Soundevice Digital Biverb

Biverb from Soundevices is a dual reverb plug‑in that supports all the usual plug‑in formats on macOS and Windows platforms, and is authorised by a personalised security key allowing for installation on multiple computers. There’s a selection of factory presets but in reality setting up your own effects is very straightforward as there are no deep‑dive parameters to slow you down.

Each reverb has its own setting for type, size, pre‑delay, colour, pan and damping (high and low). Each reverb also has its own modulation section, with adjustable depth, rate and dispersion. In the centre of the GUI you get wet and dry level controls, which can be linked, as well as adjustment over the output level, but Biverb’s secret weapon lies in the large circle just below the large logo. This controls how the input signal will be sent to the two reverbs: you could just go for the straightforward stereo option, with a different reverb panned to each side, or you can choose to split the input by frequency or level, or opt for Mid‑Sides processing. In Low/High frequency mode, the circle acts as a frequency adjustment dial for setting the crossover point. In Level mode its sets the threshold level at which the changeover occurs. Large vertical meters on each side of the GUI monitor the input and output levels.

And there’s more... The spectral displays in each reverb section include controls that allow the user to set up reverb ducking, with adjustable response time so that the reverb can be kept from overwhelming the dry signal, and then be allowed to bloom during pauses. There’s also a filter in this section with adjustable high and low points to define the region where ducking occurs.

Biverb offers plenty of range, from small spaces to huge halls, and the pre‑delay can be up to 250ms.

As a straightforward algorithmic reverb, Biverb offers plenty of range, from small spaces to huge halls, and the pre‑delay can be up to 250ms. There’s a choice of algorithms comprising Spring, Room, Plate, Chamber, Hall and Shimmer. In stereo mode, setting a long pre‑delay on one side and choosing two different reverb types creates an endearingly spacious sound, while switching to Quiet/Loud mode also makes for interesting results if, for example, you allow the louder notes to trigger a reverb that has a very different length from the one triggered by the short notes. Similarly the Mid‑Sides option allows for a different reverb on each of the Mid and Sides channels.

Low/High frequency mode also yields some interesting results. For example, I tried a piano with frequencies below 500Hz feeding a long hall reverb with maximum pre‑delay and the higher frequencies feeding a chamber. The outcome sounded very much like a cathedral‑type reverb, in which the sound returning from a great distance has a lot of top filtered out due to air absorption while the reflections from closer walls are brighter. With a maximum decay time of 10 seconds, Biverb should keep ambient music creators happy while the more conventional reverbs and the ways in which they can be deployed make this plug‑in very versatile.