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Numerical Sound RiVerb: Up-Front Spaces brings world-class reverb to Rack Extension shop. It is both the first convolution reverb Rack Extension and one of the first reverbs anywhere dedicated to the up-front impact of real small venues. The 36 spaces range from the sound of small professional studios to recital halls and the more intimate scoring stages. The spaces feature rich detail that algorithmic reverbs can't emulate. The Etched Early Reflections, Spectral Weighting and True Ambience content give it a sound unlike any other convolution reverb.
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Users who have purchased RiVerb: Up-Front Spaces please register and receive periodic FX patches and product information. Here is the link http://www.numericalsound.com/RiVerb_Up-Front_Support.html
RiVerb:Up-Front Spaces is one of the first collections dedicated to the detail, impact and intimacy that you can only get in "real" smaller venues. You feel the performers, you're connected to the music and you are "right there". It's part of the reason so many artists prefer playing clubs and smaller gigs even after they've gotten used to stadiums. Up-Front Spaces doesn't just try to emulate that - it samples it.
It all begins with impulses from some of the most acoustically pleasing spaces in the world, from every size of recording studio on to clubs, recital halls, theaters and extends to even some of the most intimate scoring stages. Then it goes further by custom-tuning those sounds to reduce noisefloor and enhance detail and transparency.
The collection is further augmented by additional custom impulses that use spectral weighting techniques to either really bring out the body and weight of the sound or add sparkle and shine to the top-end of the mix. As a side-benefit, the impulses using spectral weighting also make the space sound either more modern or vintage depending on the one you choose. This gives the collection an incredible variety.
The audiophile design is fine-tuned by one of the most experienced convolution engineers in the industry, Ernest Cholakis, whose decades of experience with the technology includes everything from the first commercially available sample library using convolution technology, to some of the most highly regarded professional impulse response libraries hear in several Hollywood films and award-winning albums, to the first instrument libraries featuring timbral impulses and impulses used in Alicia Key's Native Instruments library "Alicia's Keys".
RiVerb:Up-Front Spaces has been custom-designed to fit the Reason market in three important ways that separate from NumericalSound's most recent reverb products.
First, it is quicker and easier to use: Up-Front simplifies the process of setting up your reverb by choosing optimized combinations of early reflections, tail and (in some cases) timbral weighting instead of a more complicated mix-and-math approach.
Second, this the first NumericalSound product bundled with a reverb engine.
36 Reverb Impulses from Real Venus: From recording studios of every size to clubs, recital halls, theaters and even scoring stages.
Audiophile Design: Supports 44.1, 48, 88.2, 96 and 192 KHz sample rates, with accurate detail, ultra-low noise floor and utmost transparency.
Timbral Weighting: Several impulses augment the space's sound using spectral weighting on the low end or top end to enhance and change the overall sonic character of a track.
High Density Impulse Tails: Rich, complex sound without repetition or flutter.
Easy to Use Controls: Impulse List, Stereo Width, Gain, Pan and Dry/Wet controls make it easy to mix and shape the sounds.
High Impact "Etched" Early Reflections: Up-Front Spaces has some of the most clearly defined and articulated early reflections of any reverb product, making it perfect for rhythmic material and other sounds with strong attacks.
True Ambience: Unlike many competing algorithmic and convolution reverb products, RiVerb: Up-Front Spaces renders a fully differentiated wet sound, giving it a wider sense of space. In many other products the sound is less expansive and varied because too much of the direct signal ends up in the "wet" sound.