Recording - September 2016 - 38

B Y PA U L V N U K J R .

Ambience, Non-Linear, and Spaces (outdoor and large cavernous spaces). Each
of those is available in original Version
1 with 12 editable parameters, or newer
Version 2, which features vintageinspired modulations and 15 parameters
in all. Bricasti is working version 3 as
we speak, but it's still a year out!
The parameters include: Reverb
Predelay, Reverb Time, Size, Diffusion,
Density, HF RT mult, Reverb HF xover, LF
RT mult, Reverb LF xover, VLF Cut,

Bricasti Design System 1
Bricasti Design is based in Shirley,
MA, and is responsible for the Model 7
Stereo Reverb Processor, which since
2007 has ascended to the rarefied
heights of world-class reverbs, among
the very best of the best. Its latest incarnation is the System 1, consisting of the
Model 7 Mainframe version and M10
remote; even after several weeks of
working with it in my studio, I'm still convinced that I'm dreaming...
Old school parameters, new school
sound
The Model 7 is a 24-bit/192 kHz
algorithmic stereo reverb box with both
analog and digital connectivity. It is quite
old-school in function and programming,
but the sonics are something else.
It's based on the Analog Devices
Blackfin DSP chip, which isn't as powerful as the SHARC chips used in Strymon
pedals or Universal Audio UAD-2
engines. However, a Strymon pedal uses
one SHARC and UAD-2 engines have
between one and eight SHARCs, whereas the M7 dedicates six dual-core
Blackfins to one stereo signal!
Features and specs
The original M7 is a single-space 19"
rack device with a 1980s-style 2-line red
LED display that includes a stereo level
meter. It has 11 buttons for programming, navigation, and preset recall, a
large continuous control/navigation
knob, a stepped analog input pot, and
a rotary power knob. The chassis is
made of thick black aluminum and the
knobs are textured matte silver for a
beautiful audiophile look.
38

RECORDING SEPTEMBER 2016

There's reverb, and then there's THIS reverb...!
The M7M I'm reviewing has a blank
front panel, with only the stepped input
knob and power switch. All editing and
control is via the M10 remote, or the
newly-developed Exponential Audio M7
control plug-in (see sidebar).
Around the back are stereo balanced
XLR ins and outs, AES digital I/O on XLR,
5-pin MIDI I/O, and 9-pin serial port I/O
for connection to the M10 remote and for
daisychaining multiple M7 and/or M7M
units for use with the M10 (including surround setups). The M7 is designed to selfclock and correct from incoming AES signal; there's no word clock I/O.
A few specs: under 20 picosecond jitter, dynamic range over 116 dB, THD+n
under 0.001% (A-weighted), frequency
response from 10 Hz to 20 kHz flat to ±
0.05 dB, maximum input and output levels of +24 dBu, and minimum input level
(0 dBFS) of +4 dBu.
The M10 remote is a modern reimagining of the vintage Lexicon LARC desktop remote control units of the past. It
connects via a serial cable and contains
all of the controls and buttons from the
M7's faceplate, including the 2-Line LED
display, plus six side-by-side stereo level
meters. The navigation control dial is a
hand-sized domed control wheel, nicely
counterweighted and silky smooth. The
M10 is a thing of high tech, modern
design beauty, and feels as good as it
looks... and as good as the M7 sounds.
Parameters, algorithms, and updates
There are seven reverb algorithms:
Halls, Plates, Rooms, Chambers,

Modulation, Early/Reverb, Early Rolloff,
Early Select, and Reverb Rolloff. The unit
comes with over 200 presets, and you
can create and store 100 of your own.
Any four of your most-used reverbs can
be saved to one of four Favorite buttons
on the M7 or M10.
In use
The M7 and M7M can only use analog or digital I/O, not both in parallel. I
worked with both, and while I am happy
with both, I think the analog sound has a
tiny tad more 'life' to it. Since its arrival, I
have been using the M7M on darn near
every mix I have done. Only having one
(rather than unlimited plug-ins) meant that
I needed to pre-plan my reverb use. I typically found myself printing the all-wet
Bricasti reverb to its own track so I could
free it up for use on more sources... I
know, first-world problems.
Having spent over a decade as a professional sound designer, I have become
a reverb snob; I am addicted to deep,
engulfing, Lexicon-style reverbs. The
Bricasti is not that, nor is it the ultra-clean,
crisp, pristine reverb of TC Electronic. The
sound of the M7 is both somewhere in
between, and at the same time beyond...
and I'm not just being poetic!
The Bricasti reverbs definitely live in
the "real spaces" arena, but unlike the
crisp TC style reverbs, these have a
smoothness and a gentle warmth to them
that does nod to classic Lexicon in tone.
Overall it's a sound that tucks itself into
the mix. I'd call the Bricasti reverbs
hyper-real in a very romantic way!

Table of Contents for the Digital Edition of Recording - September 2016