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Softube TSAR-1 Reverb

Softube TSAR-1 Reverb

4.25 4.25 out of 5, based on 1 Review

More and more often I catch myself on using Softube TSAR, especially for room reverberation, in my mixes. And there are two reasons for that: first of all, it is a gorgeous sound – very organic and live. This plug-in moves the instruments deep inside the mix very good.

25th November 2014

Softube TSAR-1 Reverb by andivax

  • Sound Quality 5 out of 5
  • Ease of use 5 out of 5
  • Features 3 out of 5
  • Bang for buck 4 out of 5
  • Overall: 4.25
Softube TSAR-1 Reverb

ANDI VAX REVIEWS 011 ENG - Softube TSAR 1 - YouTube

So here is Softube TSAR 1, TSAR is the abbreviation for true stereo algorithmic reverb. So what’s true stereo? Let’s assume that we have an input signal which goes through the left channel only, as a result it is handled by two processors – for right and left channel. The same thing happens with the signal through the right channel only. Therefore, this plug-in allows for a really cool simulation of room. The developers tried to approximate the sound of this plug-in to a real room. Looking through presets, we can observe two categories: modern (in this category all presets are divided into subcategories according to the instruments: drums, guitars, halls, studios, vocal presets) and vintage (within this category the developers tried to recreate the sound of well-known vintage devices. You’d take into consideration that there is also TSAR-1R which works according to the same algorithms but has less options. This reverb has everything for creating the needed sound fast, literally with couple of clicks. Moreover, the organization of graphic interface is developed in a rather original manner. Let’s have a look: early reflections (here we can set a size of the room: small, medium, large). Then goes the balance between reverb time and early reflections. More simply, if you want to set a long reverb time for your synth part, use reverb mode. And if you have a very dry original sound and you want to add liveliness, dimension, use early reflections value. Surely, you can choose a position of the knob just according to your taste to get the needed sound. Don’t forget to do it during the mixing process. The diffusion parameter allows reverb tail to sound softer. Then goes modulation parameter, here you can choose random, slow and fast mode. Basically, all the three modes work due to random principle, in other words, random changes are added to the sound processed by the reverb. Then we have output volume knob, reverb mix knob which regulates the balance between dry and wet sound. Pay attention to conventionalized LCD panel in the middle, when I saw this plug-in for the first time I could not get why this panel takes so much space, but after reading the manual everything became clear. Let’s assume we change some parameter, after the left click on the LC panel we can switch between current and previous position, very handy function. Predelay parameter is uncommon; usually it determines the delay of all processed sound. Here, it determines the delay of the reverb time only. The matter is that simulation of room is constructed in such a way that after making the larger size of it, the delay of reflections rises. Have a look at the graph from the manual, early reflections are not affected and with the help of predelay regulator we can move the reverb time until we get the needed sound. My favorite parameter “time” which determines the time needed for the processed signal to get minus 60 decibels. Density parameter, if we set it on maximum our reverb tail will be very smooth, but you should mind that it will be very evident in the mix and take too much space. If we don’t need to pay much attention to the processed sound in the mix and it shouldn’t be heard a lot, you can use the knob and adjust it to sparse position, after that the processed sound will be similar to delay effect or echo. Then goes tone regulator, very interesting function embodied by programmers. This slider determines various decay of frequencies. Let’s see how it looks on the graph. In the bright position, low frequencies decay very fast, and highs decay slowly. In neutral position we have something similar to bandpass equalizer, though it’s not an equalization, it’s the frequencies decay time; and in dark position low frequencies decay very slowly, and highs decay almost at once. Finally, high cut slider, it’s a usual cut filter, try to hear if it sounds right by your own ear.

More and more often I catch myself on using Softube TSAR, especially for room reverberation, in my mixes. And there are two reasons for that: first of all, it is a gorgeous sound – very organic and live. This plug-in moves the instruments deep inside the mix very good. And the second reason is the interface, which is very clear and compact. But as the other side of the medal, some functions are not enough flexible to set. As for me, it is a big disadvantage. In this case, I like the way of DMG audio in the sense that we have a plug-in with simplified settings and after right click advanced setting appear. It’s a very cool way of organizing, I hope the developers will include something similar in TSAR-2 . And one more great disadvantage is the absence of low cut filter.

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