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Best Reverb Plugins you own and how many
Old 17th May 2022 | Show parent
  #1711
Lives for gear
 
🎧 15 years
Quote:
Originally Posted by ziggysane ➡️
I keep trying to take R4 out of my rotation because I dread the day when it no longer works if iZotope stays on their current course, but then I'll drop the 81 Plate on a vocal and it's right back in again.

I really hope they make good on their vague statement that they just have it pushed back to later in the update queue.
Indeed, the problem is that R4 sounds very unique and nothing else sounds quite like it. I find that it is one of the more subtle lush reverbs out there and the decay is very interesting.

Quote:
Originally Posted by vitocorleone123 ➡️
Definitely.

My EA plugins are uninstalled after major crashing issues with Studio One, and then almost deafening audio glitches (after which I discovered Ice9). That's what forced me to go reverb shopping again.
Wow, may I please ask what OS you experienced this on? I haven't had any such issues with them on Cubase / Windows.
Old 17th May 2022 | Show parent
  #1712
Lives for gear
 
🎧 5 years
Quote:
Originally Posted by fgimian ➡️
Wow, may I please ask what OS you experienced this on? I haven't had any such issues with them on Cubase / Windows.
Windows 10.

Replacing Nimbus and R4 cost me a lot more than I spent on those two (and that's before they plummeted to $10 each), but I'm very satisfied.

Cinematic Rooms Pro was just updated today with ducking, compression, and gating.
Old 17th May 2022 | Show parent
  #1713
vss
Here for the gear
 
Ok but I asked about reverbs for acoustic guitars not for voice , Greg sang only in first album in 80s. I was thinking about role of metallicity in reverbs. It occurs to me that since metallic verbs are comprised mostly of higher harmonics adding them to dry signal does not boost boxiness while boosting highs what’s mostly saught after and no investigations on the topic anywhere. It’s re my previous post about testing bestness among reverbs in mono. It seems it’s hard or partly wrong to judge them by metalicity at 100% wetness. Also vss3 simply has louder 3-4 times wet signal than for example sp2016 which may make you think it’s more metallics while in fact it’s not. So I come to conclusion that it’s absence of harshness or something like that which makes worthiness of a reverb like in hyperverb - you add it and get kind of smooth transientless studio sound at once, the only thing I dislike about hyperprisms reverbs and anwida is they are not dual-mono. By the way how do you eq sends to aux reverb busses? Please don’t refer to so called abbey road trick that’s totally unscientific and unrational
Old 17th May 2022 | Show parent
  #1714
Gear Maniac
 
🎧 10 years
Quote:
Originally Posted by vss ➡️
Ok but I asked about reverbs for acoustic guitars not for voice , Greg sang only in first album in 80s. I was thinking about role of metallicity in reverbs. It occurs to me that since metallic verbs are comprised mostly of higher harmonics adding them to dry signal does not boost boxiness while boosting highs what’s mostly saught after and no investigations on the topic anywhere. It’s re my previous post about testing bestness among reverbs in mono. It seems it’s hard or partly wrong to judge them by metalicity at 100% wetness. Also vss3 simply has louder 3-4 times wet signal than for example sp2016 which may make you think it’s more metallics while in fact it’s not. So I come to conclusion that it’s absence of harshness or something like that which makes worthiness of a reverb like in hyperverb - you add it and get kind of smooth transientless studio sound at once, the only thing I dislike about hyperprisms reverbs and anwida is they are not dual-mono. By the way how do you eq sends to aux reverb busses? Please don’t refer to so called abbey road trick that’s totally unscientific and unrational
Literally every sentence you write is unscientific and 'unrational'.
Old 18th May 2022 | Show parent
  #1715
vss
Here for the gear
 
Quote:
Originally Posted by mholloway ➡️
Literally every sentence you write is unscientific and 'unrational'.
On the contrary - I always substantiate all the facts. Liers always get angry when you point out that their promoted abbey trick fairy tale is bullshit and complete nonsense. Already a well known circumstance. Who wants to know where exactly lies the lies about that trick pm me and I will explain with please. And stay away from utube -90% of bullshit.
Old 18th May 2022 | Show parent
  #1716
Here for the gear
 
Have been trying out Softube Atlantis Dual Chambers - IMO it's an instant classic! I've just posted a vid of an improv loop I'd recorded on my nylon string guitar - hopefully shows some of the sonics of the plugin - regardless of that, ADC is definitely worth checking out - 20 day fully functioning demo. #mysoftubesetup
Old 19th May 2022 | Show parent
  #1717
Lives for gear
 
2 Reviews written
🎧 5 years
Quote:
Originally Posted by Gamono ➡️
Have been trying out Softube Atlantis Dual Chambers - IMO it's an instant classic! I've just posted a vid of an improv loop I'd recorded on my nylon string guitar - hopefully shows some of the sonics of the plugin - regardless of that, ADC is definitely worth checking out - 20 day fully functioning demo.

