We’re proud to introduce this triple-pack of incredible vintage reverbs from Convology. These Add-ons, available at shop.presonus.com, have been meticulously modeled from many hard-to-find plate reverbs, spring reverbs, and digital reverb processors from across the globe. We can’t really overstate what an undertaking this was. The Convology Vintage Reverbs are available in a bundle pack, as well as individually.
These impulse responses work with Studio One 3 Professional’s Open AIR convolution reverb. Just download and install, and you’ll have all of the benefits of real-deal vintage ‘verb vibe… with none of the disadvantages:
This powerful collection of impulse responses brings back the sound of the early 80s reverb units. While many of today’s digital reverbs are renowned for their realistic quality, there’s an undeniable sonic mojo to some of the early digital efforts.
Full Listing of sampled reverb units
Digital Reverb 245 – (10 files) New York and Switzerland
Digital Reverb 246 – (20 files) Austria and Switzerland
Digital Reverb 248 – (16 files) Nashville, TN, and Denver, CO
Digital Reverb 250 – (26 files) Nashville, TN
Digital Reverb 245
The 245 was the 244 with the addition of pre-delay and a reflections settings. While the other German units incorporated some of these same reflection settings in algorithms, the 245 gave you the flexibility to really dial in those settings. When you look at these files, under the microscope, it’s interesting to see the early reflections (spikes) in the audio files. There was a great deal of audio engineering science that went into the reflections, how far or close together they would be, to emulate different rooms, halls, etc. The 245’s longest reverb time is around 5 seconds.
Digital Reverb 246
uses the algorithms from the 250 as does the 248, with a great deal of user control and flexibility. It also encompasses a slot for expanded memory similar to the 248. It has 6 program modes with a programmable low pass filter, reflections, and decay.
Digital Reverb 248
The 248 was the last unit made in this series and is treasured by many as being solid and quite nice sounding. The 248 was loaded with all kinds of presets and adjustable algorithms including, Baroque Church, Cathedral, Romanesque Church with numerous size rooms, halls and even stairwells, bathrooms and a preset called “Tiny Room.” The 248 is a very able processor and is used even today, like so many of these vintage units, by major recording artists around the world. One of our units was used by leading country artists such as Reba, Carrie Underwood, and Luke Bryan.
Digital Reverb 250
The first true DSP manufactured. The 250 uses 12-bit, 24k converters, low passed around 11Khz. This unit has large levers on top, weighs around 100 lbs and looks like it is from outer space – nicknamed the “R2D2.” No doubt, this is one of the finest DSPs from the era, with the few who own one of these remaining pieces of vintage outboard gear, still using them frequently and unabashedly. There is a 251 and 252 unit that are offshoots of this model. There were only around 250 of the original units made and then were adapted to the newer 251 interface and 252 upgrades with the 252 being a rack mounted version.
No two plate reverbs sound exactly alike. Even when made by the same company! Years of use, storage, re-conditioning, re-tuning, driver condition, pickups, and upgrades made to a plate unit each impart a sonic consequence. There’s a reason that some studios still reserve the space for a massive, heavy, expensive plate reverb—they tend to age like fine wines.
Full Listing of sampled reverb units
Plate Reverb Eco II (8 files) – Appleton, WI
Plate Reverb Eco III (13 files) – Sweden
Plate Reverb 140 Tube (16 files) – Nashville, TN
Plate Reverb 140 (19 files) – Finland
Plate Reverb 240 (15 files) – Los Angeles, CA
Plate Reverb Lawson (13 files) – Nashville, TN
Plate Reverb 140
For many, the 140s are viewed as king of the hill for a number of reasons. They were the first and came to market in the late 1950s. They tend to be a little warmer, tend to replicate, as they were originally designed, the sound of a concert hall and with limited EQing can for the most part, more readily replicate a dark, bright or a warm sounding room, etc. There are beautiful sounding files in every 140 model sampled—try them all along with very cool hybrid impulses that really are a solid addition to anyone’s convolution library!
Plate Reverb ECO
Tend to be brighter and a little more metallic sounding. Useful to bringing certain production elements out in the mix when you need it to cut through. These units were a little smaller than the Plate Reverb 140.
Plate Reverb 240
The 240 is darker sounding. Weighing 148 lbs, with dimensions of 1’ X 2’ X 2’. Some say better on shorter settings and for sound sources like drums. Originally designed as a way to make the original 140 (4’ X 8’) in a smaller and lighter box. It really was a technological feat for its time. They use a gold foil plate and are a hybrid between the original large 140 plate and early analog to digital rack mount and smaller floor units, although the 240 is totally analog.
Tends to be brighter, iwth a bump in the lower mids tends to warm them up. This unit was designed and built by Gene Lawson who continues to make microphones today at his shop in Nashville, TN. His microphones are well regarded and his tenure in the business is remarkable.
This impressive collection of impulse responses brings back the famous sound of no fewer than 26 spring reverb units, sampled in 6 different countries including Britain, Canada, Netherlands, New Zealand, Scotland, and the USA.
Many pieces of gear included in this Add-on have been used by major recording artists, like tube springs that have been used by The Rascals, Van Morrison, and in James Brown’s famous “It’s a Man’s Man’s Man’s World.” (K-100 Spring)
For many who grew up in the era of plates and springs, most were drawn to plates for very good reasons. After careful consideration and reaching out to studios around the globe for the most interesting vintage springs that could be found and acoustically captured, some of these springs are just absolutely gorgeous with the spring and electronics of the units, really creating some fantastic sounding reverbs–the 3D audio quality that many engineers aim to find.
If you’ve always fancied yourself a plate reverb individual, this library will definitely change your mind. There are springs of all kinds, and yes, there are some boingy ones—gotta have a few for that vintage guitar, lead vocal, and organ sound, right? There’s also mono and stereo versions, along with a variety of lush and warm-sounding springs that nearly sound like a plate—they deliver the “reflections from nearby walls” as only a spring can—when light tremor and flutter of the spring occurs.
This spring reverb collection is complete with a wide range of springs, useful for a variety of applications. There are a good number of impulse response files in this library that you wouldn’t hesitate to apply to the lead vocal–they’re that good, and would absolutely compete with some of your favorite – digital or plate reverb presets. A number of leading engineers and producers use springs on a regular basis and some as their main “go-to” for reverb in general.