KVR Audio

heffus · Post by **heffus** » Thu May 03, 2012 3:45 am

I'm excited about your existing stuff.

Sampleconstruct · Post by **Sampleconstruct** » Thu May 03, 2012 3:48 am

Galbanum wrote: Anyway, we have some existing stuff for you all quite soon...

Back to work now.

Aether becoming 64 Bit maybe

Andrew Souter · Post by **Andrew Souter** » Thu May 03, 2012 3:50 am

Sampleconstruct wrote:
Galbanum wrote: Anyway, we have some existing stuff for you all quite soon...

Back to work now.
Aether becoming 64 Bit maybe

yes soon. free update.

other things as well...

(for clarity this refers to oSX 64bit. Win versions have been 64bit for roughly two years already.)

valhallasound · Post by **valhallasound** » Thu May 03, 2012 4:31 am

I love the room sounds that Steve Albini got with Shellac:

IT'S ALRIGHT if it makes you feel better and
IT'S ALRIGHT if it makes you feel better and
IT'S ALRIGHT if it makes you feel better and
IT'S ALRIGHT if it makes you feel better

I'm thinking of adopting those lyrics as my KVR signature.

Sean Costello

metalifuxx · Post by **metalifuxx** » Thu May 03, 2012 5:05 am

valhallasound wrote:Bad reverb: Any concert heard at the Kingdome, which was the old multipurpose stadium in Seattle from 1976 to 2000 (I forget the exact dates of building and destruction). That building had about a 20 second reverb time. Hearing Eddie Van Halen doing "Eruption" in that building produced a hilarious smear of undifferentiated note energy, as about 200 Tinkerbell guitar notes at a time would be blended into a single sound.

Sean Costello

It must be like our Pontiac Silverdome where the Detroit Lions used to play and they did have concerts there too; for 90,000 fans. I am glad I never paid money to go see a concert there when it was still in use. I have only heard horror stories of the bad acoustics, but if attending Lions games and hearing the announcer/music was any indication, those horror stories were probably correct. It still stands and was recently sold to an independent owner for a meager $500,000 (or maybe it was lower).

michu · Post by **michu** » Thu May 03, 2012 7:45 am

as far as natural spaces go, that would be one particular dead end in tunnels of Miedzyrzecz Fortified Region. that tunnel ends about 100 m after a right angle turn, and there is a very strong and quite long echo there apart from crazy reverberation.
as far as algo reverbs - Ariesverb, the newer one. i spent some days learning and tweaking it, ended up with a track template using two instances in parallel and some eq and use it ever since on everything

afreshcupofjoe · Post by **afreshcupofjoe** » Thu May 03, 2012 8:49 am

This is one of the best threads I have ever read on KVR. What a great discussion!

You can throw in another vote for forest reverb. I always found dense natural reverbs like cathedrals to be rather chaotic and disorienting. My most memorable auditory reverberation experiences have always taken place deep in a forest. It always happens after a long hike. There's a point where you get far enough away from civilization to finally experience real silence. I've never been in an anechoic chamber, but the description seems similar: You gain an extreme heightened sensitivity to every little sound. Except, instead of those sounds being your own heart beat, it's the tiny little reflections of a twig breaking, or leaves rustling, distinctly dancing off of every tree surface around you. It sounds so soft, fragile, beautiful and delicate. There is nothing else I have heard quite like it.

While I'm thinking about it, this scene from Funky Forest somehow taps into something about the experience for me. By far my favorite scene from the film:

Anyway, when working on music, I find that I often have more of an appreciation for short ambiances and room sounds, and I generally use reverb sparingly. When I think of big, epic, open spaces, I usually reach for a delay (or two) rather than a hall reverb. I'm pretty much a delay junkie. Something about the minimalism of hearing the individual repeats really appeals to me.

EDIT: I almost forgot! Someone mentioned earlier the reverb effect of heavy powdered snow. I know exactly what you are talking about, and I once heard an impulse response recorded outside in heavy snow. It actually did an amazing job of reproducing that effect. It was years ago, and I wish I could find it again. It was one of the most unique impulse responses I've ever heard.

mandolarian · Post by **mandolarian** » Thu May 03, 2012 9:21 am

Most impressive spatial encounter recently was with: Thunder Verb (not the cheap hootch)

At 3AM, I was out on the deck and this low, throbbing thunder rolled in from the sea up the shore around our house, up the hills through the canyon and back again. If I wasn't so thunderstruck, I would have grabbed the R09, not that mere digital stereo would have done it justice. It was 270 degree surround sound with big analog balls on its way to have aural sex with any cochlea membrane in a 10 mile radius. I'm still reverberating.

