Valhalla Vintage Verb Vst

[Etienne Levic]

Basedon the hall algorithms of the late 1970s and early 1980s. Huge spatial image, echo density that can be adjusted from very sparse to very dense, and lush chorusing modulation. Fairly "clean" tone, without converter coloration.

This generates DEEP and WIDE reverbs, with a slow attack, and more diffusion than the late 1980s algorithms that inspired it. The modulation uses internal delay randomization, to reduce metallic artifacts without the pitch change that can occur in the algorithms with chorused modulation.

DEEP and WIDE reverbs, with a slow attack, and more diffusion than the late 1980s algorithms that inspired it. Similar to Random Space, but with the delay randomization replaced with lush chorused modulation.

Inspired by a classic German digital reverberator from the 1970s. Discrete early reflections, a dense late reverb that rapidly builds in echo density, lush detuned modulation. Sanctuary incorporates the bit reduction and floating-point gain control used in the A/D and D/A convertors of the early digital hardware.

A fresh look at the Concert Hall algorithm, with the goal being to emulate the strange fixed point and convertor artifacts of early 1980s reverb hardware. Lusher and denser than the Concert Hall algorithm, with loads of warmth and grit on tap, for a roughly hewn beauty. Plug in your analog synth and send yourself into retro sci-fi heaven.

All the warm and gritty artifacts of Dirty Hall, applied to an old-school digital plate algorithm. High echo density, wide stereo image, and just the right amount of metallic sheen. Drums come alive when sent through Dirty Plate.

The complete opposite of Dirty Plate. Smooth decay at all settings, from short to near-eternal. Lush chorusing, with none of the metal found in Dirty Plate. The most transparent and naturalistic reverb in ValhallaVintageVerb. Crank up the Size parameter, and float off into space!

A smooth and transparent room reverb, in the Smooth Plate style. Useful for emulating the Room/Hall algorithms of late 1980s hardware, as well as getting clear reverberation with low amounts of coloration.

A chaotic take on the Concert Hall algorithm, with modulation and saturation artifacts inspired by classic tape echoes. Lush and warm, with subtle wow and flutter chorusing that adds depth without making your reverb seasick.

An updated version of an FV-1 algorithm created by Sean Costello in 2014. Long, clear decays, with ensemble modulation, and a realistic high frequency decay. Perfect for synths, vocals, and anything that needs a big open reverb.

Our take on a late 1970s chamber algorithm, with modern approaches to modulation and control over reverb decay. Lots of color and character. Great for very short room reverbs and ambiences, smooth vocal and acoustic chambers, and huge synth reverbs.

A new approach to the classic Concert Hall algorithm, with modifications for a smoother decay, less metallic sound, lusher modulation, and a more "vintage" tonality. Perfect for vintage digital hall sounds, but also works for small rooms and shorter reverbs, as well as huge ambient sounds.

The COLOR control dials in the tone color and sonic artifacts of each specific reverb era. The 1970s color model is dark and noisy with the potential for strange and random artifacts. The 1980s is still funky, but with a brighter sound. NOW is too digital, clean, and colorless. As you switch through the eras, the colors of your GUI change, too.

Replicates the reduced bandwidth of the earliest digital reverberators (10 kHz maximum output frequency). Downsampled internally to reproduce the artifacts of running at a lower sampling rate. The modulation is dark and noisy and can produce strange and random sidebands with sustained notes. This is intentional.

Full bandwidth/sampling rate, for a brighter sound than the 1970s. The modulation is still dark and noisy but will produce different artifacts than the 1970s mode as it is running at the full sampling rate.

Elevate your sound design with our exclusive collection of 25 presets for Valhalla Vintage Verb, meticulously crafted to emulate the warmth of tape and tube distortion, the lush ambiance of EMT reverb, and rich, immersive textures.

Perfect for creating samples that stand out, these presets add a vintage touch and professional polish to your tracks. Whether you're producing atmospheric soundscapes or intricate musical arrangements, these presets will bring depth and character to your creations.

Valhalla vintage verb is wonderful. It does that old chorusy lex thing easily and then some. The only reason to use the uad plug would be because you wanted the exact 224 algorithm which nobody can hear live anyway.

I had previously been using different free reverb plugins to make 80s inspired music but a lot of them sounded too clean and modern. After buying vintage verb I fell in love with the sound of it. It makes even a really dry analog synth sound massive and smooth, It pushes it out into the stereo field. It works great on snares for that 80s punch and it shines on pads. An amazing plugin and worth having in a studio whether you are a beginner or professional.

If you want dark, rich-sounding reverbs this is the plugin to use. Absolutely stunning sound quality, whether you're using it for a light dash of reverb to give any instrument that special "mojo" or going crazy with 100% MIX settings for special FX purposes. This plugin will give you the "lonely clean guitar tone" used by Mikael Akerfeldt when used with the right settings and a PRS guitar. Such a wonderful sound! Valhalla rocks!

VVV cost only 50$ but the sound of it is really lovely. I use it in almost every project. This reverb gives depth and magic to patches you use it on. It gives you a "place" in which you can put your works and you know it will sound good. This is a must buy! 10/10

Usually went I'm using Kontakt The Grandeur Library. I would paired this reverb up with the modern setting. It amazing how this reverb just change the whole feeling coming out from the kontakt library itself especially empathizing on the clear notes.

"I've grown to love some of the custom programs I have been able to make with this plugin. What I love most is the user interface and it's minimalistic design. Being a person who worked for years on Lexicon 224, 480L and PCM 70 through 92, I can really appreciate how Sean Costello of Valhalla has found a way to make the Lexicon sound more ready, willing and able than it ever was. This software is fun!"

When someone asks me what reverb they should get, not matter if they're a new producer or someone who's been doing this for a long time, I will always recommend this. I own a plethora of other reverb plugins. I have the Reflektor, the Waves IR1, the Waves TrueVerb, the UAD Lexicon 224, and the UAD AMS RMX16. A majority of those reverbs cost hundreds of dollars, however this $50 plugin just continues to make me smile every time I load it up. This is always the first reverb I use in a project. For just about everything. Sometimes I take a break to use the RMX16 but this is the one for me.

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