With regular pop or rock music, though, I don't feel like that's the right way to go. In regards to Altiverb, I think it's a great tool of you want to place things in a "real' space, which is why I wind up using it a lot of times for orchestral stuff. and that, now, when I have decent processing power, every "high end" reverb I've used or demo'd has been lacking.
Before I had my current system, I was using Arboretum's high-end VST reverb, and it kills me that I got such a great sound from such a primitive setup. So far, none of them have been right most of them fall into the "I can't really hear anything" category, or they wound up sounding too bright, or, in a lot of cases, metallic and ringy.
2caudio breeze popping psp#
To this end, I have Fabrik R, which is built in to my interface (TC reverbs have always been pretty transparent, but I like to know reverb is there, otherwise, what's the point?), Waves' stuff, Altiverb, CSR, BREVERB II, PSP EasyVerb and a few others I know I'm forgetting about, not to mention, ProVerb. However, not content to settle, I've been leafing through my other reverbs to see if I've overlooked something equal or better. Right now, I've settled on a "Large Neutral Hall" setting for my general hall reverb. It actually took me a while to find a decent room reverb, too, but I was finally able to find at least one in LexRoom that wound up being so good, I've been using it on drums AND rhythm guitars. However, the hall reverbs are either too much (LexHall) or not nearly enough (Concert Hall). I have LexiconPCM, which you would think would be the final word on the matter. Odd that this topic has come up! I've recently been struggling with finding a decent hall reverb. But for algorithmic reverbs, give me a complete set of controls, as in TrueVerb, and I can come close enough to other reverbs that most people would call it a match. Where real innovation comes in is the use of impulse responses, and those are only as good as the methods used to record the responses in the halls. Different reverbs that have a famous "sound" simply have a particular set of presets that can be copied by ear. So, you can do pretty much the same things in any reverb that has the complete controls. It's not like there are any bricks in the algorithm.
Of course, all that's really happening is that you are biasing the frequencies associated with those materials. I remember one outstanding algo reverb back in the late 90s/ early 2000s, called RealVerb, by Kind Of Loud, which simulated materials in the concert hall, like brick or curtains. I've tried so many algorithmic reverbs over so many years, they really do all work pretty much the same. I agree with David, without having actually tried VVV. Not only for the "toy" look, but also the way preset selection works.just arrows back or forth (maybe I missed the drop-down list somewhere?). Actually I like TrueVerbĬount me out on the GUI for VVV.hate it. Waves TrueVerb and RenVerb, UAD RealVerb, ik CSR.Ī/B'd against my other algo verbs, I just don't think VVV is significantlyĭifferent.I can program those verbs to get close. David Polich wrote:Played around with VVV some more, comparing it to my other algo verbs.
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