Both early and late reflection sections also offer Cross and Width controls, letting you alter the input signal panning and output width for a variety of treatments. Late reflections can be computed as mono input to stereo output or, for more realistic treatment of stereo inputs, stereo input to stereo output (with a 30 percent hike in CPU overhead). The bottom‑middle set of Input and Mix controls (this time in orange) includes a two‑band input filter offering low and high shelving filters, again with variable cutoff and Q.
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The manual descriptions for Shape and Spread are confusing but, like its ER counterpart, Shape seems to alter the complexity of the later reflections, while Spread controls their build‑up, acting like a hold area in the reflection envelope (although in practice its action varies significantly, depending on the settings of other controls).Īether goes beyond many other algorithmic reverbs in offering three bands of damping with variable crossover frequencies and Q factor, but I found this section quite confusing, partly because the seven controls have anonymous labels such as Low, Low X and Low Q, and also because the central ratio positions are labelled 50 rather than 100 percent. Reverb time, Size, Diffuse and Pre‑delay are fairly obvious a slower Attack mimics the gradual build‑up of reflections found in larger buildings, and an increased Sustain adds more energy to the reverb tail, so you can achieve a bigger sense of space around your sound without muddying the mix or resorting to gated reverb. The top‑middle and right side of the interface is devoted to late reflections, with blue knobs. Tails You WinĪether offers a total of 33 Spaces in its early reflection section, together covering a huge range of different environments. Despite the huge number of controls on show, changing the current Space also, apparently, tweaks another 75 hidden parameters associated with the reverb algorithms. However, it's possible to use one instance of Aether for late reflections only (with the ER section bypassed), and then several further instances using only the ER section, each with different Position settings. The Position control smoothly alters the source and virtual mic positions, although in this version you can't choose a specific stage position, as you can (for instance) in Altiverb. Other rotary knobs in this section include the self‑explanatory Size and Absorb, while Color and HF Soft provide plenty of tonal variation to mimic room coverings and soft furnishings, and Shape alters the complexity of the reflections, perhaps mimicking the shift from an empty room to one containing lots of furniture and other objects. There's also a helpful graphic representation of the environment being modelled, although these images aren't always obvious. You can choose from 33 'Spaces' ranging from phone booths to amphitheatres: these, by default, alter the values of a clutch of the early‑reflection front‑panel parameter values and another clutch of late‑reflection parameters. The left‑hand side is colour‑coded green and covers early reflections. Also, while the sculpted 'metalwork' of the panel is pleasing, some may find the three groups of differently coloured knobs and associated graphic displays rather garish.Īether's main interface is divided into three main areas. Due to the large number of controls on offer in the main display (around 60 in total), the default GUI is huge and will barely fit on a 1024 x 768‑pixel screen, but fortunately you can switch to a rather smaller version that's more in line with its competitors in terms of screen real-estate. The futuristic Aether interface is a real opinion‑divider. Period.” Bold claims indeed! Its Auto Randomising design claims to simulate the chaotic processes found in nature, it offers a True Stereo mode, and if you like detailed programming, there are over 75 tweakable parameters. Can 2CAudio's Aether plug‑in tear them away from their racks?Įvery musician seems to have a favourite reverb, whether it be hardware or software, algorithmic, convolution, plate or spring.The clarity and realism of convolution reverbs often seems to appeal to those working in acoustic, folk, jazz and classical realms, while those working in rock and electronic music often favour the richness and flexibility of algorithmic reverbs.Įntering this extremely competitive arena is 2CAudio's Aether, an algorithmic reverb plug‑in that its developers believe to be "the best sounding reverb on the market.
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Many pro engineers still turn to expensive hardware for the best algorithmic reverbs.