Of all the reverbs available in plugin format, I'd say Pro-R is indeed at the very top when it comes to a mastering reverb. 99.9% of the time you use a reverb in mastering it is to fix bad fadeouts or unnatural gaps in "room tone" within a song (for instance when it transitions from the first chorus back to a verse, where sometimes everything stops and then starts again).MogwaiBoy wrote:People on Gearslutz are saying this reverb could even be suited towards mastering. Anyone here have an opinion on that? I'm guessing it's due to transparency and curve tweakability.
Can you do any interesting stereo stuff like super lush Side channel-only reverb for really expansive mix widening?
The reason Pro-R is so good at this task is because of it's invisibility. It just sits there, filling in the gap. It can very transparently "grab" the original ambience information in a track and just extend it.
The more I use it in various tasks the more I'm starting to appreciate just how unique this thing is. It's main character is that it doesn't have a main character! Audio sources just get a sense of space, or are "extended". This is especially evident if you run a very wide, harmonically rich and complex pad through pro-r at it's most basic settings (no decay EQ, no post-EQ). You can turn up the mix knob quite a bit before you actually start hearing the reverb. Before that line is crossed, the pad is simply "extended".. or shifted on the Z axis of the stereo field, depending on the distance knob and pre-delay.
We are so used to reverbs being marketed and created as an added "spice" that Pro-R may actually sound a bit confusing at first.
I really hope FabFilter will explore the reverb stuff further because they obviously have the skills for it. A more "vibey" and experimental reverb would compliment Pro-R perfectly. Just imagine all those modulation sources.. Tempo synced LFOs, envelope followers, MIDI triggered envelopes etc. It would be awesome!
