Seventh Heaven Reverb Mac Torrent
Elis Riebow
Fusion-IR is a unique modulated convolution-based capture and reproduction technology developed specifically around the needs of M7. It redefines the rules of acoustic and workflow possibilities for convolution based reverberation processors.
Now used around the world, from the smallest mountain-top backpack studios to the biggest post production facilities in London and Los Angeles, Seventh Heaven reverbs are the definitive way to experience the power and beauty of the M7 natively within your DAW.
Its simplicity belies the power within. The realism and quality achieved by the Fusion-IR processing is breathtaking, and the most crucial parameters of a reverb such as decay times, levels and delays are fully controllable freeing producers from many of the limitations associated with sampled reverbs.
Key to balancing a reverb mix is the ability to change the relative level of reflections and tail. Seventh Heaven has individual reverb engines and a precise early/late reverb dial so you can craft the perfect reverb.
The low frequency reverb in an M7 is a work of art in itself. Especially critical in small rooms, an area in which the M7 excels, the fully modulated low frequency level reverb can be fine-tuned for a perfect mix on drums and percussion.
Now used around the world, from the smallest mountain-top backpack studios to the biggest post production facilities in London and Los Angeles, Seventh Heaven Professional is the definitive way to experience the power and beauty of M7 reverbs natively within your DAW in up to 9.1.6 Atmos.
It took many months of fully automated capture to produce the thousands of Fusion-IRs needed for Seventh Heaven Professional. Only then could the true finesse of the modulated hardware be achieved via convolution. The early reflections, low frequency reverb, and late reverb were captured individually for the ultimate in control and acoustic realism.
In a sampled reverb it is typically impossible to sculpt a space as required, and as is expected from users of hardware and software algorithmic reverbs. Even simple, critical tasks such as balancing the early and late reverb are impossible jobs with most convolution reverbs. Not to mention, usually any modulation is completely lost and the captures lose the organic life of the hardware.
Not so in Seventh Heaven Professional. It has the flexibility of algorithmic reverbs allowing you to perfect the acoustics of a space just as can be done on an M7 and retains the organic, lively vibe thought to be impossible to capture.
Ducking is a very powerful tool that helps you improve clarity of a reverb by tucking the wet away until a musical phrase has ended, the reverb simply floods in to fill the space rather than competing with the instrument itself.
In addition to the traditional v1 and v2 preset banks, 4 non-linear reverb presets are included and 14 interior room presets (intended to be used fully wet, and not included in the hardware delivery).
Thanx, I bought SH-Pro, it just seems like the very best. There is a youtube review they compare with valhalla and cubase reverb, its in a league of its own, emasing sound. Even if you feed it with very dry drumsounds you get natural ambience and its just great.
I have not seen or heard anyone do it like that, no.
Typically you put the reverb on an aux return bus (FX Track in Cubase) and use sends to send from multiple tracks to the same reverb instance.
If you have multiple reverb units on several buses, which is perfectly fine, I would look at other options for gluing all the tracks together such as bus compressors, distortion, tape emulation, etc.
What makes Seventh Heaven stand out is its simplicity and sonic quality. It harks back to the analog days where gear had character and straightforward controls. In a world filled with endless options, having a reliable reverb that just works is a blessing. Seventh Heaven Reverb, at its affordable price point, offers exactly that.
Seventh Heaven sees LiquidSonics taking its Bricasti Model 7 reverb obsession (first realised with Reverberate 2) to its logical conclusion, being a convolution plugin powered entirely by state-of-the-art impulse responses of said legendary and uber-pricey hardware.
The main GUI houses bank and preset menus, and the five most salient controls: Decay Time, Mix, Gain, Very Low Frequency Reverb level (governing the gain of the reverb below 200Hz) and an Early/Late reflections balance slider.
Finally, LiquidSonics has bolted on a five-band Master EQ with Low and High cut filters, switchable High and Low shelving/ parametric peak filters, and a parametric Mid band. It sounds lovely and proves very useful, potentially negating the need for a discrete post-reverb EQ. However, occupying a separate tab in the pop-out bottom section means you have to flip between it and the Advanced Controls, rather than the two panels being accessible together, which quickly gets annoying.
