Review: Overloud BREVERB Reverb Plug-in
by Glen Heffner - 20 April 2009 -

What, Another Reverb?

A number of weeks ago I was offered the opportunity to review BREVERB a high-end algorithmic Reverb plug-in.  As you might guess, Cakewalknet.com frequently receives numerous offers to review a variety of software.  From time to time, the Cakewalknet.com reviewers will discuss within our Editors Users Group a particular offer from one of the manufacturers’.  Typically the only thing that needs to be discussed is who, if anyone wants to review the particular software being discussed.  (Frankly, Reverbs aren’t usually a “hot” topic but this program more than makes the cut.)  If a reviewer accepts  the software, it then becomes the responsibility of the reviewer to establish communications with the manufacturer, work with the software and then produce the review that you are about to read.

All of us at Cakewalknet.com have plenty of software Reverbs, many of them that sound great.  So, you might be asking the same question that I was asking myself even as I decided to accept this review.  What with all of the Reverbs available, many for free, (or almost free), is there really a compelling reason to consider a $399 Reverb today?  Besides, is there really enough difference in the sound quality of Reverbs for you as a musician, semi-pro, or even studio pro to spring for another Reverb?  If you already have a digital Reverb that you’re perfectly happy with and it seems to be “getting the job done”, then what is the reason to get another?

My friend, that answer is easy.  The answer is BECAUSE YOU CARE.  

IF you can improve the quality of YOUR MUSIC and the SOUND QUALITY of YOUR RECORDINGS by adding a new Reverb, then it is worth every penny.  Unlike numerous softsynths that are routinely used on a single music production and software effects (compressors/limiters, EQ’s and other plug-ins strapped across multiple channels and busses); A GREAT REVERB IS A “MAGIC” PART OF A PROFESSIONAL RECORDING.  Ten different reverbs won’t do what one great Reverb can do when used correctly.  That’s why many studios still have certain “sacred” hardware Reverbs that they call on over and over again.  Being able to manipulate the controls of a reverb and enclose various voices & instruments with proper treatments of Reverb will turn a flat two dimensional sounding mix into a living, breathing, sonic joy to listen to.  It’s like standing in front of two speakers but hearing the locations and depth of where those people and instruments are.  It’s like the window of the control room has completely disappeared and you are truly listening to the music of a live band.  That’s what so many of those vintage hardware pieces in the right hands could do and they have stood the test of time.  Overloud has sought to go after the sound of these phenomenal Reverbs with modern technology and some very some very sensible design layout.

How does Breverb stand up?  Does it accomplish really something special and if so, in what ways?  Read on to find out as I explore in-depth the Overloud Breverb.

Who Are These People?

BREVERB is the creation of a group of very innovative people located in Italy.  This Italian company called Overloud has managed to design a beautiful interface while producing intelligent state of the art software.  Working within the Audio DSP (digital sound processing) realm for a number of years, Overloud has developed techniques that address the emulation of classis sound processors to an astonishing level.  To faithfully recreate the sound of acclaimed hardware reverbs, yet leaving plenty of “space” for the user to go almost anywhere his/her imagination might lead them to in terms of creating their own sounds IS the heart of BREVERB.  Vintage sounds coupled with 21st century capabilities.

Using hi-end algorithms instead of Convolution sampled sounds; Overloud is approaching digital Reverb from a direction that many might not fully appreciate, especially at first glance.  With Convolution (sampled) Reverb all the rage, why would someone be designing Reverb based on algorithms you might ask.  I will discuss the use of algorithms vs. convolution shortly…but please let me provide you with the most salient features of BREVERB first.

The Basics:

Before going any further, I’m going to list the basic features of BREVERB.  All of these features will be covered later in the review but this is the “quick and easy” rundown of what the software is all about.  So without further adieu…

• BREVERB consists of 4 types of Reverb Algorithms – Hall, Room, Plate and Inverse

1. Hall is modeled after the largest halls and spaces (such as large churches, auditoriums, etc.)
2. Rooms are smaller than Halls and can provide a more “intimate” sound to an instrument 
3. Plate Reverb was made famous by the EMT 140 Plate Reverb. 
   
   The Plate consisted of a thin metal plate that was suspended in a 4’x8’ sound proofed enclosure.  A transducer was mounted on the plate to cause it to vibrate.  The reflections from the edges of the plate were then picked up by two (for stereo) microphone transducers.  Reverb time was varied by a damping pad that was pressed against the plate.  (Yes, that’s the way it was done!)  Known for its extremely smooth and dense sound, it was an instant favorite for vocals, drums, and percussion. 
4. Inverse is actually a Reverb sound in reverse, in other words, “Reverse Reverb”.  I’ll talk more about this later.
   

