Recording - July 2015 - 51

amount. A global control also allows timing to be set in milliseconds or in BPM-relevant amounts for use inside a DAW.
Note that this delay has nothing to do with a reverb predelay; it's a separate effect in its own right, with a switch to
put it pre or post reverb. Echoed reverb is very different
than reverberant echoes, and both have their musical uses.
Next is a surprisingly full-featured compressor, similar to
the one found in Eventide's UltraChannel plug-in. It can also
be set pre- or post-reverb and offers controls for Threshold,
Ratio, (Makeup) Gain, Attack, Release, and Knee, along
with a Key source selection, a full compression level/knee
display, and a stereo gain reduction meter.
The equalizer is actually four EQs in one. There are EQs for
the audio signal Pre and Post reverb processing (labeled Pre
EQ and Post EQ), each with three fully parametric bands: Low,
Mid, and High, with control over Frequency, Gain, and
Bandwidth (Q). The latter control can also dial up Shelf
response for the Low and High bands. In addition, there is high
and low shelving EQ available for the delay and for the reverb
tail itself. These four EQ curves are color-coded and displayed
simultaneously on the display, and each can be individually
switched off, as can many other parameter controls.
But wait, there's more! The UltraReverb also comes fully
loaded with an extensive multi-folder library of presets, as
well as the ability to take Snapshots and store up to 32 of
them in a Snapshot grid. Snapshots are much more than
just easily recallable presets. You can use this section to
store interim edit points as you craft your own reverb programs (there are 16 Global Snapshots plus 16 more for the
currently selected program). In addition, the Snapshot section is automatable so you can use it to call up Snapshots
as effects automation scenes during a mix.

So what about the sound?
I have to admit that at this point it's tempting to simply say, "What
does it sound like? It sounds like an Eventide reverb!" and walk
away smiling. Eventide has a very particular and much-loved sonic
character in its reverbs, and the UltraReverb definitely has that character too.
Does it sound like the reverbs found in the H8000FW, The Eclipse,
or the Space pedal? Yes... sort of. I will say it captures the overall
Eventide sound, but not the full experience of said outboard boxes.
There are a number of reasons for that, ranging from the hardware's
enormous dedicated processing power to the sweet-sounding analog output stage that the software doesn't mimic.
So, we've established that this $199 plug-in doesn't sound quite
like a $5000 multieffects rack or even a $500 reverb pedal. Once
we understand that, we can appreciate UltraReverb for what it is: a
very versatile reverb that is capable of a wide range of tonal possibilities. There's everything in here from dark, spacey, murky and
motion-filled chambers to bright, open, feathery halls.
Unlike some of the ultra-pristine "is it there?" reverbs from TC
Electronic, and even latter-day Lexicon fare, the UltraReverb is, at its
core, a nice rounded modern-vintage sound. It truly evokes the
sound of high-end expensive reverb units of the 1980s through
today... and with obvious good reason, seeing who its parents are.
Conclusion
This is an extensive reverb and a great tool for those who love to
tinker and create, but it's also suitable if you just want to stick to stock
halls, rooms, and plates, calling up presets dripping with Eventide
beauty and character. Its feature set is diverse enough to let it be
your one and only plug-in reverb, capable of covering a broad
range of bases, and all at a very reasonable price.

http://www.realtraps.com http://www.realtraps.com

Table of Contents for the Digital Edition of Recording - July 2015