TRAKTOR’S 12 brings the intense buzz of the club to your studio productions or live stage performances. A dozen of TRAKTOR’s tried and tested floor-rocking effects have been adapted for easy use within your DAW.
Ample Guitar L aim to bring the Alhambra Luthier Classic Guitar sound to your studio.
Ample Guitar F aim to bring the Fender Stratocaster Custom Guitar sound to your studio.
Ample Guitar P aim to bring the PRS Artist Custom Guitar sound to your studio.
RoomVerb M2 is based on Virtual Room Acoustic modeling technique that allows to simulate various acoustic spaces from small bath rooms to huge open spaces using a single set of parameters. Such an approach provides a unified way of controlling reverb and removes the limits inherited in traditional reverb design schemes based on either pre-defined algorithms or pre-calculated room response patterns. The plugin processing DSP core has a flexible modular design that supports dynamic host CPU loading. This means that if you don’t need a certain reverb function you can switch it off, reducing the CPU load.
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.
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.
