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.
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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.
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While operating in stereo, there are many parameters available.
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With the subject of this review, LiquidSonics, founded in 2014, is looking to build upon its fledgling status as a go-to for media composers.Ĭapable 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. The UK company’s reverb plug-in provides a faithful and thorough emulation of the famous Bricasti M7, and received glowing reviews upon its release in 2017. LiquidSonics may not be a name with which you’re familiar but, if you are, it’s likely to be because of Seventh Heaven.