Fritze · Post by **Fritze** » Thu May 03, 2012 10:36 am

valhallasound wrote:I love the room sounds that Steve Albini got with Shellac:

IT'S ALRIGHT if it makes you feel better and
IT'S ALRIGHT if it makes you feel better and
IT'S ALRIGHT if it makes you feel better and
IT'S ALRIGHT if it makes you feel better

I'm thinking of adopting those lyrics as my KVR signature.

Sean Costello

Oh, yes. These are very cool rooms.
The guitarist must be deaf though putting such guitar sounds on a record.

Talking bout rooms like these reminds me of Living colour! They had those cool rooms on the drums and stuff. Very cool. What I like about these rooms is that you can almost touch the things inside it! I think it's the highs in the first reflections that make it so immediate, if that's the right word in english. Any thoughts about that?

core · Post by **core** » Thu May 03, 2012 11:09 am

What I like most about reverbs is when they bring natural spaces to my mind, something I can recognize from personal experience.

I can +1 afreshcupofjoe's comment. I reckon just being in certain natural environments like a forest contributes hugely to the experience but there's just something special about particular (not too dense, secluded) forest areas to my ear, especially when covered in fresh snow.

As for plugins, I really like AriesVerb. Sometimes reverb gets so musical it's almost like its sound is the instrument rather than the sound source it reverberates. I know that's a huge part of why I love delays like no other effect.

osiris · Post by **osiris** » Thu May 03, 2012 11:26 am

I'm really liking Eos from Audio Damage. TBS VRoom is on my list. Eos seems to fit on everything. It also sounds very good. Not too many presets and a nice GUI that you can tweak to get what you want.
I never thought I'd need/want a 'pay' reverb, and there's some nice free ones out there, but the difference in sound is really something.

afreshcupofjoe · Post by **afreshcupofjoe** » Thu May 03, 2012 11:36 am

osiris wrote:I'm really liking Eos from Audio Damage. TBS VRoom is on my list. Eos seems to fit on everything. It also sounds very good. Not too many presets and a nice GUI that you can tweak to get what you want.
I never thought I'd need/want a 'pay' reverb, and there's some nice free ones out there, but the difference in sound is really something.

Sean of Valhalla DSP did the superhall algorithm in EOS, so I'm not sure if that qualifies it as a Valhalla DSP verb or not. Either way, it does sound freaking fantastic.

Bronto Scorpio · Post by **Bronto Scorpio** » Thu May 03, 2012 11:43 am

valhallasound wrote:
Bronto Scorpio wrote:I love the reverb on the early Autechre records

Cheers
Dennis
ALESIS. Midiverb II, or Quadraverb. Lots of Warp artists heavily relied on the Alesis reverbs, as did other electronic/ambient artists of the 1990's.

Sean Costello

Nice!

Why do I like the reverb on these records? I have no idea

They simple sound great imo. They don't really place the sounds in a natural sounding place but they blend really nicely with the tracks

The latest two Monolake records have a good sense of space:

He used only Ableton Lives reverb! This really surprised me since I really didn't like the Reverb in Live when I tried it! I guess it's a isolated sound vs. full mix thingy again.
The field recordings on Monolakes tracks also contribute nicely to the space

Edit: He also used a Lexicon reverb (PCM-91 iirc) here and there but it's mainly the Ableton reverb.

Cheers
Dennis

Lotuzia · Post by **Lotuzia** » Thu May 03, 2012 11:44 am

HW : Several Lexicon, two Sony, one TC and one Yamaha, and some budget boxes ( Alesis, Yamaha, Dynacord, Boss )

SF: AAR, Aether, some IK, eventually EAReckon sooner or later, some impulse ones, and a few precise freeware or budget ones ( like the Korg multithing Mde-X) for their special character.

Why : First ....... The Sound, then the tweakability. I'm mostly looking for natural and unobstrusive verbs, though my feeling is that when I need a SuperFX, unnatural one, I can make one with one of these units as well.

I think the best is to know and learn your reverbs.

olikana · Post by **olikana** » Thu May 03, 2012 12:05 pm

what i love about the 224 is that it is uplifting and exciting - which i guess i what makes it perfect for pop.
most of the rooms and reverbs mentioned here are defeently clener and maybe more natural but most of them give me a sense of being oppressed and costrained in a small dense room....depressing almost. that super dense feel i don't like much. some sparkling noise and grain make it more alive.
u slap on the 224 and u feel like u r being cheered on and feel larger than life and airy and spacy...not a defined space...u don't even know where u are..apart that it feels good.
i think here u can ear what i mean.

224 for life!

What are your favorite non-Valhalla reverbs, and why?