It's the most flexible convolution engine I've seen, and the ADSR alone can be used in creative ways. I kinda think of it as an inferior version of Seventh Heaven nowadays, but it still has its uses. If you don't like the way their small room sounds on your percussion, there are a few knobs you can fiddle to alter it a bit, but you're kinda stuck in that range. That said, I also feel like I have less control over the "taps" themselves somehow, which makes it very much a "take it or leave it" kind of sound. When the precedence integration is finished, I might change my tune.Įasier to dial in than breeze, and with a much more elaborate set of frequency and decay tools. This is true with a lot of algorithmic ERs. I like this and I think there's a lot of merit to the one-instance-per-source method and the randomness you can introduce with it, but it takes some effort to get it to sit with sources already recorded in a space. I keep trying the non RandomHall options, but can't find a place for them. I make sure everything has a least a little of the lexicon though, since its whole purpose is to glue. I don't really use it for positioning, but vary the send level and predelay sent from each subgroup, depending on how far away they're supposed to be. I've been using an instance of Precedence on dry instruments to put them in their place before being sent to a group SH instance. When I bought this, I was expecting to use it in the ways you might a bricasti, but I'm surprised by how much I like it for.well, everything. The early/late balance, combined with mix (or your send level) and predelay, actually does a really effective job at positioning a source. Usually, it's a battle to get small fake rooms to sound natural, especially with percussion, but seventh heaven does it wonderful, albeit at a cpu cost.
My favorite all-round reverb at the moment, and the only one I own that can convincingly put a wide array of dry samples into small spaces. Unless your recordings/samples are done in an anechoic chamber, there's probably some kind of reflection in there, and it's tough to predict.
For me, its less about whether a sound is orchestral and more about how the recording interacts with the reverb.