Algorithmic Reverb Plugins - 5 Of The Best
Algorithmic reverb plugins. There’s a lot to choose from. As a cornerstone effect in music production and sound design, reverb is so well represented in the plugin market that figuring out which virtual devices are worthy of your attention can be difficult. Here then, are five algorithmic reverbs that we reckon every producer should know about.
FabFilter Pro-R
FabFilter, it seems, can do no wrong, and their 2016 reverb debut has become as much a classic in its category as Pro-Q , Pro-C and Pro-L have in the EQ and dynamics arenas. In comparison to its stablemates (and other reverb plugins) Pro-R is comparatively light on controls and could even be described as simplistic – but make no mistake, this is not only one of the best sounding ’verbs out there, but also one of the quickest and easiest to use.
The central Space control morphs seamlessly through a large (unspecified) number of modelled rooms, from a tiny cupboard to a cathedral, raising the decay time accordingly as it’s turned clockwise; while the Decay Rate EQ below (the other EQ is for simply shaping the tail frequencies) enables scaling of the decay time across the frequency spectrum – groundbreaking and ingenious. The effortlessly manageable handful of other parameters provide intuitive tonal, temporal and spatial tweaking of Pro-R’s beautifully realised reverberations, and the results are invariably a treat for the ears.
Some might demand a little more flexibility at times, but as a ‘universal’ workhorse reverb, Pro-R can’t be beaten.
Valhalla DSP VintageVerb
Choosing just one from Valhalla’s consistently brilliant roster of reverb plugins to stand as ‘the best’ is… well, impossible. However, we have a particular soft spot for VintageVerb, which, although not the most versatile of the bunch, is bursting with retro character and never fails to make its presence felt in the mix, which feels like as good a set of criteria as any.
Looking to capture the sound and spirit of digital reverb units from the 70s and 80s, VintageVerb’s 18-strong line-up of emulated spaces takes in rooms, halls, plates, ‘Chaotics’, randomly modulated tails and more. And with three Color options switching the converter emulation and modulation stability between 1970s (dark and dirty), 1980s (bright and grainy) and Now (clean), you’re looking at a wide array of sonic variation within that overarching nostalgic remit. Beyond that, the control panel lets you dial in up to 70 seconds of decay time, and permits a good amount of customisation, including Lexicon-style low-frequency decay scaling, separate density parameters for the early and late reflections, and adjustable chorus modulation.
It’s probably not a plugin you’ll want to use on everything , but when big, bold and gloriously old-school spatialising is called for, VintageVerb hits the mark every time.
Rob Papen RP-Verb 2
Never one to keep things minimal in the GUI department, Rob Papen has gone big and busy for the second version of his creatively-minded and decidedly modern-sounding reverb. More a sound design tool than a source of workaday environmental placements, RP-Verb 2 gets things rolling with its Early and Late Reflections sections, each feeding independently to the main output or the Reverb module, which boasts ten adventurous modelling algorithms and plenty of tail shaping.
But it’s everything else working around that core that makes this such a remarkable and interesting effect. You get an input distortion stage and a positionable pre-/post-reverb EQ, a 6-voice chorus, modulation of any parameter via an LFO, an envelope follower and a triggerable envelope. And then there’s the awesome Reverser module, which buffers and reverses the reverb and mixes it back in with itself, giving control over various aspects of the buffer triggering and playback for all sorts of rhythmic shenanigans.
It does come with a bit of a learning curve, but once you’ve got your head into it, RP-Verb 2’s spacey evocations, crazy ambiences and reactive textures will blow you away.
Exponential Audio R4
Now owned by iZotope, Exponential Audio’s flagship reverb draws on creator Michael Carnes’ formidable expertise as a developer for Lexicon to present a supremely classy option for the well-heeled muso. R4 is bristling with powerful features: Plate, Chamber and two colourful Hall algorithms; independent filtering, chorusing and widening of the early reflections and tail; pitch modulation; distortion and dynamics processing; a full-spec noise gate; tail ducking; a freeze function for the wet signal and more.
Conceptually and operationally, this is about as complex as reverbs get, and the sounds R4 makes are commensurately rich, detailed and nuanced, from realistic real-world spaces and larger-than-life cinematic vistas, to hyper-real explorations in audio design and wild frozen ’scapes. Stunning.
Eventide Blackhole
Recreating the algorithm of the same name from a variety of their hardware rackmounts and pedals, Eventide’s timeless reverb specialises in conjuring up “virtual spaces that could never exist in reality (at least the one we inhabit)”.
Blackhole’s Size control defines the perceived scale of its imaginary space, from matchbox-like to absolutely enormous, while Gravity sets the decay time, from quite long to very long indeed, and messes with the envelope through the left half of its travel for a nifty reverse reverb effect. There’s a feedback circuit, too, which goes all the way to infinity, as well as tail modulation, a resonant LP/HP filter pairing, and a freeze function for endless playback of whatever’s in the reverb buffer when activated. There’s an enticing performance angle to the setup, too, as every parameter can be assigned a range for modulation by the Ribbon slider (a big macro, essentially), and a secondary fixed state for instant switching with the Hotswitch button, both of which are MIDI-assignable.
Since launching in 2012, Blackhole has become a go-to for in-the-box production and sound design, thanks to its unique interactivity and the breathtaking other-dimensional effects it creates. The jewel in Eventide’s software crown, some would say.
Did your favourite algorithmic reverb plugin make the cut? If not, tell us why it should have been included in the comments.