Great vid, thanx. Sounds superb indeed. Not sure I'll get it, though, I'm loving and using the Sunset and Capitol Chambers all the time. What I like is the control set on the Atlantis Chambers. Softube kept it easy, but it's super configurable. Predelay tempo sync is cool, too.
Old 19th May 2022 | Show parent
  #1718
Here for the gear
 
Quote:
Originally Posted by JSchlomo ➡️
Great vid, thanx. Sounds superb indeed. Not sure I'll get it, though, I'm loving and using the Sunset and Capitol Chambers all the time. What I like is the control set on the Atlantis Chambers. Softube kept it easy, but it's super configurable. Predelay tempo sync is cool, too.
Thanks Schlomo. Agree, the controls on Atlantis Chambers are pretty impressive and really help shape the tone.
Old 19th May 2022 | Show parent
  #1719
Lives for gear
 
nightchef's Avatar
 
🎧 15 years
Quote:
Originally Posted by Gamono ➡️
Have been trying out Softube Atlantis Dual Chambers - IMO it's an instant classic! I've just posted a vid of an improv loop I'd recorded on my nylon string guitar - hopefully shows some of the sonics of the plugin - regardless of that, ADC is definitely worth checking out - 20 day fully functioning demo.

Wow, that’s a great sound and a great interface. Tempting.

A lot of my favorite reverb sounds on classic records used chambers, and I’ve always wondered why there isn’t more attention paid to chambers in the plugin reverb world. Seems like everything’s about halls/rooms, plates, or springs. The Waves Abbey Road chamber can get some good sounds, but also a lot of bad ones, and the interface is a nightmare. The chambers in the IK Sunset Studios plug are OK, but IMO not as well done as the live rooms and plates. So for me this is definitely a niche still waiting to be filled. I’ll have to check it out.
Old 19th May 2022 | Show parent
  #1720
Lives for gear
 
mu:zines's Avatar
 
🎧 5 years
Quote:
Originally Posted by nightchef ➡️
A lot of my favorite reverb sounds on classic records used chambers, and I’ve always wondered why there isn’t more attention paid to chambers in the plugin reverb world. Seems like everything’s about halls/rooms, plates, or springs.
How does a chamber differ from a room though, in reverb terms..? ie, what sound are you wanting to get from a specific chamber algorithm (or impulses), that a room algorithm (or impulses) can't do?
Old 19th May 2022 | Show parent
  #1721
Lives for gear
 
🎧 5 years
Quote:
Originally Posted by mu:zines ➡️
How does a chamber differ from a room though, in reverb terms..? ie, what sound are you wanting to get from a specific chamber algorithm (or impulses), that a room algorithm (or impulses) can't do?
A chamber is bigger than a room me thinks...
Old 19th May 2022 | Show parent
  #1722
Lives for gear
 
nightchef's Avatar
 
🎧 15 years
Quote:
Originally Posted by mu:zines ➡️
How does a chamber differ from a room though, in reverb terms..? ie, what sound are you wanting to get from a specific chamber algorithm (or impulses), that a room algorithm (or impulses) can't do?
You're asking the wrong person if you want an informed response -- maybe Sean or someone else more qualified will chime in -- but my understanding is that while a chamber is, of course, a room, an echo chamber's reverb is much more dense and diffuse than that of a typical room because of the materials used and the geometry. So as I understand it, a chamber reverb is kind of a plate/room hybrid, with some of the characteristics of each.

