No such thing as too many presets!
With VSS3 Native you can move in depth to take full control of your reverb. But some days you just want to pick a preset for quick and no-fuss reverb delight.
We've teamed up with some of the greatest producers and mixing engineers out there to bring you a veritable mother lode of tailored reverb. Perfectly balancing the early reflections, body and tail of the VSS3 these short cuts to glory will lend a natural and transparent air to your track - because that's what they're designed to do.
And best of all? All these signatures are on the house. You're welcome!
Signature Presets by Tue Madsen
Nobody metals like Tue Madsen.
Noted for his work with pioneering bands such as Meshuggah, Dark Tranquility, Mnemic and the enigmatic "kawaii metal" band BABYMETAL, Tue is one of the most in demand producers in the world of metal.
His no-bullshit studio dogmas, out-of-the-box thinking and super tight mixes, that give priority to the natural character of the individual instruments, have earned him enormous respect far beyond the metal genre.
With these raw and transparent presets, Tue shares his production philosophy and unique approach to mixing with reverb.
"For me bass is almost always a very dry affair. But if the bass goes solo for some parts, that can sound kinda weird, so I use this preset to make the track blend better with the rest of the song. It's not meant to be heard as such, but just give the bass an ambience."
Dry Drums Made Roomy
"Whenever I get drum recordings done in a room which is too dry for my taste, I can generate a truthful ambience by inserting VSS3 on the room mics, the overheads or sometimes even on the drum group as a whole - and decide on which room I'd want to put the drums in. Sounds extremely natural."
Metal GTR Ambience
"I always pan my guitars hard left and right, but when one guitar is on its own - during breaks for instance - it is nice to have a very tight small room atmosphere. So, I developed this preset to be inserted on the guitar group for such cases."
Signature Presets by Andy Summers
Employing both the immediacy of punk and the intricacy of prog
rock, Andy Summers (The Police) is a sonic adventurer like few
During and maybe in particular after his time with the legendary trio, he has consistently pushed any and all boundaries with his eclectic style and easily recognizable sound.
These presets will lend a rich and compelling tone to your instrumentals, be they mid-tempo lullabies, speeding freight train riffs or passionate guitar noodling masterpieces.
"Slap delay. Good for picked arpeggios, from slow 8ths to rapid-fire sequence-like 16th notes."
"Very scruffy and earthy in tone - nice on acoustics, especially dobro, terz and Takamine guitars playing harmonics. For effect we turn up the VSS3 return as loud as or louder than the direct signal."
"Infinite-type decay, great for slow, undulating distorted guitars."
Signature Presets by Søren Andersen
Known for his subtle and precise mixes, Søren Andersen is a Danish guitarist, producer and co-owner of Copenhagen's Medley Studios.
His list of collaborators is as long as your arm, and includes
artists such as Glenn Hughes, Mike Tramp, Tygers of Pan Tang, Marco
Mendoza and Jesper Binzer.
When not residing behind the console of Medley's Studio 2, Søren can be found rocking out on the road alongside fellow ax-slinger Mika Vandborg and their Electric Guitars outfit.
"A warm reverb for vocals, this is usually my starting point when mixing vocals. The combination of a 99 ms pre-delay and some hi-cut tinkering makes it easy to blend any lead vocal with even the busiest track."
"One of the classic pitfalls when putting reverb on acoustic guitars, is loosing the instrument's inherent clarity. This bright and short reverb will work as a mix enhancer, that gives the guitar a space to breathe in while maintaining the depth of your recording."
"There's something extremely poignant and emotional about piano parts, that I just love bringing into play in a song. The reverb on piano themes, to my taste, need to be big and bright and shimmering to really underscore the melodic content. And this one is exactly that!"
Signature Presets by Mathias Schlegel
Sweden's Tambourine Studios is all about the right sound, the right chords, the right phrase and the right mood.
Running with few alterations since the early 90s, its Green Studio has hosted famed sessions with artists such as The Cardigans, The Rumour Said Fire and Tom Jones.
Tambourine's resident producer and sound designer, Mathias
Schlegel, has with these presets put together a solid trio of
reverbs, that embody the Tambourine sound.
"With all sorts of dust and grain included, this preset is great for raw drum machines and crisp live drums. Why not try it on vocal as well to get a nice vintage sounding reverb?"
Slap In The Plate
"A smooth plate that I use for percussion, horns and the occasional synth stab. The slap of the preset and the tidy tails of the verb make it perfect for 50s and 60s style rock vocals".
"Based on our own reverb garage here at Tambourine - complete with concrete flooring, iron staircases and brick walls covered in graffiti, but without the cars running - this is a powerful space for all sorts of instruments."
Signature Presets by Shane Edwards
Australian audio archimage Shane Edwards has spent his entire
life working in and around the music industry.
