Ironically, the public domain Bricasti is the best of the lot, but all of them are truly outstanding, serving up a wide range of breathtaking spaces and ambiences. In use, however, that rarely feels like a bad thing, and those eight Fusion-IR sets are very much the story here. The stripped-down interface is much more direct and easier to use than its supercharged cousin, making VerbSuite Classics thoroughly unintimidating and quick but obviously, the only emulation taking place is in the impulse responses themselves, with the homogenous control set enabling only basic sound shaping and offering none of the actual parameters found on the original hardware units. VerbSuite Classics is essentially a heavily reduced version of Reverberate 2. well, most, the BM7 does an incredible job of replicating the Bricasti M7, and is provided as a free expansion pack using the public domain LiquidSonics responses.

FG-6000 is the spatially convincing TC Electronic TC6000.

Sony's characterful DRE 2000 from 1981 is represented by FG-2000. FG-QRS is the rare and beautiful Quantec Room Simulator. FG-16X captures the versatile AMS Neve RMX-16 - instrumental in the sound of the 80s.įG-2016 brings the high-gloss Eventide SP2016 from 1982 to the modern DAW. FG-480 is the Lexicon 480, famous for its beautiful modulation and still considered by many to be the greatest reverb ever made. Fusion reactorīetween them, VerbSuite Classic's eight Fusion-IR libraries take in 40 years of digital reverbs, and although Slate doesn't name any, the names and sounds give the game away.įG-250 is the EMT 250, the world's first digital reverb, released in 1976. Gain, Dry/Wet mix and A/B comparison controls complete the picture, along with a modest library of presets. There's also a no-frills EQ, comprising a Low shelving band at 460Hz, a Mid bell at 3kHz, and a High bell at 12kHz - useful, but it would benefit immensely from the addition of low- and high- pass filters. For stereo widening and thickening, the Width knob adjusts the level of the M/S sides component, and the Chorus knob dials in a pitch-modulated, delayed signal. The Decay knob is then used to scale the length of the tail to anywhere from 25-130% of its original length, while the Attack and Predelay controls fade and offset the reverb by up to 150ms (to be raised to 350ms, we're told).

Valhalla room vs bricasti