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Spaces or Seventh Heaven

ManicMiner

in the Skylab landing bay
FF Pro-R is very good, and extremely transparent. I use it whenever I need to give a sense of space without actually noticing it. It's definitely a great all-around reverb too!
But you'd hesitate to use it for larger spaces ?
 

Parsifal666

I don't even own a DAW, I'm just a troll.
What are peoples opinion on Valhalla Room? I've heard of a few people using it for orchestral, - it even featured on a Christian Henson reverb comparison video.
Valhalla's stuff is uniformly great, but both Vintage and Room are standouts imo. Ubermod is another.
 

Henu

Senior Member
But you'd hesitate to use it for larger spaces ?
Not necessarily, it's completely depending on which kind of larger spaces you're after. You can get pretty much everything out of it, but for some tasks you may want a bit more "vibe". It's extremely versatile and can most likely give you any sort of results you need, so I'd strongly suggest to download a demo and try it out yourself!
 

ghobii

Active Member
I recently was shopping for a go-to reverb, and eventually narrowed it down to Pro-R and Illusion. Both were equally good, with their own sonic flavor, but I liked the workflow of the Pro-R a little better. I already own Blackhole, and both of these reverbs can do things in that territory as well, though I find Blackhole the easy winner in these cases.
 

Parsifal666

I don't even own a DAW, I'm just a troll.
I second that Pro-R nomination, though I use Spaces more. Because of @Henu's post I realized that I use the Pro-R mostly for my chamber music compositions. Not sure why, you can get a really good hall sound out of it.

Maybe Spaces made me lazy, the presets can at times make things too easy.
 

Ganvai

Active Member
I have to admit that I don't really get the fuzz about Spaces. Don't get me wrong, it's a nice reverb that seems to do it's job, but it seems I am missing the great jump of quality that everybody seems to see in it.

That said, I would go for Seventh Heavens. I have the lite version and it's pretty good, at least coming closest to what I would call a "Bricasti" vibe in a VST FX. Still, this is also not a wondermachine and can't step up to a real Bricasti, but well, it costs just a fraction of the hardware, so I guess someone could make yoursel a deal.

@ManicMiner :
Valhalla Plugins sound great and are cheap as hell, and if you like the Character they have, you can definetly go for them.
 
I want to share some things relating to sound and reverb.
Many years ago I was having endless problems making good mixes. Eventually I figured out it was my room. But during that time I was also struggling with reverb. I bought the Sony 777 sampling reverb which helped a bit, but didn’t fix my bigger sound issue. The point here is I got obsessed with sound quality.

The Sony reverb sounded better than other reverbs. But that didn’t mean it was better. It looked sexy as hell though. The limited impulses available were really nice but not real world/work tested. I never loved any of the halls. They were all very good but somehow never made an orchestra sound amazing or like a Hollywood recording.

As time went on and I became more skilled, I started using various reverbs, impulses from altiverb and that Wizoo reverb to get the kind of sound I needed. Still not totally happy but Hamburg Cathedral from Wizoo was stellar.

When we recorded EWQLSO I impulsed Benharoya using Keith Johnson’s mic setup and my Sony 777 sampling reverb. Those impulses were very good and it made me realize that I was onto something. The gear used to impulse a location was very important.

After sampling some locations and doing some tests, I realized that the impulse playback software actually matters. My impulses sounded better in Space Designer than in Altiverb. Altiverb is a sound quality crusher. Sorry, it just is. Play back an impulse 100% wet and you hear what it really sounds like. They make concessions so you can edit the hell out of the impulse. Altiverb needs a process bypass button.

During my time creating Spaces 1, I made some discoveries, but the most important thing for me was to use a rig similar to what they were using at Sony to record film scores. Big warm and clear. I got better as I went along, which is why there are a few turds in Spaces 1 and the So Cal Hall came out really well. (It was my final session)

I think my most important epiphany though was concerning early reflections. I realized that if you want the sound to sound like it’s truly in a space, you need a certain amount of early reflections. It connects the dry to the wet. This is why many of us were using TODD AO impulses along with lexicon or Hall impulses. TODD AO gave you that. It drew the sound into a bigger space. That’s what led me to my speaker array idea. Shoot the sound up and out into the Hall and you get a completely different impulse. It’s a much thicker sound with the room of the stage blending into the bigger space. Eventually I settled on firing the sound out to emulate the way each instrument or section fires sound. This way you get ER in various degrees. French horns firing backwards and percussion firing up and out would have the most ER.

