This plugin has all the necessary basic features such as pre-delay, high and low pass filters, etc.. The plugin has only one window, but it is still really organized, and clear, which is amazing since it really helps to my workflow. It is an excellent price, in my opinion, since the plugin has unlimited sound possibilities, and a perfect, easy to use interface.
I would recommend anyone who wants a quality reverb plugin that can spice up his creativity, and make him sound unique to get this plugin. As written above, this plugin is most recommended for ambiance type vocals.
Each one will give you a completely different feel and stereo image. This plugin lets you combine all six algorithms by using two square pads the big ones in the middle , so you can achieve a unique and great sounding reverb super easily, and quickly.
It also has some unique sound control features, a massive amount of presets dedicated to vocals, and a randomizer that uses deep learning more on that in the next paragraph. As written above, this plugin has a bunch of great unique features that can help us get a better sounding reverb.
First of all, there is a feature that lets you combine all six different algorithms into one great unique reverb by using two large square pads. This can be used subtly to help the sound not get drowned out with reverb and brings it forward in the mix, or used more extremely to create cool pumping effects. Positive values will make the reverb level match that of the dry input amplitude envelope. It can be used subtly to tighten up the reverb. The maximum value will exactly match, so it can be used if you do not want to change the amplitude envelope of the sound but still add the reverbs sound character.
And, it will take you some time to get used to it, since there are lots of features, and therefore, lots of knobs.
With an emphasis on giving actual value, details, and real examples that you can learn from. We will review the spec of these studio headphones and then give an honest opinion about it, and tell you whether you should buy it or not. Nowadays, AutoTune has become a must-have in any sort of musical project. In fact, it has become…. Trap and Hip-Hop have both been experiencing a glorious ride at the top of the current music…. Perhaps the most important aspect of a good synthetic reverb is the way that it seems to become part of the original sound, rather than seeming to be an effect layered on top — which of course in reality it is!
With the better units, adding more reverb increases the sense of space, but doesn't swamp the original sound and doesn't make your mix sound congested. Cheaper reverbs may sound OK in isolation, but can end up making your mix sound messy and cluttered when you try to use them on a real project. This has little to do with technical specifications — it is all down to how the reverb algorithms are designed.
Back in the '80s when I first asked manufacturers whether it would ever be possible to sample the reverb character of a real space, the response I always got was that there would never be enough computing power available. However, computing power has continued to follow Moore's Law and today we have computers that would have been inconceivable back then.
In the mid-'70s I was working for a company that hot-rodded Commodore PET computers by expanding the stock 1K memory to 8K, but now 8GB of memory is a practical option. In other words, in only 30 years or so the amount of memory you can fit into a typical desktop computer has expanded by around one million times, and clock speeds are now so high you could cook frozen chicken with them!
Although the original hardware unit top is still in use in some studios, most home-studio owners are most likely to come into contact with the Space Station's distinctive sound via the smaller Seven Woods Audio SST Space Station centre or Princeton Digital's TDM plug-in recreation bottom.
Now, of course, convolution has become a reality, and can run on just about any well-specified Mac or PC, as well as in dedicated hardware effects units. Convolution is essentially a brute-force, number-crunching means of producing reverb or other linear delay-based treatments which is brilliant in its simplicity. It starts with the premise that you can measure the reverb character of a room by putting up a stereo mic at the listening position, then recording the reverb created from a single spike of sound one sample in length — a starting pistol or a balloon burst gets close to this.
The resulting sound picked up by each microphone is called an 'impulse response' and it can be recorded conventionally. If you then use a computer to multiply this impulse response by every sample of new audio signal, the net result is that you add the original room's reverb to that audio signal.
Nowadays, instead of trying to create a loud sound one sample in length which isn't very easy , impulse responses tend to be recorded using a sine wave swept over the whole audio frequency range over a period of a few seconds. A mathematical process is then used to time-compress the resulting data so that it equates to what you would have got had you used a single-sample pulse. The advantage is that it's easier to reproduce a suitable signal level for measurement, and because the measurement is integrated over a few seconds it tends to be less susceptible to corruption by low levels of background noise in the room being sampled.
Integrating multiple impulse-response recordings from the same source can further reduce the noise floor. Of course, to get a good measurement you need very accurate microphones and speakers, and to do a comprehensive job you may need to take different measurements at different places in the room so as to give the user a choice of reverb characteristics.
