Reverb Settings??

Anyone have some great full-mix reverb settings that would come close to emulating that full, rich and wet Lexicon studio reverb sound from the late 1970s and 1980s?

Best results would probably be from using a convolution reverb like SIR with real Lexicon impulse samples.

I seem to recall in the past that there was some investigation as to whether or not you could get the Lexicon impulses to work with the convolution in Audition - but for the life of me, I can't recall what the outcome was. Might be worth investigating though.

Thanks, guys, for the help.  I'll look into this.

I seem to recall in the past that there was some investigation as to whether or not you could get the Lexicon impulses to work with the convolution in Audition - but for the life of me, I can't recall what the outcome was. Might be worth investigating though.

I have a vague recollection of doing this but it was ages ago. I don't remember any problems.

Cheers

James.

You can do this in Full Reverb by playing with the Contour/Coloration tab and the "ms" box that controls how long it takes for the coloration to be completely in effect.  The big Lexicon hall reverbs on the PCM 70/80/90 units can be emulated by making the ms setting fairly long -- 500-1000, depending on what you're reverberating, and with the overall reverb time quite long -- around 2.5-4 seconds.  Then (and this is the key to making it sound like a Lexicon) work with the coloration controls to make the coloration curve quite top-deficient.  What this does is creates an enormous space where the low midrange and bass keeps ringing a little longer than everything else, and if done correctly, will tail off quite pleasantly.  But you have to play with this for awhile, then leave it and come back and check your work, because it's a fine line between something that sounds convincingly realistic and artificial or contrived.  These controls are quite powerful -- almost like putting a fireman's hose in a kid's hands, and you can blast away any reasonable result quite easily.  And create nasty feedback if you put the curve more than a dB or so in the "plus" range.

Thanks, MC.  A great confirmation that what I'm hearing in my experimentations with FullReverb is greatly due to the colorations page. Here's a pic of what I use for the BIG SPACE but not reverby sounding effect.

As you can see, the hole in the upper range and the 800ms delay is what does the trick.

To emulate a real space more accurately, I would use the High Frequency slider with settings that create a Low Pass Filter effect.  That would be much more severe than what you've posted.  In other words, the dip in your graph is only the beginning, and then it would keep dropping off like a bad transistor radio, because that's what high frequencies do in a large space.

Still, if to your ears you feel like you've got a Lexicon sound, that's what really counts.

You can do this in Full Reverb

An AA 3.0, how does Studio Reverb compare with Full Reverb? 

I played with Studio Reverb a few times and then never went back.  So much of my work is dependent on a Lexicon-y sort of reverb to make our close-miced recordings sound like they're in a large space -- which in real life, they are -- and not close-miced.  Studio Reverb was invented to create a very low-overhead option for people who needed to run multiple 'verbs but whose computer was choking on the load.  It never sounded near detailed or smooth enough to please me, so I went back to Full Reverb and haven't looked back.

Like any of these tools, in the right circumstances it could be just perfect.  Since I do little pop/rock stuff, I don't need to invent too many new soundscapes.  So Studio Reverb could become very important to you if a coarser kind of sound fits your need.

You can do this in Full Reverb

An AA 3.0, how does Studio Reverb compare with Full Reverb? 

Studio Reverb is really an alternative for Quick Reverb in older versions. Quick Reverb was really far too crude to be usable whereas Studio Reverb IS usable for many things where you can't justify using the processing power of a convolution reverb (or you can't find the right impulse).

Cheers

James.

Thanks guys for the input -- all very interesting and helpful.