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Acon Digital Verberate

Acon Digital Verberate

5 5 out of 5, based on 2 Reviews

A very interesting reverb that just sits easier for me


2nd November 2015

Acon Digital Verberate by PB+J

  • Sound Quality 5 out of 5
  • Ease of use 5 out of 5
  • Features 5 out of 5
  • Bang for buck 5 out of 5
  • Overall: 5
Acon Digital Verberate

Plugin: Verberate
Developer: Acon Digital
Formats: Mac OSX AU and AAX 64 bit; VST
DRM: Registration via Website
Price: $99
Try and Buy:Full functionality with occasional muting




The Scope
An algorithmic reverb plugin that Acon says sounds more natural than other verbs. Simple interface, really distinctive sound.

Sound Quality
So what I like about Verberate is it just sits better. My sonic goal is usually but not always an undetectable reverb, the kind of reverb that you don’t really notice is there. Sometimes I want a big obvious reverb but not always. From the first time I tried it, Acon just did its job without being in the way—it didn’t call attention or yell “hey listen to my lush reverb!”

I’ve compared it to a bunch of other verb plugins—Logic’s native verbs, Valhalla Room and Vintage Verb, Exponential Phoenix; 2C Audio’s Aether, B2 and Breeze, Relab LX 480. I would say that all of them, when you listen to them solo’ed, can produce a “prettier” reverb, more lush sounding or more “reverby.” Verberate sounds more “plain.” I know this isn’t the right word but it’s all I can think of. It sounds more plain, less brittle, less washy, but works much better. It sounds more natural, less like a verb plugin: more like a convolution verb than an algo verb. Instead of a reverb that distracts, I get a reverb that enriches. From that list, I’d rate Valhalla second. I like Valhalla a lot, but nearly always end up with Verberate over Valhalla. it just sits better.


Features

Acon’s plugins all share the same look: flat, no skeoumorphism, no fake analog knobs. It comes in two “Skins,” one dark gray and one light gray (see image) It has useful presets and then very straightforward controls. There are sliders that control the level of the dry signal, the wet signal, and early reflections. You can choose several “modes” of early reflection from a pull down menu. Then there are controls for reverb time, room size, pre delay, modulation rate, modulation depth, and stereo spread. There are two windows that give you a draggable graphic for editing delay shape/time and another for equalizing the output. It has no “oversampling” or "high quality" mode. The controls are straightforward, intuitive, and obvious. Compare to Valhalla Room, for example, where I find that having more controls makes the reverb less useful, or 2C Audio’s amazing verbs, which have more buttons and knobs than a submarine, and which make me end up sending hours tweaking obscure verb parameters. The controls are the ones you NEED, not some dream of what you want. I’m still not exactly sure what “bass mult” does in Valhalla room, for example, or why I need a Bass Xover. But I know what “room size” does in Verberate. It makes you sound like you are in a bigger room, a very real-sounding room.

Maybe if you are more enamored of reverb as a Daniel Lanois style effect you will find Verberate limiting. It has big cathedral sounding reverbs and long shimmery verbs, but the basic goal is "more realistic sounding" and it gets there very well.

Ease of Use
As above it’s very very easy to use. The controls are well laid out and make sense. It’s moderate on CPU. It defaults to the idea that you are using it on a channel. I nearly always use it in a send, and turn the Dry signal down to zero. Ease of use is the big thing here—it just sounds better quickly, it sounds more natural and less like a simulation, but you get the easy control of an algo plugin. The GUI is fully resizable, which is nice


Bang for the Buck
At $99 it’s reasonably priced. It’s not as much of a great deal as Valhalla, but it’s largely replaced Valhalla for me and I spend less time fussing with reverb. You can spend more but I don’t think you will find a more natural sounding algo plugin. Again that may not be your goal, reverb is an effect or can be used as an effect rather than a simulation of natural space.

Recommended For
Anybody wanting a reverb plugin that is straightforward and simple but powerful, and one that prioritized natural sounding reverb over effect-sounding reverb. I love this plugin.

Attached Thumbnails
Acon Digital Verberate-aconsilver.jpg   Acon Digital Verberate-acongray.jpg  
Last edited by PB+J; 2nd November 2015 at 11:05 PM..