I just downloaded the Atlantis demo, and I'm liking it a lot, though I'm not sure if it's $159 worth of a lot. It's more subtle and musical, to my ears, than the Sunset or Abbey Road chambers, though there's plenty of color there if you want it. The interface is really good, a lot of fun to play with. There's a specific sonic palette inherent in the two chambers, and you can't tweak your way outside that palette, but you can do a remarkable amount of tweaking within it, and zoom in pretty finely on the effect you want.
Old 19th May 2022 | Show parent
  #1723
ValhallaDSP
 
seancostello's Avatar
 
🎧 10 years
Quote:
Originally Posted by nightchef ➡️
You're asking the wrong person if you want an informed response -- maybe Sean or someone else more qualified will chime in -- but my understanding is that while a chamber is, of course, a room, an echo chamber's reverb is much more dense and diffuse than that of a typical room because of the materials used and the geometry. So as I understand it, a chamber reverb is kind of a plate/room hybrid, with some of the characteristics of each.
A chamber is a physical room, but it doesn't really SOUND like a room. Your average room has a fairly short reverb time, at least compared to its size, due to the composition of the room (wood floors, fairly absorbent plaster walls, furniture, etc.). A reverb chamber is designed from the ground up to have as reflective a sound as possible: concrete walls, or tile, or drywall with many layers of highly reflective plaster. Reverb chambers are also designed with non-parallel surfaces, and usually have no furnishings other than a speaker and a few microphone stands.

I think of a chamber as a somewhat "dimensionless" reverb sound. A good chamber will have a decay time (RT60) at least as long as a concert hall, and sometimes considerably longer, but without the distinctive longer early reflection pattern of a concert hall. Smaller rooms can have a bit of a colored decay, while a good chamber will sound more open.

A reverb chamber has some resemblances to a plate, in that it is a fairly "idealized" reverb: fast attack, long decay, natural decay of high frequencies (i.e. regardless of the mid and low frequency decay time, the high frequencies will never have an RT60 greater than 1.25 seconds). However, plates will have a noticeably more resonant sound than a chamber, due to the lower resonance density, as well as the roughly linear distribution of resonances with regards to frequency. This is just a matter of dimension: a plate is a 2-dimensional resonator, while the 3-dimensional chamber will have resonance densities that increase with frequency. A good plate won't sound metallic, and may not even have audible dispersion if tuned well (I've been listening to some Phil Ramone recordings, which is a great way to hear a perfectly tuned EMT140). However, there will be a "smaller" sound of a plate compared to a good chamber. A nice chamber reverb will be smooth, open, perfectly diffuse, and almost featureless.
Old 19th May 2022 | Show parent
  #1724
Lives for gear
 
mu:zines's Avatar
 
🎧 5 years
Thanks Sean, interesting. Yes, I knew that a typical chamber would have a lot more reflectivity than a typical room, and a longer RT60 - buy you can of course tailor the HF response and reverb time of a room algorithm to get something longer and more lively.

This was really the sort of clarification I was looking for, and is interesting:

Quote:
Originally Posted by seancostello ➡️
Smaller rooms can have a bit of a colored decay, while a good chamber will sound more open.
Other than the frequency decay characteristics, would you say the primary reason for this that chambers typically have non-parallel walls, whereas rooms do..? Or is it just a combination of complex factors that give that result?
Old 19th May 2022 | Show parent
  #1725
ValhallaDSP
 
seancostello's Avatar
 
🎧 10 years
Quote:
Originally Posted by mu:zines ➡️
Other than the frequency decay characteristics, would you say the primary reason for this that chambers typically have non-parallel walls, whereas rooms do..? Or is it just a combination of complex factors that give that result?
The non-parallel walls plays a big factor here. Your average rectangular room will have some weird resonances, which is why room treatment is such a big deal in our world. On the flip side, those weird resonances might be important for dialing in a realistic room sound for post production.

I think there are a lot of other complex factors at play as well. There's not a ton of science around reverb chamber design - there were a few papers in the JAES, but not nearly as much in the literature as concert hall design. Most of the really nice reverb chambers are renowned because they ended up sounding really nice. We don't talk about the attempts that end up not sounding great.