From his base in Karma Sound Studios, Thailand - aka the Studio That Never Sleeps - he has worked with hundreds of artist, A list bands and indie clients alike.
These presets, all designed to sit on AUX tracks with the send at around -10 dB, are perfect manifests of Shane's love for the classic 80s hardware reverb tone.
"Makes a natural snare feel longer and brighter with a nice pop & crack while still retaining the natural timbre."
"Short and wide 'Non Linear' style reverb that is great for toms to add a 3D excitement and also adds a clean space for vocals.
Bass Cab Room
"A lovely space for adding subtle stereo room to bass cabinets while still being phase coherent, works great with clean guitar also!"
Signature Presets by Tony Maserati
Grammy Award winning mixer Tony Maserati probably doesn't need
much of an introduction.
By way of his ever smooth and clear-cut mixes, he has become the go to mixer for the world's pop royalty, including vocalists such as Beyoncé, James Brown, Alicia Keys and Ariana Grande.
Accolades aside, his exceptional tonal intelligence has earned him enormous respect among his peers, and is considered a sure-shot in delivering tight mixes with power and musicality.
"Add this mono sound to any existing reverb to gain depth and character."
"Everybody likes a shimmer these days. You can use it anywhere - vocals, background vocals, snares or synths."
"Small spaces are impossible to remove from a recording - the walls are too close! Here's both a solution and an accent for times when your walls are closing in, or you want to act like they are."
"Sometimes you have to go outside the lines. I do it widely."
"I love the sound of voices around a pool in the center of a hotel courtyard at night."
Signature Presets by Jason LaRocca
Veteran score engineer Jason LaRocca always brings that special
something to the mixes that he does.
With a background in punk rock, his original recording style has led him to work on Hollywood blockbusters and TV series, along the way teaming up with awesome composers such as Nick Urata and Mark Isham.
These reverb presets will add distinctive character to your tracks - and it will sit well in even the busiest of mixes.
"This one is my go-to for getting depth and space added to ambient pads in a score mix. I like to play around with the High Decay amount - turning it up can give the mix that cool 'tailing into outer space' feel."
Big Cinematic Drums
"I use this to add size and width to big percussion samples and live percussion, that I record. I often find that in a final mix with dialog, FX and score together, a good reverb tail on the drums can really help get the larger-than-life aspect of their performance across."
Long Cinematic Tail
"Great for a lot of different sounds, as well as one of my little mix tricks! For instance, I like to use it on live strings - on the very last note of a song, to give it that almost infinite 'tail out' as it fades off into the distance. It also works great on big sound FX, reverse swells and things like that."
"The heart of any scoring mixer's arsenal! Tailored to make live and sampled orchestra sections sit in the mix just the way, I like to hear it. Giving a little extra sustain and size to all of the elements of the orchestra - and adds an extra bit of sheen and glue, that it needs to really sit with hard hitting drums and wide pads."
"I love this preset on vocal sounds, when I mix. I often like vocal reverbs that are 'felt' more than heard. Especially when they are sung on screen in a musical-style setting for film and TV. It is a very dark and vintage style chamber, that is meant to just help glue the vocals to the track - without clouding what the vocalist is singing."
Signature Presets by Mark Christensen
Mark Christensen, owner and head engineer at Engine Room, has spent the last thirty years staring at knobs and meters.
Flanked by his team, he has awesomefied thousands of songs,
piled up Gold and Platinum records like nobody's business and
received multiple Grammys along the way.
A long time friend of TC, Mark's been using the System 6000 version of the VSS3 in his mixes for more than a decade.
If anyone knows how to push the core sound and character of the
algorithm to its
full potential - it's this guy!
Bright Shoe Gaze
"I use this on snares when I need a really obvious, bright snare verb. There's pretty much no Pre Delay, and a lot of high end. If you need to create space for the snare drum in a big mass of guitars - try this!"
Blues Guitar Intro
"This preset I made for a very sparse blues guitar intro section. It creates a sense of space with the lopsided return of the room reflections. Helps define the sound stage for more open sections of a song."
"This is a verb preset that I've used as as Master Reverb for a rhythms section. It's pretty dark, and the reverb is returning in mono - even though I use it on a stereo buss. It helps when you need some "parallax" type imaging within the rhythm section to give it identity in the sound stange, but you don't want to actually hear too much reverb."
Signature Presets by Skywalker Sound
No two ways about it: for 40 years straight the engineers at
Skywalker Sound have dominated the Oscars and set a high bar for
sound design for film and TV.
For this set of Signature Presets, they will take you on an audio odyssey - from confined corridors & kitchens to the warmth and beauty of out-of-this-world spaces.
These are the presets, you're looking for!
