Eventide 2016 Stereo Room Reverb Native Plug In

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    Product Description

    Now the legendary, widely used Eventide SP2016 reverb processor is now available for Pro Tools AAX, VST, and AU! The Eventide 2016 Stereo Room Reverb Native Plug In brings that natural, distinctive reverb of the SP2016 that has been used on countless recordings over the years into a plugin that any producer or musician can use to achieve professional reverb sounds. If you want natural sounding room reverbs on your recordings, the Eventide 2016 plug in is the answer!

    Eventide 2016 Stereo Room Reverb Native Plug In Features

    • Natural and distinctive; unique sound
    • Simple, intuitive parametric controls
    • Complex early reflections
    • Smooth decay tail
    • Novel Position control for precise room placement
    • Decay control sets the reverb time
    • Predelay adds a delay before the reverb
    • Diffusion alters the character of the space
    • EQ block: corner frequency and gain controls
    • Input gain control for precise level matching
    • Kill button for quick effect audition
    • *You MUST have an iLok 2 to run this Plug-in
    Creating a reverb algorithm is part art and part science
    The science bit of a reverb effect is all about the naturalness of the sound - whether the simulation convincingly conveys the feel of a real room.

    Some digital reverbs don't have the horsepower to run a sufficiently complex program to achieve naturalness. Without enough processing power the effect will suffer from low echo density or unnatural density growth with time or comb filter effects, etc. As Einstein is alleged to have said ‘things should be as simple as possible, but no simpler.’ This principle certainly applies to reverb algorithms.

    The art of reverb algorithm design begins with simulating a room that actually sounds good. Needless to say, rooms exist in the real world that sound awful. The structure of the reverb algorithm combined with the choices of delay lengths, interconnects, filter placement, early reflections, etc. all contribute to the overall sound. The final element of the art of reverb design is the designer's choice of the ways in which, and the extent to which, the artist/engineer/producer is permitted to modify the effect. What are the parameters and what do they do?

    The degrees of freedom available to the designer guaranty that no two (sufficiently complex) reverb algorithms will sound the same. Each will be unique. There are a number of popular digital reverberators for good reason. Each has a distinctive sound, each has a particular set of possibilities. The Eventide SP2016 reverbs have attracted a loyal user base because of a particular blend of art and science. They sound natural. They sound distinctive. And, although they allow the user to vary the effect dramatically, the controls can't be set in such a way as to create an unnatural sounding effect - this is a good thing.

    The algorithms of the Eventide 2016 stereo room reverb plug in 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. A powerful simulation that lends itself to parametric control - a good thing indeed.

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