hardware always means you have to leave the computer with your signal, and that always means you are degrading your signal. this discussion is religious and has IMO nothing to do with real life. software is how much do the converters of hardware reverbs take part in the sound of those. The only point of discussion hardware vs. crap, expensive or way too large as in 10s of meters too large. in the case of springs, plates and chambers I have the same opinion as Fran Guidry. and that is the only difference between software and hardware reverbs. if you use hardware reverb you have one DA step and one AD step in addition. Clicking the master speaker configuration will show you whether any speaker pair is using an offset, thus letting you keep track of your settings at a glance.The hardware reverbs are software reverbs that come in their own tin box. You may, for example, want a longer decay time for the rear speakers or a different tonal shape or pre-delay time for the front – all of which is easy to achieve via the intuitive controls in the upper-right corner. When loaded as a surround plug-in, Cinematic Rooms lets you choose speakers in pairs (or the centre speaker in mono) and make offsets to any parameter for that pair. Not only does Cinematic Rooms support systems up to and including Dolby Atmos configurations but the interface allows you to tailor a reverb solution to your specific requirements. But the reason it’s attracting the interest of increasing numbers of media composers is its surround-sound capabilities. Such deep functionality makes Cinematic Rooms an excellent reverb for a variety of applications. Clicking one of these fixes the related parameter’s current setting so your key parameters will be preserved even as you explore others. You’ll also see padlock icons dotted around the interface. The metering is comprehensive too, with separate left/right input and output meters alongside similarly separated monitoring for the reflection and reverb stages. The right of the plug-in provides controls for the reverb pathway, with tempo-syncable pre-delay and echo stages alongside controls for cross-channel feed/spill. At the bottom, there’s a master gain control flanked on one side by a blend dial, which lets you balance the reflection and reverberation stages, and on the other by a wet/dry dial. Below this, you’ll find independent decay contouring for treble and bass bands, and an EQ pane with which to tonally shape your virtual space. The central section of Cinematic Rooms’ GUI features a prominent rotary that gives you control over reverb time, and features decays of up to a maximum of 45 seconds before reaching the never-decaying Infinite option. For example, you can pick the scatter pattern of your reflections from a range of choices, and control the diffusion and the width of their stereo image. These parameters grant you control over your virtual room’s behaviour. These include Space – which has its own range of proximity algorithms (close, medium and far, as well as reverses) – Size and Reflectivity, which are presented as dials. At the top, you’ll find access to roll-off filtering, and below sit four parameters used to contour the reflection stage. The left of the interface is dedicated to early reflections. While operating in stereo, there are many parameters available. Capable of operating in stereo as well as a full complement of surround-sound configurations, this reverb plug-in aims to blend best-in-class room emulation with a lightning-fast workflow, and is available in Standard and Professional editions.
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