  • 3
27th January 2016

Acon Digital Verberate by Marando

  • Sound Quality 5 out of 5
  • Ease of use 5 out of 5
  • Features 5 out of 5
  • Bang for buck 5 out of 5
  • Overall: 5
Acon Digital Verberate



Intro
Verberate, released in late 2013, is a reverb plugin that has been developed with one very important goal in mind: emulating real acoustic spaces. Unlike many reverb plugins that are based on, or inspired by, classic reverb hardware, Verberate is a proud modern digital reverb that excels in sounding as realistic as possible.

Platforms and Plug-in Formats
Available as VST or AAX plug-ins on PC (Windows)
Available as VST, AAX or AU plug-ins on Apple Macintosh (OS X)
Native 32 bit or 64 bit versions of all plug-ins are available
Supports sampling rates up to 96 kHz
Mono and stereo (true stereo processing)

Convolution Reverb vs Algorithmic Reverb
When it comes to digital reverb, there are basically two options. One of them is convolution, which uses a recording of a real acoustic space. Such a recording is called an Impulse Response (IR). A convolution reverb uses the IR to create reverberation. In most cases, a convolution reverb with a good IR can deliver a very realistic sense of space, as if the vocal for example is indeed recorded in a church or cathedral or even a cave (if you have those IR's available). The downside of a convolution reverb used to be that it was a static snapshot of an acoustic space, you didn't have much options to change the sound to taste. Modern convolution reverbs are capable, to some degree, to alter the sound of the reverb, but still not as flexible as an algorithmic reverb, unless we are talking about an hybrid approach (convolution plus algorithmic).

An algorithmic reverb doesn't use any recordings of a real space, but instead, it emulates acoustical spaces. Especially the early algorithmic reverbs had a problem creating a very realistic acoustical space, they sounded metallic or "electronic". On percussive instruments you could often hear undesirable repeating patterns. With modulation this effect could be masked to a certain degree, but it didn't result in an emulation that sounded like a real space, it was more like an effect. Although it wasn't a realistic emulation, many people loved the sound and many of these old units are still used today and many reverb plugins are inspired by these older designs.

The Plugin
Acon Digital developed an algorithmic reverb plugin that doesn't need pitch modulation techniques to hide these unwanted metallic sounding resonances. As a result, Verberate can sound very clean/natural/smooth, pretty much like how a real acoustical space would sound. The user interface is modern, simple and efficient, it doesn't try to emulate a real world device, but instead it's very two dimensional. It offers separate sliders for Dry level and Reverb level and you have the option to lock/un-lock these two sliders. There is also a seperate control for the level of the early reflections. Verberate offers a selection of different early reflection types, like room, chambers, halls and plates.

Furthermore you will find parameters to control the Reverb time, room size, the pre-delay (in ms), modulation rate and depth and a stereo spread (from mono to 100% stereo). The tail of the reverb can be modified with a decay editor, allowing you to have a longer or shorter decay for the bass or treble frequencies, and there is an output equalizer, allowing you to EQ the tail to taste.

Although Verberate doesn't provide you with a gigantic amount of different parameters, I believe there is a perfect balance between possibilities and ease of use, allowing users to quickly dial in a suitable reverb sound.

In use
Verberate excels at emulating real acoustical spaces. You will find that sentence on the Acon Digital website, but I can not think of a better way to describe Verberate. Put it on a beautifull, but dry recorded acoustic guitar, and it suddenly starts to sound as if the guitar was actually recorded inside a bigger room or chamber. It has a way of creating a sense of space around an instrument, without sounding like a reverb that has been added during mixing.

It not only work wonders on guitars in my experience, I think it also shines on lead vocals for example, where it allows the vocal to sit perfectly in the mix, without sounding like a reverb. It's my go-to reverb when I need it to be as stealth as possible inside the mix, whether it's guitar or vocals, or piano, or percussive instruments, it always delivers.

Final words
Verberate might not be the best reverb in the world when you want a very lush/dark/wide/dreamy reverb with a 20 second tail, but there are plenty of reverb plugins that can provide you with that. However, if you want the realism that previously only a convolution reverb could provide, but with the flexibility of an algorithmic reverb, you should definitely give Verberate a try!

  • 1
 
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