2C Audio Aether v1.6 Free Download Latest Version r2r for Windows. It is full offline installer standalone setup of 2C Audio Aether v1.6 Crack mac for 32/64. 2C Audio Aether v1.6 Free Download Latest Version r2r for MAC OS. It is full offline installer standalone setup of 2C Audio Aether v1.6 Serial key for macOS. 2C Audio Aether v1.6 Overview Aether is an award-winning, ultimate quality, self-modulating algorithmic reverb. It is used daily in the worlds largest music, film, television, and game productions and is heard daily by millions of listeners around the world. It remains one of the industy’s undisputed champions of traditional reverb design.
Effectively two plug-ins in one: ER Engine and LR Engine Discrete Early Reflections engine with 33 Space Type Models Unrivaled Late Reflections Engine with unique features Attack & Sustain Envelope Variable Q Damping Decay Curve Proprietary Spectral Modulation Features of 2C Audio Aether v1.6 Below are some noticeable features which you’ll experience after 2C Audio Aether v1.6 free download. Windows XP Vista 7 8 8.1 10 32-bit 64-bit 2C Audio Aether v1.6 Free Download Click on below button to start 2C Audio Aether v1.6 Free Download. This is complete offline installer and standalone setup for 2C Audio Aether v1.6. This would be compatible with both 32 bit and 64 bit windows. Click on below button to start 2C Audio Aether v1.6 Free Download. This is complete offline installer and standalone setup for 2C Audio Aether v1.6.
Aether’s tracks Sweetheart by Aether. Get Spotlight to showcase the best of your music & audio at the top of your profile. Learn more about Pro Close. Update image. Started by Aether Audio. 0 Replies 1679 Views, Last post 5 Jan 2012, 04:19 am by Aether Audio Post Pictures of your Aether Audio / SP Technolgy Systems.
This would be compatible with macOS. SIZE: 93.1 MB SIZE: 51 MB.
Aether is an award-winning, ultimate quality, self-modulating algorithmic reverb. It is used daily in the worlds largest music, film, television, and game productions and is heard daily by millions of listeners around the world. It remains one of the industy's undisputed champions of traditional reverb design. Feature Summary. Effectively two plug-ins in one: ER Engine and LR Engine.
Discrete Early Reflections engine with 33 Space Type Models. Unrivaled Late Reflections Engine with unique features. Attack & Sustain Envelope. Variable Q Damping Decay Curve.
Proprietary Spectral Modulation. Sublime space, both classical and modern. Aether is available for VST and AAX hosts under Windows 7, 8, or 10. Both 64-bit and 32-bit versions are provided for all formats. Aether is available for AU, VST, and AAX hosts under Mac OSX.7 or higher. Both 64-bit and 32-bit versions are provided for all formats. An Intel-based CPU is required for Mac OSX.
WE DO NOT SUPPORT PPC. Aether has been tested in the current versions of the following hosts: Acid, Audition, Bitwig, Cubase, Digital Performer, Energy XT, FL Studio, Live, Logic, Max 5, Nuendo, Peak, Project 5, Pro Tools, Reaper, Sonar, Sound Forge, Soundtrack, Studio One, Wave Editor, Wavelab.
Other Various VST and Audio Units hosts for Windows and OSX platforms should function normally as well and will be added to this list as they are tested and confirmed. Legacy formats including RTAS and Windows-XP-capable versions are available upon request, but not officially supported.
Say no to static convolution processes. Unlike convolution reverbs, Aether is not a static process, and no two instances of Aether are ever exactly the same. The same is true in real world acoustical spaces as well: a building's acoustical character may vary slightly depending on several factors such as its current occupancy, and even more subtle things such as the current temperature and humidity. Thus, acoustic space itself is alive in the real world and is constantly shifting, morphing, and evolving to produce a complex array of potential impulse responses. A sampled impulse response of a real acoustic space, can be quite accurate for that particular moment, but it tells only part of the story. It is like a picture of a lake, versus the lake itself.
A lake in the real world is unlikely to spontaneously develop waves the size of those found in the ocean, but it is never quite as still as a picture either. Aether's approach does not simply sample one static picture in time, but rather captures the complete subtly of the dynamic chaotic processes found in life and it retains all the detail and organic feel of these processes.
