![]() ![]() ![]() They are "cool" and have a unique sound to them for when you want something interesting and different. ![]() These plates sound nice but they are a bit of a CPU pig, so definitely good for mix time when your latency might be bumped up a bit.Ībbey Road Chambers: I got this in the process of figuring out which FREE Waves stuff I wanted to get as a matter of purchasing something else. It actually sounds pretty nice to me.Ībbey Road Plates: I really like Plate reverbs on vocals and on snare drum especially to give it a special character. Fortunately, it was available decoupled from Sonar and I have it in Studio One. The BReverb plugin that I have left over from my Cakewalk stuff when it was included in their Sonar Platinum bundle. Lately, for things that JUST need a verb, I've been leaning to a few options: I used it on my latest cover on JUST the lead vocal and I think it sat well in the mix. Using them in tandem, in layers, and with the included delays and with the routing is where it's at. I wouldn't use one of those reverbs in a mix on its own, but really, the purpose of Epic isn't that. So if nothing else, Epic gets you a quick way to determining what you want. To accomplish the same with a combo of delays and reverbs quickly is a total pain. I did a review on my YouTube channel about this thing and where it really excels is in the workflow and the routing. I got Epic when it came out because it was cheap and pretty cool.įor Reverb on its own, I don't think it's great. And the "best" (a bit relative I know) sound I got was to just use reverb in the samples with a bit of short reflection ambience (I think it was some open surroundings IR like a forrest). ![]() I was actually playing with this a bit in my template as I just added VSL Synchron Strings Pro to that. Yeah thats what I do too! I was really surprised by EW Spaces 2. But in the end I stuck with my current setup. 2-3%.Īlso heard good things from LiquidSonics Cinematic Rooms Pro. The CPU is actually not hit that hard, each take approx. In my case this is done by Altiverb, but I am also a big fan of EW Spaces II.Īnyway, I usually layer 2 of these: one with a short reflection time, and with a longer to get a more realistic sound. Not so much a sound quality issue, but I like how the decay sounds on the convo's when you load a nice impulse response of the Disney hall, or 20th Century Fox' scoring stage for example. Visit his Instagram to find out more about his latest projects and performances, or go on Spotify to hear music that Jon has recorded on.Ericma2 wrote bastiaanmarcscholtemeijer wroteI do mostly orchestral stuff and prefer a convolution reverb over a logarithmic one. Visit Jon’s YouTube channel to find helpful music production guides and music-related content.Ĭurrently, Jon is recording and producing music out of his brand-new RED LINE RECORDING STUDIO in Monrovia, CA. He also visits music programs around the country as a conductor and clinician, including Cal Poly, Caltech, and the Primavera Fund in Philadelphia, PA. In addition to performing and recording, Jon has taught film scoring and composition courses at West Chester University of Pennsylvania and California State Summer School for the Arts (CSSSA). He has toured North and South America with Latin pop artists Gloria Trevi and Alejandra Guzmán, written and licensed music for Sundance-selected THE MORTIFIED GUIDE and numerous cable TV shows, produced horn arrangements for Splice and Magic Mike Live, and leads a Radiohead-meets-Jazz group called the RHJ Project. Jon Manness is a trumpet player, arranger, film composer, music producer, and band leader in Los Angeles. ![]()
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