Reverb is a tough nut. It’s so hard to really hear it. I recommend ALWAYS listening to it 100% wet so you know what you are adding to the mix. If we are talking about filmscore type stuff, no one has done more than me to try and make the ultimate reverb for that. When people say that Spaces just works I smile. That was my goal and is the ultimate complement. You should never have to touch a knob besides wet. I am a reverb nut and I have drawn on some of the best ideas from smart people to make Spaces. But really it’s mostly about finding good locations and getting a good balance of early reflections.
 

Brian2112

Active Member
Love Spaces 2, all the Valhalla stuff, Sparkverb, and.....
Melda Mturbo Reverb for “Roll your own stuff” (doesn’t get enough love if you ask me).
 

ChristianM

Active Member
I want to share some things relating to sound and reverb.
Many years ago I was having endless problems making good mixes. Eventually I figured out it was my room. But during that time I was also struggling with reverb. I bought the Sony 777 sampling reverb which helped a bit, but didn’t fix my bigger sound issue. The point here is I got obsessed with sound quality.

The Sony reverb sounded better than other reverbs. But that didn’t mean it was better. It looked sexy as hell though. The limited impulses available were really nice but not real world/work tested. I never loved any of the halls. They were all very good but somehow never made an orchestra sound amazing or like a Hollywood recording.

As time went on and I became more skilled, I started using various reverbs, impulses from altiverb and that Wizoo reverb to get the kind of sound I needed. Still not totally happy but Hamburg Cathedral from Wizoo was stellar.

When we recorded EWQLSO I impulsed Benharoya using Keith Johnson’s mic setup and my Sony 777 sampling reverb. Those impulses were very good and it made me realize that I was onto something. The gear used to impulse a location was very important.

After sampling some locations and doing some tests, I realized that the impulse playback software actually matters. My impulses sounded better in Space Designer than in Altiverb. Altiverb is a sound quality crusher. Sorry, it just is. Play back an impulse 100% wet and you hear what it really sounds like. They make concessions so you can edit the hell out of the impulse. Altiverb needs a process bypass button.

During my time creating Spaces 1, I made some discoveries, but the most important thing for me was to use a rig similar to what they were using at Sony to record film scores. Big warm and clear. I got better as I went along, which is why there are a few turds in Spaces 1 and the So Cal Hall came out really well. (It was my final session)

I think my most important epiphany though was concerning early reflections. I realized that if you want the sound to sound like it’s truly in a space, you need a certain amount of early reflections. It connects the dry to the wet. This is why many of us were using TODD AO impulses along with lexicon or Hall impulses. TODD AO gave you that. It drew the sound into a bigger space. That’s what led me to my speaker array idea. Shoot the sound up and out into the Hall and you get a completely different impulse. It’s a much thicker sound with the room of the stage blending into the bigger space. Eventually I settled on firing the sound out to emulate the way each instrument or section fires sound. This way you get ER in various degrees. French horns firing backwards and percussion firing up and out would have the most ER.

Reverb is a tough nut. It’s so hard to really hear it. I recommend ALWAYS listening to it 100% wet so you know what you are adding to the mix. If we are talking about filmscore type stuff, no one has done more than me to try and make the ultimate reverb for that. When people say that Spaces just works I smile. That was my goal and is the ultimate complement. You should never have to touch a knob besides wet. I am a reverb nut and I have drawn on some of the best ideas from smart people to make Spaces. But really it’s mostly about finding good locations and getting a good balance of early reflections.
All right, but, what a shame that only SoCal has all instruments for the orchestral (Spaces 2) ...;)
 

star.keys

Active Member
I want to share some things relating to sound and reverb.
Many years ago I was having endless problems making good mixes. Eventually I figured out it was my room. But during that time I was also struggling with reverb. I bought the Sony 777 sampling reverb which helped a bit, but didn’t fix my bigger sound issue. The point here is I got obsessed with sound quality.

The Sony reverb sounded better than other reverbs. But that didn’t mean it was better. It looked sexy as hell though. The limited impulses available were really nice but not real world/work tested. I never loved any of the halls. They were all very good but somehow never made an orchestra sound amazing or like a Hollywood recording.

As time went on and I became more skilled, I started using various reverbs, impulses from altiverb and that Wizoo reverb to get the kind of sound I needed. Still not totally happy but Hamburg Cathedral from Wizoo was stellar.

When we recorded EWQLSO I impulsed Benharoya using Keith Johnson’s mic setup and my Sony 777 sampling reverb. Those impulses were very good and it made me realize that I was onto something. The gear used to impulse a location was very important.

