PSP develops high quality audio effect and processor plug-ins. Our products garner rave reviews and endorsements from every corner of the music production, engineering, composition, and post-production worlds. Our plug-ins have become staples in professional and home studios worldwide. Our credo explains our simple philosophy: It's The Sound That Counts.
I never owned the original hardware but I can say that this reverb sounds absolutely amazing. It is dense, colorful and rich but yet tucks itself away in the mix. It has a permanent place on my mix buss. Download the demo and try it, you'll be sold instantly.
Let say that, despite the fact that it isn't a brand new product at the time these lines are written, it is undoubtedly of a brillant conception if, like me, you're into sound design (i would say even more precisely : sample design) as a skilled amateur or a professional, you will really love such a well-concieved tool to manipulate the details of the hi-end contour of any of your audio files (either master tracks or single samples inside a sound library) with an unsuspected flexibility, .
This involving four successive stages that, assuming you have downloaded the trial version, i won't detail all the included parameters that if needed, you might have studied though the user manual easily, so let me just describe the whole process chain here briefly.
First a hiss remover, noise reduction system working at the crucial frequency bandwidth (from hi-end to 500hz) to be then treated by the following stages. Second a, so to say « transient enhancer » ...a bit mysterious for me but very effective stage to determine and enhance the formant frequencies of a voice or any acoustic instruments and signals. Third a stereo enhancer and finally the harmonics section based on a classic but very cleverly conceived exciter, plus an « output saturation » switch at the very-end of the chain as an option to prevent signal peaks.
To be honest, in practice i had time after time the tendency to favour some stages and neglect some others, something that could be perfectly considered as a bad habit. not that these stage where useless (as the proverb goes « Bad workers always have bad tools »), just because there is one kind of process involving the combination of the two first sections, in where this plugin totally shines.
Indeed : suppose you've got for instance an afuche/cabasa (or a guiro) percussion on a track, depending the way you're adjusting both « hiss remover » and « transient » section, you can modify with a great flexibility the harmonic contour and textures of such instruments, making the sounding friction (of course) brighter but also smoother or sharper with a bunch of possible nuances, this mainly due to the combination of the threshold's opening/closing speed of the (improperly called in the case) hiss remover before overall formant frequencies enhancement.
...if you're into field soundtakes the same process can be applied for instance, with all possible locust and grasshopper's stridulations. independently of the brightness of the source, it can litterally smooth out any rubbing, creaking, warbling, gurgling, etc... or in the contrary increase such reliefs with many possible variations, keeping perfectly a natural feel to all these sound sources.
So in summary : a must have for high-end contour modeling, whatever is the purpose.
(complemented with both Mixbass2 and especially, Mixsaturator2, for low end polishing, all being part of the mix pack)
I tried lot of VU meters before I found this one. I don't have any other plugins from PSP, but this one is good. Use it on every track in FL Studio. On front side you can change type of metering (VU or PPM /Peak/) by simply click on the switch. The meters have an adjustable integration time (300ms), but you can change it by click on "PSP VintageMeter" label. You can also change 0VU Refernce level, PPM integration time, PPM return time, Meter delay and Overload counter. CPU usage is near zero for this plugin.
GUI would be a little bigger for me but regardless of this is PSP VintageMeter the best VU meter here.
Great-sounding with lots of good presets to show you what it can do.
This sounds great on spacey big songs but does a job on single instruments and voices, too.
I like to put it on the tail of reverb at the end of a verse or song, with feedback creeping up to let it hang there, echoing forever.
Nice phase on this, too, and flange, and the GUI is one of my favourites - really nice, distinctive blue and looks very real, somehow. Something about Lexicon always makes me feel that I am processing my sounds through a real, heavy, metal box.
You can get nice random repeats if you want mayhem, or link it to your DAW's clock to be all perfectly in sync. It handles both well, and while some delays can get messy in a mix, I can always pick this out, moving through the mix or panning, without screwing other things up.
PSP make marvellous delays and this is one of their very best.
They, of course, are famed and loved for the warm, fat sound of their other plug-ins, and Vintage Warmer and Old Timer really can be relied on in most situations - just adding PSP plugs to a track or whole song can give it a dirty, warm, analog glow.
Record a clean, straight Strat playing chords, then place one of those two on it, and hear a plain recording of guitar suddenly acquire an amped-up feel and a bit of juicy buzz.
But they also give a real bit of clout and authenticity with their delays - if you want the sound bouncing all over the place, morphing as it does so, their 608 will do that.
If you want old reggae dub style stuff, their Echo does that.
But the Lexicon captures a certain vintage style and sound (and look). Guitarist and singers will love that little extra it adds, and it's not just a delay effect by any means.
I had a few delays before, but I never go back to them now. Lexicon is in some ways simple, which encourages me to go straight for it, but I also never feel I'll have more processing work to do on a track once I have added it.
So it's pretty complete, and is highly recommended.
I am personally a big fan of PSP Audioware and this is an absolutely brilliant reverb and definite MUST HAVE! Reverbs are a tricky subject, and are notoriously difficult to learn at the very first glance, but this, is in it's simplicity, is almost perfect.
I use this reverb a lot for opening up synth leads and with its ease of use means I can throw it onto the track and get the results I want in an instant. It works by inputting the acoustic sound space 'model' then having two main knobs of time and damp, and also a wet/dry knob. Although admittedly the acoustic spaces are not that accurate to what they are modeled on, but they are nonetheless good quality and can suit almost any material.
It has this unique ability to open up guitars and vocals without sounding 'metallic' or 'fake' like on some of the other reverbs I have heard before and the plate and spring algorithms are beautifully vintage sounding. I personally am no expert in pre-delay and diffusion characteristics so naturally I chose this and I was not disappointed one bit.
It is also extremely small in size which has HUGE advantages over convolution reverb which requires huge amounts of IR files so its quick and detailed and changing through presets causes no delay or glitching. Easy to use, beautiful trails and extremely efficient CPU usage even when thrown onto 4 simultaneous guitar parts, vocals, 5 backing vocalists, synth lead, snare and synth drums. For this price it is so very nearly perfect.
The only gripe I have with it, would be that I would have preferred a few more algorithms and perhaps another EQ knob for a truly gorgeous vintage sound but otherwise genuinely brilliant.Read Review
Just wanted to say this thing is amazing for the price and I think it gets overlooked. Smooth tails on most algo's, a fairly warm and unobtrusive sound. Sits in the mix nicely, and the cpu hit is very reasonable. This is one of my favorite VST reverbs available today, and with the very low price, it's a bargain.
While it doesn't necessarily "nail" the sounds of these spaces, what it does do is what I need most in a reverb---it makes the sound wetter without drawing unnecessary attention to itself, like many or most of the other VST reverbs seem to do. It isn't metallic sounding or overly hard, harsh, or bright.
My main use for reverbs is just to add a farily mild extra touch that pulls the mix back a bit and softens the sound, and EasyVerb offers quite a few alternatives to achieve this without being a headache in the CPU department so it will go easily onto a number of tracks simultaneously.
One thing that is lacking is a lot of fine control, for instance there is no diffusion control, but the diffusion built into the algos works for me so I'm not bothered by that.
When you factor in the 9 models, the ease of use, and the low price, I feel this effect deserves fairly high marks in all categories.Read Review