With Mikron Reverb you can beam your music into the right atmosphere in a heartbeat. This colorful, s; T 3 # S Y t C Jtompbox inspired plugin is t* – y yhe little brother of our widely acclaimed Rey l 9 2dline Reverb. It has the same warm and lush, ‘lexicon-ish’ sound, but a completely different mode of; ) } operation. In Mikron Reverb the majI \ + 8 I 8 Gority of the parameters of Red3 X P {line Reverb are hidden behind just a few intuitive knobs. It incorporates an i( r A h : # Vntelligent algorithm that determines the ideal settings for thop [ 6 . C ! 7se parametero 0 j ~ – 3 As f/ / ~ z ^or a wide variety of rooS Q V k } % 4 V ;m charactec K bristics.

The idea behind this algf n j , d – E Y 6orithm is thatT W : 0 O when you dial in a certain kind of reverb you usually are not interested inV Z Z 5 W d z l ` the reverberations of all possible roomsi F – G C { ( y – and posX J 2 hitions in those rooms, but only those that will give yoj 5 { + 0u a superb or interesting sound. There are a lot of concert halls, but only a few are praised for their acoustics. And there is only one spot in a concert hall were the band sounds at it’s best. It’s those great sounding reverbera8 m B 1 xtions that we tried to capture.

Or if you are interes$ 0 b # u K M ,te+ N j 3 r ~ V md in a bit more technical bacD 7 r J { ) s }kground: there is a reason that certain spaces sound great or tha9 W i = Y \t when you stand in the center of a room the sound is less good than when you move a little to the front. And that has everything to do with how the different par, d # m d w O \ Pameters of the reverberations am x 8 u q 2 w ; .re balaX h i b !nced: early reflections, decay time etc. The ultimate formula for this is stillQ ! c 1 o unknown, one of the reasons why architects still have difficulties designing the perfect concert hall. But we think we have been able to come up with an approximation of it. We had one advantage. Unlike architects who have to take into account the annoyingw Z ) 7 _ U G F 2 constraints of real world b0 Q 6 (uildings we only had to focus on how sound moves through time in a musically pleasanj & ot way. Our formula ii 8 \ l B * % @s most definitely based on a pQ i M g @ cersonR c f , 7 } 6 $al preference, not on a univers$ : : G tal truF 6 }th. But we dare say that it does a hell of a job. What does this mean in practice It saves you a lot of unnecessary tweaking. Whatever knob you turn, the reverberation keeps sounding great, just different.


  • with a very few knobs you can create many different spaces
  • sound keev @ r – s Eps evolving in a musically pleasing way
  • tonalityH p 0 Y ! a N , remainsg 1 5 J ~ m intact overtime
  • extremely long] $ | B P ret ( # b 1 _veS ^ 7 {rb times (which makes it an excellent reverb for ambient sounds)
  • intuitive, easy tJ S n 1 % I uo use interface
  • low cpu
  • NKS support