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Berlin Studio - The Ultimate Reverb Test

xanderscores said:
I bought mine yesterday and tried it out for an hour or two with several instruments. To summarize my impression: It's amazing what it does to the signals. A few quick thoughts:

* It puts signals in a room. If you have samples that are not very "in the room", you can enhance this by using Berlin Studio. I wouldn't consider it to be a substitute for a dedicated reverb like Seventh Heaven or Cinematic Rooms.
* It smoothens transients to a degree that I didn't expect. You can throw in blaring trumpets, piercing piccolo, bells etc, it will all nicely be smoothened out. Very cool!
* What it doesn't do: It doesn't turn a close/spot mic signal into a tree mic signal. I tried it out with Synchron Brass instruments close mic only, it still sounded way too thin. Going in with Tree/main mics produced good results.
* I compared OT M. Ark samples spot mic only + Berlin Studio with the original spot+tree mix and it's actually quite close, but more muffled/muddied. To be fair, I didn't play around much with the EQ settings which Berlin Studio also has a lot of. I think you can edit the hell out of the signal with this, but I usually don't do EQing mic signals. I'm a composer after all. :)
* What was interesting to me: While it sounds amazing with plate bells, with horns, with timpani, I wasn't so overwhelmed by what it does to (synchron) woodwinds. I think I heard some not so nice resonances. Might be EQ-able though.
* To finish off with a real game changer for me: The synchron percussion with close and main mics put through Berlin Studio had a lot of presence and sounded wonderful. The timpani was just amazing!
* Didn't have time to try it with CSS. I can imagine it does wonderful things to strings. Maybe someone else here can tell about that.

Hope this helps some way or the other. Have a great weekend!
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Resonance is an interesting word to describe what you heard. Algorithmic reverbs can inherently produce resonances, but convolution-based reverbs not (there is no feedback). So, it must be something in the input or output that "stands out" - I am really curious, any kind of audio example would be cool (here, or via PM / email).

Have you checked some of the extremely dry sounds I have used in demos on the site?
If you pull the Dry channel all the way down, I cannot imagine that anything can remain "thin" :)
I also do not use EQ for those demos.

Cheers
 
portego said:
That's possible... As i remember it, this update broke the plugin for some DAWs. Would make sense that he crawled back with the version. But the next update should come soon as Peter stated in the other thread. Hold on 🫂
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It seems to be fixed with a re-write of the EQ processing.

But I wait for more results from a test group, before I rush out an update too soon ;-)
 
With apologies to Peter, but can anyone comment on the difference between Berlin studio and cinematic rooms? Obviously one is emulating teldex specifically... I’m in a position where I can afford one of these fine reverbs this Black Friday and am on the fence.
 
Peter Emanuel Roos said:
Resonance is an interesting word to describe what you heard. Algorithmic reverbs can inherently produce resonances, but convolution-based reverbs not (there is no feedback). So, it must be something in the input or output that "stands out" - I am really curious, any kind of audio example would be cool (here, or via PM / email).

Have you checked some of the extremely dry sounds I have used in demos on the site?
If you pull the Dry channel all the way down, I cannot imagine that anything can remain "thin" :)
I also do not use EQ for those demos.

Cheers
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Thank you for clarifying! I'm not a mixing engineer, so forgive my lack of vocabulary to describe accurately what I heard. And yes, I will definitely try out what you mentioned. You are right, I didn't take down the dry signal completely. Thanks & btw Congratulations, it's a great product!!
 
brett said:
With apologies to Peter, but can anyone comment on the difference between Berlin studio and cinematic rooms? Obviously one is emulating teldex specifically... I’m in a position where I can afford one of these fine reverbs this Black Friday and am on the fence.
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I hope others will reply, I am of course very "partial" - but at least: they are based on fundamentally different techniques (algorithmic versus convolution). Of course the sound should determine what your favorite reverb will be.
 
Peter Emanuel Roos said:
I hope others will reply, I am of course very "partial" - but at least: they are based on fundamentally different techniques (algorithmic versus convolution). Of course the sound should determine what your favorite reverb will be.
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Apparently cinematic rooms does involve convolution technology somehow. I don't understand what it is and I'm not sure it was explained at all by the developer but it's intriguing.
 
I have a lot of respect for Matt's work. I met him once, he is also a very nice guy, so cool to see how LS took off after he started with the first Reverberate versions.

