Vintage Digital Reverbs
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This powerful set of impulse responses brings back the reverb sound of the early 80s in Studio One’s “Open Air” Convolution Reverb.
Vintage Spring Reverbs
This impressive collection of impulse responses brings back the famous spring reverb sound in Studio One’s “Open Air” Convolution Reverb.
Vintage Plate Reverbs
A set of impulse plate reverbs for the “Open Air” Convolution Reverb from Studio One.
All libraries are duplicated in two versions: 44.1 kHz and 96 kHz.
Vintage Digital Reverbs
Complete list of sampled reverb units:
Digital Reverb 245 – (10 files) New York and Switzerland
Digital Reverb 246 – (20 files) Austria and Switzerland
Digital Reverb 248 – (16 files) Nashville, Tennessee and Denver, Colorado
Digital Reverb 250 – (26 files) Nashville, TN
Digital Reverb 245
245 was 244 with pre-delay and reflections added. While other German devices included some of these same reflection settings in their algorithms, the 245 gave you the flexibility to actually set those settings. When you look at these files under a microscope, it is interesting to see early reflections (bursts) in the audio files. There has been a lot of engineering science that explored reflections, how far or close they would be from each other, to simulate different rooms, halls, etc. The longest reverberation time of a 245 is around 5 seconds.
Digital Reverb 246
uses 250 algorithms like 248, with a lot of user control and flexibility. It also includes an extended memory slot similar to the 248. It has 6 program modes with programmable low-pass filter, reflections and attenuation.
Digital Reverb 248
The 248 was the last device in the series and many people appreciate it as a reliable and quite pleasant sound. The 248 was loaded with all sorts of presets and customizable algorithms, including a Baroque church, cathedral, Romanesque church with large rooms, hallways and even stairwells, bathrooms and a preset called “Tiny Room”. The 248 is a very powerful processor, and even today it is used, like many of these vintage devices, by leading musicians around the world. One of our units has been used by top country artists such as Reba, Carrie Underwood, Luke Brian …
Digital Reverb 250
The first real DSP produced. 250 uses 12-bit 24k converters, low is transmitted around 11Khz. This device has large levers at the top, weighs about 100 pounds and looks like it came from space – nicknamed “R2D2”. This is undoubtedly one of the best DSPs of the time, and the few who own one of these remaining vintage outboards still use them often and unabashedly. There are units 251 and 252, which are offshoots of this model. A total of about 250 original devices were manufactured, which were then adapted for the newer interface 251 and 252 updates, with 252 being rack mounted.
Vintage Spring Reverbs Selected
from 6 different countries including UK, Canada, Netherlands, New Zealand, Scotland and USA.
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Many of these devices have been used by major artists, including some that are truly historic, such as the tubular springs used by The Rascals, Van Morrison and James Brown’s famous It’s a Man’s Man’s Man’s World. (K-100 Spring)
This library contains 26 different Spring Reverb units. Many who grew up in the era of cymbals and springs turned to cymbals for very good reasons. After careful consideration and treatment in studios around the world for the most interesting vintage springs to find and acoustically fix, some of these springs are simply gorgeous with the spring and device electronics, truly producing fantastic sounding reverbs – the 3D sound quality that is sought many engineers.
If you’ve always considered yourself a plate reverb individual, this library will definitely change your mind.
Springs come in all sorts of different kinds, and yes, there are some boring ones – you need a few for this vintage guitar, lead vocals and organ sound, right? There are also mono and stereo versions, as well as a variety of lush and warm springs that sound almost like a cymbal – they convey “reflections from nearby walls” like a spring can – when slight tremors and spring flutters occur.
This collection of spring reverbs comes with a wide variety of springs that are useful for a variety of applications. This library has a large number of impulse response files that you won’t hesitate to apply to lead vocals – so good they can rival some of your favorites – digital or plate reverb presets. Springs are regularly used by a number of leading engineers and producers, and some are used as the primary tool for reverb in general.
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Vintage Plate Reverbs
Complete list of reverb samples:
Plate Reverb Eco II (8 files) – Appleton, WI
Plate Reverb Eco III (13 files) – Sweden
Plate Reverb 140 Tube (16 files) – Nashville, TN
Plate Reverb 140 (19 files) – Finland
Plate Reverb 240 (15 files) – Los Angeles, California
Plate Reverb Lawson (13 files) – Nashville, Tennessee
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Plate Reverb 140
For many, the 140s are considered the king of the mountain for a number of reasons. They were the first to hit the market in the late 1950s. They tend to be slightly warmer, tend to reproduce, as they were originally designed, the sound of a concert hall, and with limited EQ for the most part can reproduce a dark, bright or warm sounding room, etc. more easily. – lovely sound files in every 140 selected models – try them all together with some very cool hybrid impulses that really are a reliable edition for any convolution library!
Plate Reverb ECO
Brighter and more metallic sound. Useful for incorporating specific production elements into a mix when you need to cut through it. These units were slightly smaller than the Plate Reverb 140. The
Plate Reverb 240
240 has a darker sound. Weight: 148 lbs in dimensions 1 ‘X 2’ X 2 ‘. Some people say it’s better to use shorter settings and sound sources such as drums. Originally designed as a way to make the original 140 (4 ‘X 8’) in a smaller and lighter box. It really was a technological feat for its time. They use a gold foil plate and are a hybrid between the original 140’s large plate and the early analog-digital rack mount and smaller floor-standing devices, although the 240 is all analog.
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Lawson tends to be brighter, and the bulge in the lower mids warms them up. This device was designed and manufactured by Gene Lawson, who continues to manufacture microphones today at his store in Nashville, Tennessee. His microphones are highly respected and his experience in the business is remarkable.