Gearslutz henchman altiverb5/17/2023 It is a black rod with switches on one end, used to signal passing spaceships. In all three of the original dramatic adaptations, Ford owns an electronic thumb as part of his role as a researcher for the guide and uses it to hitchhike across the galaxy. In the film adaption, it appeared as a smooth, silver ring, with a symbol on it that lit up brightly when it was used. The signal was said to be akin to an emergency signal in that it was omnidirectional and limited in range. I reallty enjoy how Tl Space sounds.The thumb was originally described as a short squat black rod, smooth and matte with a couple of flat switches and dials at one end. Havent even listened to all the spaces I have. This comparison I have not done.Ĭonvolutiion has been mentioned a few times, but again: Having said that, I'd be interested to make a side by side comparison of the new-ish TC Electronic reverb plugs that claim to be as good as a hardware TC 6000. I have never used a reverb plugin that is as good as say, a TC electronics M6000.Īnd I've used quite a few reverb plugins. my guess is that you have never used top shelf hardware units, and/or don't have developed enough listening skills to tell the difference. Technology has surpassed education and expierence. UAD plate, Arts Accoustic and convolution reverb. By quality I mean a lot of the verbs mentioned above. I firmly believe we have arrived at an era where quality is less of an issue and user expierence is what lacks. Good quality digital is here.and it's relatively expensive but lowering. Our hearing range has not evolved highter and is still basicly 20-20khtz. Does the user know how to properly apply the correct reverb to obtain his sonic objectives? Assuming everything else in the chain is quality, most importantly A/D D/A converters there really is no excuse. My apologies if I come off as a snob, but reading threads complaining about the lack of good software reverbs is insane. it's hard to do a proper dub mix without oodles of both.) But as soon as I got a digital echo and digital reverb, it started getting a whole lot less special. In those days I HAD to have lots and lots of delay and echo. There was a time in my callow 4-trackin' youth when I used a devil's brew of tape playback head delay, guitar amp reverb, even a $40 analog "reverb" from Radio Shack (actually a bucket brigade echo). * I think I was driven to use reverb directly in proportion to how hard it was for me to achieve. But I have used it for exaggerated effect in recent memory even in solo acoustic recordings. As effects - surrealistic effects, not natural affect of a real space.Īnd I guess I have used reverb as effect (rather than naturalistisc simulation) to evoke an exaggerated, surrealestic effect recently (alhough it's been a long time since I used it heavily and habitually*). And that IS really how I approach reverb effects, for the most part. so, surprisingly reverb units do that job very well. What space are you trying to put something in? but not the code to make it sound good.īut the hardware manufacturers are not willing to give their code away and/or port it to PC/Mac for reasons only they know. Every PC these days has the power of a Lexicon 480, 224X, EMT, etc. Old hardware reverbs have just great sounding algorithms. An incredible limited instrument, but the careful choice of how and what they recorded on to these tapes makes it more musical than many libraries that take up 1000 times the space on our hard drives these days. Lexicon, AMS and EMT put much more effort into developing things that sound good in fact of the limited hardware. Technology IS getting better but not the software algorithms. Even the M5000 and M6000 are better sounding.Īnd that's the rub! Why would they sound so good when the PC I use has 100 times the power? The software on those appliances can''t be that good can it? Or perhaps the ASICs and DSP chips are the key? I don't get the depth, the air, the stylized spaces I could with the 224 or 300.
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