• The Reverbs are modeled after some of the most sought-after, desirable, very hard to find hardware (and if you do find them, they will cost you a mint), reverbs ever made.
• Gorgeous Visual Interface GUI
  

• Independent Metering of Inputs/Outputs, Wet/Dry Signal Faders, Split Horizontal Pan Pots, & Peak Reader Indicators 
• 6 Assignable Faders and Rotary Dials –Ability to Map parameters to any of the Faders/Dials
  

• Two different User Interface Modes – Compact and Hardware-like 
• Very Low CPU usage 
• Parametric EQ Section 
• Automation Control and Synchronized timing/rates when used in any Host Sequencer 
• Plug-in and Stand-Alone Operation 
• Uses iLok Copy Protection 
• Retail Price $399

Vintage Reverb Inspiration?

BREVERB is aiming directly for each person who has ever wanted to own the best of the Classic Reverbs.  Overloud doesn’t mention these “Classics” by name, but I’ll wager a week’s pay that the word “Lexicon” was deeply seated in the minds of the Overloud team as this software was being developed.  As the proud owner of a Lexicon 480L with a LARC remote control (which the very attractive BREVERB GUI closely resembles), I’m quite certain that if anyone plans to make great classis reverbs, then they have to use the Lexicon as a defining source for incredible sounds, stylish controls and sheer inspiration.  After all, the Lexicon(s) and the 480L in particular, is a legend.  I don’t think anybody would dispute that.  With that said, BREVERB goes much further than just trying to be a Lexicon…  I would suggest the EMT 140 Plate is also a solid candidate and there are most likely a few more, notably Sony, AKG, and others who had their own little part of history in some way in the now Vintage Reverb world.

System Requirements and Supported Formats

BREVERB supports all of the usual formats including VST, Audio Units, and RTAS (Mac/Win).  As mentioned earlier, you must have an iLok key to run the software.  ILok keys are sold separately.

System Requirements are listed as follows:

Mac:   Intel Core Solo 1.5GHz with 512MB of RAM,  Mac OS X 10.4.4 or later, 1024x768 video, or 866 MHz Power Macintosh G4 with 512MB of RAM, Mac OS X10.3.9  or later, 1024x768 video
Windows: Pentium III 1GHz / Athlon XP 1GHz with 512MB of RAM, Windows XP, 1024x768 screen.

Installation...

Installation is completely painless and only takes a few minutes.  HOWEVER, for those of you that are still combating copy protection keys/dongles, then you won’t be any happier about the fact that BREVERB uses the iLok system.  For the uninitiated, the iLok is a USB key (or dongle) that plugs into your computer.  When you install your software, there are also drivers for iLok.  Once the installation is complete you usually go on-line to authorize your key.  This basically “ties” the key and your software together.  Unlike serial numbers and other types of copy protection that force the software and a particular computer to be “tied” together, the iLok key can be used on any computer with the software.  It is really a great advantage if you move around a lot or need to work on more than 2 computers.

Going to a session in LA and can’t afford to drag your behemoth computer with you?  Take your software disks and your iLok key.  Install the software on the studio’s computer, plug in your iLok and you’re ready to go!  That’s much better than explaining to a manufacturer that you can’t use your two computers so you need an extra authorization for this one session.  Oh, and wait until you get back home and try to explain that you now want to reauthorize the original computer again.  WARNING: Some companies take a very serious stance about allowing reauthorizations of the same computer again, EVER!  That’s because they don’t have a clue as to whether you might have sold your computer and their software and now you have their software on one computer and another person has their software on another.  It is easy to see why software companies would frown on this.  That is a very serious potential loss of revenue if that happened regularly.  This is why the iLok key is a good idea vs. authorizations!

A single iLok can hold over 100 authorizations for your different software softsynths and other key protected devices (like Waves software), so the investment of around $25 works out to less than $.25 cents per softsynth.  You can also transfer authorizations over to other iLoks as most people eventually find that they end up with several before they know it.  You can also authorize your software if you don’t want to use the internet as explained in the manual (although I STRONGLY recommend using the internet to take care of your iLok work because it’s much easier)…

As soon as the iLok key has been authorized, you are ready to go!

