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Best new reverbs?
Old 3rd August 2019
  #31
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Plush's Avatar
 
5 Reviews written
🎧 15 years
Quantec has not closed its doors. The company is run today by Dr. Almuth Buchleitner, Wolf’s wife. Production is in batches and often there are long lead times in obtaining a unit. I like Almuth a lot and she can help you or talk to Adebar Acoustics in Germany.
Old 4th August 2019 | Show parent
  #32
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🎧 10 years
Quote:
Originally Posted by TMetzinger ➡️
Gotcha. Fully agree that what gets baked in silicon can be different than running in software.
When using external hardware in this way, does DAW processing latency become a factor, or is that automatically accounted for and adjusted by the DAW ?
Old 4th August 2019 | Show parent
  #33
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TMetzinger's Avatar
 
2 Reviews written
🎧 5 years
Quote:
Originally Posted by studer58 ➡️
When using external hardware in this way, does DAW processing latency become a factor, or is that automatically accounted for and adjusted by the DAW ?
When I print outboard effects to new tracks, the round trip latency through the interface (even Dante!) is automatically compensated. I validated this by sending a click out through an analog loopback, and then checked the alignment of the "original" and "looped" tracks.

I still haven't figured out how to make the effects part of the rendering process in Reaper yet. I'm sure it's possible, but haven't had a lot of free time to work on it.
Old 4th August 2019
  #34
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RedBaaron's Avatar
 
1 Review written
🎧 10 years
They're all good nowadays, just about anyways. Just about getting them to sit right in the mix.
Old 5th August 2019
  #35
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jnorman's Avatar
 
3 Reviews written
🎧 15 years
Has anyone tried comet by polyverse?
Old 5th December 2020 | Show parent
  #36
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jnorman's Avatar
 
3 Reviews written
🎧 15 years
I have been using fabfilter pro-r for over a year now and have really liked it. I have been gravitating toward plates more and more and have three different plate-based user preset on the pro-r that I use regularly. I compared the pro-r plates with several IRs of emt 140, bricasti plates, lex 480l plates and others, as well as the plates of Acon verberate, flux verb session, Valhalla and a variety of my other verb plugins. On a whim, I dl’ed a demo of abbey road plates from waves. It is easily the best plate sound I have gotten, not quite as warm and smooth as the pro-r, but more lush and 3d and “finished” sounding. For those of you looking for a good plate, the abbey road is a damn good emulation. The abbey road chambers are also quite good.

Last edited by jnorman; 6th December 2020 at 08:04 AM..
Old 4 weeks ago
  #37
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3 Reviews written
🎧 15 years
Perhaps time to revisit my favorite subject - reverb. Since the last post I made here, I have spent many hours demoing various reverb plugins. I tried inspirata which I found quite nice because it has some extremely well done IRs. I revisited abbey road chambers, and with a bit of time and effort I was able to get some excellent results, particularly for recordings done in my studio. Then I started blending abbey road chambers with fabfilter Pro-R and improved the overall density of the reverb without overwhelming the soundstage - fun.
Recently, while perusing the high end forum, I read about the sunset chamber patch in bricasti, which altiverb and my version of True M7 IRs did not include. I found a set of bricasti presets prepared for waves IR1 by storyteller which included the sunset chamber - wow, what a beautifully done IR! Sounds wonderful on chamber music recordings, and usurped my original favorite IR1 patch (st johns church - also very nice).
Have any of you found any new verbs lately that you are impressed by?
Old 4 weeks ago | Show parent
  #38
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rumleymusic's Avatar
 
1 Review written
🎧 10 years
I've been using Izotope's Exponential Audio Symphony and Stratus plugins lately, they sound nice, but am very disappointed with iZotope's stewardship of the reverbs. Not a single update since they purchased them. They reset themselves to mono every time I open a session in Samplitude and reported the issued almost a year ago, which they acknowledged, but decided to do nothing about. Looks like they were interested only in acquiring the code to make their own reverbs and will discontinue EA plugins eventually.
Old 4 weeks ago | Show parent
  #39
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🎧 10 years
Do folks here simply add reverb to the master bus, for a simple 2 mic recording ? How do you deal with the crossfeed through the reverb engine: in other words does left mic feed only left reverb engine and ditto for right, or does left mic feed into a blend of left and right reverb channels and vice versa for right?