Aether is alive! Non-Exponential Decay Reverb energy in nature decays exponentially - that is to say that it decreases rapidly after the sound source has stopped emitting sound. This is probably a good thing in nature as we would not want to hear a thunder boom continue on for weeks after the lightning strike! In musical applications, however, often we would like the reverb to remain higher in volume for a little longer as to augment the sense of space around a particular instrument.
When using traditional exponentially decaying reverb designs, producers and engineers often resort to raising the gain of the reverb to achieve this goal. They soon realize, however, that the rest of mix gets muddy very quickly, and so they reach for their gates to compensate for this problem. This of course results in its own set of complications, and in the words of the immortal Wesley Snipes, is a bit like trying to ice-skate uphill. Aether offers two controls, Spread and Sustain, to keep the energy in the reverb tail higher a little longer than normal without muddying the mix and still allowing a natural decay down to negative infinity. Aether also offers an Attack control to shape the reverb tail's attack envelope to allow for slower build-up as is found in larger buildings. These combine to provide the ultimate control over the time envelope of the Late Reflections.
For more information on this topic, please download the Aether Manual available in the Links and Downloads section above and read the 'Understanding Aether's Time Envelope Controls' section. Ster-E-Oh-My-God Most software reverbs on the market are effectively Mono-to-Stereo processes and even when they are inserted on a stereo track, the stereo input is first summed to mono and then fed into the reverb. This is fine for mono sources, such as lead vocals that are panned dead center, but it is generally not desirable for stereo sources or for use on send busses where several panned instruments share the same reverb.
The problem with this is that the stereo image of the source is collapsed and lost in the diffusion of the omnidirectional reverb. In such cases the spatial information and panning of the source is disregarded and all sources are assumed to come from one point within the reverb. Ultra high-end hardware companies have known this for decades and offer advanced modes including True Stereo and Dual Mono. Aether offers the same modes in software form, and goes one step further by offering 'Cross' and 'Width' controls that allow the reverb to blend seamlessly from Dual Mono, to effectively a Summed Mono input, to Dual Mono with reversed channels, and anywhere in-between. Finally, Aether also offers the traditional Mono-to-Stereo mode to reduce CPU usage when needed.
For more information on this topic, please download the Aether Manual available in the Links and Downloads section above and read the 'Understanding Cross and Width' section. Aether 1.5 now offers the choice of four stereo modes for both ERs and LRs. Furthermore, these modes can be set independently, which when used with the new Cascade control, can create an entire universe of interesting new spatial effects. L-R Mono: A Mono-to-Stereo process where Cross controls the Left-Right input balance. For example, add reverb to only the Left channel input from a stereo input, or collapse the input to center and use this mode to save CPU usage. L-R Stereo: A Stereo-to-Stereo process where Cross controls the relative input position of the source.
This mode achieves true stereo, dual mono, reversed panning, partial mixing of channels to give variable degrees of source separation, and complex 3D dimensionality when used with Cascade. M-S Normal: A Mid-Side process where Cross controls the Mid-Side input balance! For example, add reverb to only the side signal from a stereo input, or the mid signal, or some mix of the two.
This allows centered mono instruments to stay dry while adding extra reverb or ambience to the supporting instrumentation, and is excellent for mastering needs!. M-S Relative: A Mid-Side process where Cross controls the relative Width of the reverb signal and Width becomes an output panner! For example, feed Aether a mono signal, and receive a mono output.
Feed it a wide stereo signal, and receive the same output. Or reverse the behavior! This mode is excellent on omni-directional sounds such as synth pads and ambiences or dense mixes which already contain complex spatial information, and is excellent for special FX use!
Freq Out And keep only what you want. Aether employs an industry first, advanced frequency dependent decay time scaling process that allows users to specifically sculpt and carve custom reverb damping curves with unprecedented flexibility. Aether divides the audio frequency range into three frequency ranges and allows each frequency range to have its own time scaling factor. To add further flexibility the 'Q' or filter slope of both filter cut-off points is adjustable from 0.05 to 1.00 to allow extreme variance from gentle sloping curves to extremely steep ones. This allows the users to keep the mix clean in critical bands while allowing more space in others, and it allows preset designers to achieve both ultimate realism and intentional supernatural effects.
