In this video review Pro Tools Expert team member Dan Cooper takes a close look at Tverb by Eventide. Tverb is a reverb plug-in that recreates the vocal production technique used by Tony Visconti when Tony recorded David Bowie's lead vocal for Heroes.
The next generation of the H3000 plug-ins is now available for your DAW, featuring new modelling of the original H3000 Ultra-Harmonizer, faithfully capturing its magical sound.
In this article James Richmond shares his favourites from his plugin folder when he is producing music rather than wearing his post production hat. As well as some usual suspects there are a couple of interesting ones we don’t often discuss. Check it out.
With the immersive audio bandwagon showing no signs of slowing down any time soon, enterprising plugin developers are putting Dolby Atmos compatibility at the top of their effects specification lists. Here are a few of our current favourite examples…
A few engineers remember the days when real artificial reverb was either plate or spring-shaped. Now with the absolute dominance of modern digital reverb, here we remind ourselves of just how totally indispensable this modern mix marvel really is…
There are very few high-end reverb units from the last 50 years that aren’t still eminently effective and desirable today, so quality emulations of them are well worth having in your locker. Here are seven of the best.
The plugin landscape is awash with conventional delay plugins, serving up more tape echoes and ping-pongs than you could shake a stick at; but when it comes to elaborate, progressive delays for sound design and more expansive musical adventures, the field is considerably narrower. Here’s a quintet of options we think you should consider…
Eventide Audio has just unveiled the Split Essentials series, starting with two innovative plug-ins: DeBoom and Sheen Machine. These products build upon Eventide’s acclaimed SplitEQ technology, offering task-specific audio enhancement tools.
Join Nathaniel Reichman as he delves deep into these tools, testing their capabilities, and sharing his insights on how they can reshape the future of immersive sound production.
Once the reverb return has the effect of your choice across it, the fader or send is not the only way to control the reverb level. Here we outline how doing it dynamically with compression can be quicker and more agile.
Following the record production innovations that came in the 1960s and 1970s, the 80’s is arguably the place where technology was finally able to match the creative instincts of musicians and engineers. Here we list some of the era’s hallmark sounds and how to get them.