but there is so many factors invovled if you have speakers that colour the sound that most people probably have a bad sounding reverb might sound beautiful, all I can say is with my new Trident HG3 speakers I find it way easier to hear clear difference between good and bad reverbs. Of course everyone decide what bar of sound quality they want. I have not heard one synth with good internal effects, omnisphere included. But almost all of the time I am just surprised how bad reverbs people use, a lot of people use probably the internal effects of the soft synths which is always useless. some times more obvious.steve roach sound is unmistakably lexicon, I know he use eventide H3000 on some (darkest before dawn). I find quite often I hear what reverbs that is used,īut of course often it is really hard to tell. But since that time I have tried many different reverbs, and all reverbs have a different character same goes with synths, I have some days ago received my Eventide H8000fw, looking forward to hear the reverb, but it is the pitch shifting reverbs with eventide that is very hard to not hear. Will the audience here the difference which reverb is used ? if you asked me a couple of years ago, I would say no. no interesting complex details and harmonics which you get from analogue sound by nature.Įspecially synths in ambient need all saturating that you can get to make them sound good in my opinion, tape saturating make everything sounds right in many cases and make beautiful harmonics so lets not talk down about tape sound, many of the absolute top producers use tape sound to summarize mixes, tape sounds does not need to be bad sounding "old scool" sound, it can also be super clean with just beautiful saturation and harmonics, this is the reason people adore the BURL transformers which is considered to be the best converters right now those transformers add "tape like" qualities. Problem is it is dead boring to listen to. It seem you worship the sound of cold sterile and "clean" digital sound. The highest quality converters such as Crane song HEDD like Mike was talking about or BURL have both try to make the best from high quality tape sound. Great tape sound will not in any shape or form destroy the audio it will just make it sound all better when it it is done right, it might just give the reverb the the final saturation which many reverbs lack, Lexicon has beautiful satuartion and colour. It seem you are not a big fan of tape sound, and it sounds also like you have got wrong idea of what good tape sound is. And beside that, most people starting with music today are just confused by all the "the best" options. Lets say it this way…the audio industry in today simply needs this "higher and better" just for selling their products. Is anyone really believe the audience will hear the difference which reverb is used and judging then the music by this then in another way? In my opinion this is just a marketing gag of the audio industry…otherwise, how it possible to have great albums in the 80´s just made with a D-50 (incl the internal effects)?
2caudio breeze twitter archive#
For me it´s quite funny making a fuss about reverb and then to look for plugins sounding like tape-emulations or trying to archive an old sound (i.e with bit reduction) :-D
2caudio breeze twitter apk#
Quote from: El culto on November 21, 2013, 01:54:27 PM My 2 cents about that…Īgree with most APK said before! Also use Wizooverb W2 and it´s greatīut it´s really a matter of what you want to archive…for me any reverb work for ambient (even a lot of freeware…still use Sanford a lot). It was bought buy some other company, digidesign I think. It's great if you need some very long reverb.
2caudio breeze twitter free#
Way back I found Ambience to be a very good free one: I very rarely use the things except built in as part of a synth patch. On reverbs, I'm not sure what all the fuss is about. Plus of course there is the old adage: having the best equipment in the world does not mean you will now create better music. Why spend $2000 when $250 will do and leave you money for other things. Not a lot of reasons for expensive purity if you are going to overdrive, lo-fi, or glitch it up later, for example. So consider what it is you are creating and match the gear to the expected musical product. If you are recording a vocal or acoustic instruments, then pristine clarity and realism is what you probably need, and you need the gear that will achieve it (great mics, preamp, etc), but not too many of us in the ambient-electro realm are actually doing that. To create music that is 'true to source' then what we are looking at and why changes." "We also have to consider what we and our peers are trying to achieve in our musicīefore making suggestions or decrying what facilities they have. I agree with Forrest, and was also going to mention Seren's line: