From Gabriel Heinrich:
“The Virtual Sound Stage 2 design assumes that the input signal is stereo, and relatively decorrelated already, which is true for most popular sample libraries.
If your input signal is mono (Sample Modeling Brass, for example), or the left and right channel are highly correlated (this is the case with Sample Modeling woodwinds and strings, and occasionally very dry sample libraries) you will probably want to add some processing before VSS. Adding a short IR with a high wet/dry ratio and absolutely no pre-delay will usually do the trick.”
I’ve had quite a few composers ask if I know what real spaces the VSS2 rooms are modeled on. Some of the rooms are easily identifiable, but a few are fairly obscure, and one is a unique blend, so I asked Gabriel to identify those which are less obvious.
Keep in mind that while these are simply virtualizations of the real spaces, the early reflections in VSS2 are, in fact, based on the dimensions, and audible characteristics of the rooms they emulate.
CONCERT HALL A:
The Royal Concertgebouw, Amsterdam
CONCERT HALL B:
The Philharmonie, Berlin
SCORING STAGE A:
Sony/MGM Scoring Stage, Culver City, CA