{"id":640,"date":"2018-11-05T12:34:01","date_gmt":"2018-11-05T17:34:01","guid":{"rendered":"http:\/\/www.theaudiomagazine.com\/?p=640"},"modified":"2019-01-11T12:24:00","modified_gmt":"2019-01-11T17:24:00","slug":"upcoming-reverb-review","status":"publish","type":"post","link":"https:\/\/www.theaudiomagazine.com\/?p=640","title":{"rendered":"Upcoming Reverb Review"},"content":{"rendered":"<h5><a href=\"https:\/\/www.theaudiomagazine.com\/wp-content\/uploads\/2018\/11\/ConcertHall-e1541439222676.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-641 alignleft\" src=\"https:\/\/www.theaudiomagazine.com\/wp-content\/uploads\/2018\/11\/ConcertHall-300x183.jpg\" alt=\"\" width=\"272\" height=\"166\"><\/a>by Erika Ishkanian &#8211;<\/h5>\n<h2>It&#8217;s our opinion that after compression, reverb is the most important mixing tool that there is.<\/h2>\n<p>With that in mind, we are embarking on a hybrid comparative review which will look at the best and brightest in algorithmic, convolution, and emulative (recreation and\/or homage) plug-ins, as well as hardware reverbs available today.<\/p>\n<p>We have chosen plug-ins that do not require the use of dedicated hardware interface (or expansion card), which means that some otherwise worthy participants won&#8217;t be a part of this review.<\/p>\n<p>While this list might grow, here&#8217;s what&#8217;s currently lined up for testing:<\/p>\n<p><a href=\"http:\/\/www.liquidsonics.com\/software\/seventh-heaven-professional\/\">LiquidSonics &#8211; Seventh Heaven Professional<\/a> (an homage to the Bricasti M7)<\/p>\n<p><a href=\"http:\/\/hofa-plugins.de\/en\/plugins\/iq-reverb\/\">HOFA IQ-Reverb<\/a> &#8211; An excellent convolution reverb (<a href=\"https:\/\/www.theaudiomagazine.com\/?p=601\">previously reviewed in The Audio Magazine<\/a>)<\/p>\n<p><a href=\"http:\/\/www.eventideaudio.com\/products\/plugins-reverb\/reverb\/sp2016-reverb\">Eventide &#8211; SP2016<\/a> &#8211; A recreation of Eventide&#8217;s venerable early digital reverb<\/p>\n<p><a href=\"http:\/\/www.eventideaudio.com\/products\/reverb\/reverb\/ultrareverb\">Eventide &#8211; UltraReverb<\/a> &#8211; Eventide&#8217;s latest and greatest reverb plug-in<\/p>\n<p><a href=\"http:\/\/www.reverbfoundry.com\/hd-cart\/\">Reverb Foundry HD Cart<\/a> &#8211; (an interpretation of the Lexicon 480 reverb)<\/p>\n<p><a href=\"https:\/\/www.sonnox.com\/plugin\/oxford-reverb-v3\">Sonnox Reverb Native<\/a> &#8211; A great reverb from the folks that developed the Sony Oxford console<\/p>\n<p>Testing will be conducted in a hybrid setup (both analog and digital) which will compare results using plug-ins &#8220;in the box&#8221; and as aux send traditional effects when interfaced to our console.<\/p>\n<p>This review will be PC-only, but we will be using <a href=\"\/www.avid.com\/pro-tools-ultimate\">Pro Tools Ultimate 12<\/a> and <a href=\"http:\/\/www.magix.com\/us\/music\/sequoia\/\">Magix Sequoia 14<\/a> as our hosts.<\/p>\n<p>We are expecting additional participants (both hardware and software).<\/p>\n<p>Watch this space for updated details.<\/p>\n","protected":false},"excerpt":{"rendered":"<p class=\"excerpt\">by Erika Ishkanian &#8211; It&#8217;s our opinion that after compression, reverb is the most important mixing tool that there is. With that in mind, we are embarking on a hybrid comparative review which will look at the best and brightest in algorithmic, convolution, and emulative (recreation and\/or homage) plug-ins, as well as hardware reverbs available today. We have chosen plug-ins&hellip; <a href=\"https:\/\/www.theaudiomagazine.com\/?p=640\">Read more &rarr;<\/a><\/p>\n","protected":false},"author":1,"featured_media":641,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[5,7],"tags":[],"class_list":["post-640","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-plug-in-reviews","category-processor-reviews","xfolkentry"],"jetpack_featured_media_url":"https:\/\/www.theaudiomagazine.com\/wp-content\/uploads\/2018\/11\/ConcertHall-e1541439222676.jpg","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.theaudiomagazine.com\/index.php?rest_route=\/wp\/v2\/posts\/640","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.theaudiomagazine.com\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.theaudiomagazine.com\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.theaudiomagazine.com\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.theaudiomagazine.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=640"}],"version-history":[{"count":21,"href":"https:\/\/www.theaudiomagazine.com\/index.php?rest_route=\/wp\/v2\/posts\/640\/revisions"}],"predecessor-version":[{"id":671,"href":"https:\/\/www.theaudiomagazine.com\/index.php?rest_route=\/wp\/v2\/posts\/640\/revisions\/671"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.theaudiomagazine.com\/index.php?rest_route=\/wp\/v2\/media\/641"}],"wp:attachment":[{"href":"https:\/\/www.theaudiomagazine.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=640"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.theaudiomagazine.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=640"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.theaudiomagazine.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=640"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}