One weird thing about reverb chambers is that the sound can change over time. There was a JAES paper in the late 60s that talked about how the RT60 of a reverb chamber increased over a few years, due to the plaster on the walls drying out over that period. I wouldn't be surprised if things can go in the opposite direction, due to humidity changes that can be traced to global warming, or underground streams rerouting due to construction.
Old 19th May 2022 | Show parent
  #1726
Lives for gear
 
🎧 5 years
Stephen Desper, the in-house engineer for the Beach Boys in the late 60s and early 70s, said that he and Carl Wilson once went inside one of the Capitol echo chambers, and the resulting echos from talking at normal volume within the chamber were so loud and so intense that they made conversation virtually impossible.
Old 20th May 2022 | Show parent
  #1727
Gear Nut
 
🎧 5 years
Best by test…lexicon. lxp native can be bought today for 75 bucks. all you need for top quality reverb. valhalla room is a goodee too for bonus.
Old 20th May 2022 | Show parent
  #1728
Lives for gear
 
mu:zines's Avatar
 
🎧 5 years
Quote:
Originally Posted by billnineo ➡️
Best by test…lexicon. lxp native can be bought today for 75 bucks.
From where? Seems to be ~$200 everywhere I looked...
Old 20th May 2022
  #1729
Lives for gear
 
skiltrip's Avatar
 
🎧 15 years
I don't own a lot other than stock Pro Tools and Studio One stuff, but FabFilter Pro-R is probably my favorite of what I've got. Always sounds good and I feel like I can dial in whatever I want relatively easily.
Old 20th May 2022 | Show parent
  #1730
Lives for gear
 
After trying almost everything available over the years, I find these to be worth a demo and consideration for purchase. I’ve thought about adding others but feel these cover everything hi-fi, clean and colored. Seventh Heaven Pro I’d consider bread and butter.

DDMF Magicverb
Liquidsonics SHP and CRP, Luscious Plates
TC Electronic VSS4 HD
Eventide everything Blackhole, Ultraverb, etc
Acustica Silver, Ebony EMT140
SSL Reverb
UAD Capital
Waves Abbey Chambers
R4
Softube TSAR


Purely from a musical experience perspective, I think the best sounds come from Cupwise and AITB for the Nebula platform. I’ve been trying them recently. Less control but can easily take dull and uninspired to engaging pretty quick with clever selections. I don’t own many “yet” but the YouTube demos are really impressive and I foresee myself stocking up on these instead.
Old 20th May 2022 | Show parent
  #1731
Lives for gear
 
kindafishy's Avatar
 
🎧 5 years
Quote:
Originally Posted by Bleu Fontaine ➡️
After trying almost everything available over the years, I find these to be worth a demo and consideration for purchase. I’ve thought about adding others but feel these cover everything hi-fi, clean and colored. Seventh Heaven Pro I’d consider bread and butter.

DDMF Magicverb
Liquidsonics SHP and CRP, Luscious Plates
TC Electronic VSS4 HD
Eventide everything Blackhole, Ultraverb, etc
Acustica Silver, Ebony EMT140
SSL Reverb
UAD Capital
Waves Abbey Chambers
R4
Softube TSAR


Purely from a musical experience perspective, I think the best sounds come from Cupwise and AITB for the Nebula platform. I’ve been trying them recently. Less control but can easily take dull and uninspired to engaging pretty quick with clever selections. I don’t own many “yet” but the YouTube demos are really impressive and I foresee myself stocking up on these instead.
The Cupwise Plates (all collections) are absolutely gorgeous. Top of the pile by a country mile as far as I am concerned. There is PoL and then there is everything else. For physical plates that is.

For digital EMT 250 type sounds, the LX480 is really nice (and really inexpensive for the Essentials version), but I really prefer the Pulsar Modular Lunar Lander for this sound (disclaimer, I contract with and beta test for PM, but I am a genuine fan first and foremost - which led to my association with them).

I noticed you have R4 in there. Very good. I like Nimbus more myself. On both fronts, I really hope iZotope doesn't leave those behind and updates them to be current and future proof (M1 and beyond). I guess there is 'Neoverb' that includes Exponential tech, but I haven't tried it and it looks too fancy and AI-assisted for my tastes.
Old 20th May 2022 | Show parent
  #1732
Lives for gear
 
🎧 10 years
Quote:
Originally Posted by mu:zines ➡️
From where? Seems to be ~$200 everywhere I looked...
https://www.bestservice.com/lxp_native_reverb.html
Old 20th May 2022 | Show parent
  #1733
Lives for gear
 
Quote:
Originally Posted by kindafishy ➡️
The Cupwise Plates (all collections) are absolutely gorgeous. Top of the pile by a country mile as far as I am concerned. There is PoL and then there is everything else. For physical plates that is.

For digital EMT 250 type sounds, the LX480 is really nice (and really inexpensive for the Essentials version), but I really prefer the Pulsar Modular Lunar Lander for this sound (disclaimer, I contract with and beta test for PM, but I am a genuine fan first and foremost - which led to my association with them).

