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Post by swurveman on Oct 1, 2016 8:32:14 GMT -6
I'm selling my Bricasti and a microphone that I don't use much for a SSL Sigma.
So, I'm looking at a Studio A room plugin -which was the setting I used most with the Bricasti- that has a realistic sound to replace it.
I have some Studio A options in my Lexicon 224 plug and my Waves plugs , but I'm looking for others as well. So, if anybody's got advice on a good studio room sound that can help glue instruments together so they sound like they're coming from the same room space I'd appreciate it.
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Post by joseph on Oct 1, 2016 9:36:14 GMT -6
Exponential audio Nimbus and Phoenix have realistic studio presets, with controllable early reflections.
If you have ilok you should also check out the beta of Relab's new reverb, which appears to be based on TC electronic VSS4. Great early reflections and realistic sound.
Beyond that, I like LX480 small and large wood rooms and was impressed with Eventide Tverb.
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Post by henge on Oct 1, 2016 11:24:55 GMT -6
Exponential audio Nimbus and Phoenix have realistic studio presets, with controllable early reflections. If you have ilok you should also check out the beta of Relab's new reverb, which appears to be based on TC electronic VSS4. Great early reflections and realistic sound. Beyond that, I like LX480 small and large wood rooms and was impressed with Eventide Tverb. Yeah that's pretty much what I was going to suggest! Also Reverberate's Bricasti presets have really nice Studio A's... |
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Post by Randge on Oct 1, 2016 11:36:02 GMT -6
IQ-Reverb by Hofa all the way here.
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Post by Randge on Oct 1, 2016 11:36:21 GMT -6
I have all the Bricasti files loaded into it as well.
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Post by swurveman on Oct 1, 2016 15:24:57 GMT -6
Thanks guys.
Anybody use the UAD Ocean Way Studios Plug-In?
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Post by Randge on Oct 1, 2016 18:34:38 GMT -6
Thanks guys. Anybody use the UAD Ocean Way Studios Plug-In? I use it and the 140 and 250 plugs sometimes. |
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Post by swurveman on Oct 2, 2016 8:26:30 GMT -6
Thanks guys. Anybody use the UAD Ocean Way Studios Plug-In? I use it and the 140 and 250 plugs sometimes. Thanks. I've got the UAD EMT 250 plate and the Lexicon 224 plugs. I haven't ever used the 250 with very small decay times to imitate a room. I use it mostly for vocals when I want more space/depth. I like the 224, but it modulates too much for what I usually do. I haven't really tested the convolution waters. I own the Waves IR-L and the Bricasti impulses. So, I'll check them out. I'll also demo the Hofa plug and the Nimbus, which appears to be an upgraded Phoenix. Should be interesting. It's weird going from a $3,500.00 reverb to approx. $150.00 convolution and/or plug in reverbs. It makes no sense intuitively that I could get near the quality, but I mix so many dense songs that hopefully I can get away with it. |
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Post by Johnkenn on Oct 2, 2016 9:27:15 GMT -6
Even tide Tverb is excellent for room sounds. My go to.
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Post by drsax on Oct 2, 2016 9:36:02 GMT -6
UAD Ocean Way is the best plugin room sound I've heard next to Bricasti. EA Nimbus is really nice but the Ocean Way rooms sound best to me for ultra realistic space from a plugin
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Post by thehightenor on Oct 2, 2016 9:43:23 GMT -6
I imagine the new VSS4 emulation from Relab will be excellent.
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Post by swurveman on Oct 2, 2016 11:09:00 GMT -6
I've got to tell you guys, unless I'm doing something wrong, I just loaded the Studio A Quad.wav Bricasti IR file from Samplicity into my Waves IR-1 and it is nowhere near as wide or high, or deep or clear.
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Post by forgotteng on Oct 3, 2016 18:54:54 GMT -6
I demoed the UAD Ocean Way and it was outstanding. I do use the 250 and there are a few "Studio" presets that I have used to good effect.
