I didn't know Tails. Sounds really promising, why is it so unknown? I have to try it

 

from waves, h-verb was pretty decent, but a complete resource hog.
Now a go to verb either you want a swiss army knife that does plate, chamber, hall, room and everything in between or you have to get one of each. you got your waves plate abbey road and chambers, but you have chambers and plates in rVerb. to each its own...
and you're not going to get a real good answer here. opinions will vary too damn much. and remember this is a crowd more geared towards electronic music so if you're looking for a good reverb for rockabilly or folk this is probably not the right crowd. I know reverb is reverb and you can do all sorts of things, but do remember to take opinions with a grain grain of salt. and besides. what kind of purpose do you want your reverb for? sound design? soundtracks? games ? folk ? acid house? it all depends. real spaces? imaginary ones?

still, my two cents: superplate by soundtoys, much like their other produtcs. right on the money.

 

Last edited: Oct 18, 2024

I'm having such a great time with Accentize Chameleon. Not a tool for everyone, but it's so fun to capture rooms from a lot of recordings i love. But you need to know how to apply it to get great results. With isolated tracks it works like a charm.

 

have they managed to keep the resource hogging lower? it used to put the pins on my pc back when

 

i like altiverb 7, valhalla reverbs and UAD lexicon. but my most favorite is eventide eclipse

 

I most like fabfilters Pro-R
For convolution i have my own set of implses and mostly use whatever stock reverb the daw comes with.

 

Couple years ago I stated here: this thread became useless (almost), but it still lasts since 2013 and looks like will last till the end of the times...
Ok, what's my proposition?
1. Close this thread
2. Start the new one about reverb, but with some restrictions:

a. Call your favorite reverb plugin and call the genre you use it in, why? Sure Eventide Black Hole isn't good for classical music, other hand, Lexicon PCM Native isn't good for EDM

b. Leave a link to your track(s) where the reverb from (a) is used, why? We are here because we are musicians/producers and use the reverb for our music, not for making potato chips or something else, so, if you call the unit as the best/favorite one, then prove it

 

not sure if anyone else has said crystalline by baby audio.

after trying it, i havent used any other reverb even tho i have so many other reverbs.

crystalline is just so easy to use and the results you get are amazing, i havent looked back. not to mention how customizable it is.

p.s. im not employed or sponsored by baby audio, just wanted to share how awesome this plugin is

 

Objectively?
I use mine on anything!

 

I did not read the thread, so please forgive me, if my impression from reading a few pages is wrong, but such threads in general are totally useless for two reasons:
1. Without stating the exact use case of the used reverb, it has no meaning at all. the reason for that is
2. Single reverbs only in very rare cases are getting the job done for one instrument.

There is this huge misconception, that plugins would be responsible for a certain sound. They are not!
Why? Music production is like painting. The company producing the paint has only very little impact on the result. It is the painter that makes the picture.

Just stay with reverb:
You have a main instrument, like a hooksynth or a vocal.
You need:
Probably a plugin to create the feelings of early reflections. Will even a reverb plugin be suited? Or will a slap delay work much better? Mono? Or stereo? Or does it work for that specific instrument even better, without the mid-channel?

But this you cannot answer, without knowing the 2nd "reverb", that creates the body and character of the tail. Is that even a dedicated reverb unit, or just another delay? And again: how wide?

And then you need something, that moves all this together a bit away from the speakers. Audibly or just a little feeling? And what character?


Now you really believe, there was such a thing like a single reverb plugin being the best? What is the best blue color?

 

IKB :

 

How can anyone create a good song with only one reverb! Luckily, we have Foster to help out.

You said:
hit records that only used one reverb?
ChatGPT said:
ChatGPT
There are several iconic hit records that famously used only one reverb in their production, emphasizing simplicity in effects processing to create a unified sonic space. Some of the most notable examples come from early analog recording techniques, particularly from the 1960s and 1970s. Here are a few:

1. The Beatles – "Come Together" (1969)

• Reverb Used: Abbey Road's famous echo chamber.
• The Beatles often recorded at Abbey Road Studios, which had a specially designed echo chamber that was widely used for their recordings. "Come Together," along with other songs on the Abbey Road album, relied on a consistent reverb to glue the sounds together. The echo chamber reverb gave it a characteristic natural ambiance.

