Reverb

Ott^ said:
Getting back on topic:

Digital Reverb - ugh! Never use it if i can help it.

I've heard plenty of mixes ruined by thoughtless use of pretendy reverb. In this case - less is definitely more.
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so what you got then? A big nice echoey stone dungeon under Ott Towers?
 
He's got a couple, actually, of varying sizes and construction. One of them even has the walls on hydraulic rams for extra flexibility.

Blumenkraft has been good to him.

He also has a 2-metre section of drainpipe with 4 XLR sockets on but I don't know what that does...

(BTW, I reckon "Digital Reverb - ugh! Never use it if i can help it" = "I can't help it so I use it all the time... :P )
 
your mum said:
Any good spring reverbs that don't have noisy tanks?
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Yeah - I have an AKG BX5 stereo spring and it is really quiet and posh-sounding. Actually, it sounds more like a plate than a spring which is why I love it. You can use it on drums without it all going obviously King Tubby on you.

I've also got a stereo Great British Spring which sounds gorgeous [if a little noisy] and that does King Tubby to a tee.


The EMS spring reverb on the Putney Portabela is my favourite, great resonances in that box that give the sound a fantastic colour that for better or for worse, you can't get rid off.
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I had a go on Brain Eno's Synthi-AKS and was utterly in love with the spring on that. Proper Dr Who business.

Simon has got a Arp 2600 and the spring reverb on that is bloody brilliant.
 
Colin OOOD said:
(BTW, I reckon "Digital Reverb - ugh! Never use it if i can help it" = "I can't help it so I use it all the time... :P )
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All I ever use when mixing is a really small cheapo room reverb off a Behringer Virtualiser Pro - [*snigger*] and a 12 second washy thing from my K2000.

I've used lots of Lexicons and Eventides TCWorks, and whilst they're undoubtedly good, they don't add sufficient to the finished tune to justify spending 5 grand on them.

I'd rather use a £50 spring reverb and spend the rest on cocaine and prostitutes.
 
i've said it before, I'll say it again.

Ambience from smartelectronix.

cost me sod all, and is very very nice. Not perfect by along stretch but really, really good, regardless of how much you paid. Really subtle if you need it to be, and fantastic gating control if you want something a bit madder.

This little baby gets used on well just about everything i do. eats CPU. :(
 
While we're talking free plugs. There's always the mighty SIR convolution reverb.

Can sound pretty close to any £5,000+ reverb you care to mention.

Basically, as far as I understand it - it's effectively like a reverb sampler.

Can do real spaces as well as imitate expensive reverbs.

You can also take your own impulse (the equivalent of samples in reverb land).

Here you go, enjoy!

http://www.knufinke.de/sir/index_en.html

:D
 
Read the latest news OTT before damning it.

The guy's working on a zero latency version!
 
I am looking for a good spring reverb and stereo flanger and/or phaser. The Doepfer's A-125 Phase Shifter sounds great, I don't mind that little bit of noise it adds, but its mono. I'd rather get a stereo rack phaser than get another phaser and VCA for the Doepfer to have stereo phase shifts...although I might do it in the end.
I really love the ARP as it was one of the first modulars I had a go at (first synth I slapped as well!), but the next synth I am buying is a V4 MKS-80 with the MPG-80 if I find one, or a Doepfer Drehbank controller to control them parameters.

As for reverbs, the Lexicon MPX-1 pisses and shits over anything digital (software included) in that price range...from a great hight as well.
The Eventide Eclipse is my favourite reverb...but I feel a PCM 91 coming in the studio sometime in the future too.
I also recommend a Lexicon MPX-100 that I got for £60 used. Nice algorithms for the price...a little bit noisy outputs compared to the MPX-1 tho...but the mix masks that tiny amount of noise anyway.

Peace out.
 
SIR is a bit of a special case

it introduces a fixed delay - this is why I dont use it, even tho its clearly a billion times better than any other native verb i have - i guess what Ott is complaining about also.

yes, you can shift the audio backwards, or whatever, but thats a pain in the arse when you want to use it as a send or as part of any remotely complex routing.

my *guess* is that he's making a version which doesnt have this fixed delay - sure, it might have its own latency of processing time, the same as any other plugin (eg, when i run a signal through a channel with a waves RCL, and simulaneous through another channel without, i get chorus) - but this can be automatically compensated for by the host (providing you dont do what i do, and fail to upgrade to such a host, through sheer laziness)
 
chris H said:
always the quickest to tell us how crap something is...! ;) :lol:
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All I said was "Shame about the latency"!!...

Great bit of software - nicely designed and laid out - and totally free. Full marks.


Shame it is [currently] unuseable [to me] owing to the 8000 sample fixed latency. I'm sure he'll address it in future updates. Etc etc..

Happier now?
 
soliptic said:
SIR is a bit of a special case

it introduces a fixed delay - this is why I dont use it, even tho its clearly a billion times better than any other native verb i have - i guess what Ott is complaining about also.
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what do u mean by 'fixed delay'? You can alter the envelope of the delay for different predelay, decay lengths, etc. Or is that not what u are getting at?

Is the latency so much of an issue when used subtley as a send effect?

Sax.
 
saxopholus said:
soliptic said:
SIR is a bit of a special case

it introduces a fixed delay - this is why I dont use it, even tho its clearly a billion times better than any other native verb i have - i guess what Ott is complaining about also.
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what do u mean by 'fixed delay'? You can alter the envelope of the delay for different predelay, decay lengths, etc. Or is that not what u are getting at?

Is the latency so much of an issue when used subtley as a send effect?

Sax.
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Rather than using a variable latency dependent on how complex the algorithm is, SIR uses a fixed 'worst-case' latency. This is handy because you know what it is, and you can delay your other tracks by this number of samples to fit.
 
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