Or, how does your ‘stereo reverb’ represent itself with 2 mono mics feeding it ? How about mono (or small AB stereo) spots …do employ specific panning proportional to the image space the spots occupy ?

Do you find yourself with a ‘blob’ or ‘halo’ of mono-ish reverb in the centre of the image or a wide panoramic one…how do you attain realism in reverb imaging, when your reverb device (or software) offers a choice of routing algorithms ?

Maybe I’m just overthinking all this, because it’s rarely if ever raised as a matter of concern, adjustment or tweaking for classical/chamber music recording people…maybe I should just accept the AI that’s employed and not think about or tinker with the way it’s deployed by the mfrs ?

By way of example, which of the 4 signal flow/crossfeed models of the block diagrams shown on page 35 of the Lexicon hardware manual linked below best equates with how you employ artificial reverb in your recording practice ?

https://lexiconpro.com/en-US/product...de_eng_rev0pdf

I’m aware in the examples shown it’s drawn to display how 2 discrete effects are combined, but they could just as easily apply to a single instance, with A/B referring to Left/Right instead

Last edited by studer58; 4 weeks ago at 03:00 AM..
Old 4 weeks ago
  #40
Gear Maniac
 
🎧 5 years
I have more reverbs than expertise in using them, I feel. Using them effectively feels like learning a new musical instrument. Tend to have a high anxiety level at overly prominent or artifical FX in general. One tip that I've found quite helpful was from Mark Donahue on an old thread, feeding very little mains into the verb aux send, and rather a lot of the spots... 20/80 ratio. This gives a more sober presentation thru the mains, with sparkling bits of tail when one section leaps fully into their line. I think of verb as a highlighter pen on musically interesting lines, first and foremost; only secondarily an atmospheric. Getting really detailed and purposeful to balance my send levels is my area of focus.

I learned I really like Pro-R. Its frequency dependent decay curves are killer. It's a Swiss army knife tool.

But the one I have fallen in love with is the Shape function on this old M300. Daniel Detweiler highlighted this function in his verb tutorial, it is so responsive to *musical* demands. I'll put a different Shape on slow and fast movements of the same piece, so subtle yet powerful.

I love my Quantec but it's an all or nothing commitment.

Still learning.
Old 4 weeks ago
  #41
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3 Reviews written
🎧 15 years
Studer - yes, I use my main reverb on the master buss - it is the primary glue for a mix. Spot mics, such as close piano mics, often require a bit of added verb on those tracks. For the stereo verb issues, it depends on the type of verb plugin you are using, and what features it offers. Convo verbs that use true stereo IRs (separate wav files for L and R), such as reverberate, offer choices between mono, mono-to-stereo, parallel stereo, and true stereo. IME, those choices make less difference than you might think - way less than the general quality of the verb or IR itself. I have on occasion used a mono verb on piano spots to help solidify its “location” in the stereo image, but have also used only one of the two piano spots with a stereo verb to achieve the same result. eh…. The weird thing about all this seems to be that no matter how many times I might record similar material in familiar places, I always wind up doing the mixes a bit differently every time. I am also rethinking the use of blending analog and convolution reverbs.

Klimer - yes, Pro-R is quite a nice plugin. But, wait ….. you have a Quantec? Which model, and please describe your experiences with it - that is one of the supposed holy grails of verb units.
Old 4 weeks ago
  #42
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Thomas W. Bethe's Avatar
 
1 Review written
🎧 15 years
My favorite reverb is still the Fabfilter Pro-R reverb plugin. It is the most versatile reverb I own and works well with almost any musical style. In my outboard rack I have a TC electronics M-3000 which is also, IMHO, a very good sounding reverb. In the past I used this https://www.siraudiotools.com/SIR3.php which I always thought sounded GREAT. Lots of choices... Best of luck in finding one you really like.
Old 4 weeks ago | Show parent
  #43
New hardware verbs will be hard to come by down the road. The economics for them have changed along with the pro audio world.

Software versions will dominate due to the lower cost.
Old 4 weeks ago | Show parent
  #44
Gear Guru
 
1 Review written
🎧 5 years
Quote:
Originally Posted by studer58 ➡️
Do folks here simply add reverb to the master bus, for a simple 2 mic recording ?
you can do so but not all reverbs behave equally well: not even all otherwise very well respected devices do so... things become very obvious when you feed them music with lots of transients.

for this application, i'd either use the sony sampling reverb (dre-s777) or the quantec (2496) - the latter imo is unparalleled for 'upmixing' stereo to (fake) surround.

when it comes to putting 'reverb on reverb', meaning sending signals from ambient mics to an efx, imo devices from tc behave best; for this, i'm either using the system 6000 (for stereo or surround) or reverb 24 (for surround), m5000 in earlier years.