2. Phil Spector's "Wall of Sound" Productions (1960s)

• Reverb Used: Gold Star Studios Echo Chamber.
• Many of the classic songs produced by Phil Spector, such as "Be My Baby" by The Ronettes, used only one main reverb from the echo chamber at Gold Star Studios in Los Angeles. Spector’s approach was all about creating a massive, enveloping sound with the use of this reverb.

3. Elvis Presley – "Heartbreak Hotel" (1956)

• Reverb Used: RCA Studio B Plate Reverb.
• This early Elvis hit prominently features a single plate reverb to give it that haunting and spacious quality. The reverb adds a distant, lonely atmosphere to the song, complementing its melancholy theme.

4. Pink Floyd – "Shine On You Crazy Diamond" (1975)

• Reverb Used: EMT 140 Plate Reverb.
• Pink Floyd's recordings often relied on a single reverb to create a vast, expansive soundscape. For "Shine On You Crazy Diamond," the band used the EMT 140 plate reverb, a staple in studios of that era, which added the lush, dreamy ambiance that’s so central to their sound.

5. Led Zeppelin – "When the Levee Breaks" (1971)

• Reverb Used: Natural Room Reverb (Headley Grange stairwell).
• The famous drum sound on this track, played by John Bonham, is a result of capturing the natural reverb of the stairwell at Headley Grange, where the band recorded parts of Led Zeppelin IV. No additional artificial reverb was added, but the sound of the space itself became an integral part of the production.

6. David Bowie – "Heroes" (1977)

• Reverb Used: Hansa Studio Room Reverb.
• Recorded in the Hansa Studio by the Berlin Wall, Bowie and producer Tony Visconti used the natural reverb of the massive recording room. For Bowie’s vocals, they set up multiple microphones at different distances to capture the room’s natural decay, creating a single cohesive reverb sound that grows more distant as Bowie sings louder.

These examples show how using a single reverb can help create a specific, unified atmosphere in a recording, often becoming a defining characteristic of the song.


You said:
show more examples
ChatGPT said:
ChatGPT
Here are more examples of hit records that used only one reverb, often creating timeless and cohesive sonic environments:

7. U2 – "With or Without You" (1987)

• Reverb Used: AMS RMX16 Digital Reverb.
• U2’s The Joshua Tree album is renowned for its spacious, atmospheric sound. On "With or Without You," producer Brian Eno used the AMS RMX16 digital reverb to achieve the expansive, ambient texture that has become a signature sound for the band. The reverberation on the vocals and guitars is consistent throughout, creating a wide, ethereal soundscape.

8. Radiohead – "Fake Plastic Trees" (1995)

• Reverb Used: EMT 140 Plate Reverb.
• Radiohead’s early work, especially on The Bends, features subtle use of plate reverb. "Fake Plastic Trees" uses a single EMT 140 plate reverb, giving Thom Yorke's voice and the guitar tracks a dreamy, haunting quality that matches the emotional weight of the song.

9. Fleetwood Mac – "Dreams" (1977)

• Reverb Used: Lexicon 224 Digital Reverb.
• On Fleetwood Mac’s Rumours album, many tracks, including "Dreams," used the then-new Lexicon 224 digital reverb. It provided a consistent, smooth reverb that helped the vocals and instruments sit beautifully in the mix, enhancing the laid-back, spacious feeling of the song.

10. The Beach Boys – "Good Vibrations" (1966)

• Reverb Used: Western Recorders Echo Chambers.
• Brian Wilson of The Beach Boys often used only one reverb during the Pet Sounds and Smile sessions. "Good Vibrations" was recorded with the Western Recorders' echo chamber, which added a distinct warmth and depth to the sound, helping create the song's rich, layered feel.

11. Nirvana – "Smells Like Teen Spirit" (1991)

• Reverb Used: EMT 140 Plate Reverb.
• Produced by Butch Vig, Nirvana's breakthrough hit "Smells Like Teen Spirit" used a single plate reverb throughout the track. This reverb, especially on Kurt Cobain’s vocals, added a subtle ambient space to the otherwise raw and gritty recording, giving the track its larger-than-life energy.

12. The Rolling Stones – "Gimme Shelter" (1969)

• Reverb Used: Olympic Studios Echo Chamber.
• "Gimme Shelter" is known for its dark, atmospheric sound, in part due to the natural reverb of the echo chambers at Olympic Studios in London. The reverb, particularly on the backing vocals and Mick Jagger’s voice, creates a haunting, spacious vibe.

