I BOUGHT A BROKEN EMT 140 PLATE REVERB! 

I am first to comment below you White Sea Studio😍

I am 4th lol 😂

thankyou for showing how a plate reverb actually works though ive kind of wondered about that for a few years, never looked it up obviously but, good info. I love that your studio Is like straight up GOOD Vintage, Like best of both worlds. On a much smaller- sadly More digital way(so far) i am attempting something similar- Although i recently got lost in modular synthesis - Gear aquisistion syndrom like whoa. forgive me Lord for my Synths

that would be interesting

I'm not sure if that would make sense. I understand your curiosity, though. However, I guess you wouldn't pay the price for a real plate because you think that plate was going to sound waaaay better than a dedicated plugin. Let's face it, nowadays, with all the "tweakability" you get with plugins - even with IR-based ones - the difference is rather defined by character and not by quality. I mean, you could switch from the plate channel to a plate plugin channel and a listener would say, "fine as well. Different, okay, but also great." OR: you could change the real plate itself and all of a sudden the plate reverb would sound completely different! (I love the sound of brass the most.) Wytse could even take impulse responses of his own plate set to different lengths, then load it into ReaVerb or any other IR plugin in different channels and mix them to taste. And still, people would love the way it sounds...although they hear a digital, convoluted representation. i THINK, the reason to buy such a bulky thing is: pure love for technology from the past. And I can relate to that.

@@Mansardian I totally get why you would purchase a plate reverb. For a working studio you can advertise real vintage plate reverb... A modern studio needs to supply something you can't get on a computer, whether that's unique gear, a renowned engineer, or possibly a decent drum room. As for why compare it to ITB reverb, I'm just curious, like you said 🙂

pointless because any results will be digitised at some point. Impulse responses of plates sound exactly the same.

@@FatNorthernBigot Your question made me curious, too, so with the fresh impression in my ear I loaded the Arturia 140-plate. It is very authentic. Different, of course, because every plate will sound different, but the metallic character is very much spot on. I think Wytse tested the Arturia-plate in an earlier video. Gotta re-watch it. Found it, here it is: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-42e9SI8Zy94.html okay, some minutes later: Wytse actually liked it! The only rant was about the screws and the weathered GUI-look, but with Wytse that's a given. 😄

Have u tried IR based reverbs? ☺️

Get a good reverb plugin then.

Bro waves plate reverbs sound just as good as this

no but very very similar. The high end is more detailed here.

Well yes, IR-based reverbs will sound pretty much identical, but they will be way more linear in their response. Real life plates are "alive". You can call it "natural modulation", perhaps.

Behringer V-verb are really great. I have four of them. I also know a guy that owns both Briscati M7 and TC4000 but still prefer V-verb in some situations. Rumor has it V-verb contains the same algorithms as the other mentioned reverbs that made Behringer quickly shut down the product. I also have some 1:1 V-verb presets that are nearly 100% authentic to the expensive units.

@@AndersHellquist Ok, to be fair, please just let me buy 3 more of these before you tell anyone else! ;) It *truly is* mind blowing. Hard to understand how Behringer developed these algorithms, especially 17+ years ago... But I did read somewhere that they included all of them in their "XR" mixers. Hope that's true! 🤞

Did he?

@@No-Pressure-Only-Results I don't know. I'ld like.

Sheeeet

Record it, than move it in the DAW? Or delay the send somehow?

Matthew DeWard I wasn’t a turnrablist per se, in the sense I’m sure you mean it, but I did learn to DJ & crossfade and do polyrhythms with vinyl and it’s a skill I was proud of and worked at. Did a few early warehouse parties in the early 90’s and had a blast. I look at all the Serato stuff now and have to ask “why”? I’m down w technology in every area except this one, it’s just such a pure way of expression.

