The idea behind this algorithm is that when you dial in a certain kind of reverb you usually are not interested in the reverberations of all possible rooms and positions in those rooms, but only those that will give you a superb or interesting sound. There are a lot of concert halls, but only a few are praised for their acoustics. And there is only one spot in a concert hall were the band sounds at it’s best. It’s those great sounding reverberations that we tried to capture.

Or if you are interested in a bit more technical background: there is a reason that certain spaces sound great or that when you stand in the center of a room the sound is less good than when you move a little to the front. And that has everything to do with how the different parameters of the reverberations are balanced: early reflections, decay time etc. The ultimate formula for this is still unknown, one of the reasons why architects still have difficulties designing the perfect concert hall. But we think we have been able to come up with an approximation of it. We had one advantage. Unlike architects who have to take into account the annoying constraints of real world buildings we only had to focus on how sound moves through time in a musically pleasant way. Our formula is most definitely based on a personal preference, not on a universal truth. But we dare say that it does a hell of a job. What does this mean in practice? It saves you a lot of unnecessary tweaking. Whatever knob you turn, the reverberation keeps sounding great, just different.

Features
with a very few knobs you can create many different spaces
sound keeps evolving in a musically pleasing way
tonality remains intact overtime
extremely long reverb times (which makes it an excellent reverb for ambient sounds)
intuitive, easy to use interface
low cpu
NKS support

home page: https://www.112db.com/plugins/mikron/rever

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