After sampling some locations and doing some tests, I realized that the impulse playback software actually matters. My impulses sounded better in Space Designer than in Altiverb. Altiverb is a sound quality crusher. Sorry, it just is. Play back an impulse 100% wet and you hear what it really sounds like. They make concessions so you can edit the hell out of the impulse. Altiverb needs a process bypass button.

During my time creating Spaces 1, I made some discoveries, but the most important thing for me was to use a rig similar to what they were using at Sony to record film scores. Big warm and clear. I got better as I went along, which is why there are a few turds in Spaces 1 and the So Cal Hall came out really well. (It was my final session)

I think my most important epiphany though was concerning early reflections. I realized that if you want the sound to sound like it’s truly in a space, you need a certain amount of early reflections. It connects the dry to the wet. This is why many of us were using TODD AO impulses along with lexicon or Hall impulses. TODD AO gave you that. It drew the sound into a bigger space. That’s what led me to my speaker array idea. Shoot the sound up and out into the Hall and you get a completely different impulse. It’s a much thicker sound with the room of the stage blending into the bigger space. Eventually I settled on firing the sound out to emulate the way each instrument or section fires sound. This way you get ER in various degrees. French horns firing backwards and percussion firing up and out would have the most ER.

Reverb is a tough nut. It’s so hard to really hear it. I recommend ALWAYS listening to it 100% wet so you know what you are adding to the mix. If we are talking about filmscore type stuff, no one has done more than me to try and make the ultimate reverb for that. When people say that Spaces just works I smile. That was my goal and is the ultimate complement. You should never have to touch a knob besides wet. I am a reverb nut and I have drawn on some of the best ideas from smart people to make Spaces. But really it’s mostly about finding good locations and getting a good balance of early reflections.
It is amazing that we could buy your extensive research-led robust product that works straight out of the box at such low price point. When spaces II was released, I upgraded without bothering to try first
 

star.keys

Active Member
I want to share some things relating to sound and reverb.
Many years ago I was having endless problems making good mixes. Eventually I figured out it was my room. But during that time I was also struggling with reverb. I bought the Sony 777 sampling reverb which helped a bit, but didn’t fix my bigger sound issue. The point here is I got obsessed with sound quality.

The Sony reverb sounded better than other reverbs. But that didn’t mean it was better. It looked sexy as hell though. The limited impulses available were really nice but not real world/work tested. I never loved any of the halls. They were all very good but somehow never made an orchestra sound amazing or like a Hollywood recording.

As time went on and I became more skilled, I started using various reverbs, impulses from altiverb and that Wizoo reverb to get the kind of sound I needed. Still not totally happy but Hamburg Cathedral from Wizoo was stellar.

When we recorded EWQLSO I impulsed Benharoya using Keith Johnson’s mic setup and my Sony 777 sampling reverb. Those impulses were very good and it made me realize that I was onto something. The gear used to impulse a location was very important.

After sampling some locations and doing some tests, I realized that the impulse playback software actually matters. My impulses sounded better in Space Designer than in Altiverb. Altiverb is a sound quality crusher. Sorry, it just is. Play back an impulse 100% wet and you hear what it really sounds like. They make concessions so you can edit the hell out of the impulse. Altiverb needs a process bypass button.

During my time creating Spaces 1, I made some discoveries, but the most important thing for me was to use a rig similar to what they were using at Sony to record film scores. Big warm and clear. I got better as I went along, which is why there are a few turds in Spaces 1 and the So Cal Hall came out really well. (It was my final session)

I think my most important epiphany though was concerning early reflections. I realized that if you want the sound to sound like it’s truly in a space, you need a certain amount of early reflections. It connects the dry to the wet. This is why many of us were using TODD AO impulses along with lexicon or Hall impulses. TODD AO gave you that. It drew the sound into a bigger space. That’s what led me to my speaker array idea. Shoot the sound up and out into the Hall and you get a completely different impulse. It’s a much thicker sound with the room of the stage blending into the bigger space. Eventually I settled on firing the sound out to emulate the way each instrument or section fires sound. This way you get ER in various degrees. French horns firing backwards and percussion firing up and out would have the most ER.

Reverb is a tough nut. It’s so hard to really hear it. I recommend ALWAYS listening to it 100% wet so you know what you are adding to the mix. If we are talking about filmscore type stuff, no one has done more than me to try and make the ultimate reverb for that. When people say that Spaces just works I smile. That was my goal and is the ultimate complement. You should never have to touch a knob besides wet. I am a reverb nut and I have drawn on some of the best ideas from smart people to make Spaces. But really it’s mostly about finding good locations and getting a good balance of early reflections.
Your brain is clearly reflected behind all your products. It is that out of the box sound and instant results which sets these apart from the rest
 
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