Algorithms vs. Convolution… A SMART MOVE by Overloud?

As I mentioned earlier, BREVERB uses “hi-end algorithms” to create their Reverbs.  I also stated that some people might be wondering why they didn’t use Convolution based sounds, (which is actually digitally recorded samples of real spaces) for their sounds.  It might surprise you.
Convolution Reverbs are the “love children” of many users currently because if you go back 5 years or so, they were almost darn near impossible to afford by the common man.  The reason was because Convolution Reverbs required lots of computer power to effectively manage the sampled recorded spaces that were used in the software.  Coupled with the intensive software requirements as well as the audio playback requirements very few people could afford the luxury of a computer powerful enough to handle Convolution Reverb.  But all of that has changed now and it’s no wonder that people are thrilled to be able to hear their voice as it would sound in a specific Cathedral or Concert Hall.  Convolution Reverbs sound great and there are some fantastic ones out there, but they aren’t always the “final answer” for all reverbs…

Algorithm can be defined as a set of detailed instructions which results in a predictable end-state from a known beginning. The real kicker is that algorithms are only as good as the instructions given.  If the instructions are written incredibly well, then the result should be incredible as well.  I’ll give my official opinion on the sounds a bit later but let me say that they blew me away upon first listen!  I guess I’m saying that I think that BREVERB algorithms have some incredibly well-written instructions.
One of the main reasons that using Algorithms instead of Convolution makes so much sense lies in the fact that with a Convolution Reverb; there is only a finite amount of editing that you can do.  Case in point: If you select a sampled sound of Carnegie Hall, well you’ve got the sound of Carnegie Hall!  You can shorten or lengthen the reverb, EQ it, change a number of parameters, but at some point, you realize that the sound is the Carnegie Hall recorded from a specific distance.  You can’t transform it easily (if at all) into something else.  However, when working with a Hi-Quality Algorithmic Reverb, you can construct a sound from your own imagination because of the vast amount of parameters available for you to work with.

Additionally, BREVERB’s parameters (coming up!) all function independently of one another.  This means that when creating your sounds, you won’t find yourself restricted in the way that a Convolution Reverb would force you to work.  Don’t get me wrong.  Convolution Reverb is extraordinary when used on specific instruments & voices in the right song.  But if you have that certain “edge” about you to be able to do extensive editing of your Reverbs or create spaces that don’t even exist, then BREVERB (because of Algorithms) just might be your first choice.  In my opinion, the Hi-End Algorithms were the only way to go to create the variety and quality of the Vintage Reverbs along with all the flexibility.

The Overview

Looking at the photo, you see the BASIC graphic interface of BREVERB.  Looking a lot like a Lexicon LARC, (which is a good thing), the layout is really beautiful.  Ergonomically pleasing, the interface rapidly becomes easy to adapt to.  Input meters on the left, output meters on the right.  A Menu of familiar commands such as “Load, Save, etc” are arranged in a nice straight vertical fashion on the inside Left hand side and directly in the center of the interface is access to the algorithms and presets.  The “Dry/Wet” Faders are to the right of this area.  Centered across the lower third of the “box” are six Title Tab Page buttons

THE SOUND CHAIN – How It Flows …

The Sound Chain consists of the IN and OUT faders and meters.  I find it really refreshing how the meters are setup, especially the OUT section faders and meters.  As you will see in a moment, there is quite a lot of info that you can derive from these sections.

The IN Meters consists of two independent left and right channel meters.  A master fader controls the input level for both channels and a numeric display at the top of the fader displays the input level in dB’s (decibels).  The range is from infinity to +12dB.  You can reset the value at any time by clicking on it.

The OUT Section is very cool, consisting of a left/right level meter, two faders to control the balance of Dry vs. Wet Signal and rather unique pan pots that Overloud call “split-horizontal sliders”.  Input level, (dB indicators) are located above the DRY and WET Faders and a Peak Indicator for the output level are at the base of the OUT Meter.  Clicking on any of these indicators will reset them.  Very nice!

THE KNOB SECTION

As mentioned, the lower section of the plug-in is where you’ll find six knobs and six zones.  The Zones are labels with values that are associated directly to the Knob below it. By clicking on a “Title Tab”, (one of the five available), you can shift from one page to another.