All frequency control settings in Aether 1.5 can be set at full frequency range from 8.00hz to 32,768.00hz. In other words, Aether 1.5.0 offers a twelve octave frequency response range. Infrasonic (20kHz) frequency cutoffs can be useful to achieve gentle roll-offs of extreme frequencies within the hearing range. Furthermore all filters have phase characteristics which are generally most severe at their cutoff points, so moving the cutoff outside the traditional range of human hearing can be desirable for those obsessive enough to care about such things. Additionally, Aether 1.5.0 allows filter routing to be reversed. In version 1.0, the EQ was always an input EQ and the HF Soft filters were always on the output.
Aether 1.5 offers a button to reverse this behavior and put the HF Soft filters on the input and the EQ on the output. This can be useful for high pass and narrow-band needs. Maximum Modulation In addition to the intrinsic variance found at the very heart of the Aether algorithm, Aether also offers even more modulation possibilities to keep the verb from sounding dead and static. Two simple modulation controls are offered to invoke additional random LFO modulations in the Late Reflections section of the algorithm. The Modulation Rate and Period controls create musically-pleasing, randomly shifting resonances in the spectrum of the diffuse Late Reflections. Modulation period length extends to over eight minutes to allow for imperceivably slow shifts in the resonance of the reverb tail that guarantee the reverb sound will never be exactly the same over the course of an entire song.
This completely eliminates the metallic sound which plagues many inferior reverb designs on the market. In Aether 1.5, the modulation Period range has been vastly expanded and the modulation rate is allowed to move into the audio range in the extreme setting which can make the it behave like chaotic FM synthesis. This can be very useful for novel special effects. Beyond Reality Don't be limited to only that which you can capture with a microphone.
Why contract NASA to build you a $10 billion, 1000-meter geodesic dome made out of the latest nano-material buckyballs to provide a negative refractive index so that you can run your sine sweep impulse through it and capture a static IR? Instead, simply use Aether in some extreme settings to achieve the result you are after. Want a 120 second reverb that decays quickly in the mid range, but sustains more in the highs? Need a reverb that decays infinitely in a one octave mid-range band while all other frequencies fall always quickly, and at the same time reverses it's panning of the late reflections? Have it your way!
You are limited only by your imagination. Aether 1.5 offers ER Pre-Delay to allow ERs to be independently delayed from LRs. This is useful for creating 'slap-back' type presets and special FX, and modeling large outdoor spaces which have distinct echoes late in the tails.
Additionally, Many parameter ranges have been vastly increased to allow more extreme settings and explore new possibilities. For example, maximum ER Size has been changed from 100 meters to 250 meters and LR Size range is now also 1 to 250 meters, whereas previously the range was about 3 to 60 meters. This change thus represets a ten-fold increase in the Size range, is generally at least four or five times larger than the competition, and opens up a whole new universe of creative possibilities. Cascade & Porter As mentioned elsewhere, Aether is comprised of two separate and distinct stereo engines.
In earlier versions of Aether and all other products on the market that we are aware of, these two engines alway operate in parallel. Aether 1.5 introduced the Cascade control. The Cascade control allows Aether to run in Serial modes where the output of ER Engine is fed into the LR Engine, or vice versa. The Cascade control does not simply force the user to choose between parallel or serial operation however. Instead, it allows the user to seamlessly morph between these two modes and create hybrid states whereby some of the output signal of a given Engine is fed into the other Engine, and some is fed directly into the master output. This allows for tremendously flexible signal routing which is all accessible from a single control.
Cascade has several uses:. Perceptually recede the ER reflections back into the depth of the stereo field to deepen the sound stage perception.
