well, most, the BM7 does an incredible job of replicating the Bricasti M7, and is provided as a free expansion pack using the public domain LiquidSonics responses. FG-6000 is the spatially convincing TC Electronic TC6000. Sony's characterful DRE 2000 from 1981 is represented by FG-2000. FG-QRS is the rare and beautiful Quantec Room Simulator. FG-16X captures the versatile AMS Neve RMX-16 - instrumental in the sound of the 80s.įG-2016 brings the high-gloss Eventide SP2016 from 1982 to the modern DAW. FG-480 is the Lexicon 480, famous for its beautiful modulation and still considered by many to be the greatest reverb ever made.
Fusion reactorīetween them, VerbSuite Classic's eight Fusion-IR libraries take in 40 years of digital reverbs, and although Slate doesn't name any, the names and sounds give the game away.įG-250 is the EMT 250, the world's first digital reverb, released in 1976. Gain, Dry/Wet mix and A/B comparison controls complete the picture, along with a modest library of presets. There's also a no-frills EQ, comprising a Low shelving band at 460Hz, a Mid bell at 3kHz, and a High bell at 12kHz - useful, but it would benefit immensely from the addition of low- and high- pass filters. For stereo widening and thickening, the Width knob adjusts the level of the M/S sides component, and the Chorus knob dials in a pitch-modulated, delayed signal. The Decay knob is then used to scale the length of the tail to anywhere from 25-130% of its original length, while the Attack and Predelay controls fade and offset the reverb by up to 150ms (to be raised to 350ms, we're told).