Favorite Reverb

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mholloway wrote: Tue May 17, 2022 6:43 pm Also, I said this, which you left out of your quote:
"I think even a simple plate can do far more than we might initially think; we're just too damn spoiled with this superabundance of options."
A plate reverb is a reverb effect. It’s not going to give you a realistic room sound or a sense of placement within a space like Eventide’s Tverb. Nor is it going to be able to do the mind-bending effects of Eventide’s Blackhole.

A plate does one thing, and you use it when you want that one thing. But given that the 140 isn’t even always the plate that I need when I need a plate, I’d say it is quite limited indeed. I was using the Arturia 140 on pretty much every snare before I got the PSP digital EMT. It wasn’t working for some songs, particularly ‘80s styles, and that became clear when I swapped it with the PSP. It’s just too thick and dark and overbearing for some material. And it’s wholly inappropriate for washy synths or a hall reverb for a string quartet.

But if you never leave the garage rock of early Pink Floyd, it can be all you need.
THIS MUSIC HAS BEEN MIXED TO BE PLAYED LOUD SO TURN IT UP

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I use Eventide Blackhole for that big/intothespace sound;
IK Multimedia Sunset Sound Studio for short and room ambience and also for its plate settings on the vocals;
Valhalla Vintage Verb for everything else and as the main reverb send.

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mholloway wrote: Tue May 17, 2022 7:03 am Pink Floyd's Dark Side of the Moon was recorded with just an EMT 140 plate reverb, no other reverbs.
Are you sure about this? Did they neither make any use of the really nice Abbey Road chambers nor use any spring reverb at all? I find that hard to believe tbh... :?

Plus, of course, they didn't record everything in isolation boothes, right?

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BONES wrote: Wed May 11, 2022 11:26 pm It's a bit scary that I only got it two months ago and have no recollection of how that happened. It's a good reverb, though, nice and subtle. When I want something less subtle, I use Arturia's plate reverb, which I am sure was absolutely free, as a gift for registered users at some point. I also have Valhalla's free (for everybody) Supermassive but I rarely reach for it unless I want something ridiculously unsubtle. ONe reverb I did pay for is Shimmerverb but I don't use it much, either. It seeme dlike such a cool thing but I find that evry time I revisit a song where I've used it, it feels like too much so I get rid of it.
I've been using Studio One since version 1.0, and I just tried the Studio One Room Reverb for the first time ever. :lol:

It's actually quite good, and is rivaling the Eventide UltraReverb. I think it's more natural than Acon Verberate2.

So now it's on my short list of favourite reverbs.I thought you might appreciate this, since as I recall you are a big proponent of Studio One's built-in effects.

The thing I really like about Room Reverb is you can set the precise room dimensions, so I am able to create reverb tails that exactly match the dimensions of the spaces in Virtual Sound Stage 2. It does require doing a little math.
THIS MUSIC HAS BEEN MIXED TO BE PLAYED LOUD SO TURN IT UP

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LiquidSonics: Seventh Heaven
This is the same method MJ used when he was working on Anthony Marinelli's Thriller.

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jens wrote: Thu May 19, 2022 9:16 pm
mholloway wrote: Tue May 17, 2022 7:03 am Pink Floyd's Dark Side of the Moon was recorded with just an EMT 140 plate reverb, no other reverbs.
Are you sure about this? Did they neither make any use of the really nice Abbey Road chambers nor use any spring reverb at all? I find that hard to believe tbh... :?

Plus, of course, they didn't record everything in isolation boothes, right?
The direct quote is:

"The EMT 140 was virtually the only reverb we used on Pink Floyd’s Dark Side of the Moon.”
-Alan Parsons

As for exactly what his use of "virtually" suggests, or doesn't suggest, it's all a guessing game. But the point is clear enough that it was primarily what was used for reverb, and perhaps by a very wide margin. <shrug>. Close enough.

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MogwaiBoy wrote: Wed Apr 27, 2022 9:10 pm The thing about the Sonsig Rev-A in FL Studio you must use 'Fixed Size Buffers' in the Troubleshooting settings tab, which messes with the latency and you run into phase cancellation problems automating mix/parallel sends. Relab don't have any interest in fixing it.
Exactly. Also, there was some issue with GUI in FL Studio. The overall experience of demoing it wasn't a pleasant one. Other than that, I found nothing special about it.

Very happy with:
NI Raum
NI RC 24 and RC 48
Waves H-Reverb
Polyverse Music Comet
Exponential Audio Nimbus
Soundtoys Little Plate
IK Multimedia Sunset Sound Studio (haven't used it yet, but need to try it soon)

Have a few others too, but these are the ones I reach for the most.

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I like Waves Reverbs, Abbey Road Chamber, H-Verb, RVerb and R4 by Exponential Izotope, Eventide SP26

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fabfilter pro-r :)

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epicPlate atm
EnergyXT3 - LMMS - FL Studio | Roland SH201 - Waldorf Rocket | SoundCloud - Bandcamp

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Nevel wrote: Thu May 19, 2022 8:54 pm I use Eventide Blackhole for that big/intothespace sound;
Yes. Go-to for spacey Ambient pads.

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Does it make sense to check out Blackhole if you already have Comet? Not that I want to add another reverb in my collection, but the current Blackhole price reminds me of the price I jumped at for Comet. :hihi:

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There's some overlap. Never wrong to have a few arrows in the quiver though. ;)

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I thought so. Few arrows, sure. Many arrows and suddenly you can't bear the weight. ;) I think I will skip it. :)

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I've recently gotten into Grainspace, which I bought used as a grain effect, but actually is an excellent reverb, including great shimmer reverb effect. Maybe I wouldn't call it my favorite overall, but it's pretty great.

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