Recording - December 2015 - 28
ValhallaDSP ValhallaVintageVerb and ValhallaÜberMod
$50 each; valhalladsp.com
Part 2: Playing With Plug-ins
On the one hand, it's a simple 2-line (left/right)
delay with feedback, cross feedback that feeds
one side's delay into the other channel, wet/dry
mix, and individual output gains. Each delay line
can be set to clock time in milliseconds, or to a
fixed BPM or your DAW project's tempo, then
adjusted to standard beat or note divisions,
including dotted notes and triplets. If this was all
it did, it would still be a great-sounding, easy-touse delay worthy of its price... but there's more!
So what makes MH Dirty Delay dirty? A separately adjustable and full-featured Character section, which contains a collection of drive/gain
models, everything from tubes and soft saturation
to transformers and even symmetrical clipping.
There's also a multimode filter that offers highpass, lowpass, shelving and bell filter options.
Of course there are many delay plug-ins that
offer tone shaping and even grit, but what sets
this one apart is how "dirt" simple it is to use,
coupled with how good it sounds. It's best
summed up as "dirty hi-fi in seconds."
You can demo it at Metric Halo's website and
check out the presets for a quick glimpse of how
versatile this plug-in can get, and there are some
great teaser videos as well. While you're there,
check out the Metric Halo Production Bundle (currently $299), which features MH Dirty Delay and
seven other plug-ins.-PV
Sean Costello's ValhallaDSP produces elegant, CPU-thrifty plug-ins that tend
toward the lush and enveloping; we still list ValhallaRoom and ValhallaShimmer,
reviewed September and December 2011, among our favorite reverbs for convincing spaces and surreally rich ambiences. Since then, ValhallaDSP has
released three more plug-ins: the Valhalla Freq Echo frequency shifter/delay (well
worth picking up, and it's free!), and the two effects I'm discussing today.
ValhallaVintageVerb is of interest because it's not a reverb that harks back
to a certain vintage... it harks back to several of them. You can take a trip
through time and hear what digital reverb sounded like in the good old days
of hugely expensive rackmount reverbs that didn't sound anything like reality...
but still sounded awesome.
While the plug-in has the
usual controls for wet/dry mix,
decay time, predelay, high
and low frequency tone shaping and filtering, room shape,
diffusion, and modulation,
those are all finishing touches
on the two controls that matter
most: Mode and Color. Mode
is one of 15 different reverb
algorithms that were popular in the early years of digital reverb; there are rooms,
halls, plates, nonlinear spaces, spaces with chorusing or random reflections, and
larger spaces like Sanctuary. Color controls the coarseness of the modulation and
the sample rate of the reverb. You can choose from NOW (full bandwidth, bright
clear tone, smooth modulation), 1980s (full bandwidth, darker tonality, noisier
modulation), or 1970s (downsampled to a very dark 10 kHz bandwidth).
When you put these two controls together, you get 45 different sounds, ranging from perfectly pristine modern ambiences to retro so thick you'll need a
weed whacker to get through it. In a plug-in like this, the reverb becomes as
much of an instrument as the source being processed, and it's easy to go overboard because the presets sound so lush. But what a way to go!
ValhallaÜberMod has a lot going on within its stark tabbed interface. It's a
multitap delay line with extensive modulation capabilities, and just learning
what everything does can take a while. The plug-in starts with your choice of
nine Modes, which include number of taps (from 2 to 32) and modulation
waveform. Generalized controls include wet/dry mix, stereo width (including
"beyond stereo" ultrawide effects), and global controls for modulation depth,
longest tap delay time, and feedback. These are available no matter which tab
you're viewing.
The tabs include Mod, Taps, Diff, EQ, Drive, and Warp. This is where you
have fine control over how the taps are spread out, how they move in the
stereo image, how bright or dark their tonality will be over time, whether they
stay tightly fixed to certain echo times or smear out to create lush pseudoreverb, how much if any overdrive is applied to add grit and punch to the
echoes, and how inputs are fed into the feedback loop.
There are some special tricks ValhallaÜberMod can do; its dual LFO sections
handle slow vibrato and fast chorus, the Smoothing control determines how
long it takes for the plug-in to "catch up" to new settings, producing tape-style
delay warps, and the OverMod knob cranks up modulation depths to ridiculous amounts for dramatic special effects. If you're interested in exploring all
the possibilities of echo and modulation, you're in for a real treat.-MM
http://www.valhalladsp.com
Table of Contents for the Digital Edition of Recording - December 2015
Contents
Recording - December 2015 - Intro
Recording - December 2015 - Cover1
Recording - December 2015 - Cover2
Recording - December 2015 - 1
Recording - December 2015 - 2
Recording - December 2015 - 3
Recording - December 2015 - 4
Recording - December 2015 - 5
Recording - December 2015 - Contents
Recording - December 2015 - 7
Recording - December 2015 - 8
Recording - December 2015 - 9
Recording - December 2015 - 10
Recording - December 2015 - 11
Recording - December 2015 - 12
Recording - December 2015 - 13
Recording - December 2015 - 14
Recording - December 2015 - 15
Recording - December 2015 - 16
Recording - December 2015 - 17
Recording - December 2015 - 18
Recording - December 2015 - 19
Recording - December 2015 - 20
Recording - December 2015 - 21
Recording - December 2015 - 22
Recording - December 2015 - 23
Recording - December 2015 - 24
Recording - December 2015 - 25
Recording - December 2015 - 26
Recording - December 2015 - 27
Recording - December 2015 - 28
Recording - December 2015 - 29
Recording - December 2015 - 30
Recording - December 2015 - 31
Recording - December 2015 - 32
Recording - December 2015 - 33
Recording - December 2015 - 34
Recording - December 2015 - 35
Recording - December 2015 - 36
Recording - December 2015 - 37
Recording - December 2015 - 38
Recording - December 2015 - 39
Recording - December 2015 - 40
Recording - December 2015 - 41
Recording - December 2015 - 42
Recording - December 2015 - 43
Recording - December 2015 - 44
Recording - December 2015 - 45
Recording - December 2015 - 46
Recording - December 2015 - 47
Recording - December 2015 - 48
Recording - December 2015 - 49
Recording - December 2015 - 50
Recording - December 2015 - 51
Recording - December 2015 - 52
Recording - December 2015 - 53
Recording - December 2015 - 54
Recording - December 2015 - 55
Recording - December 2015 - 56
Recording - December 2015 - 57
Recording - December 2015 - 58
Recording - December 2015 - 59
Recording - December 2015 - 60
Recording - December 2015 - 61
Recording - December 2015 - 62
Recording - December 2015 - 63
Recording - December 2015 - 64
Recording - December 2015 - 65
Recording - December 2015 - 66
Recording - December 2015 - 67
Recording - December 2015 - 68
Recording - December 2015 - 69
Recording - December 2015 - 70
Recording - December 2015 - 71
Recording - December 2015 - 72
Recording - December 2015 - Cover3
Recording - December 2015 - Cover4
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