Best lush long-tail reverb for vocals (drenched with reverb)?
-
- KVRian
- 903 posts since 29 Jul, 2008
I find it to be a must try for lush tails (true-stereo); https://www.voxengo.com/product/crtivreverb/
-
- KVRAF
- Topic Starter
- 1818 posts since 10 Jul, 2018
Wow, that's really nice, and much cheaper than B2 or Relab. But it seems there's no lower quality setting to reduce CPU and no stereo width control, which would be very convenient for mixing....Cooker wrote: Mon Dec 23, 2019 10:49 am I find it to be a must try for lush tails (true-stereo); https://www.voxengo.com/product/crtivreverb/
-
- KVRian
- 903 posts since 29 Jul, 2008
True, I also like valhalla vintage-verb (for less cpu, versatile and cheap) but not sure if that will convince you. If you have the budget maybe exponential audio R series...Ou_Tis wrote: Mon Dec 23, 2019 7:59 pmWow, that's really nice, and much cheaper than B2 or Relab. But it seems there's no lower quality setting to reduce CPU and no stereo width control, which would be very convenient for mixing....Cooker wrote: Mon Dec 23, 2019 10:49 am I find it to be a must try for lush tails (true-stereo); https://www.voxengo.com/product/crtivreverb/
-
- KVRAF
- Topic Starter
- 1818 posts since 10 Jul, 2018
From a few days of testing, B2 at 4x oversampling seems the lushest, though Adaptiverb and Voxengo are close. B2 also has less cpu-intensive x1 oversampling, width control, and extensive EQ and saturation options and presets... but so far I've found getting the right settings very time-consuming (no doubt that would decrease with familiarity, though I don't know to what extent... assuming the demo is still limited to 40 hours of "active use" I'm not sure how much longer I have with it).
Adaptiverb also has a lower-cpu "Preview" mode and seems much easier to fit into a mix without creating mud... it seems like it would save a lot of time and be much more versatile.
B2 has a 20% MSRP transfer fee and resold licenses become NFR... while the sale price is $100 off, I'm not sure I could approximately break even reselling it, since it becomes NFR and the transfer fee is $50. Transfer fee for Adaptiverb is $25 and licenses don't become NFR but it probably won't go on individual sale until the summer, though the Design Bundle including it is slightly cheaper than buying Adaptiverb and Wormhole at their individual sale prices.
Adaptiverb also has a lower-cpu "Preview" mode and seems much easier to fit into a mix without creating mud... it seems like it would save a lot of time and be much more versatile.
B2 has a 20% MSRP transfer fee and resold licenses become NFR... while the sale price is $100 off, I'm not sure I could approximately break even reselling it, since it becomes NFR and the transfer fee is $50. Transfer fee for Adaptiverb is $25 and licenses don't become NFR but it probably won't go on individual sale until the summer, though the Design Bundle including it is slightly cheaper than buying Adaptiverb and Wormhole at their individual sale prices.
-
- KVRAF
- 3086 posts since 4 May, 2012
Finally installed Raum by Native Instruments. It has a freeze function which can sound quite seamless when triggered at the right time on the right signal. Only tested on female vocals so far and it's now in my plugin list for future projects. Extreme decay times are also featured.
Little Plate is my goto plate for reverb. Amazing plugin which goes all the way to infinity.
And, of course, 2CAudio seems to have spatialisation perfected.
Little Plate is my goto plate for reverb. Amazing plugin which goes all the way to infinity.
And, of course, 2CAudio seems to have spatialisation perfected.
- Banned
- 7624 posts since 13 Nov, 2015 from Norway
Audiority Xenoverb
EnergyXT3 - LMMS - FL Studio | Roland SH201 - Waldorf Rocket | SoundCloud - Bandcamp
-
- KVRAF
- 1894 posts since 9 Jul, 2014 from UK
Ooh weโre playing a game; list a reverb? 



I wonder what happens if I press this button...
-
- KVRAF
- Topic Starter
- 1818 posts since 10 Jul, 2018
Relab Sonsig-Rev-A: lush tail, but all of the (relatively limited) settings seem to add harsh distortion that I wouldn't usually want.
Atomicverb: the end of the tail is musically pleasing, but the reverb itself seems excessively metallic (granted I didn't play around with this one as much).
B2: nonlinearities add to the richness but can make it difficult to avoid unwanted and unpleasing effects. But built in EQ and distortion with a vast number of presets mitigate this. 4x oversampling is magnificent but extremely cpu-intensive and can take a long time to render.
Adaptiverb: allows for perfectly smooth reverb. Probably not great for "realistic" reverbs, though it has a more conventional reverb option built in. Makes it relatively easy to use long-tail reverbs in non-sparse mixes without mud (without relying on stereo field separation or complicated EQ), although the reverb itself can become much less audible in a non-sparse mix. (While it can apparently act as more of a gluing tool in a dense mix, the cpu load makes it difficult to use multiple instances at once... without a supercomputer.)
-
- KVRian
- 903 posts since 29 Jul, 2008
Personally not into them but did you try ir reverbs? but the classic style which doesn't use algo.s to shape the tail.
-
- KVRist
- 297 posts since 3 Dec, 2009 from Cologne, Germany
Not really a typical reverb but possibly an appropriate thing is 112db's mikron cascade. It can do endless tails of gentle or drastically modulated sounds.
-
- KVRian
- 1264 posts since 26 Feb, 2016
ADAPTIVERB is excellent for Ambient, modulated stuff.
A bit heavy on CPU but good where you are "coating" several tracks with the same space.
Try blending it with B2 or another verb for a very THICK reverb.
This gives you tons of options.
A bit heavy on CPU but good where you are "coating" several tracks with the same space.
Try blending it with B2 or another verb for a very THICK reverb.
This gives you tons of options.
- KVRAF
- 44066 posts since 11 Aug, 2008 from clown world
I don't think you don't need a long tail to be a singer (unless you're auditioning for Spinal Tap).
This is the same method MJ used when he was working on Anthony Marinelli's Thriller.