No idea who is responsible for the marketing and website texts, but, as a user and developer, I often find them puzzling, confusing or intriguing. Like giving hints on modulation in some plugins that don't have it. Anyway, my educated impression was that CR is an algo reverb. Maybe a mix, then?

I do know that I would love to hire marketing and web design specialists like LS do!

Respect!
 
Peter Emanuel Roos said:
I have a lot of respect for Matt's work. I met him once, he is also a very nice guy, so cool to see how LS took off after he started with the first Reverberate versions.

No idea who is responsible for the marketing and website texts, but, as a user and developer, I often find them puzzling, confusing or intriguing. Like giving hints on modulation in some plugins that don't have it. Anyway, my educated impression was that CR is an algo reverb. Maybe a mix, then?

I do know that I would love to hire marketing and web design specialists like LS do!

Respect!
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I remember now he mentioned analyzing real rooms so i assume he samples those and tried to copy it? I don't know. But the guy who mentioned this here on VI-C mentioned the size of the download which indicated convolution. I just downloaded the windows installer and it's 132 mb and 150 mb for the pro version. It's not that big is it? :confused:
 
My Bricasti simulation plugin has a download size of 570 Mb, that is how big convo packages can quickly become with a serious number of presets.

It is hard to judge on the installer size alone, though. The plugin binary files can for instance contain a lot of graphics. And on Mac they typically contain two executables, one for Intel, one for Silicon.

My plugin binaries are 47 Mb (for Windows 28 Mb) - the rest is convolution content.
 
brett said:
With apologies to Peter, but can anyone comment on the difference between Berlin studio and cinematic rooms? Obviously one is emulating teldex specifically... I’m in a position where I can afford one of these fine reverbs this Black Friday and am on the fence.
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They are nothing alike.

Do you like the sound of Teldex and want to easily be able to place dry instruments into it? Get Berlin Studio.

Do you need a clean, high quality general purpose reverb that simulates rooms/halls/chambers? Get Cinematic Rooms.
 
Trash Panda said:
They are nothing alike.

Do you like the sound of Teldex and want to easily be able to place dry instruments into it? Get Berlin Studio.

Do you need a clean, high quality general purpose reverb that simulates rooms/halls/chambers? Get Cinematic Rooms.
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Thanks TP. I’m aware of the marketing blurbs! But one imagines CR is capable of placing dry instruments into a hall not too dissimilar to Teldex. How good is it at this role? Or is BS simply peerless when it comes to this sort of thing? Do you have both?
 
Loerpert said:
Did a comparison with Seventh Heaven.

I tried to mimic the Teldex sound as much as I could with SH. I posted a screenshot of the settings I used for each.

The instrument is Tingklik from Soniccouture.
I should also mention that Berlin Studio has much more options when it comes to instrument placement. The stage placement sounds very realistic and changing the mic positions can make a big difference as well.


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thanks for uploading,. How small can you make the room? Is it flexible enough for say folk instruments for example or only suited to orchestral stuff? There's not much info out there on it, looking forward to demoing when available
 
Obi-Wan Spaghetti said:
But the guy who mentioned this here on VI-C mentioned the size of the download which indicated convolution
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That was all random speculation in that thread based on a single probably mis-delivered sentence fragment in a SoS article, and contrary to what Matt himself has explained. CRP is algo. Many types of plugins use convolution for many reasons; CRP is not generating its reverb directly using recorded impulse resonses, but phase correlated reflections and algorithmic diffusion, so it is not a convolution reverb.
 
Peter Emanuel Roos said:
Panta rhei :-D

For my other plugin, the BM7 I wanted to make a very smooth stretching/shrinking of a convolving IR.
I was so pleased with it, that I decided to drop it into Berlin Studio as well.

Now I like the amazing shrinking / growing Teldex hall :-D

(there was also demand for this feature)
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I'm seriously thinking of getting the BM7. Any more comments you can share about it? I'm interested in how it stacks up to the original obviously and just some useful info. Thanks!
 
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brett said:
Thanks TP. I’m aware of the marketing blurbs! But one imagines CR is capable of placing dry instruments into a hall not too dissimilar to Teldex. How good is it at this role? Or is BS simply peerless when it comes to this sort of thing? Do you have both?
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I have both. While CRP does a better job of making the dry signal and the reverb gel together vs sounding like a reverb slapped onto a dry instrument than most reverbs do, it does still have that effect to a degree depending on the source signal.

Berlin Studio is a more convincing effect to my ears. The big contributor to this is having three mic perspectives and individual EQ Control per perspective.
 
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