OUR PART # REVERB-BUNDLE
The Overloud Reverb Bundle offers a complete solution for any reverberation needs that may come up in a production environment. BREVERB 2 offers a wide selection of ambient spaces such as hall, room, plate, and inverse reverbs, while SpringAge focuses on spring reverb tones, and REmatrix offers multilayer convolution reverb to create unique spaces unavailable with other plugins.
With Overloud's BREVERB 2 you have the sound of more than 50 ambient spaces at your fingertips, with all ambience settings carefully crafted by Overloud engineers who referenced the preferred room and ambience choices of top sound designers.
These ambient spaces cover a wide range of applications from mixing to post-production, and many of them are optimized for a particular instrument, from drums to vocals to guitars etc.
SPACES algorithms are designed to meet the extremely high demands of audio professionals like you; today, as well as tomorrow. Created to complete the BREVERB palette, the SPACES algorithms are tailored to the mixing needs of any modern recordings.
You are free to control up to 38 parameters to create your own unique room sound, or if you are on a tight deadline, you can use Overloud's comprehensive library of presets, designed by top-notch sound engineers.
The preset manager has been completely redesigned with a dedicated area on the plugin interface, separate from the knob space, to have your sound library always handy. You can easily create categories to organize your presets however you choose, and with the multilevel undo/redo feature, you can keep track of the history of the changes you make to your settings. Plus, you can import, export, and share your presets with just one click.
BREVERB 2 features a SOURCE reverb algorithm, which allows you to set the 3D position of your sound sources and create life-like panoramas in your mix with a simple click on the graphic interface..
The SOURCE algorithm is the ideal tool for post-production, as you can separately design the early reflections and reverberant field, with full control over any parameter. Additionally, through automation you can have real-time control of the position of the sound source and create apparent movement of the sound sources.
Based on a mixed convolution and algorithmic technology, Overloud SpringAge can give the advantages of the two worlds. If you have never been able to get the real tone and dynamic of a spring reverb out of a plugin, then you need to check it out.
With three spring models, taken from the most standard and acclaimed vintage and modern gears, SpringAge always gives you the perfect tone on any kind of instrument, ranging from guitars to vocals, keyboards and synthesizer. Your recordings will have that vintage and dynamic reverb tone, that you cannot get from a digital reverberation unit.
With SpringAge's unique simulation engine, you can start from the original tone of the spring and creatively modify it by changing any characteristic of its response. You have the flexibility of an algorithmic reverb with the fidelity of a convolution-based reverb.
SpringAge offers three top-quality spring models; the AQTX is the most classic spring, making it well-suited for guitar and vocal tracks. The S201 is perfect for any keyboard, synth and lead instrument, while the ANGEL is well-rounded enough to put on any track for that extra "sparkle."
REmatrix multilayer convolution reverb features five individual convolvers and an effect chain working together to create complex and unique spaces that cannot be obtained with any other tool. The five convolvers work simultaneously and in parallel without any phase issues. You can build your own impulse response (IR) by summing five separate IRs, offering an all new level of customizability inside the reverb. Each of the five IRs can be adjusted using multiple parameters while additional filters offer further tonal control. Furthermore, REmatrix has six Master Effects to refine the reverb's sound and fit the needs of your final mix.
Unlimited Tonal Flavors
The fastest way to use REmatrix is by starting with the provided presets and customizing them by balancing the IRs to fit your needs through the five main faders. Creating presets with REmatrix is easy and, through a new perspective, it brings you to a new level of control: for example, start with one of the HALL IRs. Make it more interesting by adding a narrower ROOM IR to improve the stability in the mono part, Then add a PLATE IR with a slightly enlarged stereophony to add a pleasant and musical wide-decay. By taking that same preset and adding an EARLY IR we can add greater incisiveness, as well as adding a SPECIAL IR can give an unprecedented three-dimensional character to the final reverb.
Master Effects Section
Once the desired balance of IRs has been reached you can inject additional life to the five static convolvers by using the modulation (MOD) control. Add more character through the DRIVE and compression (COMP) effects and replicate what happens during a mix session when the room mics get compressed.
The algorithmic reverb (REV), based on the well-known Overloud BREVERB 2 algorithms, is an indispensable tool to ensure the tails always remain natural and musical, even when using extreme settings. The reverb, then, should generally be used to integrate the convolvers tgoether.
The DELAY, like the REV, is applied to the sum of the IRs. They're the ideal tools to create an abundance of space and greatly expand the tonal possibilities and usability of REmatrix.
Full Control Over Each IR
Each one of the five IRs can be fully customized using the Extended Controls. There are two fully Parametric Equalizers, EQ1 and EQ2. Then there is the PAN control for stereo positioning and the STEREO control to adjust overall width of the soundstage.
Next the LENGTH control adjusts the duration of the IR. (Note that the IRs of the REmatrix libraries can be either shortened or lengthened. This ability makes the use of REmatrix both very flexible and very quick). At the bottom of the panel is the DELAY control which can insert a delay before the initial processing of the IR. Using the delay you can adjust the response times of the loaded IRs and manipulate the combination of sounds that make up this new simulated environment.