I noticed you have R4 in there. Very good. I like Nimbus more myself. On both fronts, I really hope iZotope doesn't leave those behind and updates them to be current and future proof (M1 and beyond). I guess there is 'Neoverb' that includes Exponential tech, but I haven't tried it and it looks too fancy and AI-assisted for my tastes.
Nice. I haven’t tried Pulsar Lunar. New to me but I am fan of Pulsar. Ill tested it over the weekend. Thanks

Nimbus is cool as well. I found it great for stealthy verbs.

For the LX480, I have access to the UAD version but it hasnt found it’s way into any productions yet due to it using too much dsp. Had Relab, moved on.

I didn’t care for Neoverb at all.

How could I forget Hofa IQ reverb. That’s another great option.


I’ve weirdly found myself preferring Capital Chambers and Waves Abbey Chambers and springs in general for reverbs and space. This is where Cupwise really shines.
Old 20th May 2022 | Show parent
  #1734
Lives for gear
 
🎧 5 years
Quote:
Fantastic. Too bad they require a physical iLok key.
Old 20th May 2022 | Show parent
  #1735
Lives for gear
 
mu:zines's Avatar
 
🎧 5 years
Quote:
Originally Posted by Mikael B ➡️
Fantastic. Too bad they require a physical iLok key.
Yep - good deal on that. For me, it's more their questionable future on the Mac, M1 support etc that gives me pause. Harmon apparently say they will update the PCM Native plugins for Apple silicon, and hopefully they'll do that for the rest of the range, but until it happens, I'm staying away for now.
Old 21st May 2022 | Show parent
  #1736
Gear Nut
 
🎧 5 years
Quote:
Originally Posted by mu:zines ➡️
Yep - good deal on that. For me, it's more their questionable future on the Mac, M1 support etc that gives me pause. Harmon apparently say they will update the PCM Native plugins for Apple silicon, and hopefully they'll do that for the rest of the range, but until it happens, I'm staying away for now.
Thomanns have it too https://www.thomann.de/gb/lexicon_lx...e_download.htm
It is frustrating they are touchy to use, can crash logic by just turning a knob sometimes, arbitrarily, but are just about usable, the quality makes it worth it
Old 21st May 2022 | Show parent
  #1737
vss
Here for the gear
 
In rayspace you define walls if the chamber yourself.. product of about 2005... i guess it works like 3d graphics drawing pc game engine. Very smart and progressive idea..
Old 21st May 2022
  #1738
vss
Here for the gear
 
Spealing in physical terms rooms and halls are also chambers being enclosed spaces, actual difference is presence of amplification by speaker for chamber reverb... rayspace has gain and scale for that... or turn air absorption for getting grand echoee landscapes.. and no senseless emulation at all. Tool for creative...
Old 21st May 2022 | Show parent
  #1739
vss
Here for the gear
 
Would like to see reverbs by other devs included inside rayspace engine for timbres.. this mega solution would be unparallaled due to its unique representation of space designing and audio taste
Old 21st May 2022 | Show parent
  #1740
Lives for gear
 
🎧 5 years
Talking

Quote:
Originally Posted by vss ➡️
reverbs are of two types: delays chains based and physical modelling based like lx480, glaceverb, rayspace, rayverb, qrs. None of those enumerated except qrs not heard by me have pleasing timbre with glaceverb best for me. Why I am interested in second type it's because first type have 1 major drawback: its echoes in tail are produced by transients from source multiplied by parms like set decay length but in reality shape, size, form, materials etc form beatings in tail, so first type sound unnatural and kind of dead. Adding emulations like timbre fr0m specific hw does not fix this drawback. Quantec should be closest to type 2 reverb I guess. Since lx480 is much older than other mentioned it's no wonder that its timbre is w0rse too. Type 2 were actively developed in 2000-2005 but not since then. My another observati0n is glaceverb adding high order harmonics in hi freqs what is missed in most reverbss - dumb saturators wont help since being not part of physical modeling. You definitely hear difference between highs in live cymbals and lack of them in recorded cymbals. Ridiculously soft synths easily produce bell tubes sound with high order harmonics. I hope I made it clear re my vision of saught for ideal reverb. The thing is I am interested in psychedelic stuff and there is definitely lack of that ideal reverb. Emulating timbers of hw is undoubtedly the way to nowhere
Indeed, it sounds like you are very much into the psychedelic stuff.
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