Eventide Reverb 2016 Stereo Room Native Plug-In Details
Long used as an essential reverb for mixing hit records, the Eventide SP2016, while long discontinued, is still in use in places like Ocean Way. Now, the top favorite reverb algorithm from this sought after hardware box is now available for Pro Tools AAX, VST, and AU.
Creating a reverb algorithm is part art and part science.
The science bit is all about the naturalness of the sound - whether the simulation convincingly conveys the "feel" of a real room.
Some digital reverbs don't have the horsepower to run a sufficiently complex program to achieve "naturalness." Without enough processing power the effect will suffer from low echo density or unnatural density growth with time or comb filter effects, etc. As Einstein is alleged to have said "things should be as simple as possible, but no simpler." This principle certainly applies to reverb algorithms.
The art of reverb algorithm design begins with simulating a 'room' that actually sounds good. Needless to say, rooms exist in the real world that sound awful. The structure of the reverb algorithm combined with the choices of delay lengths, interconnects, filter placement, early reflections, etc. all contribute to the overall sound. The final element of the art of reverb design is the designer's choice of the ways in which, and the extent to which, the artist/engineer/producer is permitted to modify the effect. What are the parameters and what do they do?
The degrees of freedom available to the designer guaranty that no two (sufficiently complex) reverb algorithms will sound the same. Each will be unique. There are a number of popular digital reverberators for good reason. Each has a distinctive sound, each has a particular set of possibilities. The SP2016 reverbs have attracted a loyal user base because of a particular blend of art and science. They sound natural. They sound distinctive. And, although they allow the user to vary the effect dramatically, the controls can't be set in such a way as to create an unnatural sounding effect - this is a good thing.
The algorithms naturally simulate every aspect of the sound of a real enclosure - from the complex early reflections, to the natural way in which the echo density increases with time, to the smooth Gaussian decay of the reverb tail. A powerful simulation that lends itself to parametric control - a good thing indeed.
Native Pro Tools Users (Pro Tool 9, Pro Tools LE, Pro Tools M-Powered): The Eventide Omnipressor is NOT AVAILABLE in an RTAS version. It is only available in Pro Tools AAX format. Omnipressor TDM is available for Pro Tools HD users in the Eventide Anthology Bundle II.
Eventide Reverb 2016 Stereo Room Native Plug-In Features
- Natural and distinctive; unique sound
- Simple, intuitive parametric controls
- Complex early reflections
- Smooth decay tail
- Novel Position control for precise room placement
- Decay control sets the reverb time
- Predelay adds a delay before the reverb
- Diffusion alters the character of the space
- EQ block: corner frequency and gain controls
- Input gain control for precise level matching
- Kill button for quick effect audition
Eventide Reverb 2016 Stereo Room Native Plug-In Specifications
- Pro Tools AAX (Mac OSX 10.6 and up)(Windows 7)
- VST (no Mac OSX support) (Windows XP and Windows 7)
- AU (Mac OSX 10.5 and up) (no Windows support)
- Requires the use of an iLok 2 for operation. If you don't already own an iLok 2, then be sure to include one in your order.
- Mac OSX 10.5 (except for AAX), 10.6 and up (includes AAX support)
- Windows 7, Windows XP
What We Think - Eventide Reverb 2016 Stereo Room Review
"There is something really special about the Eventide Reverb 2016. Having used the Eventide Princeton Digital Reverb 2016, I was already very familiar with the algorithms included. Aside from the difference in sound of running through the hardware converters, the sounds contained herein are faithful and accurate (note that the Eventide Princeton Digital Reverb 2016 does have digital I/O which when used, effectively negates this difference).
The Reverb 2016 is a natural for drums - and this accurate assessment is especially reinforced by it's labeling as '2016 Stereo Room Reverb' in the plug-in list in my DAW. While it really adds a spacious and realistic front to back dimension to drum tracks, this is by no means a one trick pony. In fact, you will have little doubt of that fact once you take a look and listen at the presets offered up by industry giants such as Ross Hogarth, Joe Chiccarelli, and even George Massenburg, you'll realize just how legendary the original unit is. This unit really does everything from rooms to slappy/verby vocal washes, to faithful vocal chambers. It's definitely a tool for shaping the width of the signal produced as well.
Lastly, the price is nice for such a musical and important plug-in. No one reverb is going to do it all, as they all have their own nuances and character. So, dig in and find out what it can do for you. I pretty much guarantee you'll love it."
Alan Moon - Front End Audio
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