"Imagine a corridor, and this is what it sounds like. With the early reflections cranked all the way up, and a not too long verb, this preset defines that particular space to perfection."
"Based on an exuberant slap delay where the sound bounces off the walls some 20 or 30 metres away, this space has lots of dramatic potential. Tweaking the long delay will add a distinctive character for more intimate or romantic design."
"This reverb sports a short tail and next to nil early reflections. The atmosphere is alive, and you sense it's a room for people, where strong human relations are built over the burning stove."
"A warm room with extremely well balanced frequencies. The straight-jacket control subdues rumble in the low end and unwanted flutter in the top."
SKY Parking Garage
"Based on the sonic qualities of a church space, with solid stone walls far away from the sound source, this highly detailed preset is the perfect starting point for any large and dark reverb."
SKY Small Room
"This is about as soft as VSS3 Native will ever get. The SKY Small Room preset is a short verb with dampened highs for that homely brandy & cigars vibe."
Skywalker Sound Collection 1
"Natural and savage, yet tidy and extremely musical, this preset will set the stage for any well defined smaller venue - or cantina. It won't answer the question of who shot first, but it'll give you the reverb means to figure it out for yourself."
Skywalker Sound Collection 2
"Large and wide, with even temper across all frequencies and the modulation dialed all the way back for a natural feel, this reverb will restore peace and justice to your sonic galaxy."
Signature Presets by TC Electronic
Resident master reverb engineer, Christian G. Frandsen, has been part of our development team for 20 plus years, and there are few TC effects that he hasn't tweaked the sonics and settings for.
In these 5 Signatures, Christian has aimed for truly unique designs that respect the original sound of acoustic tracks, which makes them work wonders on both studio recordings with careful mic setups and live material with sub-par sound and lots of spill-over.
Do your strings, pads and keys a favour and load these into your mix for presence and character - straight from our reverb command post!
"Especially suited for any piano parts with fiery, scurrying and percussive character, this preset adds intensity and an up-close sense to your sound."
"The Piano Lively emphasises the urgency and emotion in your recording, making it perfect for fills and mellow key sections.
"Inspired by the scores for classic horror films, this preset brings some drastic tweaks to the high-end frequencies."
String Quartet Close
"This was originally designed for a live quartet recording by premier Nordic Noir composer Frans Bak. It adds presence to scurrying strings, and any other quivering, dramatic source material."
String Quartet Lively
"One word: immersion. Any serene or moving section of keys, pads, strings will love you for this!"
Signature Presets by Darren Moore
Hailed as one of the premier mixing and recording engineers of
the R&B world, Darren Moore, chief engineer at the Manhattan
Center Studios, has worked with all the greats.
For this Signature Darren has designed four great & super versatile presets that emulate the feel and funk of the classic, giant recording rooms, that now are so hard to find.
With these time travelling presets, you'll have the perfect starting point for mixing both vocals and instrumental tracks.
"Large recording spaces used to be very common in NY, but are very rare nowadays. This emulates that 'A' ambience. Great for a big 'Wall of Sound' or giving separate tracks the feel of being recorded together, it brings the sound of spaces like the Hit Factory NY Studio 1 & 3, the BMG room, Avatar Studio A or Sony's large room."
"This is another preset to bring back the sound of the large studio spaces, you'd find in a major recording facility. This one is a smaller room, but with the large ambiance of an adequate Drum Iso Booth."
"I made this to give me that perfect 'one of a kind' studio plate, that you would find at a well equipped and maintained recording studio. You know, the sort of plate, that would take up a whole room and be wired into the studio to provide that warm, lively plate sound. The sort that would work magic on your melody or precision tracks."
Blue Stage Bright
"I wanted this to be the perfect vocal reverb for an electric, exciting performer. It emulates the sound of a perfect stage for a vocalist: nice and bright, but still warm and expansive. And it's blue as it's as cool & clear as ice!"
Signature Presets by Brendan Morawski
With a Grammy on his shelf and clients such as Alicia Keys, Taylor Swift and Santigold, recording engineer Brendan Morawski is at the top of his game.
We asked Brendan to share some of his prefered ambience, and the presets he came up with reflects his extremely transparent approach to reverb.
Designed to make the tracks stand out yet sit flawlessly in the mix, these presets will lend vocals and drum tracks a pristine real world flavour.
Drum Room V4
"A warm room that I use to give me greater control of the ambience in the drum recording. The reverb gives me the ability to craft the live room mics to create more excitement in the mix."
Large Vocal Hall
"This preset is my starting point on ballads and slower songs. The reverb allows me to get the vocal sitting nice and big in the mix without adding any unwanted artifacts."
"This is a reverb that I use to help give depth to the vocals and get them to sit in the mix just right. It can be used subtly to help add support to a vocal mix."