check the flash audio demo

This was one of the first gated reverb units and was released by Advanced Music Systems, Burnley, England. The RMX is a non-linear reverb. It has one of the all-time trademark reverb presets, Non Lin 2.

"The RMX16 is the Holy Grail of digital audio equipment. This The RMX16 would edge its name in music history on Phil Collins seminal recording ‘In The Air Tonight”. Collins later professed that the record could not have been made without the unit. The unit also allowed Prince to achieve the backward reverb baseline on the song, ‘Kiss’. Other high profile artists to utilise the unique sound of the RMX16 included Peter Gabriel, The Hollies, The Thompson Twins, and Culture Club." - AMS-NEVE

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[11.6 MB]

This amazing user submitted IR set contains five (5!) sampled pieces of Lo-Fi Sprig Reverb Gear by Joe Gore. This is what Joe has to say about this special set:

There are IR's from some of my favorite lo-fi spring reverbs. Three are from guitar amps, and two are cheap rack-mounted spring units. All IR's were made via sine sweep into the front end of the unit (i.e. not just the reverb section), and then recorded back into Pro Tools in stereo with a pair of AKG414s.

My personal fave is the Baldwin Professional, a horrid late-'60s solid-state amp with a reverb so cakey and think, it taints everything it touches. I've used this one on records by Tom Waits, PJ Harvey, the Eels, Tracy Chapman and others (Willie Nelson is, for some unaccountable reason, a longtime devotee of this awful amp).

The Magnatone 'verbs are also cakey, but much darker and warmer. (Magnatone was a small California manufacturer of the '50s and '60s. Magnatone users have included Buddy Holly, Pops Staples, and Lonnie Mack).

The silverface Fender Super Reverb is bright and splashy -- your classic guitar spring 'verb. (Contrary to conventional wisdom, I prefer the sound of this particular amp to most pre-CBS blackface Supers I've encountered).

The Tubeworks Real Tube reverb is a surprisingly rich-sounding spring box.

The Furman RV-1 tone is nasty, brutish and long.

Have fun,

Joe Gore - San Francisco, USA

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[11.5 MB]

Chapman Recording is fortunate to have 3 EMT plate reverbs. These acoustic devises were made in Germany during the late 1950's and offer the finest "Vocal" reverb available. EMT Plate 1 was originally owned by American Studios in Memphis and was used on several early Elvis recordings. Plates 2 and 3 were once owned by producer Phil Ramone while at A & R Studios in New York. These units can be heard on many of the Aretha Franklin and Simon & Garfunkel hits of the 1960's. All 3 plates reside in the downstairs "Plate Room" and are remoteable to control room  B & C.

About Capman Recording
Chapman Recording has been serving the music, advertising, film and video industry for over 30 years with high end audio services. Located downtown along historic "movie row" the 2 room facility offers a highly creative and experienced engineering staff along with superior customer service. A mix of vintage and cutting edge gear draw clients including Jewel, John Hiatt, Tech N9ne, Nappy Roots, Miramax Films, PBS, HBO and Comedy Central.

This one was originally part of thr Arts & Sciences building IR set, but since that set hase been split up and scatterd all over the place, here it is on its own: a long (17 seconds) impulse response of a Bösendorfer Piano. Great for all kinds of sound design!

Wendy Carlos writes about her beloved plate:
"Welcome to the wonderful world of EMT 140st Plate Reverberation. As a gift to the industry, I'm making available gratis these samples of my near mint 140st, vintage early 1971. It was added to my studio when Rachel Elkind and I expanded it into the lower floor of her Manhattan brownstone. I'd become familiar with earlier versions in graduate school, as Vladimir Ussachevsky used one in the Columbia University Electronic Music Center, where I was a student of his. This model is the epitome of electromechanical design, with extremely low noise solid state electronics replacing earlier troublesome tube circuits."

This (out-of-production) classic unit cannot be captured faithfully using convolution reverb because it is not time invariant: it uses chorussing. The presets that use chorussing heavily will sound different than what you may expect. However 90 % of these samples are pretty much indistinguishable from the original preset.

A selection of presets from a classic top end reverb unit introduced in the late 80's.

A selection of presets from the most familiar and affordable reverb units from the 1980's.

This classic spring reverb was sampled at three decay settings. Mono in, stereo out.

Doesn't get any better than this. You need a mac G4 to emulate this sophisticated piece of analog reverb equipment. Mono to stereo (go figure).

Fokke van Saane makes available this collection of speaker, tube radio, intercom , walkman, car stereo, boombox and phone impulse responses. In this set are mono to stereo IR's, but also the first mono to mono IR's available for Altiverb. All of these combine wonderfully with stadium or room presets.

More from Fokke van Saane. A dustbin, a bucket, two glass flower pots, a glass pot of chocolate spread, coal hod, washing machine, vacuum cleaner tube. All captured in stereo, sometimes in A-B and sometimes using MS. Useful for altering voices.

Accompanying Erik Hawkins' Altiverb review in Mix magazine, here are the BX10 spring reverb samples made by Erik and depicted proud owner Victor Owens.

Eric Rehl submitted marvelous samples of these two classic Bring-Me-To-Your-Leader type echo toys.