Fortunately, commercial convolution reverbs come with a wide range of presets based on specific venues, and many third-party impulse responses are available on the Internet, some for sale and some free. To capture the sonic signature of an electronic reverb unit, the same test signal can be fed through it and then mathematically processed to produce an impulse response, enabling that particular hardware setting to be recreated with almost perfect precision within a convolution reverb system.
The limitations of convolution are that the amount of editing you can do to the reverb character is restricted, and also that the process is unable to capture time-varying effects such as chorus modulation.
Some hardware reverbs use modulation within their algorithms, and so are impossible to 'sample' exactly using convolution, though the general characteristics of tape delay other than wow and flutter of course and most hardware reverb patches can be captured with great accuracy.
The choice of which reverb to use is invariably an artistic one, though convolution-based concert halls are a good choice for classical music, while churches and cathedrals will obviously suit choral or organ music. I've also found that convolution reverbs can work well on folk or jazz music, where you expect to hear the music performed in a specific type of environment such as a club, but sometimes one of the library impulse responses will surprise you and work in a way that you would never have expected.
For example, Apple Logic Pro 7 's Space Designer convolution reverb plug-in has some impulse responses in its library made in dense woodland, and some of these sound wonderful on acoustic guitar and vocals. Impulse responses taken in bright reflective spaces or top-notch studio drum rooms often work well for drums and percussion, but whether 'real' or synthetic treatments are best ultimately comes down to artistic choice.
The most famous of the digital reverb manufacturers is probably Lexicon, who defined the pop reverb sound of the day with their model. Photo: Mark Ewing Because we tend to be conditioned by the music we grew up with, synthetic digital reverb and plate reverb either real, modelled, or convolution sampled are still the first choices for most pop work, but fashions are always changing in music, so this situation could change. When it comes to pop vocals, I almost always end up going back to a synthetic reverb, either algorithmically generated or 'sampled' from a hardware unit that works this way.
In this circumstance, since I really want that vocal to be front and center, the pre-delay allows me to just bring the vocal forward a little bit. This can just allow you to move the vocal forward, and just make it cut through just a little bit more in the mixing process. The second tip is to time the tail. So, does it decay very quickly and cut off right away, or does it ring out over an extended period of time? So, let me play you this vocal. So, the reverb is kinda filling in those spaces, right?
Now, this is the EMT reverb again, and this parameter here is basically just controlling how long that reverb kind of rings out over time. I wanna hear something that kind of rings out a little bit longer, and kind of covers those spaces between the notes.
And the third tip is to EQ the return. You can add effects to your reverb returns, and process them, and do just about anything you do to a normal track. View All. Reverb can put a vocal in a myriad of different spaces, but your choice of space and how you set the parameters will dramatically affect the mood of the track.
Learn how to tweak your vocal reverb to make your mix sing. Professional mix engineers will often tell you that they build their mixes around the lead vocal. Because it's literally front and center, the reverb treatment you choose for the lead vocal is not only going to have a significant impact on the sound of the voice, but also on the mix as a whole.
Most contemporary reverb plugins, whether they're emulations of hardware units or not, offer a choice of algorithms along with a ton of adjustable parameters. Given those options, and the numerous ways you can modify reverb with compression, EQ, delay and saturation whether built into the reverb or applied from a separate plugin , you have a broad palette of choices available to you for creating a compelling space for the vocal to sit in. It's useful to evolve your thinking beyond, "Do I want a plate or a hall?
Do you want an effect that subtly adds space, gluing the vocal to the instrumental, or do you want to transform the vocal sound with it? Are you going for drama or intimacy? Do you want it to be aggressive or natural?
Over-the-top, massive or uptight? The choices you make will be dictated to some extent by the nature of the song and the genre. The tempo is another key factor. As a general rule, you don't want your reverb tails ringing over into the singer's next phrase. Excess reverb "wash," as it's referred to, can cause your mix to sound muddy and the lyrics indistinct.
The faster the tempo, the shorter you'll need your reverb time to avoid cluttering up the sonic space. Even with those limitations in mind, you still have a lot of creative freedom to shape your vocal reverb. Whichever type of reverb you end up choosing for a given situation, how you set it is critical and can have a considerable impact on the results.
Perhaps the most crucial parameter in any reverb is its decay time aka "reverb time" or "RT60". It will dictate whether the simulated space will feel massive, intimate, or something in between. Adding pre-delay is also vital for keeping your vocal from receding to the back of the mix when the reverb is added. Without it, the reverb reflections will begin immediately.
Postponing them slightly with pre-delay allows the transients of the lyrics to poke through, which not only keeps the vocal upfront but also more intelligible.
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