Glue the ERs and LRs together to some degree to function as a synergistic whole. Insanely Great B2 offers the same advanced quality options that we introduced to the world in Aether 1.5. The features described below are designed to work synergistically to achieve a full frequency, perfectly band-limited, artifact-free system. To our knowledge, 2CAudio remains unique in the algorithmic reverb market in these areas. Algorithmic reverbs in the past employed modulation to hide moderate to severe artifacts in their processes, but these compromises in turn created their own side effects such as increased noise floor, unwanted high frequency decay, and the creation of aliasing.
In comparison to previous competitive products, our previous generation algorithms had very few artifacts. At the highest offline quality settings, B2 effectively has none all the way down to our dither noise floor level, and can conceptually be thought of as an analog process within its band-limited frequency range. Numerically this translates to noise and alias suppression of significantly greater than 144dB and a perfectly flat frequency response to 21Khz at a 44.1 sample rate, and 36Khz at a 96K and higher sample rates! In raw technical audio specifications, we believe B2, together with Aether, are unrivaled in today's market. Double Precision All critical aspects of B2's internal DSP code are performed at 64bit 'double precision' resolution.
B2 employs a balanced approach in this area by using double precision only in the areas of the algorithm that would see appreciable benefit, while retaining single precision (32bit float) elsewhere to minimize CPU and memory requirements. This feature results in amazing clarity in B2's filters. Without the use of double-precision DSP, rounding errors can build up in the recursive structures of competitive algorithmic reverbs, and this can lead to a rapid increase in the noise and muddiness.
This can be especially a problem with long reverb times and small sizes. B2 completely eliminates these issues and offers pristinely clear reverb tails over its entire huge decay time range. Oversampling B2 allows 1X, 2X, and 4X oversampling options. Oversampling allows B2 to internally run at a higher sample rate than the host sample rate. Oversampling increases filter quality, improves high frequency response, and reduces self-noise of the algorithm. Oversampling can also significantly increase the clarity in the high frequency range and help transient response.
Furthermore, oversampling allows extremely flexible decay filter and EQ settings to be used which would otherwise not be possible at normal sample rates. B2's oversampling method is extremely high quality and does not add any artifacts or appreciable latency of its own, which we should note, is no easy task to achieve. In B2 oversampling may also be set 'Per-Preset' which allows multi-instances to use different settings as needed to increase efficiency and allows presets to be optimized for a specific oversampling state. Band-limited Interpolation B2 offers three interpolation quality settings: Excellence, Perfection, and Obsession.
Interpolation is used extensively in B2's modulation methods and allows non-integer sample delays. The 'Excellence' mode offers the best compromise between quality and performance. The Perfection and Obsession modes employ highly advanced mathematical techniques to achieve completely artifact-free band-limited interpolation, which is free from unwanted high-frequency damping, and perfectly suppresses aliasing at the same time.
Both of these modes are extremely heavy on the CPU and only available during offline bounces. The Perfection mode represents, just that for 95% of all musical needs. The Obsession mode goes beyond all reasonable performance bounds for users who are willing to wait for the ultimate fidelity for high resolution audio production and mastering needs. Be forewarned: it's not a fast process by any means, and is complete overkill for most needs. We offer the Obsession mode anyway as proof of concept, and for those of you out there who may be as obsessive-and patient-as we are.
Mathematically perfect analog reconstruction. Offline Render Options The perennial 'Performance vs. Quality' trade-off has now become obsolete! B2 allows two independent sets of its various quality settings: one for Realtime use, and one for Offline bounces. As such users can set Realtime settings to a level appropriately matched to their project needs and available hardware power, while at the same time automatically invoking extreme quality standards during Offline bounces. This concept is quite similar to techniques used in video rendering applications where one has a Preview and a Render quality, except for the important point that B2's lowest Preview/Realtime quality is already at an award-winning level. Continuing then with the video rendering analogy, B2's lowest Realtime quality setting could be metaphorically thought of as roughly equivalent to Blu-Ray's 1920.1080 resolution, while its highest offline quality settings might be considered as something like 4K or 8K Digital 3D Cinema!
A Picture Is worth 1000 words or in our case over 75 parameters. Aether's algorithm is conceptually divided into two parts: Early Reflections, and Late Reflections. The early reflections stage provides discrete delay patterns, which provide spatial cues that identify the nature of the given acoustic space.
