Publisher: Impulse Record
Website: Link
Format: WAV
Quality: 24 bit 44.1/96 kHz stereo
Description: An impressive collection of impulse responses for the Open Air convolution reverb included in Studio One 3 Professional.
Vintage Digital Reverbs
This powerful set of impulse responses brings back the sound of early ’80s reverbs in Studio One’s “Open Air” Convolution Reverb.
Vintage Spring Reverbs
This impressive collection of impulse responses brings back the famous sound of spring reverbs in Studio One’s “Open Air” Convolution Reverb.
Vintage Plate Reverbs
A set of plate reverb pulses for the “Open Air” Convolution Reverb from Studio One.
All libraries are duplicated in two versions: 44.1 kHz and 96 kHz.
Content :
Vintage Digital Reverbs
Full list of sampled reverb blocks:
Digital Reverb 245 – (10 files) New York and Switzerland
Digital Reverb 246 – (20 files) Austria and Switzerland
Digital Reverb 248 – (16 files) Nashville, Tennessee and Denver, Colorado
Digital Reverb 250 — (26 files) Nashville, TN
Digital Reverb 245
The 245 was 244 with the addition of pre-delay and reflection adjustments. While other German devices included some of these same reflection settings in the algorithms, the 245 gave you the flexibility to actually set those settings. When you look at these files under a microscope, it is interesting to see the early reflections (bursts) in the audio files. There has been a lot of engineering science that has researched reflections, how far or close they will be from each other to simulate different rooms, halls, etc. The longest reverberation time of the 245 is about 5 seconds.
Digital Reverb 246
uses 250 algorithms as well as 248, with more user control and flexibility. It also includes an expanded memory slot similar to the 248. It has 6 programmable modes with programmable low pass filter, reflections and attenuation.
Digital Reverb 248
The 248 was the last unit in the series and is widely regarded as reliable and quite pleasant sounding. The 248 was loaded with all sorts of presets and custom algorithms, including a Baroque church, a cathedral, a Romanesque church with large sized rooms, hallways and even stairwells, bathrooms and a preset called “Tiny Room”. The 248 is a very powerful processor, and even today it is used, like many of these vintage devices, by top musicians around the world. One of our units has been used by top country artists such as Reba, Carrie Underwood, Luke Bryan…
Digital Reverb 250
First true DSP produced. The 250 uses 12-bit 24k converters, low transmitting around 11Khz. This device has large arms on top, weighs about 100 pounds, and looks like it came from outer space—nicknamed “R2D2.” Undoubtedly, this is one of the best DSPs of its time, and the few who own one of these remaining vintage outboards still use them frequently and unabashedly. There are units 251 and 252, which are offshoots of this model. Only about 250 of the original units were made, which were then adapted for the newer 251 interface and 252 upgrades, with 252 being rack-mounted.
Vintage Spring Reverbs
Selected from 6 different countries including the UK, Canada, the Netherlands, New Zealand, Scotland and the USA.
Many of the devices listed have been used by major artists, including some truly historic ones, such as the tube springs used by The Rascals, Van Morrison and James Brown’s famous It’s a Man’s Man’s Man’s World. (K-100 Spring)
general review
This library contains 26 different spring reverb units. Many who grew up in the era of cymbals and springs turned to cymbals for very good reasons. After careful consideration and contacting studios around the world for the most interesting vintage springs that could be found and acoustically captured, some of these springs are simply amazing with the spring and electronics of the units, truly creating fantastic sounding reverbs – the 3D audio quality that is sought after many engineers.
If you’ve always considered yourself a plate reverb maven, this library will definitely change your mind.
Springs come in all sorts of varieties, and yes, there are some boring ones—you need a few for that vintage guitar, lead vocal, and organ sound, right? There are also mono and stereo versions, as well as a variety of lush and warm springs that sound almost like a cymbal – they convey “reflections off nearby walls” as only a spring can – when slight tremors and flutters of the spring occur.
This collection of spring reverbs features a wide range of springs useful for a variety of applications. This library has a large number of impulse response files that you won’t hesitate to use on lead vocals – they’re so good that can rival some of your favorite digital or plate reverb presets. A number of top engineers and producers use springs regularly, and some as their primary tool for reverb in general.
Vintage Plate Reverbs
Full list of reverb samples:
Plate Reverb Eco II (8 files) – Appleton, WI
Plate Reverb Eco III (13 files) – Sweden
Plate Reverb 140 Tube (16 files) – Nashville, TN
Plate Reverb 140 (19 files) – Finland
Plate Reverb 240 (15 files) – Los Angeles, California
Plate Reverb Lawson (13 files) – Nashville, Tennessee
Plate Reverb 140
For many, the 140 is considered king of the hill for a number of reasons. They were the first and came to market in the late 1950s. They tend to be a little warmer, tend to reproduce the way they were originally designed, the sound of a concert hall, and with limited EQ for the most part can more easily reproduce a dark, bright or warm sounding room, etc. – beautiful sound files in each 140 selected models – try them all along with very cool hybrid impulses that really are a reliable edition for any convolution library!
Plate Reverb ECO
Brighter and more metallic sound. Useful for incorporating certain production elements into the mix when you need to cut through it. These units were slightly smaller than the Plate Reverb 140.
Plate Reverb 240
240 has a darker sound. Weight: 148 lbs with dimensions 1′ X 2′ X 2′. Some say it’s better to use shorter tunings and sound sources such as drums. Originally designed as a way to make the original 140 (4′ X 8′) in a smaller, lighter box. It truly was a technological feat for its time. They use a gold foil platter and are a hybrid between the original large platter 140 and the early analog/digital rack mount and smaller floorstanding units, although the 240 is entirely analog.
Lawson – tends to be brighter, and the bulge in the lower mids warms them up. This device was designed and manufactured by Gene Lawson, who continues to produce microphones today from his shop in Nashville, Tennessee. His microphones are highly respected and his experience in the business is remarkable.
