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However, once you try them out you’ll have a hard time using any other reverb plugin. For the home studio owner with slightly smaller pockets however, UAD has faithful VST recreations of both units.Īt a fraction of the cost, they’ll will run you a fair amount of money. To this day the 224 and 480L units remain some of the most sought after pieces of hardware. In a time when digital technology was new and many algorithmic reverbs were tolerable at best, Lexicon broke all boundaries. Lexicon has created some of the best digital reverb units in history, long before the days of VSTs.
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Take a look at each of them and find out which is best suited for your needs. You definitely don’t need every VST on this list, but if you’ve heard an ear-catching reverb on a record and want to know what the pros were using, chances are it was one of these. To take away the bulk of the search, I’ve narrowed down the options to a list of 15 of the best reverb plugins out there for the home studio engineer. you name it! More often than not, I would end up spending more time than I would prefer to get these mixes done.With so many different styles of reverb and endless companies creating plugins, it’s harder than ever in 2020 to find the best reverb VST for your mix. I am faced with almost every nightmare scenario such as weak bass drum hits, low (insecure) vocals, buzzing guitar amps, etc. I will be honest, this project usually takes all my engineering skills to eke out a decent sound from these tracks. As you can imagine, the quality of tone, consistency and performances, well let’s just say, vary greatly from band to band and even from song to song! After the initial recording is done, I take the recorded tracks into my studio and mix them using my DAW and plugins so they can be married to a video of their performance, which is given to the kids and posted on the web. I am hired to record a local music school’s “School of Rock” showcase at a local venue. Now the first project I tried these plugins on was one of my “Problem Child” projects that I get every couple months. The upside was if they were not something I could or would use, I can just cancel and only be out a couple bucks. So, when Slate started offering the “Everything Bundle” I figured what the hell, for $15 bucks a month or the cost of a couple of Starbucks Coffee’s I can try out all the plugs in the collection to see if I would even use them.
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I was always curious about Slate Digital’s other plugins, but like I said earlier I have become more conservative in my plugin purchases.
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The fact is this plugin collection gave my mixes so much warmth and character, I ended up having the plugin on every track as part of my normal template when starting a new session. From this beginning the pair went on to pioneer the creation of analog modeled plugins from Virtual tape machines, console emulations, compressors, eq’s etc.Ī few years ago I purchased the Virtual Console Collection to use on my channels and for adding an analog summing feel. This innovative plugin was employed a new method of creating perceived loudness without sacrificing the Dynamic Range of the music. Their first product was the award winning FG-X Mastering plugin suite, which was specifically designed to combat the Loudness vs Dynamic range war. In 2008 Steven Slate met DSP designer Fabrice Gabriel at an AES convention and the pair teamed up to create Slate Digital.
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This changed the way drum samples were used in the professional and home recording market.
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The hallmark of the company was not only a collection of high quality drum samples but the development of “Trigger”, a software system that delivered these samples in a user friendly way. As things go that did not work out they way he intended, these engineers wanted more of these drum samples and Steven Slate Drums was born.
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Steven Slate started his career sneaking into Grammy parties in LA with a pocket full of burned CDR’s of Drum Samples he created, which he would hand out to top audio engineers with the hopes of getting to work with one.