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![]() The 140 is a beautiful plate reverb that is absolutely perfect for vocals and acoustic instruments. The 140 and the 250 are quite different in workflow, but the difference in sound can be subtle. The EMT plugins are my two ‘first stop’ reverbs when I reach for the ambiance dial. It’s powerful, and uses about 38% DSP, but it’s a very specific tool. If you want to sweeten your home studio, however, and make a drum set sound like it was recorded in a ‘downtown sound’ type environment, you can definitely punch up your mix with Ocean Way. Don’t expect cathedral like sounds here, you’re modeling a legendary live room. The Ocean Way plugin allows you to do both room modeling (albeit a very specific room!) as well as reverb. There’s special attention paid to the decay stage of the reverb with this guy, so whenever I want a reverb that’s noticeable in the mix, I’ll often reach for the Lexicon so I can craft the tail end of it as I see fit. With buttons to adjust your wet/dry mix rather than a knob, you can get a bit more precise with programming in exactly the amount of ambiance you want. The Lexicon 224 is slim and fit, costing you only around 11% DSP. The BX20 works great on a drum bus, and wonderfully on guitars. It’s a spring reverb modeler, and while you can find a seemingly unlimited amount of use for it, I find myself reaching for the AKG BX20 whenever I want a darker or more abstract tone. This plugin can be downright spooky and ethereal in its nature. It’s pretty lush, though, and it can be very tempting to use anytime I’m going for a stadium sound. It uses quite a lot of DSP, so I find myself utilizing it as a drum bus or vocal bus and maximizing what I’m getting for my 40% DSP. The AMS RMX16 is definitely a boutique choice.
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