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Introducing our first ever effects plug-in AIR Studios Reverb, an immensely detailed convolution reverb — created in collaboration with the team at London’s iconic AIR Studios. Using our very own “Virtual Positioning Technology”, you can position your sounds anywhere in the legendary Lyndhurst Hall — one of the world’s most sought-out recording spaces.
Our Spitfire engineering team have curated a selection of 54 presets to suit different instruments based on real life mixing practises, and to create a selection of standard reverb modes and spaces. Adjust the canopy height, material, hall layout and gallery dampening, and blend up to 8 individual true stereo signals to create a hyper realistic sonic experience.
Spitfire Audio has taken the concept of Impulse Response (IR) capturing to an unprecedented level, recording over 67,000 IRs to be able to recreate a plethora of positions and configurations in the hall.
In AIR Studios’ “Lyndhurst Hall”, musicians traditionally face the control room, which creates a distinct reverb character. However, a lesser-known yet iconic sound is achieved with musicians facing the organ — a setup that’s synonymous with Hans Zimmer scores recorded at AIR.
To recreate both of these signature sounds within AIR Reverb, our team mirrored microphone placements on the hall floor. Combined with dedicated speaker positioning, this allows you to position your virtual sound source facing either direction and capture the essence of these legendary recordings.
After two years of meticulous research and development, Spitfire Audio proudly presents AIR Studios Reverb – a revolutionary convolution reverb that breaks new ground in sonic authenticity.
AIR Studios Reverb goes beyond traditional impulse responses, leveraging Spitfire Audio's proprietary Virtual Positioning Technology (VPT). This groundbreaking feature allows you to position your sound source anywhere within the legendary AIR Studios, capturing the precise ambiance of its unique acoustic spaces.
Hall Controls
Modify physical attributes within the hall to control the reverb tone and decay. Settings include:
BOTTOM BAR
Input: Set the intensity of the input signal and the size of the ensemble, with gain control, mono/stereo switch & width of the source/ensemble.
Reverb: Augment the sound with artificial pre-delay, and quick access to early and trail stretch controls.
Output: Final tweaks to the balance between Dry & Wet signals and the output gain
Drag and drop your sounds and musicians anywhere in the legendary Lyndhurst Hall. Choose your sound to be either mono or stereo.
Adjust your microphone signals to a variety of settings including tree, outriggers, binaural, ambient, gallery wide and gallery far.
Modify the performers’ radiation in the room, and which way the source is facing. The controls operate all within the rotation control.
Augment the reverb at various points in its overall decay time. Examples may be turning the Hall into that of a chamber, or alternatively creating huge wash reverb for synths.
Use the 5 band graphical EQ to either shape the input signal going into the Hall, or the Hall reverb itself by placing it pre or post.
Search for specific instruments as well as some presets created by Spitfire Audio and industry leading engineers
