All 150 factory supplied color preferences are also available. The same color system available in Precedence is available in Breeze 2. Precedence is an essential member of the family, and the link between it and our reverbs is compelling. This will be available in future versions of B2 and Aether as well in one form or another as they become available. At the moment, just manually set Breeze Mix to the same value as Precedence Distance.
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The integration will take a little extra time and come in another free update later this year hopefully before the holiday season. We are attempting to establish communication between Precedence and Breeze 2 instances so that by merely changing position in Precedence, Breeze settings will be updated appropriately as well. Both can be used independently of course, but true magic happens when used together. The Precedence algorithm has been designed with this in mind. Together they create an incredible sense of depth and allow you place instruments anywhere within the space that Breeze 2 creates: left to right, as well as front-to-back. Precedence supplies about half of the actual distance illusion, and Breeze 2 provides the other half. The idea is merely to set a Distance value in Precedence and then manually enter the same numerical value into the Mix parameter in the Breeze instance that follows it. Designed to work correctly with Precedence. The mode Mix/Balance should be considered “Distance”.
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In this mode, the standard Pre-Delay control is replaced with the “PD Adjust” control which allows some manual adjustment of our automatic guideline suggestion. Therefore there should be an inverse relationship between Mix and Pre-Delay in most cases to agree with behavior in the real world, but that is not widely understood in the community, so we can now set this up appropriately for you automatically. In real acoustic environments, sounds that are closer to the listener are likely to have MORE pre-delay, and LESS reverb energy relative to the source sound energy. Additional behind-the-scenes, secret-sauce changes are made as well, so that the Mix/Balance control can effectively be thought of a “Distance Control”. When Using P-Link Mode Pre-Delay is set automatically as a function of Mix/Balance, Size, and the current Algorithm Mode.
Breeze 2.1 New Features & Changes:īelow you find the description direct from 2CAudio on some of the new changes. See our Breeze 2 Review here if you want to learn more about the effect plugin. Breeze 2.1 update connects with the new Precedence spatialization, and positioning plugin see our Precedence review here. Additionally, the room characteristics can be changed.Breeze 2.1 offers some very significant improvements including P-Link Mode, Chameleon Color GUI System, Sub-Zero Suspend-On-Silence CPU-Saver, 3 New Filter Types for Damp and EQ, and more. All the microphones are stereo, and being able to automate the movement of the microphones allows for some interesting stereo effects. There is compression for microphone one and gates on the other two microphones. The polar pattern of microphone one can be changed. Modeled after what Tony Visconti did for David Bowie recordings, this reverb is useful for any traditional (not space ambient) piece and sound quite good on pianos. The effect of having three mics means that you can get some interesting left-right effects out of it. The three microphones allow this reverb to meld into the mix very well. This algorithmic reverb employs three microphones that can be moved around a virtual room. I made presets for emulation of Eventide’s Blackhole, Strymon Big Sky, and Strymon Blue Sky reverbs. Here below is a demonstration of how Aether can emulate several different reverbs, but with greater realism. Detailed controls not available on other reverbs make it possible to design nearly any reverb desired and with a lot of options.
The stereo handling is also unique and of impeccable quality giving it a spaciousness unparalleled. This makes it the cleanest reverb out there. It effortlessly sits nicely in the mix due to the non-exponential decay that allows it to linger without the need for turning up the mix volume and muddying the mix as happens with other reverbs. With a smooth musical feel to it throughout, I can’t describe it with enough detail to be accurate. It is amazing.Īether, Breeze, and B2 are algorithmic reverbs that best the convolution reverbs out there by light-years.Īether is capable of mimicking almost every reverb out there, and it can be made to do extraordinary reverb tasks that cannot be done with conventional reverbs. Precedence is a spatial positioning plugin that works with Breeze to place instruments in a virtual room. Nothing touches Aether, Breeze, B2, and Precedence for the discerning ear when it comes to reverb.
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