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The modulation is still dark and noisy, but will produce different artifacts than the 1970s mode as it is running at the full sampling rate.
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Full bandwidth / sampling rate, for a brighter sound than the 1970s. The modulation is dark and noisy, and can produce strange and random sidebands with sustained notes. Downsampled internally, to reproduce the artifacts of running at a lower sampling rate. Replicates the reduced bandwidth of the earliest digital reverberators (10 kHz maximum output frequency). I would try and describe the differences between these three colours but Valhalla describe them in such a beautiful and succinct way that I will leave it to them to describe:
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This switchable colour transforms the sound dramatically but without losing the general character you created tweaking the rest of the parameters. In my opinion, what really sets vintage apart though is its colour control, which you can choose between 1970s, 1980s and now, it’s like having three reverbs in one. Vintage Verb includes plenty of presets, which can get you in the ballpark very quickly but results are best when you spend time time-tuning these with your track. All of these do exactly what they say on the tin. At the heart of vintage verb are 15 reverb algorithms, ranging from halls, plates and ambiences, as well as more specialist algorithms like non-linear, chorused and “dirty” spaces. So enough waxing lyrical, let’s discuss Vintage Verb specifically. Perhaps my only criticism of the Valhalla line is that there seems to be no way to quickly A/B between two different settings. Such a lofty statement is one that I would seldom make, but developers as talented and competitive need to be shouted about. Basically, Valhalla’s products are as useful in Abbey Road as they would be in the smallest home studio. If you like value for money, quality algorithms and intuitive design then you can’t go wrong with Valhalla DSP. These fancy graphics and display curves might seem advantageous but using the Valhalla line makes you quickly realise that you should be using your ears more than your eyes (which is something that I have been guilty of). In fact, they are somehow retro and modern looking at the same time. Across the range there is no “fancy” or “overbearing” graphics on display. These tool tips are neatly located they are noticeable but not clutter the interface.
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This is shown by their lack of update plans and their licensing methods, it all goes to show a level of trust in their customers seldom seen, not just in the Pro-Audio industry but in business generally.īeyond this each of Valhalla’s plug-ins shares much more in common than just ideology, each has a simple to use GUI, they are packed with helpful tool tips meaning no manual is necessary. Valhalla shows their compassion as well as a deep understanding to the plight of the modern music creator, in almost equal measure. In fact, vintage verb sounds so good that it started a personal love affair with the entire Valhalla product range, so much so, that I want to spend a brief section of this review speaking about the ethos and quality of Valhalla DSPs product range.įirstly, just like their vintage verb, each one of Valhalla DSPs plug-ins transcends its price point (by a considerable margin might I add), but their price point is just the first indication of Valhalla’s ethos. It stands up to any reverb, hardware or software, at any price point. After trying out Vintage Verb for a few minutes it became clear that this is a serious slice of DSP. Valhalla describe vintage verb as a postmodern reverb plugin, inspired by the classic hardware digital reverbs of the 1970s and 1980s, which I think you will agree is a hefty premise for a reverb costing $50. However, the audio fades out and back in every 45 seconds and it can’t save presets
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Formats: VST, AU, AAX, AudioSuite, RTAS - Win/Mac (64/32-bit where applicable)ĭemo: Not time limited.