We may use the information collected through cookies to compile statistics about ad performance. Through Google Ads conversion tracking, Google and we are able to track which ads users interact with and which pages they are redirected to after clicking on an ad. It’s as simple to use as the most basic reverb you’ll find given away with virtual cornflake packets, yet has a sound and a range that plug-ins with tens or hundreds of editable parameters struggle to match.Our shop uses Google Ads. All in all, though, Pro-R is yet another demonstration of the worth of FabFilter’s distinctive vision for plug-in design. One can also imagine the Distance parameter developed to effect more precise placement within the virtual space, while a comb filter option in the Decay Rate EQ would have a lot of potential for ‘special effect’ reverb. Criticisms I have are few, though there were moments when I found myself thinking ‘Wouldn’t it be nice if.’ for instance, so powerful is the Decay Rate EQ that it would perhaps be useful to be able to save presets for it independently of the main preset menu. Oh, and of course Pro-R doesn’t just sound good: it also looks great, with a neat animated display that shows the reverb decaying in real time. What’s more, unlike many plug-in reverbs, stereo patches tend to hold up pretty well when a mix is auditioned in mono. Pre-delay can be set in milliseconds or sync’ed to host tempo, and there’s a continuously variable stereo width control. Adding soft furnishings to a space increases the absorption of high frequencies but has little effect on low-mids. Different structural materials such as brick, stone, wood and glass all tend to absorb more effectively in some areas of the frequency spectrum than others. One of the key features of real spaces (and of mechanical reverb systems such as springs and plates) is that the duration of reverberation is very frequency-dependent. The Decay Rate EQ looks the same, except that it’s blue, and is edited in the same way, but what it does is quite different. This is displayed as a yellow curve and behaves very much like FabFilter’s excellent Pro-Q 2 equaliser: everything is editable by clicking and dragging, and bands can take on all the usual shapes including notches. Indeed, Pro-R includes a conventional six-band output equaliser.
Beautifully simple, yet highly effective - and I haven’t even got to the best bit yet! The five controls I’ve already described represent a pretty versatile reverb on their own, but the icing on the cake is supplied - along with the marzipan, candles and ribbon - by the Decay Rate EQ.īy now, I imagine most of us are familiar with the idea of using EQ to fine-tune a reverb preset, either on the input or output side and most reverb plug-ins come with at least basic tone controls. This is augmented by a Decay Rate control, which provides global adjustment to the reverb time without otherwise changing the shape of the virtual space, and a Brightness knob, which simulates greater or lesser amounts of high-frequency absorption. Instead, a single large Space dial moves seamlessly though 12 room models of different sizes, from bathrooms and claustrophobic ambiences at one end of the scale to cathedrals at the other. Nor is there any tedious switching between algorithms, or adjusting the dimensions of virtual halls. Rather than provide a separate early reflections section with its own set of controls, FabFilter have come up with a single parameter that simultaneously adjusts both the balance of early reflections against reverb decay, and the character of those early reflections, in a perfectly intuitive way.