13. The Clash – "London Calling" (1979)

• Reverb Used: EMI TG12345 Reverb.
• On London Calling, The Clash used a consistent reverb on both guitars and vocals, often employing the EMI TG12345 mixing console’s built-in reverb unit. This gave songs like "London Calling" a cohesive, punchy but atmospheric feel, helping define the track's legendary sound.

14. The Doors – "Riders on the Storm" (1971)

• Reverb Used: Plate Reverb (Studio Reverb).
• In "Riders on the Storm," producer Bruce Botnick used a plate reverb to accentuate the song’s moody, eerie feel. The reverb on Jim Morrison’s vocals and Ray Manzarek’s electric piano helped create the stormy atmosphere that defines the track.

15. Adele – "Someone Like You" (2011)

• Reverb Used: Lexicon 480L Digital Reverb.
• Adele’s minimalist hit "Someone Like You" relies on a single reverb throughout, giving the piano and her vocal performance a stark, emotive quality. The Lexicon 480L reverb adds a slight depth without overwhelming the raw emotion in her voice.

16. Bill Withers – "Ain't No Sunshine" (1971)

• Reverb Used: EMT Plate Reverb.
• This classic soul track features a very subtle plate reverb, applied primarily to Bill Withers’ vocals, giving the song an intimate but slightly spacious feeling. The use of one consistent reverb emphasizes the raw emotion of the performance.

17. Portishead – "Glory Box" (1994)

• Reverb Used: EMT 140 Plate Reverb.
• Portishead’s Dummy album is characterized by its dark, atmospheric soundscapes. On "Glory Box," they used a single EMT 140 plate reverb to add depth and space to Beth Gibbons’ vocals, as well as the instrumental backing, creating the moody, cinematic sound the band is known for.

These examples showcase how the use of a single reverb can bring coherence and atmosphere to a song, creating a consistent mood and space for all elements to sit within.

 

Thank you for pointing out that this thread is not useless, because this post provides useful information. Unlike many of those posts which are telling us this thread is useless. ;)

I quoted "Heroes" here, because there is a preset recalling this track in Goodhertz MegaVerb. Can't tell if it is authentic (which of course more depends on the nature of the music it is used in), but I liked it.

 

Idk if I trust ChatGPT to know about the production process of said songs. Most of these examples seem like they're based solely on "X album was recorded in Y studio where there is a Z reverb", which is an oversimplification.

For example, Come Together has a slapback delay which is MUCH more characterizing of its sound. And we could sit here and discuss for days whether slapback is really a delay effect, or it's just a specific type of early reflection. One thing is for sure though, it doesn't have a "natural" sound.

Also, it says The Clash - London Calling was recorded with the EMI TG12345's built-in reverb. You know, the console at Abbey Road studios, used by The Beatles and Pink Floyd. The console that The Clash couldn't have used the reverb of, because not only it doesn't have a built-in reverb, but London Calling wasn't even recorded or mixed at Abbey Road.

The Doors - Riders on the Storm uses "Plate Reverb (Studio Reverb)"? Could it get any more vague? Oh let me guess, is it because it was recorded in their own rehearsal space and mixed at a long-defunct studio, therefore there isn't much information available online?

 

Again...thank you for pointing out
I somehow feel guilty not to question the information givin by ChatGPT, although knowing it better it was interesting reading it anyways...

 

Not the point. He is saying you can not have a "favorite reverb" because your favorite isn't perfect for every application; and as a result the thread is worthless. That doesn't change which you like the most, for whatever reason. The EMT140 is on so many of those result tracks, that it cannot be coincidence.

 

It's a " EMT 140 " --> Thanks triggerflipper for your comment about ChatGPT, things could get more fun in the future.

The 1957 production of the EMT plate marked a significant change in recording history, simplifying the process of affecting recorded sound while providing the engineer with a more versatile and customizable interface. Much like today’s convolution reverbs simultaneously provide convenience and complex control to reverb manipulation, the original EMT 140 plate established a consequential alternative to both spring reverbs and chambers.

Despite its roughly 600 pound weight, the EMT 140 plate provided a smaller solution to large echo rooms. Additionally, a remote controlled damping pad system allowed the engineer to adjust the reverb time, offering substantially more control than possible with a traditional chamber. The sheet metal plate is suspended from its frame by springs, a transducer mounted at the center of the plate drives movement, and returns consist of pickups mounted on the plate. While the 140 was originally available only in mono, EMT released a stereo model in 1961.

https://gearspace.com/gear/emt/140-plate-reverb?via=gear_post_link

 

And that's the danger of partial information.


