A Delay/Crossover section with four bands is available to set the decay time offsets. Reverb type can be set to smooth, natural, alive or fast. There are sliders for the Reverb Width, Reverb Balance and Diffuse. Next up is the Reverb page where you’ll find parameters to define the bounced sound around the surfaces of an environment. VSS3 includes model of environment types, such as concert hall, church, airport, forest and etc., with additional parameters (color, position, size and balance) to shape the sound to your specific space. The Early Reflections page provides users the control to define the environment and localization of the sound source. The Main page pretty much has all the important parameters you need to get the sound you want: a preset navigation, levels sliders and sliders for decay, reverb delay, hi cut, pre delay and hi decay. Each section can be accessed by clicking on the tabs button on the left of the plugin. The GUI is scalable – meaning it has a resizable view to fit your workflow. The color scheme is easy to the eyes, and everything is clearly laid out. In fact, VSS3 comes with Signature Presets that were programmed by known producers, musicians and sound engineers. TC even claims that the sound of VSS3 can rival those of its hardware brothers and sisters. Needless to say, it delivers a superb clarity and rich resolution to any mixes. The engine has been ported from TC’s own award-winning System 6000. A professional tool from the get-go, the VSS3 has been used in countless mixing sessions, films, TV shows, albums and popular tracks. It actually was released for TC’s popular PowerCore and TDM platforms before going native. Other than sound design, and depending on how you’re going to use it, use it wisely to enhance a mix – not ruin it.Īn oldie but goldie, the VSS3 Native has been around for a number of years. And there are reverbs that are designed for guitar and bass, but can be useful for other instruments too. ![]() ![]() I see a lot of vocal reverbs with smooth tails out there. Nonetheless, it’s still a good reverb even if you bypass the overdrive section. It’s certainly not your bread and butter reverb as it is more of a sound-sculpting tool for musical chaos. ![]() It’s a “good ‘verb gone bad”’ with a unique effect combination of reverb and distortion. Reverbs are best used in moderation, but some are geared especially for sound design. They’re powerful, have a rich sound and are oozing with distinctive character. The reverbs in this article are all algorithmic. But the truth to the matter is, there are just so many algorithmic reverbs out there available on the market that deserved to be reviewed and showcased. A lot of you might be surprised that there is a Part 3 of thies Reverb Roundup series. This month, for Part 3, we have another set of twelve excellent reverb plugins featured. Two months ago, we saw some high-end software reverbs in my Reverb Roundup Part 2 piece. We take a comparative look at twelve algorithmic reverbs, how and when to use them to best advantage for both sound design and mixing.
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