Exponential Audio’s R4 reverb plugin “outdoes all the classics”

While Exponential Audio’s Nimbus is an excellent transparent and unobtrusive reverb, the company also wants to cater for users who want something with a bit more character. Hence the arrival of R4, which promises to add “movement and fatness” to the reverb tail.

This promises “all the class of historic hardware reverb units but with many new features only possible with modern plugin development technology”.

Check out the video above and the list below to find out what these features are. R4 will be available from 10 March as a VST/AU/AAX plugin for PC and Mac. You’ll be able to buy it for the introductory price of $299/€289 and download a demo from the Exponential Audio website.

Exponential Audio R4 features

  • A character reverb that outdoes all the classics Powerful EQ
  • 6 selectable types of filter for input, early reflection, and reverb tail
  • Early and tail EQ can be dynamically modulated. Whether a subtle pulsation or sweeping notch, modulated EQ is a powerful new weapon in the producer's toolkit.
  • R4 retains the Chorused Hall of earlier Exponential Audio plugins. And it adds a second Hall with density modulation that adds motion to the tail without adding pitch change. Of course, you can add pitch modulation on top if you want it! These halls are the perfect solution for sparse or sterile mixes and solos.
  • There's also a Plate and Chamber; updated from R2.
  • Warp section with compressor/expander and overdrive
  • Pre-delay and reverb delay now adjustable by tempo
  • Tail suppression circuit for more dynamic response Freeze button. Click the button, and the contents of the reverb go into an infinite mode that goes on as long as you like
  • Gated reverb effects
  • Over 1200 presets
  • Helpful tool-tips to guide new users.
Ben Rogerson
Deputy Editor

I’m the Deputy Editor of MusicRadar, having worked on the site since its launch in 2007. I previously spent eight years working on our sister magazine, Computer Music. I’ve been playing the piano, gigging in bands and failing to finish tracks at home for more than 30 years, 24 of which I’ve also spent writing about music and the ever-changing technology used to make it. 

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