Last edited by deedeeyeah; 3 weeks ago at 01:32 PM.. Reason: typo
Old 4 weeks ago | Show parent
  #45
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king2070lplaya's Avatar
Quote:
Originally Posted by Jim Williams ➡️
New hardware verbs will be hard to come by down the road. The economics for them have changed along with the pro audio world.

Software versions will dominate due to the lower cost.
Lower cost, and also all the things that go along with DAW workflow: faster-than-real-time bounce, instant recall-ability, virtually unlimited instances, etc.

Serious question: as a hardware reverb is ultimately just a computer running an algorithm, I wonder why don’t we see more manufacturers offering expensive “ports” of these processes in plugin form? On a substantial desktop workstation, there should be the necessary processing overhead to achieve this. I wonder if we’ll begin to see this in years to come, especially if hardware sales dwindle, as many here predict.
Old 4 weeks ago | Show parent
  #46
Gear Maniac
 
🎧 5 years
Quote:
Originally Posted by king2070lplaya ➡️
Lower cost, and also all the things that go along with DAW workflow: faster-than-real-time bounce, instant recall-ability, virtually unlimited instances, etc.

Serious question: as a hardware reverb is ultimately just a computer running an algorithm, I wonder why don’t we see more manufacturers offering expensive “ports” of these processes in plugin form? On a substantial desktop workstation, there should be the necessary processing overhead to achieve this. I wonder if we’ll begin to see this in years to come, especially if hardware sales dwindle, as many here predict.
Yeah. I'm not a tech guy like some of you, my understanding was that hardcoded logic processes baked into chips at the machine code level was capable of significantly more powerful levels of calculation and data throughput, than a plugin running a high-level programming language on a threaded processor. But someone correct me if this is no longer technically true.

Yes, the live-bounce thing is tedious. C'est la vie.

Somewhat tangentially, do you folks time-align your all-digital reverbs? When not using the A/D/A? I bounced a 1-sample click through each of my outboard verbs at 100% dry (no reverb) in Reaper, then measured off the actual samples of round trip latency. "2,534 samples" or whatever. I then printed this figure off on a label printer so I can slap that delay compensation on each instance of ReaInsert whenever I use that particular box. Am I the only one doing this when using all-digital aux sends? Reaper has a 'ping' function to accomplish this but I find the figure is kinda off compared to what I find doing it manually.
Old 3 weeks ago
  #47
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3 Reviews written
🎧 15 years
Thomas - I have a set of TC6000 IRs if you would like to try them through your SIR3.
I also located a set of Roland VS reverb IRs - the “piano hall” patch is very good. PM me if you want a DL link.
Old 3 weeks ago | Show parent
  #48
Gear Addict
 
Quote:
Originally Posted by Klimermonk ➡️
. . . my understanding was that hardcoded logic processes baked into chips at the machine code level was capable of significantly more powerful levels of calculation and data throughput, than a plugin running a high-level programming language on a threaded processor. But someone correct me if this is no longer technically true.
This is the perfect question re: software v. hardware reverbs. I read posts in various threads that say modern chips are perfectly capable of handling very complex reverb algos, but then you get the die hard hardware guys saying "plugins aren't there yet". Who's got an expert take on this?
Old 3 weeks ago
  #49
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jnorman's Avatar
 
3 Reviews written
🎧 15 years
Rob - I’m certainly no expert on reverb topology, but I do know that pros in every aspect of the audio industry use a variety of both hardware and software solutions - bricasti, altiverb, TC boxes, SPAT, etc. I do believe that a box dedicated specifically to a single task will outperform even a high end computer system which is also doing a million other things at the same time. However, I believe that the future of reverb is not going to be hardware dedicated to trying to “create” reverb from some algorithm, regardless of how good that algorithm is - the future will be impulse response driven convolution reverb, with samples from the best halls, cathedrals, studios, etc, plus IRs from every type of hardware box, plus IRs made based on whatever new type of algorithm which may be written in the future. That said, I’m not sure any digital reverb will ever actually duplicate the sound of a recording made in a fine acoustic space…
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