Each of these offers an identical selection of high-pass, low-pass, band-pass and notch filters, and each is hard-wired to a particular section of the algorithm: respectively, the input signal, the early reflections and the tail. That new and improved EQ section now features three bands. And that’s not all: he’s also added a dynamics processor and an overdrive, an additional Hall algorithm, the ability to synchronise pre-delay and reverb delay to host tempo, a gate, and a new ‘tail suppression circuit’, which enables some interesting ducking effects. Michael Carnes has addressed this restriction in R4, and in doing so, has turned the EQ section into a powerful creative tool. On The MoveĬompared with standard algorithmic reverbs, the R2 feature set was lacking only in one area: it offered only a single band of EQ. Like all of the company’s products, it’s available for Mac OS and Windows in all the usual native formats, and is authorised using the iLok system. Nimbus is, at heart, a souped-up PhoenixVerb, while the latest release is R4, a development of R2 which takes its basic concept to new places.

Since R2 and PhoenixVerb were reviewed in SOS March 2014, Exponential have been building on them to create another, more versatile pair of algorithmic reverbs. These complement one another nicely, with R2 offering a little ‘vintage digital’ character to contrast with PhoenixVerb’s cleaner and more modern sound. Instead, the focus is on creating artificial reverberation that just works in a mix, and my own mixes have certainly benefitted from the attentions of their R2 and PhoenixVerb plug-ins. In the classic Lexicon tradition, they don’t generate perfect simulations of real acoustic spaces, or minutely detailed recreations of some hallowed EMT plate.

Exponential Audio have hot-rodded their ‘character’ reverb, and the results are even more characterful!įounded by former Lexicon engineer Michael Carnes, Exponential Audio offer a range of algorithmic reverb plug-ins to suit most uses and pockets.

Valhalla room nimbus