THE FADER VIEW 

The FADER VIEW becomes available by clicking on the ICON located at the upper right corner of the plug-in.  (See ICONS coming up next!).  A maximum of six faders can be displayed at one time.  The faders are all freely assignable and user-programmable by “dragging and dropping” a specific parameter on them.  Just right click, (or Cntl+click) on any parameter or name on any of the plug-in pages or the drop-down

ICONS

The Icons located on the upper right, upper left, and lower left hand side will quickly become a mandatory part of your “mousing experience”.  This is mainly because they do provide the best way to quickly switch between the various Views.  There are other shortcuts that you might also find useful as you will see below…

Upper Right (starting from the top and going down) 

1. The topmost Icon is where you switch between the 2 available views; BASIC, and FADER  VIEW
   - The FADER VIEW introduces a fader panel directly to the right of the interface.  (see Photo 9)
2. The following Two ICONS, the “+” and the “-“buttons will increase or decrease the amount of Faders that are within your FADER VIEW.  In this photo,  the amount of Faders have been decreased to three.

Upper Left (starting from the and top going down) 

1. The 1st ICON opens the BREVERB Preferences where Global Settings can be made.
2. The 2nd ICON opens the BREVERB PDF Manual for quick reference. 
3. The 3rd ICON identifies which version of software you’re running, a quick link to the Overloud  Website and a list of the people involved in designing BREVERB
   

Lower Left

1. This Single ICON (lower left) functions exactly like the topmost ICON at the upper right hand side.  It simply switches between the BASIC and the FADER VIEW.  The difference is that this Icon positions the FADERS below the knobs for a more Compact View, thus taking up less space horizontally.
   

THE CENTRAL MENU AND ITS COMMANDS

The Central Menu is the home base to the Main Menus and Buttons

The Preset List is directly beneath the Algorithm Selector 

COMMAND BUTTONS

As already pointed out, the COMMAND BUTTONS offer the expected fare along with some other nice additions.  Suffice me to say that the Load, Save, Save As, Delete, Undo and Redo buttons function just as they do on any other program.  But there are two Commands that bear mentioning in a bit more detail.

A/B – This is a “dual state” button.  In other words, it can store two different settings (namely A & B).  I prefer to call this a Compare button because that is exactly what it allows you to do.  For example, suppose you have selected a preset and have started editing it until you like what you have.  At that point, you can press the A/B button (which most likely will only be showing the letter “A”) The A/B button will change to ”B”.  Now you can work on the same preset and alter it in other ways.  Pressing the A/B button will continuously shuttle between the two different edited versions that you are working on.

A to B/B to A – This is another cool “helper” button that is “dual state” also.  This is a “Copy To” button.  For example, if you are currently in the “A” selection of the plug-in and you press this button, you will Copy A to B.  Visa-versa, if you are in the “B” selection sound and you press this button, you will Copy B to A.  Just remember that this button works directly with the A/B button.  Whatever is selected by the A/B button determines the “Copy direction.  If you’re in A, it copies to B, it you’re in B, it copies to A.  It sounds thorny but a couple of minutes of playing with this will cure you of any concerns.

PREFERENCES PANEL

Clicking on the square Icon located in the upper left corner of BREVERB will dim the main display and reveal the Preferences Panel.  From here there are several settings that are worth noting.

• Set Master Controls At Preset Loading: This determines whether or not the Master Control section (Wet, Dry, Pan, etc.) affect a preset when it loads.  If this Preference is not clicked, then all patches will maintain their current Master Control settings.  If clicked, each preset can have a different setting for panning, wet/dry levels, etc.
• Show Factory Preset: This simply provides how Factory Presets will be display; either shown with the User Presets or kept separately at User and Factory Presets.
• Sensitivity: This is the sensitivity setting that determines how the mouse responds to knobs and faders.
• Save Slider Associations: Since one of the big features of BREVERB is its ability to set up different Faders to control specific parameters, it is necessary to offer an option to make sure that Slider (Fader) Associations are saved.  When this Command isn’t checked, BREVERB will verify that the feature is running and if not, it will Load the default associations.  There is also a “Restore Default Associations” button available from within the Preferences Panel.

The Parameters

The Parameters are the primary avenues for sound creation within BREVERB however there are a few parameters that don’t quite apply in the same way.  I’m talking about the parameters in The Master Section.  So quickly before addressing the Title Tabs…

THE MASTER SECTION

The Master Section is the “Mixing Section” of BREVERB.  Parameters include In Level, Dry Level, Wet Level, Dry L Pan, Dry R Pan, Wet L Pan, and Wet R Pan.  The In, Dry and Wet Level Controls determine the mix of the various audio signals, but of particular interest are the L&R Dry and L&R Wet Pan Controls.  Since you have full control over the signal image (left to right stereo image), a number of creative combinations can be made between the dry and the wet stereo images.  Control the stereo width of the reverb; place the Dry signal in Mono with a wide-space Wet signal, etc.  Many spacial sounds can be generated from the panning opportunities afforded here…

THE TITLE TAB PAGES – A Short Discussion First …

Touched on earlier, the Title Tabs are the six pages that give you access to a variety of parameters. 

