In terms of resource consumption Pro-R does well and having a bunch of instances loaded on a project shouldn’t be a problem for more recent computers. Overall it’s kind of hard to think of any reverb plug-in that feels as easy as this one. It also helps that there aren’t many parameters to fool around with, but those that are available are actually very meaningful and having limited controls ultimately is a good thing that favors a quicker workflow. All the controls are labelled very intuitively in regards to what they do and are way less cryptic than the parameters you’ll commonly on other reverbs out there. Pro-R’s enormous versatility is probably its most remarkable aspect and it can will pretty much any territory (or any “space” to be precise) in very satisfactory manner.Įase of use: Once again FabFilter delivers a plug-in that’s easy and incredibly intuitive to use, thanks to its clever design and also because of the outstanding interface which is a FabFilter trademark. In case you’re after a more vintage sound you’ll likely have to bring other plug-ins to the party such as saturators and bit-crushers in order to achieve such colors, but ultimately the “core” of basically any reverb sound is there for us to play with it. Sound quality: Fantastic sounding plug-in as we come to expect from FabFilter! Pro-R stays mostly on the transparent, modern-sounding side of the fence rather than on the “vibey” side, even though it’s capable of some pretty unnatural things as well. To wrap it up the bottom of the interface brings some welcome utilities such as pre-delay (with tempo sync option), input/output gain, bypass switch, MIDI learn and the frequency analyzer function with pre+post or reverb+post visualization options. Below that there’s an actual 6-band equalizer to shape the output and it borrows from the immensely flexible Pro-Q, with parametric, shelves and filter options for very precise adjustments. This is a very powerful feature that really sets Pro-R apart from other plug-ins, with an unprecedented level of control of the space's decay and its frequency distribution without throwing many complicated parameters around, keeping it very elegant and extremely ease to tweak.
The lower part of the interface houses the powerful “decay rate EQ”, which can increase or decrease the decay of a certain frequency region through an EQ-like curve with up to 6 bands that can be set to parametric or high/low shelves with over Q control.
All controls are very intuitive and kind of self-explaining so it shouldn't be a problem getting used to them. On the right part there the decay rate to increaser or decrease the decay time from 50% to 200%, stereo width (mono at 0% to super wide at 120%) and mix (dry/wet) controls. Once that is set there are controls on the left side to take care of the sound’s “brightness” from bright to dark, “character” from clean to chorus and “distance” from close to far. This “Space” parameter is a blend of different room models and their respective decay times, with some clickable icons to indicate the room but this knob can be set to anything in between, doing so without any clicks or artifacts for very smooth transitions - which not only facilitates the use but also enables interesting automation possibilities. The idea here is to present spaces of all varieties and this is determined by the controller at the center of the interface. Pro-R is an algorithmic (no convolution here) plug-in that can create basically any kind of reverb, from short ambiences with only 0.10s of decay to huge halls with up to 20 seconds of decay. It has finally happened and here we have the Pro-R, which follows their line of innovative plug-ins and brings some interesting concepts to the conversation. The scope: If there’s a developer that basically everyone wanted to see developing a reverb, that developer was FabFilter.
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