Recording - July 2018 - 54

On the box/in the box

Audified
Synergy R1

This 500 Series reverb connects to your
computer for easy setup and automation
REVIEW BY PAUL VNUK JR.

udified-formerly known as DSound
and Audiffex-is a company based in the
Czech Republic that develops audio software u n d e r i t s o w n b r a n d a n d f o r t h i r d - p a r t y
c o m p a n i e s like Drum Workshop (see our April
2018 issue). Its first hardware device is the Synergy
R1, a 500 Series digital reverb/analog saturator
with optional USB control from a DAW.

The Synergy R1 is a two-slot stereo module whose faceplate has
6 rotary encoders with push-click secondary functions, surrounding
a dot-style multicolor LED display. A Micro-B USB port connects the
unit to your computer, but you don't need the interface to program it.
Digital controls are on the left: Preset load/store (numerically
displayed on the unit but nameable in your DAW) on top, and
Mix/reverb bypass on the bottom. The left-center knob selects
reverb Type, Decay, Predelay, and Color (EQ). The seven Type
algorithms are Small Room, Room, Hall, Long Hall, Spring,
Plate and Tunnel. Analog controls on the right include master
Output Level/full-unit bypass up top, Saturator Mix/bypass on
the bottom, and Gain/saturation type in the middle.
The R1 plug-in works in macOS 10.8+/Windows 7+ as
standalone, AAX, VST2. VST3, and AU. The GUI looks similar
to the hardware, but with individual knobs and controls for
each parameter and additional preset-storage pages. Preset
naming is the only feature that requires the software, and the
R1 features two-way communication so all changes on the unit
are reflected in the DAW and vice versa.

Reverb

The algorithmic reverbs in the R1 live on an internal Analog Devices SHARC chip with 32-bit floating-point DSP; the reverb section
uses 24-bit converters. The adjustable reverb parameters change
based on which algorithm is chosen-for example, the maximum
reverb time for Small Room is different to that of the Tunnel setting.
It's best to think of the four available parameters as complex and
purpose-built macros. Diffusion, reflections, and frequency-specific
decay and rolloff are blended together under the hood and
adjusted in tandem with one overarching control.
This is especially true of the Color control, which Audified
claims is "not just a simple filter." I agree, but I don't know precisely
what it does; turns to the right do make the reverb brighter and
left turns darker, but the bright side also gets more open, sparkly,
and wide, while turning left gets thicker, denser, and weightier.

Saturator

The Saturator section is made up of three completely different analog output stages: a germanium circuit, an op ampbased circuit, and a classic JFET circuit. The JFET adds a nicely
dusty, compressed clipping to the edges of the sound when
hit. By design it is similar to running signal through an old
FET compressor without actually compressing-a classic oldschool mixing trick. When pushed to full distortion and 100%
mix, it is almost a starved-circuit clipping sound.
The op amp takes the most input to clip and drive, and used
subtly adds fullness and weight. Germanium is my favorite; it has
the broadest throw, from subtle grit to full 100% overdriven growl.

Getting some Synergy

The R1 is the sum of its parts-a very nice velvety reverb
and a very nice true analog saturation device. When the two
are combined, it stands alone in a sea of reverbs.
The trick to the R1 is how and where to place it in your
chain. I usually run my reverbs 100% wet on a send/return,
and my saturation devices as inserts; the R1 can be used in
either scenario, and I encourage experimenting with it in
both.
54

RECORDING July 2018

Table of Contents for the Digital Edition of Recording - July 2018