Aether mathematically calculates and subtly randomizes these ER delay patterns in pure floating point precision based on an incredibly complex algorithm that is designed to accurately mimic physical reality. This part of the algorithm consists of over 75 variable parameters which control the characteristics of the resulting ER patterns. In effort to maximize usability and user friendliness, this complexity is hidden from the user, and is instead wrapped into a single visual macro called Space Type. Thus the user does not have to deal with complex esoteric DSP parameters that only a physicist would understand and instead he simply chooses visually the type of environment he would like to use, and Aether makes the appropriate changes to the algorithm behind the scenes.
33 different default Space Types ship with Aether, and the interface provides five additional control knobs to customize their most important aspects. These controls allow adjustment of the size and geometrical shape of the Space Type default as well the positioning models used to determine where the sound source and listener are in the room.
We Are Connected In a real acoustic space there is no real distinction between Early and Late Reflections and the entire composite response of a real acoustic space consists of ERs, LRs, and frequency characteristics of the given environment. Thus in order to truly represent a given space accurately all three of these things should align to meet the characteristics of the acoustic environment. Aether offers an intuitive solution to this issue by providing a Link button that allows various parameters to be linked to the Space Type macro control. The additional ER controls, the LR controls, both set of controls, or none of the controls can be linked to Space Type. This way, when a user selects the 'Telephone Booth' space for example, an appropriate size and reverb time can optionally be set automatically as well.
Of course the linked parameters can then be adjusted by the user as desired and hybrid presets can also be developed by quickly combining the characteristics of two or more different space types. The end result is a balance of maximum ease of use and ultimate flexibility. Freq Profile No it's not an online dating term. Aether 1.5 implements a Frequency Profile menu system. This feature functions in a similar way to the pre-existing Space Type system used in the Early Reflections engine. It is effectively a macro control that allows the Input EQ, Damping Curve, and High Frequency Softening filters to be saved and recalled as a set in different fashions.
Frequency Profiles consist of a total of 15 different parameters on the GUI, which can all be changed as a unified whole with a single click on the display of selection from the menu system. Furthermore, we employ a Link control to allow users to customize the recall behavior of the system. Aether 1.5 includes 100 Frequency Profile presets organized into different categories for maximum ease of use.
The new Frequency Profile system works together with the Space Type system to create a very simple way for new users to try over 3,000 possible preset permutations simply by clicking on two controls. Furthermore it allows over 60,000 preset combinations when used together with the new preset expansions. Engaging GUI Simply take a look at our interface and then compare to the competition. Aether's engineering robustness, precision, and sound quality are second to none, but who is to say that a reverb interface must be cold, sterile, and unwelcoming? We did not get the memo. Most of our customers are musicians, not scientists, and so as such, we took the liberty to have a little fun and get a little creative.
We use things like color coding, macro controls, and parameter linking to make things intuitive and painless. We think you will appreciate it, and will find our efforts welcoming and inspiring.
At the same time, we did not sacrifice any degree of control for the power user. Consider as one simple example, that behind our sexy and good looking knobs, lies a floating-point parameter system whereby you may text-enter any value you choose in full floating-point precision and this is the value that will be used by the algorithm and saved in the preset. Want input gain to be -11.347841 dB for some reason? Simply text enter it and that is what will be used. Or just move the knob by feel like a normal human. It's up to you.
Extreme Efficiency Audio quality is the number one design goal of Aether, and we have taken a no compromise approach to achieve that goal. Having said that, we recognize that most users do not have a supercomputer in their basement and we are very well aware of the need to run the plugin on real-world systems of varying degrees of processing power. Aether's core DSP engine is highly optimized. Most of the processing code is written in low level assembly language and is manually tuned to squeeze the maximum power out of your existing system. Our development is Intel-only and this allows us to focus our energies on doing one thing very well instead of spreading our resources thin by trying to support too many obsolete platforms. SSE media acceleration instructions are used extensively throughout the algorithm. Additionally, the ER and LR sections of the algorithm may also be independently turned on or off to save CPU power when one is not needed.
