Top navigation

REVIEW: Eventide Tverb

REVIEW: Eventide Tverb

As vocalists go, David Bowie’s certainly up there with the greats, and arguably one of the most in-fluential pop artists of the modern era. His works are revered by legions of fans and critics alike, in particular his late ‘70s album Heroes, which found him collaborating with Brian Eno and Tony Visconti on the second installment of his Berlin Trilogy (Low, Heroes and Lodger).

Of the three albums, Heroes was the only one that was recorded in its entirety in Berlin at Hansa Tonstudio with an improvisational feel to the recordings and under the watchful eye of Visconti.

Working with Visconti, Eventide has recreated the vocal technique used while recording the title track to the album, in the magnificent Meistersaal Hall at Hansa, which is normally reserved for big orchestral recordings. Visconti found that he had only a couple of tracks left to record the vocals, and he needed one of these for backing vox, so set about arranging three mics in various parts of the room - one main and two room mics (a U47 for main and two 87s). Visconti gated the room mics to only open up when Bowie sang louder, with the resulting effect giving a unique room ambience that Eventide has managed to authentically capture by modeling the Hansa space three times, similar to the original recording.

The original processing chain’s compressor and gates are also recreated, along with the Neve mixer, which was used in the sessions. With the knowledge of the actual technique used by Visconti, you can set about recreating your own three-mic placement within the plugin, including the ability to move the mic positioning around the space without introducing any kind of artifacts to the sound. Eventide has created a neat little video that displays this superbly, imaginatively titled the ‘Tverb Tango’ that can be viewed here.
Article continues below

Advertisement

The lead mic can be changed from omni/cardioid/bidirectional, adjustable gates on mics 2 and 3 and the ability to add high/low cut to the main mic, offering a truly flexible and fun approach to the recording and mixing process. The two room mics each have a fully adjustable Gate that can be used independently or linked together. Adjusting the Gate allows for the dynamic reverb pro-cessing, with threshold being set to allow for the room reverb of each particular mic to be applied as you wish. Both Gates are triggered by the post-compression signal, but another added feature is the ability to trigger them pre-compressor, too.

There are myriad presets created by Visconti and a selection of other artists to get you started, which is an added bonus and super helpful. Tverb is not just aimed at vocals either, as there are countless other presets for a variety of instrument settings and situations, offering further flexibility and value for money.

The reverbs themselves are in the room/hall area; warm, organic and natural sounding, making them very realistic, Eventide really has done a wonderful job with them. The plug-in is also intuitive and easy to use, adding to the joy of working with it, and very friendly with a DAWs CPU usage.

If you’re a bedroom producer or commercial studio looking for a new reverb plug-in that offers something a little different to everything else currently on the market, you certainly won’t be disappointed by trying Eventide’s Tverb.

Trade enquiries:
Source Distribution
www.sourcedistribution.co.uk
0208 962 5080

Tags: eventide , studio , Software , Review , Reviews , eventide Tverb

Follow us on