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Post by drbill on Oct 3, 2016 19:07:20 GMT -6
I've got to tell you guys, unless I'm doing something wrong, I just loaded the Studio A Quad.wav Bricasti IR file from Samplicity into my Waves IR-1 and it is nowhere near as wide or high, or deep or clear. When I auditioned a REAL Bricasti vs. the Bricasti IR's I had been using a couple of years, it took me about 30 seconds to start crying and pull out my checkbook. Crying cause my bank account was going to take a major hit. The M7 is more "alive" and.....well......alive sounding than the IR's. There are plugs that can approximate it, but nothing that can replace it. IMO... |
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Post by mrholmes on Oct 3, 2016 19:18:15 GMT -6
I've got to tell you guys, unless I'm doing something wrong, I just loaded the Studio A Quad.wav Bricasti IR file from Samplicity into my Waves IR-1 and it is nowhere near as wide or high, or deep or clear. When I auditioned a REAL Bricasti vs. the Bricasti IR's I had been using a couple of years, it took me about 30 seconds to start crying and pull out my checkbook. Crying cause my bank account was going to take a major hit. The M7 is more "alive" and.....well......alive sounding than the IR's. There are plugs that can approximate it, but nothing that can replace it. IMO... Sounds funny but there has been a live without the M7? Could you live without it and doing great work too? |
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Post by drbill on Oct 3, 2016 19:59:10 GMT -6
When I auditioned a REAL Bricasti vs. the Bricasti IR's I had been using a couple of years, it took me about 30 seconds to start crying and pull out my checkbook. Crying cause my bank account was going to take a major hit. The M7 is more "alive" and.....well......alive sounding than the IR's. There are plugs that can approximate it, but nothing that can replace it. IMO... Sounds funny but there has been a live without the M7? Could you live without it and doing great work too? Of course there was a life without it. I used to have a 480L and PCM 96, although both are gone now. I worked without a M7 for years. But at that point in time where you finally decide to demo one in your own room, on a mix you've been using Bricasti IR's on.... Well, you'd better have an empty credit card or some cash in the bank. I found it so much more alive and vibrant that that was it. I HAD to have one. We spend stupid amounts of cash on stuff that mostly only WE can hear. But I can hear it easily, and it told me I must buy it. Could I do great work without one? Of course. Do I want to do great work with out one? No way. It improves my mixes, makes me sound better than I am and it's a joy to use..... So why? It improves art. You can't put a price on that, and it's only money.  |
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Post by rowmat on Oct 3, 2016 20:12:20 GMT -6
We have a 480L and a friend has a Bricasti.
I'm trying to not think about a real M7 and just go with the IR's but threads like this are making me wonder.
After recording an acoustic trio using three KM84's and the Bock 251 through four SCA J99 Twin Servo's over the last two days I stuck with the 480L's 'Large Wood Room' preset as it generally works really well for acoustic material however I would like more variety when it comes to believable acoustic spaces especially for acoustic music.
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Post by tasteliketape on Oct 3, 2016 20:15:36 GMT -6
Drbill reply kinda sums up the whole why we buy analog gear period
At
Least for me
Drbill's answer should also be posted in the analog vs digital processing thread jmo
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Post by wiz on Oct 3, 2016 20:17:18 GMT -6
We have a 480L and a friend has a Bricasti. I'm trying to not think about a real M7 and just go with the IR's but threads like this are making me wonder. After recording an acoustic trio using three KM84's and the Bock 251 through four SCA J99 Twin Servo's over the last two days I stuck with the 480L's 'Large Wood Room' preset as it generally works really well for acoustic material however I would like more variety when it comes to believable acoustic spaces especially for acoustic music. The bricasti is certainly expensive. then again so is a lot of the really fine gear you have. if you want to put your close miced track "into" the space, bricasti. cheers Wiz |
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Post by rowmat on Oct 3, 2016 20:43:59 GMT -6
We have a 480L and a friend has a Bricasti. I'm trying to not think about a real M7 and just go with the IR's but threads like this are making me wonder. After recording an acoustic trio using three KM84's and the Bock 251 through four SCA J99 Twin Servo's over the last two days I stuck with the 480L's 'Large Wood Room' preset as it generally works really well for acoustic material however I would like more variety when it comes to believable acoustic spaces especially for acoustic music. The bricasti is certainly expensive. then again so is a lot of the really fine gear you have. if you want to put your close miced track "into" the space, bricasti. cheers Wiz I'm aware how the M7 excels at 3 dimensional spaces. It's just my bank balance is somewhat '2 dimensional' after purchasing the Bock 251 a few weeks ago.  Still always on the lookout. I just need to be aware that buying a used M7 that doesn't include the latest updates may not be such a saving over a new one. |
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Post by drbill on Oct 3, 2016 23:18:05 GMT -6
The bricasti is certainly expensive. then again so is a lot of the really fine gear you have. if you want to put your close miced track "into" the space, bricasti. cheers Wiz I'm aware how the M7 excels at 3 dimensional spaces. It's just my bank balance is somewhat '2 dimensional' after purchasing the Bock 251 a few weeks ago. Still always on the lookout. I just need to be aware that buying a used M7 that doesn't include the latest updates may not be such a saving over a new one. Hahaaaa! Amen to that. The good stuff always costs..... |
