Spaces II includes all of the impulse responses and presets from Spaces I, albeit organised rather differently DAW projects that include instances of Spaces I won't automatically load Spaces II in its place, so existing users will want to retain the original plug-in for backwards compatibility. Variable high- and low-pass filters enable some tonal shaping if required. You can buy a licence or rent it with a subscription to EastWest's Composer Cloud. Like other elements of this system, it's installed using EW's Installation Center utility and authorised using the iLok system. Spaces II is part of EastWest's Play system, meaning it can run within the stand-alone Play engine as well as in any Windows or Mac program supporting VST, AU or AAX plug-ins. Nearly eight years on, a sequel arrives with considerable fanfare. At the same time, however, the original Spaces plug-in was little more than a basic convolver, with variable pre-delay being the only way to shape the sound and although the 'instrument specific reverb' concept worked very well, presets that actually used it were in a minority, with just one hall having been captured in this fashion. I reviewed the original Spaces reverb back in SOS June 2011, and found that Phoenix's approach brought obvious sonic benefits, especially when the goal was to make sampled instruments 'sit' within a realistic concert hall environment. Spaces also pioneered what EastWest call 'instrument specific' impulse responses, whereby speakers are carefully positioned to reflect the typical positioning and firing pattern of different instruments within a hall, thus yielding very particular settings for violins, trumpets, woodwind and so on. Rather than capture his impulses using measurement mics through an ultra-transparent input chain, engineer Nick Phoenix employed high-class vintage studio gear bristling with valves and transformers. EastWest's original Spaces plug-in, released back in 2011, sought to counter this perception through a new approach to 'sampling' rooms. In some quarters, convolution reverb is written off as being flat and sterile, and there are those who say that the engaging qualities of an acoustic space or plate can never be fully recreated by an impulse response. Does EastWest's new collection of impulse responses take reverb to the final frontier?
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