Ik multimedia classik studio reverb serial

Perhaps the most impressive module is the one dedicated to Room reverbs, as this has the ability to create some very realistic, short-decay ambiences that work well on drums, acoustic guitars and so on. The Inverse section offers nothing radically new, though it also includes a reverse tape effect, but it covers all the normal requirements with plenty of adjustment range. Operationally, the Easy mode is extremely straightforward, yet the Advanced mode isn't at all scary once you know what the extra parameters actually do.

Even setting up macros and modulation is a piece of cake. I think it was unnecessary to lock pre-delay away with the Advanced features, but other than that, the designers have got the balance about right.

I also noticed that very little processor overhead is taken up in comparison with my convolution reverbs, so using two or three instances of CSR will add negligible load to a modern system. In the native universe, Pro Tools users could consider Sony's Oxford Reverb reviewed in SOS March ; Waves' Trueverb is another option, though it's now rather long in the tooth, while Wizoo's W2 reviewed in February this year combines algorithmic and convolution reverbs in one plug-in.

Some sequencers also come bundled with good-quality algorithmic reverbs, such as the Lexicon Pantheon plug-in supplied with Sonar Producer. Like most IK Multimedia products, CSR takes a workmanlike approach with no unnecessary glamour or frills, but it gets the job done with style.

It's also light on your CPU. Pros Dense, convincing sound. Easy and advanced editing modes. Macros and modulation matrix add to the flexibility. Low CPU overhead. Cons Perhaps more graphical elements could have been used to help inexperienced users visualise the changes their edits make.

Summary Like most IK Multimedia products, CSR takes a workmanlike approach with no unnecessary glamour or frills, but it gets the job done with style. HPF: Adjusts the cut-off frequency of the high-pass filter. LOW: Adjusts the gain of the low shelf filter, set at Hz. HI: Adjusts the gain of the high shelf filter, set at 5 kHz. LPF: Adjusts the cut-off frequency of the low-pass filter. MIC: Controls which microphones are active left, right, or both. DRY: Adjusts the amount of un-processed signal being output.

WET: Adjusts the amount of reverberated signal being output. SOLO: Lets you monitor either wet or dry signals without altering the blend of the two. The first row selects the room type. The second row selects which of the included reverbs to be used. OPTION: Some secondary controls for each room are found in this menu, adding interesting possibilities to shape the sound of the selected reverb.

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