Funny, "Highlander." You have great "brow" depth. That's a compliment. Reverbs seem to be up there with DAWs as far as many people's "need quantity" goes. Maybe it comes from the days when you only had one (or none), or a few, if your were lucky. I guess DAWs were AAWs than, generally with a console, multitrack and 2-track. Again, you might have had an early digital, plate, spring and/or chamber. I went from springs and tape delays live and at home to working in a real studio with a 224, an EMT 251 and an AKG BX20 (I think, I hardly ever used it). The console was an MCI JH636, and two of the sends were dedicated to the Lexicon and EMT.valhallasound wrote:I like to think of VintageVerb as "playing nice with others." In other words, I'm totally fine if people use some other reverb AND ValhallaVintageVerb. This isn't "Highlander" - there can be more than one.hibidy wrote:Coming from a guy who just shelled mad coin for the NI verbs, I still have to say.......for long lush verbage.....it's pretty damn hard to beat VVV. It's a seriously terrific verb , holds it's own to virtually anything.
[MrBurns]Excellent.[/MrBurns]The demo did get me that. That time out was like "omg, if I didn't have the time out it would be awesome!"
Sean Costello
Almost everyone worked there (and I came to find out elsewhere) with a long and short reverb. For me, if I was using Percussion Plate on the 224, I'd do something bigger on the EMT. If I was using Large Hall on the Lex, I'd have something smaller on the EMT. We'd do other things too, like using the live rooms, actual hallways, etc. as chambers, and setting up what was referred to as "room sound" on the Publison DHM89 B2 if it wasn't being used for pitch shifting. The latter was basically using it as a short stereo delay, in its delay mode. I thought I was cool using prime numbers on each side, Haas effect or external cross-feedback.
Those two main reverbs were just always there ready to go on the console sends and normalized to dedicated returns. We also had an Eventide H949 and a Marshall Time Modulator for pitch shifting, flange and echo. Everything but the digital reverbs had to be patched, like all the outboard dynamics, EQ, etc. We had a great selection of mics (Telefunken, Neumann, Sennheiser, Calrec [Soundfield], Shure, Beyer, Sony, RCA), but just used the MCI console preamps. I bring up the mics/pres because in contrast, now a studio is likely to have more reverb and preamp selection than that for microphones.
Reverb, like compression, allows you to "sectionalize" or contrast elements. It's nice to have a good selection, and depending on the degree of use, particular gear may be a signature element for a studio, producer or artist. As with anything, too much choice can be as bad as too little. There are great reverb options today, some of which are relatively recent. The market, such as it is, may seem a little saturated. I think that's mostly in comparison to what was previously available, and that in-the-box reverbs weren't generally on par with modern or vintage hardware. Now, many are, and even surpass outboard boxes.