Tag Archives for " Exponential Audio "
If you grew up in the days of recording studios built around consoles and hardware, then you were probably used to using a Lexicon reverb. Although not the first digital reverb, the Lexicon 224 and subsequent versions became a must-have for every studio to have in its arsenal in no time, and we all grew to love its sound. Michael Carnes helped design and perfect these reverbs for Lexicon for 25 years before he began making reverb plugins with own Exponential Audio. The company already has some pretty cool reverb plugins, but Michael’s new R4 gives you the best features and character of those old hardware units at a very reasonable price.
The Exponential Audio R4 has a super amount of flexibility, allowing you to conjure nearly any reverb sound you can imagine, or it can be dead simple, with dozens of meaningful presets that can be easily searched for a quick solution to every situation. Among its many features (taken from its press release, which I couldn’t top) include:
I’ve been playing with the R4 for a while, and I can tell you that unlike many reverbs that you have to struggle with to make sit in the mix, this one just works with almost no hassle. Dial up a preset and you’re ready to go, or you can get as tweaky as you desire with all the available parameters if you want.
The Exponential Audio R4 reverb plugin is now available on all platforms for $299, with a free demo available. If you’re an Exponential customer already, there’s also a $150 discount available. Check out the product page for more details, as well as the excellent videos that explain the features of the R4 supplied by Groove3.
I really love Exponential Audio plugins because you get high performance effects that don’t require a ton of CPU power at a reasonable price. While the company’s existing plugins are very cool indeed, Exponential founder (and ex-Lexicon engineer) Michael Carnes has outdone himself this time with his new NIMBUS reverb, a true next-generation plugin.
NIMBUS takes the excellent sound and parameters of the company’s PhoenixVerb and gives it an injection of steroids, providing a host of new and useful features. For instance, there’s expanded EQ with 3 separate sections – one on the reverb tail, another on early reflections, and a new EQ on input. Each section allows you to select between 6 different types of filters (2 Lowpass, 2 Hi-pass, Bandpass and Notch). Thanks to these new EQs and filters, it’s easy to keep problem sounds like traffic and rumble out of the reverb, create different effects, or work around buildup in overused frequencies.
There’s also a very cool new dynamics process called Tail Suppression that helps lower reverb levels when the input signal is strong, so you never have to worry about having a vocal that’s too wet yet you can keep the lush reverb in the spaces in between phrases.
NIMBUS also provides a choice of several early reflection patterns, which I don’t ever remember seeing in another reverb. One of the patterns is a special ‘Vintage’ selection that has a very low density that helps to get the sound of some of those old hardware favorites that we all know and love. Another feature that I really like is that you can lock predelay and reverb delay to tempo, something that had to be done manually previously.
Finally, there’s a new Warp section that provides three different parameter sections. One is an input compressor/expander that provides variable attack, release and knee to allow you to control how the input feeds into the reverb. This can allow you to set how much reverb dynamically occurs during quiet passages, for example. Plus, it can even approximate the non-linear converters of 30-year-old hardware devices (Lexicon 224 anyone?).
Warp also has a flexible overdrive circuit that gives you the ability to add some nice sounding harmonic distortion or even a bit of transistor crud to get a sound closer to what real plates and chambers (the ones that use real analog amplifiers) sound like.
Finally, there’s a word-size reduction control that can help you emulate the sound of the convertor and DSP distortion from all those expense vintage reverb devices that we used to use back in the analog days.
The Exponential Audio NIMBUS Reverb plugin is available for Mac (10.8 and up) and Windows (7 and up), and in various plugin formats – VST and VST3 (64-bit only), AudioUnits (64-bit only), and AAX (32 and 64-bit) so it will play nice with just about any workstation that you use. Go here for all the details.
NIMBUS will be available at the end of September for $199, and you’ll be able to test-drive it for 21 days. You’ll find it at the Exponential Audio Online store.
I often get asked what plugins I regularly use, and even though I like to think that I’m pretty open minded about it, there are some that I keep coming back to. Here are my 10 go-to plugins, with a number of honorable mentions, in no particular order (even though they’re numbered).
1. Universal Audio 1176 – In my opinion, there’s never been a more versatile compressor created, either hardware or software. I’ll use it on drums, room, keys, guitars, bass, vocals – almost anything actually.
2. Universal Audio dbx 160 – Another favorite emulation, it gets used mostly on kick and snare, where it shines for the controlled punch it provides. Be sure to use a low compression ratio of 2:1 or even less.
3. Waves Schepes 1073 – What a fantastically versatile EQ! It’s also one of the few where I even use the presets and they work well (great job, Andrew!). I especially love it on kick and snare, but it will work everywhere else as well.
4. Universal Audio Maag EQ4 – I just love the Air band, which brings out the presence of almost any mic. Stick this sucker on a vocal and you’ll make that cheapie mic sound closer to a C12 than you might have imagined.
5. Exponential Audio PhoenixVerb – I loved the sound of the old Lexicon reverbs, and the PhoenixVerb has all that and more (company owner Michael Carnes spent 25 years working for Lexicon).
6. PSP Vintage Warmer – I use this on the mix buss of every mix. It just makes everything sound better, even without using too much of it.
7. PSP 2445 Reverb – One of my new favorites, it’s kind of a one-trick-pony reverb in that there’s not a lot of different algorithms to choose from, but that one trick always sounds great. The shortest decay settings are excellent.
8. Universal Audio SSL Buss Compressor – Once again, this is one that’s on the mix buss of virtually every mix I do. I’ve tried other plugins, but always come back to the SSL.
9. Universal Audio LA3 – For some reason, this is just the ideal electric guitar compressor. It even makes highly distorted guitars sound better.
10. Pro Tools Native 7 Band EQ – I use this more than just about anything, sometimes just to finish off the sound after another EQ was already applied. The good thing is that since it’s native, you can use a ton of them without eating up much computer processing power.
JST Finality – This is quickly finding it’s way into my top 10. Sound wonderful on kick, but I’m still finding other uses for it.
Universal Audio LA2A – I use this a lot of hat and vocal (usually in conjunction with an 1176).
PSP L’Rotary – This is the best Leslie speaker emulator ever, in my opinion. You won’t need this on every mix, but when you do, it always works.
Soundtoys Microshift – Whenever I need a Harmonizer sound, this is what I turn to. It’s one sound that just can’t gotten any other way.
I know the list leans heavily towards Universal Audio, but I’m can’t deny that I’m a big fan. The list of honorable mentions could have also gone on quite a bit longer, but then I would’ve been getting into plugs that I don’t use as regularly. Anyway, now you know what I use as go-to plugins, but keep in mind that if you check back in 6 months, the list may be completely revised.