Silverspike Reverb It VST 1.2 WiN

TEAM peace-out | 04.08.2009 | 11.2 MB

Silverspike Reverb.it simulates diffuse reverberation of rooms. Its quality results from a unique reverb algorithm based on random reflection patterns. This reverb is no toy. It provides dense, smooth, and authentic reverberation that you would only expect from expensive external high-end equipment. Two shelving filters and up to three separate reverb frequency bands give you full control on the spectral balance of the reverberated signal. No matter whether you need a rehearsal room, a concert hall, or a stadium. Perfect stereo imaging. And yes, Reverb.it is ready for 32bit/96kHz.

Sanford Reverb VST 2.0.1 WiN-ASSiGN

TEAM ASSiGN | 02 MARCH 2010 | 7 MB

The Sanford Reverb is a true stereo reverb. It is capable of simulating everything from small rooms to giant cavernous spaces. Its sound is dense, clean, and crisp making it perfect for most situations.

Spring Reverb Type4 v1.0.1 AU VST UB WiN MAC

VST AU PC & MAC OSX UB REPACK-DYNAMiCS

Team DYNAMiCS & AiR & NEMESiS | 01-26-2009 | 6 MB

A spring reverb is a system to obtain artificial reverberation invented during the 40’s by Laurens Hammond (also inventor of the Hammond Organ). In a Spring Reverb pan, the audio signal is coupled to one end of the spring by a transducer (a device that can convert electrical energy into mechanical energy or viceversa). This creates waves that propagate through the spring in both directions. At the other end of the spring there is another transducer that converts the motion in the spring into an electrical signal, which is then amplified and added to the dry sound. Most spring reverb units use several springs together, with each spring having its own characteristics (length, dimensions, tension, etc.) resulting in a natural reverberation by summing several delayed sounds at fixed or random intervals. However, with real spring reverbs the user isn’t allowed to change these characteristics. A software simulation like Type4, on the other hand, allows you to adjust parameters like “decay” (reverb duration), the dampening factor, the virtual spring tension and other parameters that affect the overall timbre of the reverb effect. Why should you want to use a spring reverb rather than a precise and modern digital reverb? Spring reverbs have typical sonic characteristics that, nowadays, make them desirable mostly as effects on their own rather than simulations of an acoustic phenomena.

Foundations of Audio Reverb Update TUTORiAL

Team MAGNETRiXX | 18 February 2014 | 3.34 GB

This installment of Foundations of Audio explains one of the most essential ingredients in audio mixing, reverb—the time it takes for sound to bounce, echo, and decay during a live performance or recording. Reverb gives a natural richness to your recordings, which is possible to reproduce. Producer and audio engineer Alex U. Case covers the acoustic, mechanical, and digital means for creating reverb, and charts the parameters (room size, density, etc.) you’ll need to know to take advantage of the original recording space and enhance it in post. He then shows how to simulate reverb digitally with effects, adding timbre, texture, and contrast, and improve the sound of your mixes with a sense of space and depth.

STN 6k Halls Nebula Reverb Programs

STN | 14.02.2014 | 1.19 GB

Goal = capture Nebula hall programs from the flagship studio standard 6000 reverbA continually growing collection of Factory & User defined programs. (Check for newly added programs).

3k ROOMS – Nebula Reverb Programs

P2P | 09.02.2014 | 199 MB

Capture Nebula Room programs from the 3000 reverbA continually growing collection of Factory & User defined programs. (Check for newly added programs). The hardware 3k is arguably the most realistic “room simulator” on the market hands-down.

H35K – Nebula Reverb Programs

P2P | 09.02.2014 | 257 MB

Capture Nebula programs from the H3500 reverb continually growing collection of Factory & User defined programs from the hardware 3500 reverb. Captured via Lynx conversion @ 24/48k.