Cinematic rooms

LiquidSonics, the company behind the Seventh Heaven and Lustrous Plates reverb plug-ins, has announced their latest reverb Cinematic Rooms, which they say offers exquisite sounds, powerful tools and full Atmos compatibility. Here's their press release with the full details...Cinematic Rooms is a reverb dedicated to the intense acoustic demands of surround room simulation. Deep yet accessible; advanced surround workflow tools allow you to design intricate acoustic spaces of incredible purity with simplicity. Available in two editions, both support channel formats from stereo up to 7.1.6 for use with the latest Atmos bed workflows. With a wide selection of expertly designed presets and intuitive controls, Cinematic Rooms is designed to help you find a perfect space in no time at all.LiquidSonics has been working with industry-leading audio professionals, including Alan Meyerson, Steve Genewick, Scott W Smith, and many more to ensure that Cinematic Rooms has the sound and features needed for the challenges of modern mixing environments.At A Glance (Professional Edition)Stereo, LCR, Quad, 5.1, 7.1 – 7.1.6Surround plane parameter editingDecay to 45 sec / infinityReverb and reflection roll-offAdvanced reverb contouringPre-delay with syncLevel monitoringSurround / True Stereo / Multi-Mono Propagation ModesOver 300 presets, including 50 post-production roomsReverb echoAdvanced reflection engineWidth controlCrossfeed disparity definitionTwo Editions - Both Amazing ValueCinematic Rooms comes in two editions - Professional and Standard.Professional EditionFor the most demanding score mixing and post-production workflows, the Professional edition is the ultimate room simulator combining the latest in modulated constant-density reverb technology with an interface tailored to the demands of modern surround production.Surround Editing PlanesCinematic Rooms Professional provides you with the tools you need to able to precisely control the reverb within the surround field. Optionally deviate parameters in the front, rear, side, centre or elevated planes relative to the master preset, for example:Extend and filter the reverb tail in the sides

Discerning judgements about our environment and the sound within it, and late reverberation engines that simulate a lush decay once the reflections are no longer discernible as individual echoes. A key benefit of the algorithms used in Cinematic Rooms is that they are able to retain a constant (maximal) density irrespective of the number of active channels. This is often not the case. As a result, when the listener is not in the listening sweet spot they can still expect to hear a very lush, thick reverb tail. Since the tails are fully decorrelated, fold-down compatibility is very good.Spectral AchromaticityHigh quality contemporary stereo reverbs achieve extreme levels of density and can create rooms of any virtual dimension without compromising their spectral purity. They remain virtually colourless (i.e. achromatic).Cinematic Rooms excels at the simulation of small, tight spaces. The reflection engine crafts, shapes and then purifies reflections so that they remain strictly decorrelated. This means that they can be placed close or far from one another (even on top of each other) without the comb filtering one would usually experience when correlated delay lines stray to within a few milliseconds of each other in length as is necessary in a simulation of a very small space.It is even possible to devise a room that sounds tighter at the front than in the rear using the surround planes without worrying about how it may sound when it is folded down into stereo. The delays will not trample over each other as you may expect with the associated peaks and nulls in the spectrum.This all comes together to ensure that surround spaces in Cinematic Rooms present an uncanny level of realism, usability and a quality as yet unheard of in any surround product to date. Cinematic Rooms presents a range of powerful workflow

As they could easily overwhelm the space. In Cinematic Rooms, the reverb in other planes automatically tracks down to 0.6 seconds in the sides and 0.7 seconds in the rears so that everything stays in step. This helps retain the consistency of the space despite variations made within it with a minimum of maintenance.The same applies to the reflection size, filtering, and early/late mix – in fact almost every parameter can be controlled in this way with Cinematic Rooms. Using parameter locks, you can even work through the hundreds of presets retaining master parameter values and associated biasing.This could all become very difficult to manage, if it were not for Cinematic Rooms’ inclusion of notification symbols under every control to indicate whether there is a surround plane biasing active. It also displays a count of the number of biases active per plane in the top right corner of the plugin at all times so that you can immediately see all planes’ statuses at a glance.If this all sounds like a level of complexity that just one step beyond your requirements, the planes can simply be hidden away and everything continues to work as you would expect in the background (whether a preset contains biased parameters or not). Crossfeed ControlIt was established many years ago that reverbs should produce output in every channel for each of their input channels. A sound received on one channel reverberates into all other channels to some degree just as it does in real life – usually with some degree of delay and attenuation. Ideally that audio should be fully decorrelated from all the other channels. Many surround reverbs do a good job of controlling this effect in their reflection modules. Delays, levels, filtering and more – all can be controlled by the reverb designer very