Meanwhile, synths, modeled instruments, recordings from anechoic chambers and the like - actual dry sounds - have absolutely none of this, so if you want it, you have to simulate that too, before the usual reverb chain.
In practical terms, there are plugins that cover this part, or specialize on it, like VirtualSoundStage, or dearVR. A reverb that can be set up to for tight, space-defining early reflections reverb can also be useful, and also stereo imaging tools, like bx_stereomaker, khs Haas and the like. Some instruments (like SampleModeling and Infinite) have their own IR based tools that can be used for this, either as a specific feature, or as part of the close mics simulation.
Ah very detailed insights here, I see your points. I was playing some more with SWAM Solo Brass today, and even with Spaces 2 added with quite a high reverb setting (wet ratio), as soon as I played louder accents, that annoying super upfront sound was clearly heard. It makes it sound like a close up super dry sound with reverb added on top.
I just watched a video on Seventh Heaven, where the person used the early/late reflection knob to control the spatial setting (with direction mixer and stereo width control before it goes into the reverb). Seemed to be a good approach.
If you want a cinematic sound, you should combine a convolution reverb that has a Scoring Stage preset (Reverence, Altiverb, or other) + algorithmic reverb that has a concert hall setting to extend the tail of the reverb.
Under the hood, you have Ambiences, Chambers, Halls, Plates, Spaces, Interiors and Nonlinear presets based on 30 of the best reverbs from the Bricasti M7. It can run from mono up to 9.6, so multichannel capabilities are deep.
This is one I was excited to show the guys when we arrived, and even in a non-perfect recording/mix environment, it was clear how sonically powerful this thing was. Not only did we use Plates, Ambiences, Spaces and NonLin on just about everything (via typical Aux channels), but I came to love applying it directly to a track or bus and using the Decay Time, Mix and all-mighty Gain knob to make huge string sections absolutely sing. Also, on epic percussion tracks, I would push up a little bit of high-frequency air with the EQ and pump up the Low Freq multiplier, which is like a multiband monster on steroids. An instant check of the master bypass confirmed how much better tracks sound with Seventh Heaven doing its magic. This is an undeniably badass reverb.
Seventh Heaven is built upon a process called Fusion-IR which uses a unique modulated convolution-based capture and reproduction technology developed specifically around the needs of the M7. A traditional impulse response capture of a Bricasti setting may not capture as much of the reverb quality as this process does, and later we will compare a Bricasti IR to Seventh Heaven.
In my scoring workflow, I have 10 individual reverbs for each stem group, so I decided to swap all of them for instances of Seventh Heaven. Initially worried that it might tax my CPU excessively, I was relieved to see that it took up very little processing power. With my Macbook Pro 2019 running a blank Ableton session at a buffer size of 128, with the stock Grand Piano preset, it took about 15 instances of Seventh Heaven before Ableton started sounding a little frazzled.
The Seventh Heaven plugin sounds really natural to me and added noticeable dimension to the sound of the drums. The early/late mix control allowed me to precisely craft my reverb sound to include more early reflections, simulating a tighter space.
For $69, Seventh Heaven gives you the sound of one of the greatest reverb units ever made. As a reverb buff, this plugin has truly amazed me, and I can see it becoming the new standard in plugin reverbs.
You may have already seen that reverb plugins come in two varieties. One is based on the use of algorithms, the other is based on convolution and relies on an impulse response. In recent times, reverbs such as the Seventh Heaven by LiquidSonics utilise a hybrid approach whereby the reverb utilises advanced processing not so dissimilar to algorithmic reverbs, but in a manner that corrects the short-comings of a convolution approach.
The top spot, and rightful king of all reverbs. The LX480 by Relab is not only immensely accessible and comes in three different versions (essentials, rhall and complete). But it is highly versatile and takes what the Lexicon 480L did and just made it better. Such as by adding the rhall HD algorithm and a better user interface that suits the workflow of a computer screen.
Ever wanted your reverb to sound lush, enveloping and luxurious without pops, clicks, metallic resonances or other artefacts? Whilst also providing depth, cleanliness and width? Then look no further. This reverb will work for you.
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