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Post by rowmat on Oct 4, 2016 3:49:03 GMT -6
I'm aware how the M7 excels at 3 dimensional spaces. It's just my bank balance is somewhat '2 dimensional' after purchasing the Bock 251 a few weeks ago. Still always on the lookout. I just need to be aware that buying a used M7 that doesn't include the latest updates may not be such a saving over a new one. Hahaaaa! Amen to that. The good stuff always costs..... So the question is in 20 years time can we sell all of our hardware and retire comfortably on the proceeds? Or will everybody be walking around with music streaming receivers embedded in their skulls and listening to music created by bots? 😕 |
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Post by swurveman on Oct 4, 2016 7:23:16 GMT -6
Sounds funny but there has been a live without the M7? Could you live without it and doing great work too? Of course there was a life without it. I used to have a 480L and PCM 96, although both are gone now. I worked without a M7 for years. But at that point in time where you finally decide to demo one in your own room, on a mix you've been using Bricasti IR's on.... Well, you'd better have an empty credit card or some cash in the bank. I found it so much more alive and vibrant that that was it. I HAD to have one. We spend stupid amounts of cash on stuff that mostly only WE can hear. But I can hear it easily, and it told me I must buy it. Could I do great work without one? Of course. Do I want to do great work with out one? No way. It improves my mixes, makes me sound better than I am and it's a joy to use..... So why? It improves art. You can't put a price on that, and it's only money. The thing about the Bricast is that, unless you're content with putting it on on Aux/Group track and sending to one instance, it is a workflow killer to use it on other sources. It takes time to bounce individual instruments (vocal) or groups of instruments (guitars) into plates and halls and if you have to edit something you have to do it again. I need to demo other Studio A type reverbs to see if others can get close to it. Good thing I can do it for free. I'm going to take a careful look at whether I can swing keeping the Bricasti. The samples I heard of the SSL Sigma-which prompted the Bricasti trade-in) have been impressive and the otb prefader compression aspect of it-which is unique to Summing Mixers- is a big deal for me, as well as being able to do otb parallel compression with hardware compresssors. I also want to take the next step and get some controllers with 16 faders so I can get more and more out of the box and more like I'm mixing on a console. So, there's the push and pull of "where am I getting the biggest bang for my buck" in all of this |
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Post by Martin John Butler on Oct 4, 2016 8:41:25 GMT -6
A long time back, I demo'd the UAD Lexicon 224 reverb, and the Relab XL480. I had a 3 plugs for $399 deal with UAD, so their 224 would cost me $133. The Relab was $400 then. I bought the Relab, so that has to tell you something. The Relab's HD algorithm's give you back some of that that sense of life and shimmer.
The Phoenix Verb was the most realistic room space I'd heard though, so if you want real, look that way. The exception here is the UAD Ocean Way. It really puts you in that room. The thing is, I see it as a re-room, same way you can re-amp an electric guitar. I put all my instruments into the Ocean Way on a bus, and move them forward or back with the level. It just sounds like a room though, not like a Hall on a Bricasti.
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Post by drbill on Oct 4, 2016 9:55:52 GMT -6
Of course there was a life without it. I used to have a 480L and PCM 96, although both are gone now. I worked without a M7 for years. But at that point in time where you finally decide to demo one in your own room, on a mix you've been using Bricasti IR's on.... Well, you'd better have an empty credit card or some cash in the bank. I found it so much more alive and vibrant that that was it. I HAD to have one. We spend stupid amounts of cash on stuff that mostly only WE can hear. But I can hear it easily, and it told me I must buy it. Could I do great work without one? Of course. Do I want to do great work with out one? No way. It improves my mixes, makes me sound better than I am and it's a joy to use..... So why? It improves art. You can't put a price on that, and it's only money. The thing about the Bricast is that, unless you're content with putting it on on Aux/Group track and sending to one instance, it is a workflow killer to use it on other sources. It takes time to bounce individual instruments (vocal) or groups of instruments (guitars) into plates and halls and if you have to edit something you have to do it again. I need to demo other Studio A type reverbs to see if others can get close to it. Good thing I can do it for free. I'm going to take a careful look at whether I can swing keeping the Bricasti. The samples I heard of the SSL Sigma-which prompted the Bricasti trade-in) have been impressive and the otb prefader compression aspect of it-which is unique to Summing Mixers- is a big deal for me, as well as being able to do otb parallel compression with hardware compresssors. I also want to take the next step and get some controllers with 16 faders so I can get more and more out of the box and more like I'm mixing on a console. So, there's the push and pull of "where am I getting the biggest bang for my buck" in all of this I use it the same way I would on a console. Instantiated as an insert on an aux return with aux sends on individual mix elements feeding it. no compromise vs. a console. Same workflow. |
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