Some equipment racks are lucky enough to have an Eventide SP2016. It's an effects processor from the mid-1980's that included several reverb algorithms that are still prized today: Stereo Room, Room Reverb, and High Density Plate.
Princeton Digital has recreated these reverbs in the Reverb 2016 hardware unit, and these same sounds are available as a set of Avid Pro Tools TDM (DSP-based) plugins.
The art and science of reverb: the algorithms naturally simulate every aspect of the sound of a real enclosure — from the complex early reflections, to the natural way in which the echo density increases with time, to the smooth Gaussian decay of the reverb tail. Tailored by one of the best reverb designers in the business, too.
All three plug-ins support single-channel input and single- or dual-channel outputs, but only Stereo Room offers a dual-channel input. This flexibility allows use of the plug-ins in many different kinds of track setups. The two channel outputs from a mono input are a great way to add depth and room presence to a mono track.
"It's my new favorite snare drum reverb." – Joe Chiccarelli (Beck, Tori Amos, U2, Elton John, Frank Zappa, Shawn Colvin, Michelle Branch, and Bon Jovi)
"I’m excited to finally have one of my favorite reverbs available again." – George Massenburg (Linda Ronstadt, Mary Chapin Carpenter, Earth, Wind & Fire, Little Feat, Frank Sinatra, The Dixie Chicks, Billy Joel, Emmy Lou Harris, Roy Orbison, Lyle Lovett, Dolly Parton, Bonnie Raitt, James Taylor, and recently, Amanda Marshall and Aselin Debison)
"These legendary reverb algorithms are among the most eagerly anticipated plug-ins ever!" – Dave Pensado (Christina Aguilera, Pink, Boys II Men, Brandy, Coolio, Destiny's Child, Ice Cube, Brian McNight, 98 Degrees, and Justin Timberlake)
- Three independent reverb plug-in effects in one package
- Natural, characteristic sound
- Simple UI – Identical controls for all three plug-ins
- Novel Position control
- Decay time, pre delay, EQ and diffusion controls
- Smooth decay tail
- Mute button for quick effect audition
Ursa Major Space Station SST-282
In 1981, a small company called Ursa Major in Belmont, MA introduced a very strange and wondrous signal processor called the SST-282. Princeton Digital, working with Chris Moore — the designer of the original Space Station — has recreated this legendary effect as a Pro Tools TDM plug-in. The SST-282 supports 44.1, 48 and 96 kHz sample rates.
The Space Station is a signal processor that uses time delay techniques. It's different than just a plain digital delay those usually have one or perhaps 2 taps. The Space Station has eight taps just for listening: These are called Audition Delay Taps. There are a number of others used to synthesize reverb and echo.
You can think of the Space Station like a multi-head tape recorder, operating with a loop of tape 255 milliseconds long. The tape is like the Space Station audio memory and the multiple playback heads are akin to the Space Station's multiple taps.
The eight Audition Delay Taps are placed along this imaginary piece of tape with a resolution of 1 millisecond, and can be repositioned at will to any of 16 pre-programmed patterns.
You also have continuous control over another tap, the Echo tap (active in Echo mode), which can be set from 1 to 255 milliseconds and can be fed back to the input to create the traditional effects of tape loops.
A Reverb mode is also available. Proprietary internal programming randomizes these taps so that they can be stably fed back to produce reverberation. The equalized sum of these taps appears at a pot (Reverb/Echo Feedback) where the level of this sum can be adjusted to create any decay time from zero to about 3.5 seconds.
An important part of the Space Station's fundamental concept is contained in two groups of delay taps, one for auditioning (output) and the other for reverberation. They operate independently of each other; that is, the Audition Delay Taps set up a way of hearing the contents of memory, while the Reverberation or Echo taps, when fed back, determine the type of reverberant sound existing in the memory.
Each acts independently so that endless varieties of sound can be created. For example, a sound approximating normal room reverberation may be set up by feedback, and then auditioned with any of the 16 programs to sound like rooms, like a slap, an echo, or even a reverberating comb filter. Or, a comb-like reverberation effect can be set up by feedback and then auditioned in a room, another comb, or as echo, slap, etc.
Even more versatility derives from the built-in mixer, where Audition Taps may be mixed in any desired ratio to emphasize earlier reflections, to delay the onset of reverb, etc. The possibilities are endless yet the front panel is intuitive, due in part to the flow chart displayed on the background graphic of the plug-in.
You'll find that you will be able to create a wide variety of effects on a wide range of input sources with the Space Station.