We've gone to great lengths to ensure that the plug-in takes as few cycles as possible so you can load more instances without sacrificing quality. Pick a Preset If you have just read all of the past three pages full of detail and are left thinking 'I just want a great verb sound! What do all these details mean to me? Do they really matter?'
The honest answer: maybe not to you. For you, we have two things to say: First, as stated above, we believe Aether is one of the best sounding reverbs on the market. Second, did we mention the preset browser page? The preset browser page displays approximately 200 world class, professionally designed factory presets which are only a single click away and load instantly.
When we say instantly, we really mean it-there is no waiting for an impulse response to load from your hard-drive. A quick scan through these presets will allow you to quickly find exactly the right sound you need for your application and using the browser page instead of the main page will keep you protected from becoming a Space-Time-Freq like the rest of us here at 2CAudio! “ For those of you that are considering the purchase, here are my two cents worth: I like many other professionals, make decisions as engineer, producer and musician every day.
Often it involves the purchase of products to serve our clients or our compositions. I personally will never make a quality compromise in the gear that I choose in this service.
We currently use a pair of the Lexicon hardware reverbs valued at several thousand dollars each. I was not aware of 2cAudio and Aether until I read a review in Sound On Sound magazine, which the studio subscribes to. I checked out the demo, was in full agreement with the S.O.S. Review and bought it.
(Version 1.01) The Version 1.5 upgrade has taken Aether to a new level. This is the best algorithmic reverb plugin that I have heard to date. It sits in perfect company with the expensive hardware alternatives, and competes directly with the new $1500 lexicon plugin. I love and trust the Lexicon product, and now have the same consideration for 2cAudio's Aether. Is it worth $250? Well, in opinion, they certainly could have charged much more for it, given it's quality level in professional use. They chose to make it available at this price to make it affordable to a wider group of users.
This was a great decision. Don't let the price fool you into thinking that paying more gets you more in this case. It's a ridiculously good bargain from a company that has integrity, actually listens to it's user base and responds to their needs in a timely fashion. Congratulations in your achievement 2cAudio, and please keep up the great work with all the success you deserve. “ Aether 1.5 is one of those additions you find yourself spending a lot of time with just because it does so much and inspires you to explore further than necessary because the results are so musical. In that sense it can be more like choosing the right instrument to play a part, than an effect only for the sound. It comes with so many really useful categorized presets, that you can also use it as a 'point and shoot' plug in with minimal tweaking to give your sound an edge that I find can be lacking with many plugs available today.
With so many plug ins available, it is not often I run into something I feel is a major departure and warrants the time to really dig into it and learn how it can improve my work/workflow. Aether immediately got my attention by adding an emotional depth to the part I was working on. It can bring more 'intent' to a mix or track that makes the point of the song stronger in much the same way a great arrangement can. This one stays on my studio rig and my mobile unit.” ”. “ I know it's a wee bit nerdy to gush over a plugin, but after dropping 1.5 on a few projects and going nuts over the new options and the high-q rendering. All I can say is: wow. This is even better than I thought it'd be (ye of little faith).
And it's not just that, the 'cosmetic' update is a total winner, as well - the browser and frequency presets are a joy to use. And the new UI is groovy and clean. This is a 2.5 update at least.
Thanks so much for your efforts and generosity! Hope you reap lots of new sales, re- and awards for this.
“ Amazing sound!!! Really lively and unobtrusive when you want it too. It doesn't wash or mud my sound when using typical Halls and is very respectful of the material. I didn't hear any artifacts even on the long tails.
The purest reverb I heard without being clinical. Most of all, it is one of the most musical reverb I've heard.
It's the first time I got genuine shivers working with a plug-in on how it takes a raw sound and makes it shine and vibrate! And I'm a reverb addict! You did a marvelous job, it was worth the wait! “ When I first tried Aether 1.5, I maxxed out the quality settings and put the mix at 100% effect. I was just playing a piano sound through the reverbs and for the first time ever for an algorithmic reverb I didn't turn the mix knob back. I just sat there for half an hour listening and I couldn't get over how nothing bothered me and how great it sounded.
It was actually an emotional moment. I'm really curious to see where 2CAudio is going to take us in the future.