THE RELATIONSHIP OF THE 4 REVERBS TO THE TITLE TAB PAGES

The 4 Reverbs, Hall, Room, Plate, and Inverse are dramatically changed with parameters from the first three pages: General, Pre, and Freq.  Depending upon the particular Reverb Algorithm selected, the number of Parameters available will vary also.  For Example, Inverse Reverb is what I often called Reverse Reverb because Inverse Reverb usually starts with a rather slow, gradual attack and then builds up to a loud and abrupt cutoff.  Therefore, the controls utilized function to some extent in a different way, as they should since Inverse Reverb is not a natural Reverb.
The last three pages: Dynamic, EQ, and Gate are equally important and can make major changes in the Reverb sounds, but I prefer to think of them as “MODIFIER” Pages.  These pages basically act upon the designed Reverbs to change Tone (EQ), to modulate important Parameters (Dynamic), or to switch sounds on/off (Gate).

While the two paragraphs aren’t expressed directly by Overloud directly, I feel that this makes the up-coming section a bit clearer.

To summarize:

Pages:  General, Pre, & Freq = Direct Controls for “designing” your Reverb
Pages” Dynamic, EQ, & Gate = Modifier Controls for further enhancing or affecting the overall designed Reverb

Whew!  Got that…  Good, I hope that this helps you.  While writing at 6:02 AM in the morning it sounded pretty good.

FINALLY, THE TITLE TAB PAGES AND THEIR PARAMETERS!

Below is a definition of the Title Tab Pages and the parameters contained within each page.

• General:  
  
  This page provides the basic and most important parameters for setting of Reverb sounds.  The Parameters Time, Size, Diffusion, Shape, and Spread are all found here.  When working on a new Reverb sound, these parameters are where you would most likely want to start.
• Pre: 
  
  The Pre page features Predelay, Regeneration, (recirculated signal), Motion, (speed of modulation to delay lines) and Depth which controls the amount of modulation that is applied to the delay lines.  These parameters can make Reverb exciting, dynamic, and very unique.  When used with a Host Sequencer, the Predelay can be synced to the Host BPM (beats per minutes).  This means that the Host Sequencer tempo and the delay lines of BREVERB can be in perfect time with each other.
• Freq: 
  
  The Freq (or FREQUENCY) page contains the parameters that control the color/tone of the Reverb Tail and its duration for various bands of frequencies.  Parameters include Low, Low Freq, High Freq, Damping, & Low Cut.  Together, these controls create a wide variety of tonal sounds that help create more realistic sounding spaces.
• Dynamic: 
  
  The Dynamic Page features controls to enable modulation to some of BREVERB’S most important parameters via the input level.  There are three controls, each that send a percentage amount to different places.  The places are: To Level, To Time, & To EQ.  To Level affects the Wet Output Level.  Positive values raise the Wet Level when the Input Level rises and Negative Values doe the opposite.  To Time controls how the level of the signal present at the input will have on the Reverb Time parameter.  Positive values increase the Reverb Time and negative values shorten the time.  Last, but not least, To EQ Levels influence the overall color of BREVERB.  Positive values raise the Wet Level when the Input Level raises, Negative Values will do the opposite.  No other EQ parameters are affected other than the ones mentioned here.
• EQ: 
  
  The EQ page consists of a fully parametric Two-Band Equalizer.  Parametric EQ’s are known for their superior abilities to “zoom” in on specific frequencies if desired.  This is because the Parametric EQ not only has a Gain and Frequency control, but a “Q control”.  The “Q control” can specify a large number of frequencies or it can reduce the amount of frequencies that it EQ’s to an extremely small margin.  With the addition of the Gain and Frequency controls, the selected “Q” area can be “notched” out or boosted.  The parameters are labeled as P1 Gain, P1 Freq, P1 Q, P2 Gain, P2 Freq, & P2 Q.  There is a small square LED located in the right corner of the Title Tab. Clicking this will switch the EQ On/Off.  The EQ is ON when the LED is colored Orange.
• Gate: 
  
  The Gate page contains all the parameters for a superior switch that will mute the wet sound based upon your parameter settings.  With a level-detection system set to react to the dry input signal, exceptional effects are easily created.  I found myself really enjoying working with this gate.  Parameters include Threshold, Attack, Release, Hold, Shape & Slope.  Like the Predelay, the Release & Hold can be synced to a Host Sequencer.

