KVR Audio

Notron User · Post by **Notron User** » Tue Jun 21, 2005 1:16 am

Have you checked into Voxengo Pristine Space/Pristine space light?

Frippertronix · Post by **Frippertronix** » Tue Jun 21, 2005 1:43 am

Notron User wrote:Have you checked into Voxengo Pristine Space/Pristine space light?

No, but if I settle on convo for my DAW, it will be one of those two. SIR=too much latency and somewhat unstable.

greendoor · Post by **greendoor** » Tue Jun 21, 2005 3:41 am

I have SIR and Voxengo and heaps of impulses. They are useful, but basically dead static samples. Algorithms can be tweaked into any shape you want - especially AAR. It's the difference between sampling and synthesis. Both are great, but sometimes you just need to be able to customise your sound, especially for rythmnic effects.

Frippertronix · Post by **Frippertronix** » Tue Jun 21, 2005 4:09 am

Quite true. Both is good.

living sounds · Post by **living sounds** » Tue Jun 21, 2005 2:55 pm

I did a comparison between the Artsacoustics plugin and my Lex300s when the plugin came out. The Lexicon won in every category, but the Artsacoutics verb was quite good for a plugin. Send me a test file or load it up somewhere, if you like, I'll put it trough the 300 so you can compare.

BTW, there will be a Lexicon emulation by IK multimedia which I presume is going to be quite good...

Lesha · Post by **Lesha** » Thu Jun 23, 2005 4:35 pm

sorry, it's off topic, but i couldn't find what i was looking for...
someone mentioned few days ago that reverb is killing modern production and that it's better to use delay..
as i remember some article (book?) was mentioned so i would like to know about it more..
thanx, back on topic..

mandolarian · Post by **mandolarian** » Thu Jun 23, 2005 9:20 pm

lesha wrote:someone mentioned few days ago that reverb is killing modern production and that it's better to use delay..

That was a few decades ago. The eighties, when the tyranny of gated verb toms reigned supreme.

Just be thankful we're in a new century where we no longer lust after the old, primitive, low-rez, hiss-filled hardware.

JeffSanders · Post by **JeffSanders** » Thu Jun 23, 2005 10:40 pm

Most recording books I've read say to use delays instead of verbs wherever possible. It makes for a cleaner, more 3D mix with less mud.

mandolarian · Post by **mandolarian** » Thu Jun 23, 2005 11:09 pm

Yeah, but how many people sit around listening to books about recording???

Let's get back to the topic at hand:
Can the better VST verbs produce the same rich mud as the hardware verbs?

And does the Stereo Room 2016 sound as good as the Eventide hardware version?

starblue · Post by **starblue** » Fri Jun 24, 2005 4:10 am

JeffSanders wrote:Most recording books I've read say to use delays instead of verbs wherever possible. It makes for a cleaner, more 3D mix with less mud.

It depends on the genre of music. Orchestral/Symphonic are heavily reliant on creating realistic acoustic placements that can't really be done with delays.

Hypertone · Post by **Hypertone** » Fri Jun 24, 2005 4:23 am

Most pop these days uses virtually no reverb. Listen to some pop and see if you hear any reverb. Now in the 80's that was another story, but today everything is bone dry and stale. Oh how I miss mixes with space and dimension.

kritikon · Post by **kritikon** » Fri Jun 24, 2005 5:41 am

Let's get back to the topic at hand:
Can the better VST verbs produce the same rich mud as the hardware verbs?

No problem...most s/w verbs can produce all kinds of mud. No hiss though.....

And does the Stereo Room 2016 sound as good as the Eventide hardware version?

I seem to remember Robert Randolph had one, and he said he liked the VST version.

greendoor · Post by **greendoor** » Sat Jun 25, 2005 11:10 am

Although most modern music doesn't have large obvious reverbs, there is usually a lot of short room and ambiance verbs skillfully mixed in so it isn't obvious, unless you turned them off. AAR excels at the small room and ambiance stuff - which I find to be the acid test of a great reverb. Anyone can make good sounding halls, but it takes a truely great reverb to do a convincing small room that melts into the dry tracks. I certainly don't get that with the Princeton demo. I think people are just fooled into thinking its great because it's fixed so it can't be too bright or too loud. That covers up a lot of evils - and I really hear some evils in the Princeton tail. AAR is so flexible, you can make it too bright or too loud, and I need that choice and ability. But even at maxium exposure, I don't hear the problems I hear in most cheap reverbs including the Princeton. But I can make AAR very dark and set it really low, and I think it can do what the Princeton does. And much more.

living sounds · Post by **living sounds** » Sat Jun 25, 2005 1:28 pm

The Princeton might not sound that great seperately - the important part however lies in how it behaves within a complex mix and how it merges with the dry signal. That's where the 2016 and any higher-end outboard reverb really shine and most plugins have difficulties.

Inukshuk · Post by **Inukshuk** » Sat Jul 09, 2005 9:24 am

Comparisons-comparisons. It'll never end. I tried the Arts Acoustic reverb demo. Loved it, bought it and am super happy and I've got other great reverb plugs.

ArtsAcoustic VS Lexicon 960 (or any lexi hardware) :)