Many years ago we released the spring reverb IRS of this amazing unit. After so many request here comes the version with the delays including delays through its spring reverb + custom made stereo files. You will get 16 world-class IRS in this set! All delay heads and heads with spring reverb combinations plus custom stereo IRS are included. 24Bit/48kHz
Recirculate isn’t just a delay plugin; it’s the distilled essence of what a feedback echo should be. By stripping away the baggage and focusing on the sound and control we’ve created the perfect tool for adding depth and dimension to your mixes.
Polaris is an echo/reverb plugin inspired by early hardware digital reverbs of the late 1970s and able to provide echo, ambience and reverb out of a single multitap delay line. When hardware digital reverbs came out to the market they were really expensive. Most manufacturers were already exploiting chains of comb and allpass filters (smoother reverbs, but expensive in both resources and chips), there were other techniques involving the use of a single multitap delay line to create a reasonable reverb while keeping the cost affordable. That idea is so simple yet powerful: you mix a bunch of unmodulated taps (Early Reflections) with the remaining modulated taps (Diffusion) to create a cheap but convincing reverb.
This one includes multiple captures of a make-shift echo chamber in a stairwell and a live room at a recording studio, as well as a tiled bathroom and a concrete basement in a completely separate building (the house from EC3). For the stairwell, captures were taken with the speaker at the top and the mic at the bottom, and in the opposite setup. Two more had the speaker in an adjoining live room; one with the speaker further in the room, and one with it closer to the stairwell (where the mic was placed). All of these were done with a stereo mic setup.
This entry in my Real Spaces series includes some rooms from a completely empty house, with hardwood floors throughout. Two bedrooms of similar dimensions were sampled as make-shift echo chambers. Two different (and different sounding) mics were used in each, with mic#2 being placed in the closet of each room. This created four different room reverbs for use in Nebula. There are also two different stereo combo programs which combine the samples in different ways to make the stereo effect. The first uses both mics, as the rooms were actually sampled. The second combines both rooms for each mic (so you’re actually hearing one room in the left channel, and the separately sampled other room in the right).
An echo chamber is a reverberant real space, which is used to add reverb to any audio signal. This is done by playing the signal into the space through a speaker, and picking up the audio from that space with at least one microphone. The speaker/mic are usually arranged such that very little signal can travel directly between them, with the sound waves having to bounce off of the walls (becoming diffuse) at least once before reaching the mic(s). In other words, mostly just the reverberation of the space itself is captured. This new, reverb heavy aka “wet” signal can then be mixed back in with the original dry audio to taste. In this release, two more echo chambers at two additional studios were sampled for use with Nebula in this library. I’m giving them unique preset names to help you differentiate between them. The first one in this release is called “Sandman’s Den” and it has a gloriously big, smooth sound to it. The chamber is about 14 x 16 feet with an 8 foot high ceiling. It has a concrete floor, with concrete block walls. It was sampled with the door into the room both closed and open, open providing slightly less density and quicker decay. This incredible chamber was captured with a stereo mic setup.
An echo chamber is a reverberant real space, which is used to add reverb (not distinct ‘echoes’) to any audio signal. This is done by playing the signal into the space through a speaker, and picking up the audio from that space with at least one microphone. The speaker/mic are usually arranged such that very little signal can travel directly between them, with the sound waves having to bounce off of the walls (becoming diffuse) at least once before reaching the mic(s). In other words, mostly just the reverberation of the space itself is captured. This new, reverb heavy aka “wet” signal can then be mixed back in with the original dry audio to taste.