The Sound

I have spent at least 40 hours working with BREVERB specifically on mixes and during that time I believe that I have had a chance to use this Reverb on just about everything.  The real litmus test for a Reverb is just how well it manages to fit into your mixes.  Does it really help create the illusion of depth?  Can you recognize that some instruments seem closer and others further away?  Do you notice that multiple sounds treated with different rooms, plates or whatever you used for your song maintain excellent clarity and positioning?  None of these questions are easy to answer.  I know, because I’ve been there.  Many times I’ve used supposedly great reverbs only to find out hours later that the music sounded “flat as a pancake”.  There were no dimensions or recognition of space in the recording.  In spite of the “incredible reverb”, all the sound just seemed to be pasted on a wall between two speakers.  You also have to take the responsibility of listening and applying the proper Reverbs also.
I’m thrilled to say however that the BREVERB has simply knocked my socks off!  The sound is pristine. Long beautiful reverb tails without any sign of distortion as they faded out. Heavenly, lush, quite reverb…

The presets provided by Overloud are almost 100% spot on.  Many people could just use the presets inside Breverb and be happy enough, but that would be a horrible mistake!  Overloud has provided such an intuitive interface that it is practically screaming for you to grab your mouse (or midi controller) and start creating your own Reverbs.  It would be a shame for you to miss all that you would soon discover with just a little time spent with this remarkable piece of software.  You will find your own sounds in no time and yes, you will soon come to a decision that they are better reverbs than anybody else has ever made.  And you know what?  YOU JUST MIGHT BE RIGHT!

Overloud BREVERB most certainly isn’t holding you back from creating vast, lovely, haunting, landscapes with BREVERB nor are they stopping you from producing the perfect 30’ x 20’ Room  for that most intimate of “in your face” sound for your cranking Marshall amp.  With the superiority of sound, the smooth as silk interface, a comprehensive “under the hood” DSP design, and cool features being offered in this package BREVERB ROCKS!  I can’t believe how much I have fallen in love with this program.  It just adds sparkle and life to everything without saturating the music.  I have many Reverbs and this one is going right to the top of my list!

THE SOUND IS WHAT IT IS ALL ABOUT and THE SOUND IS ALL THERE!

Oh, I might as well mention THE COOL THINGS while I’m raving.

•  I love the fact that the sound coming from this Reverb was mind-blowing even as I was running 23 instances of it in Sonar at 96k, 24 bit and CPU resources totaling 39%.  Now who in their right mind would be running that many instances anyway?  But, it is nice to know just how “resource kind” it is.  [3 GHz dual core Intel, 4 gb RAM, XP pro}
• Each Algorithm actually functions independently from the other.
• You have Automation and Realtime MIDI control of most of the parameters!
• Pre-delay is configured in either milliseconds or musical notation.  Your choice!  The ability to adjust pre-delay using musical notation vs. milliseconds is very cool.  
• BREVERB has over 100 excellent presets and they’re all uniformly superb.
•  I did mention Stand-Alone Operation also didn’t I.

FINAL THOUGHT

SPristine Sounds –- Excellent Control Parameters -– Vintage Reverb Emulations that are as good as I’ve ever heard at anywhere near this price –- Plug-in & Stand-Alone Operation -– THE GRAPHIC INTERFACE! – Fader Panel Views –- Drag & Drop Mapping of Parameters –- Halls, Rooms, Plates, Inverse Reverbs –- MIDI – Automation – Parametric EQ –- Unique OUT Section –- Excellent Metering -– Modulation Section –- Hi-Quality Algorithmic DSP –- CPU Friendly –- Awesome Gate- $399 Retail – BUY IT BREVERB is awarded 9.5 out of 10 stars on the G-O-METER!

 Glen Heffner is a midi specialist, keyboardist/composer and engineer located in North Carolina, USA. He has a Bachelor of Music degree in Piano and operates an all digital studio. Currently he is working on an instrumental CD and completing a film score. You can check him out at www.majormidi.com or contact him at This e-mail address is being protected from spam bots, you need JavaScript enabled to view it .