Soundspot Oracle

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loungepanda wrote:Buying products from developers who don't even care to provide a minimum of company information seems like a good idea.
Guy , who do you think you are ?
Do you buy the reverb ?
Do you code plugins ?
Are you a musician or a dj ?
Are you someone creative ?
Are you famous ?
Do you pretend or do you are ?

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I will mention something Dave Pensado said once.. 'There's no such thing as a bad reverb' (or words to that effect). There's a use for them all. I remember thinking the original Jeroen Breebaart free reverb was pretty 'bad', then, I was looking for a reverb that brought out a particular tom tom in a particular part of a song. Only the JB one made it jump out the mix in the way I wanted. In solo, it didn't really sound like much..

What I heard in that last video didn't sound like it warranted the criticism it's been getting here. At full price then yeah, maybe.. but at the price it's being offered for here it seems like a nice purchase for those times you want something to aid in sound design or to make some strange sounding effect for electronica, ambient etc.
Mastering from £30 per track \\\
Facebook \\\ #masteredbyloz

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+1

Oracle is one of the best reverbs I’ve used.
This is the same method MJ used when he was working on Anthony Marinelli's Thriller.

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Hardly the best reverb i've used (in terms of usability for my stuff), but i am having a blast with this plugin. The 'extra' components (saturation, flanger, width and compressor) are very useful and fun.

The only real gripe for me; no room size knob. Only decay. I would love to see a knob to change the actual space.
But .. for 14 euro's...nothing to complain about, really.

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do_androids_dream wrote:I will mention something Dave Pensado said once.. 'There's no such thing as a bad reverb' (or words to that effect). There's a use for them all. I remember thinking the original Jeroen Breebaart free reverb was pretty 'bad', then, I was looking for a reverb that brought out a particular tom tom in a particular part of a song. Only the JB one made it jump out the mix in the way I wanted. In solo, it didn't really sound like much..

What I heard in that last video didn't sound like it warranted the criticism it's been getting here. At full price then yeah, maybe.. but at the price it's being offered for here it seems like a nice purchase for those times you want something to aid in sound design or to make some strange sounding effect for electronica, ambient etc.
And I also say that as well: there are no bad sounding reverbs - any reverb can be used to good effect in specific contexts. In other words, a reverb needs to be evaluated in context - only then can you say its a good or bad reverb for that context. But this applies to a lot of audio tools and is lost on most people unfortunately.

Yes if you just play some random sound into Oracle through some random monitoring system and twiddle the parameters, sure you will likely be dissastified with it. If so, move on and pick up a reverb that better suits you. In the case of Oracle, its got some unique characteristics that warrant finding the context that it sounds best in. It didn't take me long to find some good sounds with Oracle.

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It’s creative features are great. :tu:
This is the same method MJ used when he was working on Anthony Marinelli's Thriller.

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BRBWaffles wrote:The dampening parameter barely does anything. The difference is nearly inaudible.
?? That is just bollocks. The difference is huge.
Last edited by exmatproton on Mon Aug 28, 2017 6:41 pm, edited 1 time in total.

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hivkorn wrote:
loungepanda wrote:Buying products from developers who don't even care to provide a minimum of company information seems like a good idea.
Guy , who do you think you are ?
Do you buy the reverb ?
Do you code plugins ?
Are you a musician or a dj ?
Are you someone creative ?
Are you famous ?
Do you pretend or do you are ?
None of those questions actually address the his criticism.

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exmatproton wrote:
BRBWaffles wrote:The dampening parameter barely does anything. The difference is nearly inaudible.
?? That is just bollocks. The difference is huge.
The dampening parameter is clear and obvious and can be heard in the video I posted. If someone can't hear the effect of the damping parameter and claims it does nothing, then in general their opinion should be considered in this context: what else can't they hear and how valid is their opinion.

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BRBWaffles wrote:
hivkorn wrote:
loungepanda wrote:Buying products from developers who don't even care to provide a minimum of company information seems like a good idea.
Guy , who do you think you are ?
Do you buy the reverb ?
Do you code plugins ?
Are you a musician or a dj ?
Are you someone creative ?
Are you famous ?
Do you pretend or do you are ?
None of those questions actually address the his criticism.
the same way to bash soundspot....Some of us are happy with it , some of other are not.

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It's simple interface is perfect for professional producers.
This is the same method MJ used when he was working on Anthony Marinelli's Thriller.

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exmatproton wrote:
BRBWaffles wrote:The dampening parameter barely does anything. The difference is nearly inaudible.
?? That is just bollocks. The difference is huge.
There is a difference. I stand corrected. But, it also depends on the source material. Some sources make the parameter more obvious than others. About 50% of the time, it made little to no appreciable difference.

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do_androids_dream wrote:I will mention something Dave Pensado said once.. 'There's no such thing as a bad reverb' (or words to that effect). There's a use for them all.
I get the spirit of what he's saying but in this context it's utterly inane. There's no such thing as a bad any tool if you can get at least one use out of it. By that logic, the 71 Ford Pinto wasn't a bad car, it simply forced you to be creative to overcome its immolation feature.

If you're intending to use this a reverb for its stated purposes the fundamental nature of the algorithm gets in your way. If you're letting the plugin be creative for you, you still have to bend over backwards to make it work well. That's a problem when I have deadlines, and if it isn't for you, consider yourself lucky.

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yellowmix wrote:
do_androids_dream wrote:I will mention something Dave Pensado said once.. 'There's no such thing as a bad reverb' (or words to that effect). There's a use for them all.
I get the spirit of what he's saying but in this context it's utterly inane. There's no such thing as a bad any tool if you can get at least one use out of it. By that logic, the 71 Ford Pinto wasn't a bad car, it simply forced you to be creative to overcome its immolation feature.

If you're intending to use this a reverb for its stated purposes the fundamental nature of the algorithm gets in your way. If you're letting the plugin be creative for you, you still have to bend over backwards to make it work well. That's a problem when I have deadlines, and if it isn't for you, consider yourself lucky.
Yes, absolutely. Dave Pensado can say whatever he likes, and I too get the spirit of the thought. However, in this context it's really apologist talk. We all compare reverbs and have expectations about what good reverbs sound like. This doesn't meat those expectations.

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I put Oracle into the same category as reverb plug ins like Eventide's Blackhole and AudioThing's Fog Convolver (despite the hyperbole from Soundspot).
It's a wonderful creative tool, but not a standard reverb (I use plug ins like Lexicon's PCM Native Reverb bundle, Waves IR1, Avid's Revibe II and Eventide's 2016 Stereo Room for that).
I like how it sounds for my needs, and the price is right!
I suggest people ignore the marketing hype and just assess it for what it actually does.

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