Good morning Ben. I’ve studied all the sources I can find, and I still think its a black art. Many suggest using several reverbs for different instruments, or left and right reverbs and its one reason to go a DAW since Dorico only has one operational send. But since none of that helps you…
Choose a patch that supports “true stereo” Such a patch will actually have 4 reverb impulses - In essence they have already recorded two stereo left and stereo right reverb impulses for you, and will mix them according to where the instrument is panned. In Reverence, those are the SR patches, and you will notice that they say “4 channels” in the VST when you load them. Mir and EW Spaces also have them. In Reverence, maybe use use Austrian Concert Hall (SR) as your main verb on the send. You may wish to exaggerate the panning of certain instruments to get them where you want in the stereo reverb field, and it may be a time to experiment with 2nd violins on the right to separate them.
Its not Mir though, so you’ve no individual control of depth on the stage. What I mean is, you can use the Reverence EQ settings to roll of the highs of the reverb so that it sounds further back, but you can only do that for everyone who uses the send. So what you can do is:
Download MSED from Voxengo (free) if you don’t already have a mid/side tool. Use it to push up the sides, which will likely be more room sound for centered instruments. (Heck, depending on how it was recorded, you might not NEED reverb.) Use it on those instruments you wish to be further back. Often that is flute, clarinet, and oboe for me but seems to muddy up lower instruments like Bassoon.
Instead of sending, use (up to the point your computer will stand it) individual reverbs on key upfront instruments, as then you can use a shorter reverb. A lot of people will choose a digital reverb here, for better than life silkiness.
2a. Some libraries allow instruments loaded into the same instance to share a built in reverb, so you can use them for grouping say Brass and cut down on CPU load.
(BEST) I find in libraries like East West this is where the separate mics shine - specifically using the out rigger mics which were placed on the orchestra’s far sides.
(WORK AROUND) Double a part, send the double only to the reverb, and insert an EQ on the doubled part before it gets there. I’m likely to do that for Cello if I need the reverb for a wide and big feel, without disappearing into mud.
Hey Ben, I’m no expert, but I don’t even know how much time I’ve spent fiddling with reverb settings. I’ve kinda come to the conclusion that it isn’t so much in the reverb itself, but in what you send to the reverb to create separation and control the mud.
Pre-delay creates a bit of space between the original sound and verb, but it can also make worse as far as noticable artificial echoes. Use 1 ms per foot as a rough guide for the speed of sound, and figure how far away the side walls usually means you want in the 50ms range or less for the main reflections in Reverence - the rear does not seem to be adjustable, though I appreciate anyone schooling me.