People reading that, will probably tend to believe (one comment already reflects it), that indeed using one reverb was giving them any kind of great sounding productions.

Who recognizes the essential information missing in the answers ChatGPT gave?

The use of other tools like delays (which are more important anyway) or chorus to create depth.
Or the production side: recording rooms, recording techniques, to create ambience and space already during production.
Multi microphone techniques during recording and during mixing.


Every self defense can be turned into a murder, just by omitting the history before.
Good disinformation is 90% truth and only 10% lie. And these 10% lies can be omission.
But the result can be a 100% false believe.

 

Of course it's not a coincidence, up until the late 70s it was one of the few reverbs available on the market, so almost every studio had one.

Just like it's not a coincidence that almost all of the records that came in the 80s had Lexicon or Eventide reverbs : they were a much cheaper solution than having an echo chamber or a huge sheet of metal.

If there were as many choices back then as there are today, the EMT 140 would appear on much fewer records.

(don't get me wrong, I absolutely LOOOOOOOVE the sound of the EMT 140, I use different plate reverb plugins -but mostly Arturia's emulation- all the time )

Did you actually find that info somewhere, or is it just an assumption that "Studio reverb (plate reverb)" must be that?

I can't find any info on which reverb was used at Poppi studios. It's likely to be an EMT 140, but ChatGPT's answer is not much more than pulling a rabbit out of its ass

 

I spent an hour researching the internet. I found it in Gearspace.com Forum.
The EMT Hallplatte from 1964 --> http://www.hifimuseum.de/die-emt-140-hallplatte.html
"Riders on the Storm" by American rock band the Doors, released in June 1971 by Elektra Records.

The electro-acoustic special device for generating reverberation has been tried and tested in studios all over the world. The EMT reverberation plate behaves acoustically like a reverberation chamber - even in stereo. The reverberation time can be continuously adjusted manually or remotely from 1-4 seconds.

Spoiler: The History of Reverb

Echo chambers

The earliest artificial reverb effects were still empty rooms, but ones that were built and used specifically for their echo. The origins of echo chambers (also called reverberation rooms or chambers) can be traced back to the Universal Recording Studio in Chicago. During a recording session for "Peg o' My Heart" by The Harmonicats in 1947, Bill Putnam set up a loudspeaker and a microphone in the studio's bathroom. He recorded the sound that was reflected off the hard tiles and walls and then mixed this wet signal back with the dry, effect-free signal.

This basic idea was then reproduced outside the bathroom. Sunset Sound, Abbey Road, Capitol Studios and Motown are among the famous studios whose echo chambers provided the space in big hits. Just as the design of a concert hall determines a certain sound character, these echo chambers also produce a distinctive sound. The specific sound of many of these famous rooms has now been captured in appropriately named reverb plugins.

Plates

The earliest reverb devices to break away from a physical space were plate reverbs — although you still essentially need a dedicated room to use them.

In the video above, you can see and hear a plate reverb in action at Chicago's Electrical Audio studio. The plate reverb consists of a large metal plate suspended on brackets. An audio signal is sent to the plate, and the resulting signal is picked up by pickups. The sound reverbs through the metal sheet and slowly decays.

The EMT 140 was the first commercially built plate reverb. It was immediately popular because it was easy to use and offered more control than echo chambers. It also has a distinctive sound with a bright attack and a decay that gets darker as the volume drops. For this reason, "plate reverb" is now a common setting on a variety of digital pedals and reverb plugins.

However, real plates are the size of a small car and are sensitive to noise and vibration in their environment (which is why Electrical Audio's plate is stored in the basement of the studio). They can also be quite expensive on the vintage market. So for musicians who want to add reverb to their individual instruments, real plate reverb is completely impractical. This is where spring reverbs come in.

Early Digital Reverbs

In 1976, EMT took the experience it had gained with reverb plates and the smaller membrane-based EMT 240 and developed the EMT 250, the first digital reverb. With four levers and a row of knobs on a large, paper-shredder-like case, it looked completely different from later digital reverbs, but you could already adjust the reverb time, treat high and low frequencies with different amounts of reverb, and add other effects.

As digital outboard devices advanced, digital reverbs were increasingly found as rackmount units or as algorithms within multi-effects. Different units rose and fell in popularity as these digital reverbs helped define eras and mini-eras within popular music, just as the various types of analog reverb had done before.

https://reverb.com/de/news/the-history-of-reverb-the-effect-not-us