RoomWorks doesn’t attempt to model any particular original circuitry, but does allow for detailed and intricate control over the generator, and gives a very clean sound that works well on a wide range of material, but that can be a bit lacking in character. This uses the conventional digital reverb generation technique of creating a large number of repetitions of the input signal, and sculpting these repetitions to create a natural tone and decay. The first of these is RoomWorks, which is included in Cubase Pro and available to buy from Steinberg’s store. Cubase tries to offer the best of all worlds, with three different approaches to reverb generation spread across four different plug-ins that come preloaded with the DAW. Thankfully, adding a bit of ’verb to a sound these days is a much less protracted affair, but not all reverb plugins work in the same way, and this has an impact on their relative strengths and weaknesses. Once upon a time, and not all that long ago really, if you wanted to add some reverb to a recording there was no option but to use a naturally reverberant space: Either you could perform the original recording within that space, or you could set up speakers to play a previously recorded sound into the space and microphones to capture the results. It pulls things together in a mix, giving a sense of coherence and space, and even if you’re creating a very dry, close-sounding mix, a touch of reverb is still almost unavoidable. Reverb is one of those effects that it’s hard to avoid.
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