb Scoring stage Mid or far distance (to taste), **TAIL ONLY

Reverb AUX 5 -> Algorithmic reverb to taste (Lexicon, Valhalla Vintage Verb, UAD, Outboard gear, etc...)

You would then bus instrument tracks in the orchestra to multiple AUXs depending on where they "sit" in
the orchestra room.
Strings go to close Early reflections and Tail cause they are closer to the front....
Percussion go to Far ERs and Tail,
Brass and winds to mid ERs and Tail...
any Choir to Far and Tail...
all go to Algorithmic OR the above convolution outputs go to Algorithmic...to taste.

Think of running the product of the convolution verbs as like running the room mics through a lexicon unit.
In a real orchestra situation you still do that to some degree. The room mics are the bulk of the sound but it
still uses reverb.
You will have to play with the levels of those AUXs. They will probably not be as high as you usually have
them. BUT...it is really those multiple Early Reflection only AUXs 1-3 (with no tail)...that help give depth. On
the reverse, don't forget then to turn ER OFF on the tail AUX4 so you are not doubling up on the ERs.