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1. #2CAUDIO AETHER VS VALHALLA PRO#
2. #2CAUDIO AETHER VS VALHALLA SOFTWARE#
3. #2CAUDIO AETHER VS VALHALLA CODE#

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.

#2CAUDIO AETHER VS VALHALLA PRO#

For most users it’s a cheaper, more flexible and more convenient alternative to the original hardware.Many pro engineers still turn to expensive hardware for the best algorithmic reverbs.

#2CAUDIO AETHER VS VALHALLA CODE#

Universal Audio’s Lexicon 224 Reverb plugin uses exactly the same algorithms and control processor code found in the final iteration of the 224.

#2CAUDIO AETHER VS VALHALLA SOFTWARE#

However, it’s impossible to ignore the fact that software emulations of digital reverb units are all but indistinguishable from the real thing. More affordable Lexicon units such as the later PCM range offer a similar sound at a lower price point.

The iconic status of the 224 means that a good working unit still commands a relatively high price, typically in the region of £1,500. That’s not to say that they didn’t sound good indeed, with its 12-bit AD and DA conversion (again, the highest quality available at the time), the 224 offered exceptionally long, clear reverb tails. Before the advent of convolution reverbs and more advanced forms of algorithmic modelling, the standard was for all digital reverb units to be based on relatively simplistic delay-based algorithms (albeit running on what was at the time cutting-edge digital signal processing hardware). The 224 in particular marks an early high point for algorithmic reverb. Some of the smoothest, most useable reverb algorithms ever produced