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Sooo many reverbs but which one would you prefer for orchestral use?


Active Member
I think you'll find most professionals are sneaking in Vallahala when using reverb plugins. If you have dry samples? Be sure to check out Eventide's Stereo Room as well. I use a combination of the two and sometimes a little Virtual Sound Stage- great results!


Senior Member
What's with seventh heaven. Not good for orchestra ?
I think it depends on what you want to achieve. I just found personally I prefer the sound of Spaces with traditional orchestral pieces as it seems more realistic to me. But other could have different a different experience.


I mainly (own most) use three verbs -

1. Reverberate 2 (best all around for or orchestral/natural spaces)
2. Waves Abbey Road Plates (Beautiful Sound)
3. UAD 224 (My favorite ambient verb)

Most often I just use Reverberate 2 but sometimes I’ll set up three busses and set each verb to be short, medium and long. So Reverberate will have no predelay and a short tail, Abbey Road Plates will have some predelay and a medium tail and then the 224 will have the longest predelay and the longest tail. This way I can combine them and dial in the verb I want for each instrument. The downside is it take a lot of CPU (Abbey Road Plates) on top of all my tracks and Kotakt/Komplete Kontrol instances.


Active Member
My Bricasti M7 for dry stuff. Valhalla Room is the current flavor of the month for samples with baked-in verb.


New Member
Does anyone have a dry mix they'd be willing to share to try running through different reverbs?

I've been using Slate's Verbsuite but I'm trialing Seventh Heaven to compare them. They may use the same IR's but Verbsuite sounds very different out of the box--a few db louder overall and the bass is much more pronounced


Active Member
Everything has its strengths, I say. For me, its less about whether a sound is orchestral and more about how the recording interacts with the reverb. Unless your recordings/samples are done in an anechoic chamber, there's probably some kind of reflection in there, and it's tough to predict.

Of the reverbs I own:

Seventh Heaven Pro:
my favorite all-round reverb at the moment, and the only one I own that can convincingly put a wide array of dry samples into small spaces. Usually, it's a battle to get small fake rooms to sound natural, especially with percussion, but seventh heaven does it wonderful, albeit at a cpu cost. The early/late balance, combined with mix (or your send level) and predelay, actually does a really effective job at positioning a source. When I bought this, I was expecting to use it in the ways you might a bricasti, but I'm surprised by how much I like it for...well, everything. I've been using an instance of Precedence on dry instruments to put them in their place before being sent to a group SH instance.

Lexicon PCM Native:
Great tails in the RandomHall. I have one of these per stem lately. I don't really use it for positioning, but vary the send level and predelay sent from each subgroup, depending on how far away they're supposed to be. I make sure everything has a least a little of the lexicon though, since its whole purpose is to glue. I turn the ERs off entirely. I keep trying the non RandomHall options, but can't find a place for them.

Breeze 2:
I like this and I think there's a lot of merit to the one-instance-per-source method and the randomness you can introduce with it, but it takes some effort to get it to sit with sources already recorded in a space. This is true with a lot of algorithmic ERs. When the precedence integration is finished, I might change my tune.

Easier to dial in than breeze, and with a much more elaborate set of frequency and decay tools. That said, I also feel like I have less control over the "taps" themselves somehow, which makes it very much a "take it or leave it" kind of sound. If you don't like the way their small room sounds on your percussion, there are a few knobs you can fiddle to alter it a bit, but you're kinda stuck in that range. I really like the distance knob though!

Reverberate 2:
I kinda think of it as an inferior version of Seventh Heaven nowadays, but it still has its uses. It's the most flexible convolution engine I've seen, and the ADSR alone can be used in creative ways. Don't use it much for positioning or realism these days, but it's there when weird convolution stuff needs to be done.

Valhalla Vintage Verb:
My go to "make short sound into long sound, no time to explain" reverb. It was the only algorithmic reverb I owned for a long time, and it did just fine.

Valhalla Shimmer
It does what it's supposed to. I don't use it much, but that's not its fault.

Spaces 1:
I stopped using this a while ago. Lack of control made it tough to justify against other options. LiquidSonics' Fusion IRs kinda broke traditional "static" convolution for me in general.
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I Compose With My Ears
My go-to is Valhalla Room for orchestral work.
In addition, I also use Spaces ll or Altiverb, Lexicon PCM Native and Eventide.


Senior Member
I'm all for a come-one-come-all thread, but I guess the choice of reverb varies pretty dramatically with the type of music and style of music you're recording or mixing.

If it's a dreamy, other-worldly exotic sound you want, that's one thing. If you want a drum kit that is taking your head off, that's obviously quite another.

So not to, ahem, direct, but it would be helpful if commentators specified the purpose / application they have in mind when making recommendations, as an aid to others.

[edit: I do realise there's a reference to "orchestral" in the title of the thread, but some recommendations here don't seem anchored in that sphere.]
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Senior Member
I use to use convolution reverbs from Peter Emanual Roos. I really thought they where wonderful. Something about the way he does convo verb that hasn't really been duplicated by others.

Some years ago though I got tired of strictly convo reverbs so switched to Algo verbs. I really like Valhalla Room and use it almost exclusively.

Thanks to this thread though I got interested in the hybrid approach. The 7th Heaven reverb sounds really, really nice. I mean like the best of both worlds nice.


Senior Member
Here's CSS ensemble patch with Altiverb

Sounds really nice. The only thing with convo reverbs that I don't like is that there's this cloudiness or build up that is the sonic equivalent of a cloud of smoke. But on the other hand I can really hear that gorgeous hall.


Active Member
Sounds really nice. The only thing with convo reverbs that I don't like is that there's this cloudiness or build up that is the sonic equivalent of a cloud of smoke. But on the other hand I can really hear that gorgeous hall.
I actually used 1 Altiverb with Todd AO + one with a Bricasti IR, so the cloud of smoke might be my fault ;)


Senior Member
When watching Christian's reverb comparison videos, it seems that they all can get the job done and more expensive doesn't always sound that much better when doing a blind taste test.

That said, I use Pro-R on almost everything, the interface makes it easy for me to adapt to my needs.
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