@@russell_szabados That is just it The VERY things That Made a Turntablist WORTH SEEING, are now NON existent- 'No more needle skips, no more purely random moments in the "same way'. There was and is something incredibly special when as a dicc Jockey or anyone for that matter have break records upon break records memorized almost like files in a PC, so that when one Goes LIVE and they get to flippin records it used to SAY alot more about the mans/Womans skill set. I mean NO PC set Cue points, NO AUTO MIX lol, Not too mention the obvious sound quality difference, Just as a Turntablist there was sooooooo much we had to know and learn BEFORE thinking of live performance. I mean even knowing how to shop for Vynil properly, not picking from the front (as usually they will warp, or the back for same reason- trying to find the thinnest vynil so it will slide fast,) Needle Tricks for scratching to prevent skips'. I know its a Moutain out of a Mole hill.... Just their used to be a REASON that The DJ not Only was one of the MAIN FOUR ELEMENTS of HIP HOP, but many times the DJ ( especially in OG hip hop was the FOCUS) ''Not Bad meaning Bad But Bad meaning Good''......''' there it is'' ''And My DJS Name is Jammaster J'' ''Magic Mike Cuts the record'' ''When REAL DJS AND MCS ARE A MINORITY''- Guru from Gangstar Every Crew had their BAD ASS DJ, Beasty Boys had MixMAster Mike, Public enemy had Terminator X. DJ JAzzy Jeff should have a frikkin Medal of some sort of Honor He has the Technics DMC, Grand Wizard award as he developed like 4-5 of the ORIGINAL stratches ( transform, scribble, chop, etc.) But he did shows in Dc untill the 2000s maybe still does. Jazzy Jeff Hugely underated. and there are some bad ass Turntablist still ( if i ever re sharpenned my sword cough... lol) like the executioners, the invisible scratch pickles. Qbert who was Mixmaster Mikes underling/student ( who eventually beat him in the finals, great match btw) But yeah i dont even go out anymore and the rare times i find myself out- its an embarrasment what they call DJING now. Glorified jukebox.

@@russell_szabados incredibly pure. and respect, even you can Overstand from what you gained out of it, its a different beast now.

even you as far as not djing for super long or what not-

Matthew DeWard I hear you man. I grew up in NYC and remember my cousins taking me to a street party in Harlem around 1978 or 79 when I was 11 and being blown away by the DJs scratching, like “I don’t what they’re doing but I like it” LOL. I was a rock kid into KISS and eventually got into the hardcore scene and saw Beastie Boys twice before they blew up, but in New York, all us punkers were also into hip hop. It was all underground and all good, it was from the streets just like hardcore. That was great when the Beasties hit , I didn’t know them, but it was guys from the scene making the big time. I agree about Jazzy Jeff, that dude’s an innovator! I remember seeing Qbert at some after hours club. I couldn’t believe how far the scratching had been taken, it blew my freakin mind. That was a great long night. I remember buying a white label sample CD - which I thought was kinda funny - of classic breaks around 1995 and it had a few of the breaks you mentioned. I got into Trance and then deep into IDM and underground electronics, and then just stopped DJing and going out altogether around 2010. I was 43 & my girl wasn’t down w getting home in time for breakfast anymore. Now I’m 53 and don’t even know or care about “EDM”. I write music for sync licensing now, got a little house in the Las Vegas suburbs, no kids and a studio in a spare bedroom and a lifetime of great memories thanks to amazing, innovative DJs.

It works with a magnet/driver coil

@@Whiteseastudio ok thanks

I have a stereo met 140 tube plate reverb, before I had it I always thought the Arturia 140 sounds pretty nice but my real plate makes it completely obsolete.. Every real plate sounds different, there where some better and some worse serial numbers.. mine has been used on one of the all time best selling jazz record, I guess I got lucky.. Arturia plugin is still awesome but just not on that level.. I wish... but no

Hopefully it's not snake oil.

Speakers are made by Lennart Temmink

@@Whiteseastudio thank you

I know!

It's in record mode.

Interesting. I have also have the UAD Lexicon 480L. People say one of it's treats unlike the Relab L480 is that UAD should be indistinguishable to the real hardware, as they modelled the entire hardware, word clock and converters as well as they run the exact same code as in the hardware. I could'nt tell, as I've never had the chance to compare. But I did however test it up against the Relab. Both of them are great, but I liked the UAD better. More depth and "rustiqueness" ness to my ears.

They’ll be back

No, it wasn’t listed online...

The damper creates air resistance, so the closer the damper is to the plate, the more difficult it gets for the plate to reverberate because of air resistance

@@Whiteseastudio Ok... thanks :-) I'm just thinking about other real life / everyday situations, where this proximity damping effect happens. A piano would be wrong (because the damper really touches the strings). Any ideas ? ;-)

From a guy

😂