Drums come alive when sent through Dirty Plate. High echo density, wide stereo image, and just the right amount of metallic sheen.
All the warm and gritty artifacts of Dirty Hall, applied to an old-school digital plate algorithm. Plug in your analog synth and send yourself into retro sci-fi heaven. Lusher and denser than the Concert Hall algorithm, with loads of warmth and grit on tap, for a roughly hewn beauty. A fresh look at the Concert Hall algorithm, with the goal being to emulate the strange fixed point and convertor artifacts of early 80s reverb hardware. Sanctuary incorporates the bit reduction and floating-point gain control used in the A/D and D/A convertors of the early digital hardware. Discrete early reflections, a dense late reverb that rapidly builds in echo density, lush detuned modulation. Inspired by a classic German digital reverberator from the 1970s. Useful for adding “air” to drums, vocals, and any place where a reverb should be felt but not heard. Combines time varying randomized early reflections with a full-featured reverb tail, with the balance between early and late reverb controlled by the Attack knob. Same as Random Space, but with the delay randomization replaced with lush chorused modulation. The modulation uses internal delay randomization, to reduce metallic artifacts without the pitch change that can occur in the algorithms with chorused modulation. This generates DEEP and WIDE reverbs, with a slow attack, and more diffusion than the late 1980s algorithms that inspired it. Highly diffuse, high echo density, less coloration than Plate/Room algorithms, chorused modulation. Medium diffusion/early echo density, somewhat darker sound, chorused modulation. Emulates the sound of early 1980s room algorithms. Highly diffuse, bright initial sound, high echo density, lush chorused modulation. Inspired by early 1980s plate algorithms. Similar to the Concert Hall algorithm, but with a brighter initial sound, and deeper and lusher modulation. Huge spatial image, echo density that can be adjusted from very sparse to very dense, and lush chorusing modulation. Based on the hall algorithms of the late 1970s and early 1980s. It definitely sounds different, but in the same ballpark.ValhallaVintageVerb is a postmodern reverb plugin, inspired by the classic hardware digital reverbs of the 1970s and 1980s. It does the blackhole kind of thing really well but it's free. That'll tell you a lot about what to listen for.Īnd definitely grab Supermassive. Also don't overlook the description of each algorithm, (right in the interface when you hover).
A day or two using them side by side should be enough to tell you if prefer one over the other. The shortest and easiest path to deciding if you think one sounds better than the other is to flip through a bunch of presets until you find a few you like, then adjust the parameters to tailor it to what you're after. The reverbs less realistic, but at the same time it has a lot of tricks up its sleeve thee other two don't. It can do reverb, and morph between reverb and delay. I'd also suggest not looking past Valhalla delay. They're both great, I don't find one to be better than the other, really just depends on if you want something more colored or more clean.
#Valhalladsp valhalla vintage verb plus
I say loosely as its not modeling a specific vintage reverb, more like the sound of the converters and frequency bandwidth of reverbs from 2 "decades" plus a modern option, (70s, 80, and current.) Room is for clean algorithmic reverb, Vintage Verb as the name suggests is loosely modeling the sound of vintage reverbs. Both are great, each have their own purpose. Click to expand.As others said demo both.