Thank you again for this awesome gift, and by all means, keep up the inspired work! “ From the very first time I had the expreience of working with Galbanum creations with Metasynth, their 'quality' was what REALLY shone out. You can hear the care and precision in their work. Aether impov is awesome. Not only as a 'standard' reverb but also as an incredible sound shaping/mangling tool. And the QUALITY shines through.
Is it worth the money? Well to me it is. Andrew is a very helpful guy too, not that that make the reverb sound any better. But it's better to deal with good people. Top work kudos and a BIG thanks for this 1.5 free update!! “ I'm really loving this new verb, infact all other verbs at my disposal are now a bit defunct, I certainly won't be using Convolution verb which I had some samples of the big hardware verbs for, they pale in comparison. Your reverb sounds, beautiful, smooth, very transparant and requires very little processing to get it to fit in a mix.
It is also very versatile and works equally as well for small, medium and long reverb. You've done a great job at keeping cpu consumption down without comprimising sound quality. All in all I'm very happy with my purchase. “ Fabulous reverb.technical specs and formal applications aside. I find Aether is incredible for all sorts of maxed out creative atmospheres and other odd ball weirdness which I think it excels at, you can throw lots of stuff at it all at once and it keeps musical and coherent (or not).dense, deep and with great perspective, you can make the sources just melt and bleed into the whole sound stage, I would even say it has the lush factor, warm and engaging, Aether can also generate a very intense and enveloping feeling to it depending what you are doing with it.
“ I just want to say that I truly appreciate the amount of work, effort, passion and creativity that you've put into Aether 1.0 and 1.5. It's designers like you who incite change into the entire musical software industry for the better. As I am beginning to wrap my head around this incredibly deep plugin (instrument?), I can see myself growing with Aether for years to come and it becoming a staple in my aural arsenal. I look forward to learning even more about what is possible with this sublime piece of kit. “ Aether can do it all.
I don't think any reverb I own can be as transparent as Aether. It can have a really natural sound; something hard to come by in a algorithmic verb. Yet Aether can be colorful and dense too. It can do the spacey, ambient, super-duper long tail stuff.
It can do the modulated EMT style sound. For me, where Aether sets itself apart are the tail shaping and spacial controls. I'm still getting my head around what I'm actually doing. I don't know what I'm doing, but I like the result.
Hopefully I'll have it nailed soon. The latest update sealed the deal for me.
![Aether Audio Aether Audio](http://i381.photobucket.com/albums/oo255/DaveSpencer_photos/SPEAKER1.jpg?t=1324907425)
I wasn't all to keen on the first Aether GUI. The new one is a massive improvement to me and now that it isn't as attention seeking I can see how it makes total sense from a design POV. Regarding oversampling: in most plugins I don't notice much of a difference when I turn oversampling on so I've never thought of it as much of a big deal. However, with Aether it seems to make a substantial difference.
I can actually hear how it makes the tail smoother and clearer. At highest setting I don't think I've heard anything as smooth that doesn't (I tried to avoid saying this) come rack fitted, with a lexicon logo on the front. Aether is brilliant! “ I was reading the KVR forum, thinking these guys are getting a bit carried away. It's just a VST after all. I'm getting a few Sax Fills together using SaxLab 2.
While I was reading, I decided to stick the Aether Sax Hall presets on it and f.ck me, well it sounds fantastic. I literally jumped back from my Monitors. I wasn't expecting that!!! I would like to take this opportunity to say how very much I am enjoying Aether. It is a teriffic product. I feel very lucky and privileged to have a VST of this quality, available to me.
“ Hi, just wanted to say hell yes! I am so happy to be one of the lucky ones who heard about Aether and picked it up. I used at least one instance on every song on my band's album which has been getting great reviews, especially on the 'big budget' mix I managed to achieve in my project studio. I contribute much of that on the quality of Aether.
The update is phenomenal and I would have paid for it, but genius move on Galbanum's part on the preset expansion packs. I instantly picked them up as soon as I heard about them. I may be done hunting for reverbs. If you are going to buy just one, this might be the most versatile and best sounding verb you can get on any budget.